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-- DJs you would like to see Release an Album of all EDITs
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I had that laser tag shit when I was 8, these guys are so behind the curve.

i can feel the essay coming.

thread reopened for lulz!!!!!

idjut boys says everything i'm going to say better so i'm going to link to their playing favourites on resident advisor.

http://www.residentadvisor.net/feature.aspx?1044

quote:

CM: Shit is shit, right? I mean you might be into it for a year or two. But eventually most people just work out that it's crap. And if you just try to make good music that isn't particularly fashion-led then it stands a chance of lasting; of being as relevant in five years as it is today. I think that has something to do with it. But also, just about every bloody musical style has been regurgitated. There's nothing more to do. Everything has been done. Every connotation of every style has been rinsed out of sight. The amount of re-issues, bootlegs, re-edits and all these people spending their energy on that whereas, back in the day, people would be making new music; not just harking back.

quote:

CM: The first music we did was on that tape machine over there: just edits of things. The marketplace decides: if nobody was buying those records, the shops wouldn't have them; they wouldn't be being made. I think it's easy for somebody to be involved in making a record [now]. You can go and find a brilliant, old piece of music and create this new thing with it a lot easier than you can make a record from scratch. And also, it's the fashion of the dance floor as well. The edits that I like are stuff I don't know. And, if I do know: what have they done? Have they made it easier to play? Or have they made it so you can play the original with it: does it set-up the original? One of the things that we were trying to do was to edit records that you couldn't play [as DJs]. Which was the original reason for DJ edits in the first place. CM: Yeah. DT: But certain things you just don't need to go near. CM: The thing I find a bit funny is people editing records that don't need editing. They are absolutely brilliant [in the first place], so why have you put an extra four bars of stiff drums at the front? You've just made it worse. You know, they've put it through Ableton and you can hear the way the machine compresses it to make it fit the time code and it's like, "You've just destroyed a great record; use your ears." DT: It'll be something else soon because it's reaching epic proportions. But there's a demand for it right now. And there's a hunger for digging out records [to edit]. It's quite amusing how things change, people trying to make all these obscure records [more] danceable.

Does your soul clap, Jay?

If not, get the fuck out of here. You just don't understand.

quote:

Originally posted by montana idjut boys says everything i'm going to say better so i'm going to link to their playing favourites on resident advisor. http://www.residentadvisor.net/feature.aspx?1044

i actually like that article even if i don't agree with it all.

thanks for posting it.

even if in some eyes the edits are inferior, i'm all for exposing kids to this music because at the end of the day it really might lead kids to dig deeper and see what was up before they were sperm.

I will admit, it has been nice in that regard. Following the house/tech/LOLBEATS scene these days means you inherently get exposed to that stuff as it's totally VOGUE.

also, my feeling about editing something that is brilliant in the first place the same feeling i have about sampling. if you are the first person to do fuck with something, you can be as fucking lazy as you want to but if you are the second,third, fourth or even the fiftyeigth mother****** to do something with the tune you have to do your own spin on it.

like first time i heard the revenges rework of dennis edwards' "don't look any further", i didn't like it but i later had an appreciation for it because they took a direction that noone has taken with that tune. basically to not focus on it's infamous bassline (that has been sampled and worked so many times) and go for working a groove in the middle of the tune. i still don't think it's anything special but they atleast did something else with the tune.

quote:

Originally posted by enydo I will admit, it *tss tss* has been nice in *tss tss* that regard. Following the *tss tss* house/tech/LOLBEATS scene *tss tss* these days means you *tss tss* inherently get exposed to *tss tss* that stuff as it's *tss Tss* totally VOGUE.

soul clap edit

Will play @ THE MARCY.



This edit is so hot I NEED TO GRAB MY DICK.

i never got why it takes 2 of them to mix so badly

I heard they are not good DJs at all. Never seen them myself though.

There's no essay Jay, I just think it's a bit of a joke to label someone "best in the business" for turning up the bass and making a track twice as long but half as interesting.

that is one track.

he has done A LOT of edits. It is my opinion and i stand by it. There are so many people doing half assed edits right now. To me Terje is not one of them.

We don't have to agree, and you won't change my opinion on this.

I will say that he puts more effort in the edits than many do while making remixes of original tracks.

that i agree on, i said in my first post that the superstition edit is his laziest one but he has some gems.

the dub like an egyptian one where he sticks where he pops in the diwali riddim and really dubs the tune out is brill.
that rework of jacko's can't help it where he gets his erot (ye, erot was prob. influenced by francios k and all those guys but i see more links to erot in terje's dub work than to francois k and paul simpson) on with the track
the one he did of that jazz version of the aquarius theme tune.

quote:

Originally posted by Zyklon_Jay We don't have to agree, and you won't change my opinion on this.

I'm not trying to change your mind, I just thought I'd give you some shit since you were pulling the "educating the trance kiddies" troll thing.

quote:

Originally posted by montana that i agree on, i said in my first post that the superstition edit is his laziest one but he has some gems. the dub like an egyptian one where he sticks where he pops in the diwali riddim and really dubs the tune out is brill. that rework of jacko's can't help it where he gets his erot (ye, erot was prob. influenced by francios k and all those guys but i see more links to erot in terje's dub work than to francois k and paul simpson) on with the track the one he did of that jazz version of the aquarius theme tune.

what is you view on the henrik schwarz edits/remixes of dance machine?

really cool imo that Motown actually opened the vault for him.

it's decent, but i have the same opinion as his bill withers edit, he should have
a) not done it
b) kept it for himself

also, it's not anything special to get hands on motown masters for remixes, there has been several remix compilations over the years with new good/decent/crappy remixes by all sorts of talented producers/random hacks

quote:

Originally posted by montana it's decent, but i have the same opinion as his bill withers edit, he should have a) not done it b) kept it for himself also, it's not anything special to get hands on motown masters for remixes, there has been several remix compilations over the years with new good/decent/crappy remixes by all sorts of talented producers/random hacks

they both were limited to 1000 copies but i catch your drift. I personally love the edit of Who Is He. Schwarz is another guy who makes a lot of good edits, and he does keep a boatload of them to himself to my dismay.

quote:

Originally posted by Zyklon_Jay Schwarz is another guy who makes a lot of good edits, and he does keep a boatload of them to himself to my dismay.

In all fairness isn't there something to be said for DJs who do create and keep exclusive content to themselves, so that when people go to see them play live they are treated to unique versions they won't be able to hear anywhere else?

Wouldn't that make their gig a bit more special, especially in this day and age of everybody having access to everything. Reminds me a bit of Jamaican sound systems, many of whom used to make lots of those exclusive dubplates which no one would ever get copies of....

I mostly like his edits, only sometimes his in and outros are too long like here after 6:30

quote:

Originally posted by enydo SOUL CLAP IS SO HOT RIGHT NOW SLOW HANDS FREAK FREAKS WOLF + LAMB. MARCY HOTEL. KETAMINE BINGE.

omg you logged in as me





most people who know me know that when it comes to edits I'm all about Larry Levan. Predictably I do like a lot of Theo Parrish's edits. (Minnie Ripperton, Reasons! and so many more)


I usually do not like edits and prefer playing originals all the way for the reason that SYSTEM J posted about the stevie wonder edit.


Most of these modern edits by the revenge and terje and all thse people are basically the production equivalent masturbating to porn instead of fucking. Elements and pieces are fetishized and mass-produced until their humanity no longer remains and they end up a hollow, oversexed shell of their former selves.

quote:

Originally posted by enydo I heard they are not good DJs at all. Never seen them myself though.

Seen them twice. Last year in Detroit @ the Shit Show (very good; one of my favorite sets of the weekend, but I'd never even heard of them), once in NY in some random apartment afterafters (bad, but, to be fair, they didn't bring anything with them, and everybody was just kinda switching off every half hour or so).

They're perfectly competent @ beatmatching, but sometimes they'll all but completely disregard flow/continuity, even in their promo/podcast mixes. Add a teaspoon of hype, another of superstar, and another of stagnancy and you have a recipe for fading interest. The act is getting old in a hurry, now that the novelty's worn off. [Yes, I know it was never actually 'novel']

quote:

Originally posted by enydo I heard they are not good DJs at all. Never seen them myself though.

Soul Clap are actually really fantastic DJs. Wolf + Lamb, Gadi in particular, are the ones that can't really mix that well.

quote:

Originally posted by enydo SOUL CLAP IS SO HOT RIGHT NOW SLOW HANDS FREAK FREAKS WOLF + LAMB. MARCY HOTEL. KETAMINE BINGE.

good laugh from this one. i actually don't mind slow hands but the rest are pretty shit.

and no, soul clap aren't fantastic dj's. at least the times i've seen them. they play some good music but have no technical skill or flow.

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