Want to make a multinational club hit? Want to make a song so catchy, that years after it's release, people will still be singing it under their breath as they walk to work in the morning? Then follow the Eric Prydz Signature Secret Formula.
STEP ONE:
Find any old 80's, or early 90's song. Maybe Toto, Steve Winwood, Eurythmics, or Howard Jones.
STEP TWO:
Locate the chorus of the song you selected, and grab a line of the vocal or two. Example: "Call on meeeee! Call me!" "It's gonna take a lot to take me away from you!" "And are you still scared? aaaaaah! well I won't stop and bother!"
STEP THREE:
Write a stereotypical prog. house percussion track, and lay the sample in an endless loop over it. Sidechain.
STEP FOUR:
Apply long, drawn-out progressive cutoff filtering, and then add cheap free-VST style synthesis.
STEP FIVE:
Send it to Ministry Of Sound, press millions of copies, become rich and overrated.
Sounds easy enough, right? So basic, so simple... yet why does it only work for Eric Prydz? I don't know. But it's fricking AWESOME.
Hey! Today you're lucky enough to have come across a rarely-appearing post from Ilictronix's "lost member". Aren't you special? I'd say well over half of my posts start with "glad to be back!" by now, but hey. I'm here now. And I've got, as I always seem to, a treat for you guys. You may have seen it in the banner ads recently (at least, before the site change, which by the way I'm very happy about).
In one of my previous posts I gave a glowing review to The Movement by Sounds Like Johhny Depp (aka Hani). Now I have the pleasure of doing a follow-up review for The Illusion Soundtracks, and you better get ready for some gushing praise, because this album blows The Movement out of the water.
Well, to start things off I'll talk a bit about the album itself. The Illusion Soundtracks was originally planned to come out on September 9th, to coincide with what has by now practically become a holy day for Daft Punk fans, "909 Day". However, Hani eventually decided that releasing an album on 909 Day would be sacrilege and moved the release date up to August 7th. It also moved up the deadline for this article, which is why it's coming out so long after the release (sorry Hani).
I was fortunate enough to have gotten a copy before everyone else, straight from the source (one of those writer's privileges I love to abuse). I knew even before I started listening that it was something special. It's a concept album, about everything that, despite not being real, can have a massive (and sometimes devastating) impact upon our lives. It came digitally "packaged" with photos from an professional-quality shoot (one of which is the album cover you see at the top of the page), some more provocative than others but all stating basically the same thing: we tell ourselves lives to believe we're better than we are, and get so wrapped up in those lies that we refuse to actually try and be better. The greatest illusion of them all.
Now, on to the actual review:
1.) Proper Spelling - Not exactly the best start to a record like this. It's very mechanical, almost painfully so. It sounds more like a track from The Movement (not necessarily a bad thing) with its sad simplicity. It works, but it's not suited very well to the album it's on (though it does get a lot more dramatic near the end).
2.) Reality Xerox - Now on to the first proper illusion. Hani stated that this song was meant to resemble a bad trip, which it does very well, but... perhaps you should understand where I'm coming from with this. I'm deathly afraid of hallucinations. Anything even vaguely trippy, psychedelic, or surreal makes my heart drop into my stomach. I get afraid to swallow for fear that I'll swallow something psychoactive. So perhaps it's understandable that I was mortified when Hani said that there would be a "bad trip song" on the album. But he pulls it off perfectly. It's actually an album highlight, with distorted, wordless vocals, lots of banging percussion and an overall dismal feeling. It was the first indicator for me of how different this album would be from The Movement.
3.) Vicodin - Anyone who's a fan of the medical drama series House (which is a group I can proudly say I'm not among) will be familiar with the term. The show's protagonist is addicted to the painkilling substance. The song meant to represent the hopelessness of someone numbed by it is another album highlight. All the despair of "Reality Xerox" is here, but it's anesthetized, muffled. A delicate, harplike synth plays over it all, weaving a tapestry of sadness and making for the saddest song on the album.
4.) Go Figure - This is my favorite track on the album, mostly because it's like a better version of "Pins And Machines" from The Movement. (and, despite being the second-longest song on the album, at a much more reasonable length). There's a sense of sadness on this song too, but it's mostly to contrast the excitement of the retro-rave atmosphere. Much like "Pins and Machines", it sounds like what Crystal Castles might have been up to when raves were at their peak popularity. It works great. Slow enough to be as atmospheric as the rest of the album, but still so energetic that at a faster tempo this could easily be spun at any dance party to a good crowd reaction...
5.) Frantic Emergency - ...That is, if you didn't go for this song instead. Within seconds you're blown halfway across the room by this one. It's certainly frantic. Wow. I can just picture the strobe lights running on overdrive to catch up to it. I dare you to dance to it. They'll be carrying you off in a stretcher. At least, until it suddenly changes with a minute left in the song, at which point it reveals something surprising: slowed down slightly, it's another miserable, downtempo rumination. Perhaps that part was meant to represent survivor's guilt?
6.) Why Should I Care? - Beginning with a slightly unsettling music-box melody, this song does and doesn't give you any relief. One the one hand, the music box and some backing elements come together to make an altogether atmospheric ambient track. On the other, it remains very bizarre and somewhat eerie, as if you were in one of those Japanese horror movies where the ghosts of children are the scariest things, but it were combined with a good, somewhat sad American horror movie where haunted houses exude a sense of fear simply because they're so sad in their abandoned state.
7.) Pulk/Pull - The equivalent of "Some People" on The Movement, this is a weird little vignette of a track that mainly serves as a transition between styles. Unlike "Some People", however, it has some interesting qualities of its own, making it an enjoyable track despite the lack of depth.
8.) The Japanese Syndrome - Gradually building up but still minimal, this track really gets into the groove. You'll be bobbing your head for sure. It's not one of my favorites but it's undeniably fun. 8 minutes seem to fly by.
9.) Like You Have It - Beginning with a grating creaking noise which repeats a few times, this track soon becomes something entirely different with a glamorous synth line that seems to light up as it plays. But that beauty is somewhat shallow as it simply plays over and over again, making you focus on the part you like but never giving you anything else for fear that it may not be as good. To me it represents the illusion of beauty: a model drenched in makeup so that nothing natural is evident. Beautiful, for sure, but nothing beneath that beauty. It's this illusion that the majority of the album art focuses on.
10.) Antielectro - Perhaps I'm a bit biased in favor of this track because of it, but I can proudly say I inspired "Antielectro". It began with something totally unrelated: my listening to a performance by Underworld at the 2008 Lowlands festival. During the middle of a song there was a problem with the machines, and they were unable to continue with the track, so they seamlessly transitioned into something simpler while the techies worked on fixing the problem. Starting with a basic sound effect/drum loop, this improvisation grew gradually more complicated as more and more systems came back online for them to work with. Eventually what had started out as a soulless loop became a beautiful melody, a song so good I initially thought they were playing a demo from their new album. But then, when everything was working again, it ended. The melody folded in on itself and they went back to playing the song they were playing beforehand. But I loved that improv so much I couldn't let it go unnoticed. So I ripped the audio, isolated the part that I liked, and made it an mp3:
Once I had the file I sent it to the only person I knew who could make a track like it: Hani. To my surprise he liked it as well and went straight to work on a track inspired by it. I'm not sure if he had any of it in progress beforehand, but regardless, in two days he came back with Antielectro. Back then I was one of only two people in the world who had hears the song, and I loved it. It captures the essence of what made that Underworld improv so great: it begins with a cold, emotionless drum loop, which goes into a mischievous melody and builds until finally it reaches perfection with a blissful, muted synth. All the tension the track had before suddenly becomes beauty with the addition of that synth. Obviously I wasn't the only one who liked it because after the release many listeners said it was their favorite.
11.) Propane and *cough* Masturbation - Well, despite the odd title this is a fairly interesting track. A toe-tapper with some good drums and a melody reminiscent of an 8-bit video game on codeine. It may take some getting used to, but it's worth the effort.
12.) No Need - The best way I can describe this track is by drawing a comparison to "High Up" from The Movement. Hani has a way of making excellent closing tracks, always sad and somehow liquid in nature. "No Need" seems to be the final, hopeless brush stroke in the picture being painted on the album. It's a summation of all the illusions. And it's the most depressing song on the album at the same time as it's the most relaxing. It parts quietly, leaving you peaceful despite the lack of a happy ending.
Overall, I'm tempted to give the album a 10, but no album is perfect, so Hani will just have to settle for... 9.5. This really is a great album.
To celebrate this host change, im gonna talk about a couple of tracks that have been on my head lately.
Fisrt of all, a brand new remix of Lifelike. Boba just had a heart attck. And he is remixing another favourite of mine, Empire of The Sun. What better combination than that?
This 8 minute remix (even better!) is very calm, very smooth, something which is caracteristic from Lifelike. The bass is just fenomenal. And i dont have much more to say about it.
And finally, a classic. This track has been sampled by Junior Jack, The Phantom's Revenge, Dave Armstrong and who knows who else. Im talking of course, of "Dare Me" from The Pointer Sisters.
I love everything about it. The vocals, the synths, the video, you name it. What else can i say? Its my favourite 80's track.
I've really been getting into this guy as of late. Edinburgh's resident earjacker Hostage has been making quality wonky electro bombs almost nonstop all year. He's equal parts Toddla T, A1 Bassline and Boys Noize, with just a hint of Mr Oizo insanity. He's no stranger to experimentation, with two of his newer tunes, "I Get High" and "Hangin'" even throwing some disco in with the bassline wobbles. These are the first tracks I've uploaded to the new server, so sit back and enjoy the carnival of sonic carnage that is Hostage.
Greetings from the new server, we're finally free from the wrath of a stupid, irrational 13-year-old! Having our own server is great, so please be sure to donate to keep it alive.
Depending on your internet service provider, you'll see this article either now or later, once the domain's DNS entry is validated. So stay tuned, tomorrow we'll be posting.
Hey guys, I havent been around for the last few days, but now I'm back and have three nice tracks to share with you.
First up, a bootleg of Missy Elliott's "Work It" by Munich's Justin Faust. This remix swaps dirty sex-romp hip hop for synthesized filter disco. Good stuff.
Next, the new single from London techno kids Joe And Will Ask?. These guys are like Simian Mobile Disco meets Deadmau5, with hints of electro and rave in there to spice things up a bit as well. Their latest release, "Fabric Of Win" features SaintSaviour on vocals, and... Well it does exactly what it says on the tin. It's epic win.
Finally, we have Hadouken!, a Leeds-based "grindie" band with a soft spot for hollow synths. They first appeared in 2007 with their single "That Boy That Girl", and are now back with their new EP "M.A.D". While the original follows the usual Hadouken! formula of buzzing electro beats, stabbing guitars and shouty half-singing-half-rapping, Detboi transforms it into a squelchy bassline stomper.
Since we're switching hosts, the cost of running this site has gone up significantly. Now while I'm not begging or desperate for money, it would be nice if you helped us out a little.
So from now on, I will be accepting donations. 100% percent (that means all) of which will go straight towards the website, whether it's hosting or other software needed. Sorry if I sound greedy.
So get to it :) All you need is PayPal, which you can use with most credit/debit cards. We would REALLY REALLY appreciate it.
You can also find this donate widget in the ad rotator (last slide/button).
Thanks, honestly. Even a dollar helps. Prez Jordan
I never through I'd say this, but I actually have TOO MANY viewers. We've been using Hostmonster on a partition given to us from an old friend Brian. Unfortunately, Brian is being a pest, and the server is near crawling because of our bandwidth. In the next few days, I will be switching to a new host, using the money out of my own pocket.
As a blogger, I try to get my finger on the pulse of new music. But there's nothing I love more than posting old French house records. So here are three of my favorite, relatively underrated French tunes :)
So back in November, when it was raining and gloomy outside I found myself downloading music, as you do. And I stumbled upon the great EP that was Dark House by the wonderful Dark DJ, it combined his almost 'signature' sound of Dark: the thumping beats and the loud synths with some sexy, chopped samples smothered on top. Gym likey.
Then I kinda forgot about that EP for while until I downloaded Dark House: Volume Two, and by God was an improvement. I already loved the first volume and couldn't wait to listen to this.
The first track on the EP is Power Cruise, I kinda felt this track went on for too long but I still liked it nonetheless. 6/10.
Next up is Numbers, my personal favourite from the EP with the funky bassline starting off I already knew I was going to like it. I couldn't hear if there was a sample in this track, but I still love it, especially the breakdown at the 3:51 mark. 9/10.
Enterprise appears next starting off with an in-your-face screech which I admit, does get annoying at first but you don't really mind it after the first listen, defiantly an acquired taste. 5/10
No new schools here, Old Skool is the second to last track before Old Skool II, taking no time in introducing you into the song it's straight in. Probably my 2nd favourite track. 8/10
Old Skool II is the closing track on Dark House: Volume 2, which is essentially the same as Old Skool but with a different sample from the same song, kinda like Le Knight Club - Hysteria & Hysteria II! 8/10 Dark DJ - Old Skool [right click to download]
When I was categorizing my house music today, and came across an untagged MP3 simply titled "I Feel Change", I was pretty sure for a minute that I was listening to an unreleased Lifelike track or something. Further research revealed I was listening to Paul, the artist mentioned on our Shoutcast the other day.
Paul is the bastard son of Lifelike and Kavinsky. Where Lifelike used the weird 80's samples, and lots of portamento-ridden synth melodies and arpeggios, Paul does all that, and incorporates the more brassy, electro sounding synths for which kavinsky is noteable. All in all, it's really gosh darned awesome, and I wanna be just like Paul when I grow up.
Ok, so maybe not really... I'd rather be distinguished as my own style. But frighteningly enough, I already dress almost exactly like him, just in darker colors... I don't do pink very well.
B to the izzack with a new installment of the 90s Dance Guide. This time, I have two amazing house tracks for you.
Representing the early 90s today is the 1994 smash "The Bomb! (These Sounds Fall Into My Mind)" from Kenny Dope's disco house project The Bucketheads (not affiliated with Buckethead the guitarist). The original version of this track stood at a whopping 14 minutes and 51 seconds, and was a metaphor for an actual bomb, opening with a sample of a preacher's sermon, leading into a long tribal drum beat (representing the fuse) and eventually into the main groove (the core of the bomb). For The Bucketheads album however, the track was drastically shortened to 3:24, removing the opening sermon and shortening the tribal beat. The song is recognised as a disco house classic and the French house scene was undoubtedly highly influenced by it.
And representing the late 90s today is a track I'm sure you all know. Daft Punk's remix of Ian Pooley's "Chord Memory" is a JAM. Originally released on 12" in 1996, Daft Punk later included it on their hits compilation "Musique Vol.1", along with their remixes of Gabrielle and Scott Grooves. Even though it's almost seven minutes long, with a funky-ass bassline and a repeated vocal loop of "Rock the disco! Rock the disco!" worming their way into your cranium, you'll find yourself wishing it was longer. And it's got a cameo from DP's fictional radio station, WDPK 83.7 FM. Can this track get any better?
Hello folks, I have an offer that some of you will find exciting. Our good friend Ed Bang Us is looking for a new writer, a position for which many of you are qualified.
Here's the scoop, Cassidy says the new writer must be...
Up to date on all Ed Banger news (this includes reading blogs, myspaces, twitters, etc.)
Writes two or more times a week
Knows everything there is to know about Ed Banger Records
Has some experience (recommended)
So are you fit for the position? If so, send a message to Cassidy giving some background info, and see if she thinks you're a suitable EBU writer.
Please apply, blogging is good for the soul, Prez Jordan
Miko Mission is one of those weird things in the music world where you listen to their song, stare at their picture, and just go, "... huh."
Miko Mission was an Italo Disco pop legend. He has a very short discography, but songs like today's How Old Are You define the Italo sound. Thick accents, poppy riffs, and usually lyrics that only half make sense.
When the people go when my mind is crying When the children leave And tearing the world with thee
When the music plays in your fantasy In the moonlight time I remember the games of my life
Now how old are you where is your harbor? Have many things to do open the door Yes, I live so true without my lover But tell me if the sky is blue how old are you?
Memories of dreams something out of date I saw the light of day But remember the days of my life
Now how old are you where is your harbor? Have many things to do open the door Yes, I live so true without my lover But tell me if the sky is blue how old are you?
Listen to that on loop for awhile, and you'll lose use of your brain, and become a somewhat talented teenaged producer. That's what I did.
As of today, Boys Noize has officially been on this planet for 27 years. And for the last five, he's been gracing our ears with some of the biggest electro bombs around. So it seemed fitting to dedicate a post to him today. Happy birthday Mr. Ridha!
Have you ever heard of a group called "Galleon"? Maybe, maybe not. But the basic truth is that they're arguably even better than Modjo and Stardust... just a wee bit too late. 2001/2002? The era of French house megahits was practically over by then.
Their sampling is quite good, in my opinion. I've always been partial to a good chop-style sample done well. Not only is it good chopping, it also has a heavy 80's pop feel, while still retaining that disco style.
They released one LP, self titled, of which I have yet to find a download of. If worse comes to worst, I'll buy one on eBay. But if you happen to own this album, and wouldn't mind sharing, I'd be very grateful.
I know mashups aren't one of the things I normally post, but I have some I just had to share.
We all know and love Evil Stereo. He's amazing. He's brilliant. He does it all: great originals, some great remixes, and now a really tight mashup. Some people say mashing-up isn't an art form because it's just mixing two things together and no original input. BOGUS. It's very much like cooking. Yeah, it's mixing stuff together... but if you suck at making them taste good when mixed, then you fail. It's an art.
And... um... I'm pretty new to mashups. I've never been able to make a successful mashup before, but I started experimenting with some of those acapellas I found. What do you guys think? Pretty basic, yeah, but I think it works.
I hate to tell you guys this, but I've never felt worse in my entire life. Let me tell you my story:
I had some exams in the past... and I screwed them up. No worries cause I am redoing them the two weeks to come. But here's the sucky part, right now I'm studying the most difficult subject I had this year for the first time and I can't seem to focus at all. Time isn't on my side either, cause I only have 4 days left to get it all in my head. And to top it off, right now, just half an hour away from me is one of the best dance festivals this country has to offer.
To enlighten you on the matter: - Yesterday I missed: Eric Prydz, Busy P, Zombie Nation, Simian MD & La Roux. - Today I am missing: Vitalic, Squarepusher, Phoenix, Bloody Beatroots, The Count & Sinden, Fake Blood & Mothaf***ing KRAFTWERK - Tomorrow I will miss: 50 cent, Klaxons, Dave Clarke, Tocadisco, Ellen Alien & Rusko
Can you believe me when I tell you all, I have this sickening feeling in my chest.
So to try and lighten the mood a bit (especially for myself) I will post the funniest song ever made (and I'm affraid it wasn't intentional).
Everything is so wrong: - The costumes: 100 dollars at a costume shop - The hair: less than 5 dollars at the local barber shop - The 80's synth: stolen from a talented artist back in the days - But the vocals, oh those vocals: Priceless
Valerie is a music blog that has evolved onto a label, whose artists are some of the main revivalists of the 80's sound. The Valerie Collective, as they call themselves, is consisted by College, Anoraak, Minitel Rose, Russ Chimes, The Outrunners and Maethelvin. A couple of months ago, they released a compilation album called Valerie and Friends. This features new tracks from the Valerie guys and also people like SymbolOne, Moulinex, DVAS, etc... I took a long time to decide what was my top 3, but now i know. Funnily enough, 2 of the 3 are by non-Valerie artists.
DVAS are a canadian duo from Montreal with a couple of EP's on their bag. This track, called "Inner Sanctum" is fantastic, love the "brrrr" synth and its overall vibe. For some reason, though, sounds like a track that was made to be listened to on a cold day. Still, quite good.
Keenhouse is an American man from LA, already with an album done. The track "Deep In The Forest" is the first on his album and 6th on this compilation. The robotic sounding vocals are awesome and it has a great intrumental to go along with it. The instrumental is also very well done and its very happy sounding.
Maethelvin is the only Valerie artist that i was talking about. This nerdy-looking Frenchy from Nantes has in this compilation the shortest track, at 3:16. This track, "Lost In The Big City" sounds like it should be on a movie or on a sci-fi show. Its great to listen to and its a must for those 80's revival fans.
And now, two bonuses, because i wont be posting for a week. Finally gonna have vacations. Going up north to a hotel. I will be around, but its ulikely that i will post.
Both have some 80's sounds.
**REMOVED**
Ok, this one is a bit different, but who cares, its still bloody awesome.
Tomorrow ill post properly, but for now i leave you with a minimix by GRUM.
Tracklist: 1. Fleetwood Mac - Everywhere 2. Duran Duran - Girls On Film 3. Donna Allen - Serious 4. Foreigner - Urgent 5. B.W.H - Stop 6. The Flirts - Passion 7. Digital Emotion - Dont Stop 8. Toto - Africa 9. Moroder - Im Left Youre Right 10. Thomas Bangalter - Turbo 11. Fischerspooner - Get Confused 12. Grum - Woah 13. Buggles - Video Killed the Radio Star 14. Telex - Moskow Diskow 15. Robbie Williams - Lovelight (Soulwax Remix) 16. Daft Punk - Aerodynamic 17. Kenny Jammin jason with Fast Eddie Smith - Can U Dance 18. Justice - Newjack 19. Human League - Dont You Want Me 20. Go West - Goodbye Girl 21. Expose - Come Go With Me 22. Orbital - Lush 3-1 23. Stardust - Music Sounds Better With You 24. Pointer Sisters - Dare Me 25. Le Knight Club - Soul Bells 26. Styx - Mr Robato 27. Kano - Another Life 28. Felix da Housecat - Control Freq 29. Company B - Fascinated 30. Grum - Sound Reaction 31. Doctor’s Cat - Feel the Drive 32. Friendly Fires - Skeleton Boy (Grum Remix) 33. Outrage - That Piano Track 34. Grum - Runaway 35. Fleetwood Mac - Never Forget
When I first heard Louis La Roche was remixing Phonat's "Set Me Free" I was ecstatic. Having loved the original, and given the standard of Louis' previous remix work, I almost cried when Beatport denied my credit card. However, now I've finally gotten my hands on it. So how is it? Well, it's very different to the stuff we've come to expect from Louis. He's toned down the disco on this on this mix, going for a more electro sound. I must say it was a little disappointing for me. It's not a bad track, it just sounds a bit too generic and repetitive and doesn't really keep me interested. Overall, this has turned out to be, in my book, the first Louis La Roche remix that's just OK.
Yes, it's a small pic. In uploading, it's quality went POOF and disappeared. Oh well. Edit: Fixed. -Alex.
Club Cavalry was our third PGR artist to sign on. Currently working on his Killer Macrame EP, PGR now presents you Club Cavalry's debut release to tie you over. With Love/The City is 100% House, implementing some of the best sampling the underground internet music scene has to offer. But why take my word for it? Take a listen and form your own opinion!
Yesterday I got back from my semi-weekend in Bristol. In between eating steak and cheese sandwiches from Subway and checking out the Banksy exhibition at Bristol Museum, I hit the record shops and actually managed to score myself some great tunes on vinyl for a bargain.
So recently I was asked by a certain person called The Nite to do a post on one of their songs. You Dazzle Me is a French House style track featuring a light, floofy sort of sample and traditional cut/res filtering. But I didn't need to say all that, you can just listen for yourself!
Back home after 2 weeks at my grandmother's house, which i may say that werent the best, due to this and that.
Anyway, onto todays randomness.
We start off with a collab, sort of.
Patrick Alavi teamed up with Basstard Slayerz, aka Amun, aka Turbofunk, who is also known as... Patrick Alavi! Thats right, Alavi is one of the few people who made an one-man collaboration work in the history of music.
This track is called Goldbass, and it is a fantastic summer track, which is not surprising, since i first heard this track in Louis La Roche's Summer Mixtape. With a bassline that reminds me a lot of Daft Punk's Voyager, and thats one of my favourite Daft Punk tracks, so you know this one is good.
I shortened it a bit, because the ending is a looped sample and it lasted for almost 20 seconds, which made it annoying, so i cut it off quite a bit.
I have posted about Les Petits Pilous before, and how their remix ability can make your years bleed.
But now, lets switch roles. In this track, the Petits Pilous are remixed by french duo Fckn Crew, who i first heard about a few days ago, and wasnt dissapointed.
This remix is insane, very hard and pumping, made for clubs and to jump around like an idiot.
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