I think in america yes, but not so much here. Another key difference I would say. In America, after manson, acid got very shut down.
WashYourHands' Top 23 (+77)
- Thread starter vershy versh
- Start date
-
- Tags
- cabaret voltaire celtic park chris and cosey cleavage and murder clumsy fumbles d.i.y dad jazz dark city port of eternal nightmares draw diaries fingerbanging fiona h forest fields in kirk we trust last of the summer wine luton death cult mel and kim psychic tv return to groove fundamentals severed heads slayer steel city sucker for a shuffle vernon arms yorkshire gods
Maybe but a lot of acid was going around in the 90s in the UK, big gay dockers, roofers, ICF boys, class war anarchists, prostitutes, rent boys, gang leaders, petty thieves and pickpocketers, discharged British soldiers (esp in east Berlin) they were all in it. Whereas in the US it seems to be opiates and crystal meth which are the drugs of choice for the under class and rejects of society. If you go on any US website that talks about psychedelics and music it's always psytrance or hippy trails music of that choice, the idea of getting fucked on acid and then going out to dance to industrial or hip hop seems p. foreign to most of the US. There are exceptions obvs, Frankie Knuckles and the powerplant spiking the punch with acid to a soundtrack of all night disco.
Don't get me started on mushrooms though, that is entirely a respectable drug in this country as well.
luka
Well-known member
The Baron of Barry will have to crush this rabble uprising
taz is a pretty suspect idea tbh. I find that the weakest bit of E Flash and rave writing in general. Autonomous from what exactly? It's just criminal activity. which like fine, I can roll with crime sometimes. But its not some great social experiment, even if there are shades of that which inadvertently ended up crashing into the culture. Felt like people got carried away with that. Yes there were changes but they were more in that black music lineage how Frank Owen said, about changing the way people walked through the world. But all musical phenomenons from funk to Reggae to Hip Hop have had that so rave isn't particularly special in that sense, just different.
For the record I 100% support free parties, I detest the airport like security of most clubs. But that's what it is, a party. And obviously we know what happened to the liberator end of it. Too much of a crusty injection and the vibe is ruined. You need a healthy mix.
Peter Lamborne-Wilson also defends noncery for the record. His adoption of the moniker Hakim Bey is classic American hubris.
Murphy
cat malogen
it’s ok, we’ll wrap it up by 300
mixed_biscuits
_________________________
I like the crusty vibe
Murphy
cat malogen
Never the Liberator varietal and I’ve lived in plenty of vehicles
Watered down, combat trousered, stinking of stale milk, attracting dicks with dreads whipping across your face. Couldnt even play any Landstrumm records, just bouncy bouncy to adult children ketzombies
Iron your clothes ffs
Watered down, combat trousered, stinking of stale milk, attracting dicks with dreads whipping across your face. Couldnt even play any Landstrumm records, just bouncy bouncy to adult children ketzombies
Iron your clothes ffs
william_kent
Well-known member
I'll have to chip in here and say that TAZ is just some nonce-sense ( sorry! couldn't resist ) from the US that has absolutely nothing to do with the history of the people's free festivals, and by extension, the free party scene. All the travellers, free festival people, convoy types, site dwellers, and free party people I have ever met have never used the term "TAZ". Free festivals had roots in communism and land rights ( Sid Rawls, "King of the Hippies", etc., ), a history of dissent ( the original Diggers and Levellers ), and in later years CRASS style anarcho-punk and the squatting scene were influences. We don't need a boys love advocate theorising, people were just getting on with it.
Even now, the free party people I know have never talked about "TAZ", they're just cracking a squat and setting up a rig.
maybe some of those megatripolis people around Frazer Clark may have talked about it, but they were always surplus to requirements anyway.
Even now, the free party people I know have never talked about "TAZ", they're just cracking a squat and setting up a rig.
maybe some of those megatripolis people around Frazer Clark may have talked about it, but they were always surplus to requirements anyway.
Last edited:
Whether you use that particular 0hrase or not (and I didn't know the suspect nature of it) to me there is something different about a free party, primarily cos it can go on for a few days.
It's like a sound system dance and then into a blues (I've never been to one). The long night does something different, things can open up.
It's like a sound system dance and then into a blues (I've never been to one). The long night does something different, things can open up.
fuck off back to goa then.
Disagree, there is no autonomy in communism. We are all synchronised like a metronom. It's irrelevant, surplus to requirements. No autonomy to create and noone to demand it from.
Murphy
cat malogen
Simon DK in a few tunes, crossposting from another thread where @thirdform dropped a sublime mix of his
The only way I can describe DK’s sets is you only returned to the same well to drink from, to be psychically nourished, because his tune selections defined the pinnacles of what we call house. There isn’t one interview anywhere with this bloke, even today, talk about tales to be told. Utterly prolific. Must’ve played hundreds of bashes where the standards DiY pushed were upheld - cream of available records, zero attitude, beautiful rig (no tinnitus), stir well, no £ involved, self organising, tidy up after yourself
He played stacks of Trent and Chez, Eddie Perez, MK dubs, obscurities, not the apex for beat-matching but for the gift of momentum there are/were few better. How can you tweak a consistent tempo with any imagination? Play transcendental music and compliment each selection by following it up with even more majestic picks. Here are a sample
2 Go Deep - Red Light (Pump mix). Does away with 32/64 beat intros that ruin house for a lot of folks. Remember, you can always skip to the 40 second mark with tracks if this is an issue with mixing tool intros. 2 Go Deep avoided such protocols here. Imaginative, trance inducing, chuggy, dream theatre-esque and the soundtrack to most of my 20’s
Mental Instrum Featuring Windsor Goode – The Doo Doo Song (Newspaper Mix). Doesn’t get much better. Smack Productions/Mental Instrum aka Eddie Perez has a catalog to rival anyone. Sweet spot vocal work, organs, could roughen up his sound too when required although for sheer magic it has to be Doo Doo. Caned by everyone from Paul Trouble Anderson to Frankie Knuckles and Tony Humphries, killer house first heard being rinsed by Simon
Black Rascals - Keeping My Mind. Vocal garage-house + organ + hypnosis + minimalistic elements = bliss. Heard a bunch of times before a scribbled i.d was handed from a booth somewhere in the middle of nowhere. My favourite Blaze track alongside Moonwalk, life affirming Jersey at its peak
Magic Juan Atkins* Presents Visions - Is This Real? (Submission Underground). DK played this fairly regularly for a few years. It has a bubbling, heady, garage shuffle (with a mini reprise too) and packs in enough compression to let its bottom end kick. Harmonics of the gods (seriously) and a sumptuous arrangement that lets everything breathe. Juan Atkins smashed it with this release. One of my favourite records from this era, a benchmark in house
The Fog - Been a Long Time. Gold to my ears, a lighthouse of illumination among flotillas of dross formula. Definitely a plateauing out track, a destination where the building blocks have already been set up and processed. I can play this every so often around mates and one of them will look up, wink and smile
Bob Sinclar (Eu Xo Quero Um Xodo Album Version). Proof that even the most hardened idiot and purveyor of crimes against art can produce a keeper, the exception that proves the rule. This is one of the benefits of a sound system collective, you have multiple sets of ears sifting for gems and the keepers stick. Must have circulated because of the number of plays, it has a slightly wonky shuffle which allows the vocalist to do her thing. Hate, if you must, or worship like I do, neither of us is wrong
African Blues - Word Sound Power (b-side). Where would we be with out Trent in the Trent valley? Too many picks to choose from. The track included turned up on an African Blues lp minus the structure this version has (Clairaudience label). Another plateauing soundscape, yet deeper and more nuanced because = Ron Trent. DiY’s crew caned the fuck out of this and it epitomises the imagination still present in production circles as the fag end of having it outdoors dovetailed into harder drugs and watered down music. If I had to pick one Trent record, just one, I’d ditch Morning Factory for this
Notable additions
Alison Limerick - Make It On My Own (Tony Humphries Rave Mix)
SMK 014, the untitled Eddie Perez ep on Smack
Big Moses Feat. Ja'nel - For You (Tokyo Black Star Dub), late era pre-millennium DK standard with heavy shuffle/swing
The only way I can describe DK’s sets is you only returned to the same well to drink from, to be psychically nourished, because his tune selections defined the pinnacles of what we call house. There isn’t one interview anywhere with this bloke, even today, talk about tales to be told. Utterly prolific. Must’ve played hundreds of bashes where the standards DiY pushed were upheld - cream of available records, zero attitude, beautiful rig (no tinnitus), stir well, no £ involved, self organising, tidy up after yourself
He played stacks of Trent and Chez, Eddie Perez, MK dubs, obscurities, not the apex for beat-matching but for the gift of momentum there are/were few better. How can you tweak a consistent tempo with any imagination? Play transcendental music and compliment each selection by following it up with even more majestic picks. Here are a sample
2 Go Deep - Red Light (Pump mix). Does away with 32/64 beat intros that ruin house for a lot of folks. Remember, you can always skip to the 40 second mark with tracks if this is an issue with mixing tool intros. 2 Go Deep avoided such protocols here. Imaginative, trance inducing, chuggy, dream theatre-esque and the soundtrack to most of my 20’s
Mental Instrum Featuring Windsor Goode – The Doo Doo Song (Newspaper Mix). Doesn’t get much better. Smack Productions/Mental Instrum aka Eddie Perez has a catalog to rival anyone. Sweet spot vocal work, organs, could roughen up his sound too when required although for sheer magic it has to be Doo Doo. Caned by everyone from Paul Trouble Anderson to Frankie Knuckles and Tony Humphries, killer house first heard being rinsed by Simon
Black Rascals - Keeping My Mind. Vocal garage-house + organ + hypnosis + minimalistic elements = bliss. Heard a bunch of times before a scribbled i.d was handed from a booth somewhere in the middle of nowhere. My favourite Blaze track alongside Moonwalk, life affirming Jersey at its peak
Magic Juan Atkins* Presents Visions - Is This Real? (Submission Underground). DK played this fairly regularly for a few years. It has a bubbling, heady, garage shuffle (with a mini reprise too) and packs in enough compression to let its bottom end kick. Harmonics of the gods (seriously) and a sumptuous arrangement that lets everything breathe. Juan Atkins smashed it with this release. One of my favourite records from this era, a benchmark in house
The Fog - Been a Long Time. Gold to my ears, a lighthouse of illumination among flotillas of dross formula. Definitely a plateauing out track, a destination where the building blocks have already been set up and processed. I can play this every so often around mates and one of them will look up, wink and smile
Bob Sinclar (Eu Xo Quero Um Xodo Album Version). Proof that even the most hardened idiot and purveyor of crimes against art can produce a keeper, the exception that proves the rule. This is one of the benefits of a sound system collective, you have multiple sets of ears sifting for gems and the keepers stick. Must have circulated because of the number of plays, it has a slightly wonky shuffle which allows the vocalist to do her thing. Hate, if you must, or worship like I do, neither of us is wrong
African Blues - Word Sound Power (b-side). Where would we be with out Trent in the Trent valley? Too many picks to choose from. The track included turned up on an African Blues lp minus the structure this version has (Clairaudience label). Another plateauing soundscape, yet deeper and more nuanced because = Ron Trent. DiY’s crew caned the fuck out of this and it epitomises the imagination still present in production circles as the fag end of having it outdoors dovetailed into harder drugs and watered down music. If I had to pick one Trent record, just one, I’d ditch Morning Factory for this
Notable additions
Alison Limerick - Make It On My Own (Tony Humphries Rave Mix)
SMK 014, the untitled Eddie Perez ep on Smack
Big Moses Feat. Ja'nel - For You (Tokyo Black Star Dub), late era pre-millennium DK standard with heavy shuffle/swing