** You can buy a cassette or digital download of the mix on our bandcamp**
https://erisdrew.bandcamp.com/album/raving-disco-breaks-vol-ii-rock-the-house

T4T LUV NRG is about to rock your stereo this spring with a sequel to the label’s first release “Raving Disco Breaks Vol. I” (2018). Eris Drew wanted to create a new sound for the second volume of her acclaimed mixtape series instead of simply retracing the pure disco vibes of the original. Setting her sights and intentions on creating a rock ‘n’ roll infected house mix, Eris worked on building crates for the last five years, finally reaching an inflection point—a moment of concrescence—when she was ready to put the needle on the records and let the beats flow. “Rock The House” was born, a concept for Volume II built from musical fragments, memories, and synchronicities. There are no classic Big Beat tunes on Volume II, instead Eris kicks out the jams for this mix with non-stop house and breaks cuts featuring plenty of rockin’ vocal vamps, as well as the likes of Janis Jopin, Joe Strummer, Ramones, and Led Zeppelin—all sampled, scratched and dropped along the way. Both sides of the mix include some of her most personally coveted recordings. To gather these records, Eris spent decades identifying tracks from older mix cassettes recorded by her DJ heroes, such as Terry Mullan and Mystic Bill, as well as discovering many of the featured tracks through happenstance and countless hours digging through dusty bins and YouTube rips. Each of the tracks on Volume II are at least 20 years old—some much older—but fresh is the word here, and the word is freeeesh!

Now, as the snow melts and the flowers of rave romance start to bloom, T4T wants to know one thing…Are U ready to rock right?

Eris Drew's Raving Disco Breaks Vol. II - Rock The House

Look around today’s musical mainstream, and you’ll quickly realized that dance styles are everywhere, filling stadiums, topping charts, and gathering tens of thousands in festivals around the country. Yet few know their full history. “Roots and Future” explores how a community of (primarily) black British musicians, fans, D.J.s, and radio pirates recreated dance music in the United Kingdom during the 1990s and 2000s.

Connected to the musical mainstream during 1989’s drug and rave fueled “second summer of love,” these  musicians learned to combine American hip-hop, dancehall toasting, dub bass, and techno euphoria to create style after chart-topping style, from drum-twisting jungle to the slick sounds of garage, the ferocious rhythms of grime, and the all-encompassing low-end of dubstep. We’ll speak to legendary pirate radio D.J.s, underground label owners, and groundbreaking producers. We’ll check young M.C.s spitting their bars on illegal frequencies, and hear veterans playing to their beloved audiences. And most importantly? We’ll rave. See you on the dance floor.

 #733 Roots and Future: A History of U.K. Dance
Producer: Sam Backer
Airdate: June 23rd 2016

Roots and Future: A History of U.K. Dance

Disembodiment

Bat field recordings from a recent trip to the North GA mountains. This sound clip was captured using the Anabat SD2 - Bat Detector - high microphone. This device allows you to monitor the ultrasonic echolocation calls of bats for species identification and activity measurement. The particular species of bat in this recording are the Indiana Bat. The typical hearing range of this bat is between 20hz - 150Khz. They locate their prey by means of echolocation. They will produce a very, loud short sound and assess the echo when it bounces back. The type of insect and how big it is can be determined by the quality of the echo and time it takes for the echo to rebound. They also use two frequency types; constant frequency (CF) and frequency modulated (FM) calls that descend in pitch. Each type reveals different information for the bat. The CF is used to detect an object, and the FM is used to provide information regarding the nature of the object and its distance. The pulses of sound produced by the bat last only a few thousandths of a second with silences between the calls that give time to listen for the information coming back in the form of a echo. I was amazed at how complex some of these  echolocation patterns looked on a sonogram and was even more blown away by how they sounded. This file was outputted from the Anabat software application which takes the bat calls and converts them to wave files. The Anabat software application also converted the calls to a audible human hearing range (20hz-20khz) as most of the bats calls went up into the 150khz range. 

http://www.titley-scientific.com/us/index.php/sd2-bat-detector

Link to the Sonogram here: http://www.facebook.com/photo.php?fbid=10151218179915358&set=a.132078960357.137137.708680357&type=1&theater

Bat Recordings - with the Anabat SD2 - Ultrasonic Echolocation Detector

For Eris’s mixtape “Raving Disco Breaks Vol. 1”, she uses old records to create a new style out of fragments. Many of the selections have been featured heavily in her live DJ sets, including her b2b sets with Octo Octa. Eris accumulated these records slowly, over decades, but it wasn’t until touring last year that she realized a “sound” coalesced in her bag. What does a rave at the disco sound like? Kinda like everyone took ecstasy at the roller rink. On her ecstatic mix, Eris colleges together a genre by scratching-in breaks with horn samples, mixing Disco House with broken beats, dropping Miami Bass jams with Boogie keys and blending Rave tunes with disco vocals. On the mix Eris utilizes turntable techniques such as “doubles” tricks and “hot mixing”—a fast-paced mixing style inspired by her beloved B96 Mixmasters, Chicago’s most popular 1990’s radio DJs. Like all of Eris’s mixes, she weaves strong narratives of embodiment, defiance, cultural transcendence and personal triumph (a classic disco emotion) into a flow of body rockin’ beats, scratches, drops, and sweet melodies. The result is a bass heavy summertime house mix for the psychedelic bad girls, boys and enbys. 

A limited run of Raving Disco Breaks Vol. 1 cassettes are available now exclusively from the label’s Bandcamp - http://t4tluvnrg.bandcamp.com

 The recording can be streamed on the T4T LUV NRG SoundCloud for free and hi-resolution versions are available for download on the label’s Bandcamp (donation requested). All profits  from Eris’s mix will be donated to the Sylvia Rivera Law Project (SRLP), which works to guarantee that all people are free to self-determine their gender identity and expression, regardless of income or race, and without facing harassment, discrimination, or violence.

Eris Drew Raving Disco Breaks Vol 1.

Track 6 from Octo Octa's third album "Resonant Body"

Octo Octa - Can You See Me?

A HOUSE -demo

Stories written and read by performance artist and filmmaker Miranda July, from her days working with WNYC's The Next Big Thing (RIP).


School of Romance

hello and welcome.

IG:  @_catelyn_helena
e: punchcardlabel@gmail.com
future performances:

past performances:
06/20/20 livestream w/ cen0te & Well Yells
02/24/20 @ 641 rpm / boone, nc w/ Z Plan & Josh Miller
06/08/19 @ 641 rpm / boone, nc w/ Knives of Spain, Z Plan, & Landsee
02/23/19 -  w/ Sans-hannah // Z-plan // // Decent Rescue @ 641rpm 
12.17.18  w/ CJ Boyd  @ 641rpm boone nc

Disembodiment

catelyn helena

Recent comments

The Worthless Son-in-Laws

endangered

Related tracks