One of the crewmembers I’m helping to train for the upcoming Shuttle flight asked me if I wanted to fly a CD today (they are allowed to take a small amount of personal items with them on their flight in space).  Obviously I jumped at the chance, but I couldn’t just send any CD.  So I decided to stay up and record a new mix.  I was on a tight schedule since he said he needed the CD by the next day, but I think it turned out well.  It starts out with a B side opposite Krikor’s “The Place” and moves along with some house. Midway, I play some trance and end up with some very mellow beats.

I named the mix after the term used to describe the part of an orbit when you are in sunlight.  I imagine starting out the mix during an orbital day and heading into the eclipse of the Earth as the music softens.

This mix is dedicated to the crew of STS-118, wishing them a successful mission and a safe trip home.

1.  Krikor – Sometimes Sweet Susan – Root’Down
2.  Inland Knights – Wanna Dance – Drop Music
3.  Inland Knights & Littlemen – A Part of Me (Inland Tights ‘Rubbin’ mix) – Drop Music
4.  Inland Knights – Key Flow – Drop Music
5.  Swag – ’85 – Version
6.  Box Clever – Smile – London Housing Benefit
7.  Swag – Wilder Schlumpf – Version
8.  Husky Rescue – City Lights (Alfondo del Piensa version) – Catskills Records
9.  Dido – Thank You (Deep Dish vocal) – Cheeky
10. Fortunato & Montresor – Imagine (Chris Fortier dub) – Bedrock
11. The Field – Over the Ice – Kompakt
12. Naohito Uchiyama – Nikisi – Tha Blue Herb Recordings

Feed or mp3

A New Genre

I’ve been messing around on the computer and I put together something resembling a jungle track. I think it shows my bias for the techy side of things. Gropius picked up on that and declared that I’ve created a new genre — Techgle. Let it be known henceforth that I created this genre. Every time you go to the music store and dig through the techgle bins, it’s the result of my hard work. You may thank me in the form of Chewy Chips Ahoy and scotch.

Get the genre-breaking track here or subscribe to my podcast and get automatic updates.

Applied Dildonics » Post Session Afterglow: 6-24-06

Big D had a birthday/housewarming party last week and broke out the big guns. A great time was had by all. (Isn’t that a great sentence? You can use it pretty much anywhere to explain how a party went without actually getting into any details. I think I’m going to nominate it as the Phrase of the Decade.)

I’m going to have to blame part 1 on the aged scotch(es) given to me by Gropius and MC KoolAid. Part 2 is pretty good, though. Get them at AD Headquarters.

Thanks to everyone who came to the party. I had a great birthday.

Applied Dildonics » From the Studio

Apparantly Gropius has been busy in the studio. He showed up to my birthday party ready to unveil his first release. Everyone loved it. I’m not sure exactly what you’d call it … some sort of melodic, easy going jungle thing. Whatever — it’s good, damn good. I guess he’s still thinking of a name to give it:

We are pleased to announce, fresh from the studio, the as yet untitled first original track by Applied Dildonics. It’s so fresh, it doesn’t even have a name! Like that guy! You know, the one with no name!

Go download it before he signs with some money-grubbin’ label.

The Amen Break

Yet more sampling history …

This fascinating, brilliant 20-minute video narrates the history of the “Amen Break,” a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music — a six-second clip that spawned several entire subcultures. Nate Harrison’s 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.

Get the QT video here or here.

Via Boing Boing

The History of Sampling

Following the sampling theme of my previous post, check out this visual display of sampling artists vs. sampled artists.

Each square represents an album, with sampled artists on the lower half and sampling artists on the upper half. Albums are placed horizontally according to release date, while vertical placement reflects the number of samples on that album. The middle resprents the area of most sampling, so commonly sampled albums are closer to the side with the sampling albums, and vice versa.

The History of Sampling

Via Audio Mastermind

Copyright Criminals Remix Contest

Copyright Criminals are holding a remix contest. The deadline has been extended to March 14, 2006. I imagine the majority of entries will be hip-hop oriented, but it would be interesting to hear a cut-up techy song with plenty of vocal “clicks” and “beeps” since most of the samples are from interviews.

Also, check out their documentary (still in work). This well-edited snippit discusses where we should draw the line regarding sampling and copyrights and how the ensuing legal pestering slows down the creative progression of music.

More background info at Harmany Music.

From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House

Twenty years ago, two groups of young, mostly black Midwesterners– influenced in parts by disco, Philly Soul, and European synth-pop– simultaneously created the two major movements in modern dance music, house and techno. We celebrate those minimal, primitive early pangs of mechanized dance by speaking to Detroit techno pioneers Juan Atkins, Kevin Saunderson, Eddie “Flashin” Fowlkes, Blake Baxter, and Mike Grant, as well as Chicago House-DJ Tyree Cooper about the connections between the techno and house capitols.

Heiko Hoffmann has an interesting discussion with House and Techno pioneers about the early days.

I don’t claim to know much about music history, but I love reading stuff like this — tracing back the progression from one style of music to another with innovations from creative individuals. I’d love to listen to samples of mixes from back then … I just don’t know where to look.

Via Module Records blog.