live PA - recorded by RamzGT - tascam dp004 from yamaha mixer 320 VBR: MIX BY SANDWELL DISTRICT TOKYO JAN 2011 (DJ Regis and DJ Function, Berlin)

RamzGT - Sandwell Clone Mix 2011 (tokyo live dommune)

As some people seem to have problems accessing our podcasts, i'm going to put this up here too. A shorter version of this podcast is here - http://soundcloud.com/warmhq/jd-twitch-optimo-bass-and-bleeps

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Blurb -


In the late 80s as house music exploded across the UK British producers started to take the new electronic strains coming out of the United States and added their own distinctive British twist to them. Artists such as Bang The Party, No Smoke, Baby Ford, Renegade Soundwave and A Guy Called Gerald amongst many others were releasing distinctive records that worked on the dance floor as effectively as anything coming out of Chicago, New York or Detroit. Then there was Unique 3. From Bradford, they were arguably the first UK act to really bring the BASS and in particular the sub bass to UK electronic music in a way that it hadn't featured before. Britain's deep affinity with reggae and the exposure of many to severely bass heavy reggae sound systems meant it was an inevitability that bass was going to become a distinctive factor and Unique 3's huge (and sadly somewhat forgotten) influence on what came out of the UK cannot be understated: hardcore, drum and bass, dubstep and current UK Bass variants all owe something to Unique 3's bassprints, several of which are included on this podcast. (The earliest, The Theme, dates back to 1989 and still sounds fresh 22 years later.)

In their wake, from the north of England came Warp records and the wave of Sheffield Bass, or Bass and Bleep records (or whatever you want to call them) that begat a thousand imitators.  Once again an often overlooked character is majorly responsible for so much of this music - the mighty Rob Gordon (co founder of Warp and remixer and producer extraordinaire), whom to me is as important a figure in dance music history as any legend one may care to mention. These records had a massive impact on myself and my then dj partner Brainstorm. We were obsessed with bleeps and bass and these futuristic sounds that sounded unlike anything else, especially when blasting out of a huge sound system. We were very fortunate that our club night UFO, which soon morphed into Pure, had possibly the most powerful system in the country. When the bass drop in LFO's "LFO" came in the whole building would quiver and the music would be drowned out by shrieks and screams of delight. Records by Nightmares On Wax, Sweet Exorcist, Juno, XON and a legion of others will be with me as long as I live, and should so many years of sonic abuse one day render my hearing kaput, it's slightly reassuring to know that I'll always be able to FEEL the power of them as they shift masses of air through speakers with their sub bass and low frequency oscillations.

Over the ensuing years I've followed all strains of UK dance music with varying degrees of interest. The last couple of years have been deeply satisfying as records that come from the same mould as that golden 1989 - 91 era (but with a sound inherently modern rather than trying to recreate the past - something so much modern dance music is guilty of) have become more prominent. Artist such as Ramadanman in his various guises, Julio Bashmore and a host of others have brought back the bass, syncopated rhythms and sometimes the bleeps at a manageably groovesome tempo that is sexier, sonically more interesting and more powerful, to my ears, than a zillion unimaginative and derivative deep house or minimal clones. They are pushing boundaries which for me is what electronic music was always meant to do and was one of thee main, but often long undelivered promises of techno.  This mix is 40 tracks of UK Bass music past, present and future (there are actually two non British tracks included. A prize to anyone who spots them) and is a distinctively British sound that in its original form didn't really translate outside the UK, though its mutant offspring have gone on to reverberate around the globe. Old and new sit side by side all (imo) sharing some dna, intentional or otherwise with those Unique 3 records that first lit up my ears 22 years ago. Here's to the next 22 years of UK dance hybrids!


Once again we aren't making a tracklisting available for the podcast but if you want to know what anything is, feel free to get in touch and we will let you know. Nearly all the music contained here is from vinyl records so any audio imperfections are a result of the age and wear of the records; many of the older 12"s on here received a LOT of club abuse. The mix is LONG, contains 40 tracks, lasts 130 minutes and the download is a 192kbps mp3 (188mb). Enjoy, and please, don't listen to it on crummy laptop speakers as yr going to miss the whole point.


Optimo Podcast 9 Bass and Bleepcast 1989 - 2011

TRACKLIST:
01. Cosmin TRG - Groove Control
02. Musical Mob - Sweet Sounds
03. C.R.S.T - Dial the Operator
04. D1 - Crack Bong
05. Baby Cham - Man & Man (El-B remix)
06. Umbra Productions - Everyday is a Gunshot
07. DJ Naughty - Firepower
08. Ultrasound - Heavy Roll
09. The Dub Monsters - Waiting
10. Altered Natives - Believe In Me (Zed Bias Club Dub)
11. Lil Silva - No Hooks
12. Musical Mob - Pulse Xtra
13. Lighter - Skanker
14. Addison Groove - Footcrab
15. Kromestar - Iron Soul

Hyp 009: Deadboy

An edited version / re-play of the earlier posted track - I added some panning to the synths and some loosely added percussion, as well as EQ-ing a lot of the channels to level out the sound.

Machinery erodes, corrodes, breaks and falls apart. Hardware and analogue technology is automatically unique because of its life-expectancy and sensitivity to atmospheric pressures. Individuality comes from chance and randomness, but digital production is self-contained and preserved...
Junk Yard is heavily based on reading Neal Stephenson, Warren Ellis and William Gibson too much lately, and is intended as a futurist soundtrack. It's a snapshot of rusted and decayed sound modules; semi-conscious and once cutting-edge tools abandoned as their chemical composition rendered them unpredictable and obsolete. Junk Yard celebrates the hiss, glitch and static and was made using old delay units, loose jack plugs, overdriven samples and Ableton.

Junk Yard ver3

Unmastered version. A version of Plantlife's "Luv 4 The World". Due in the shops 29th November

Cottam4-Side B

Unmastered version. Due in shops from November 29th

Cottam4-Side A

Selected by Ministry bassist Paul Barker to feature on the accompanying soundtrack album to the forthcoming film "Fix: The Ministry Movie"...

Review by Kid Ritalin @ Shallowrave Blog

"Ever-evolving and mutating, Shallowrave favourite Voltergeist applies his acid-dub stylings to Ministry classic Psalm 69, reinventing the mental-industrial thrash-fest as a brooding, half-time dub stomper. 

Whilst the original contained some of the Al Jourgensen's most polemical screaming (see above) Voltergeist exorcises the majority of Al's presence from the track, focusing more on the groove and doom, peppering a deep, head-nodding riddim with bass flourishes and spoken word samples. 

Opening with a simple kick pattern and a rolling bassline, Voltergeist introduces layers of noise and static, along with wailing choral riff, creating an tense ominous atmosphere, before a simple snare pattern drags the monster to life. All bubbling subs, dark atmospherics and whispered vocal snatches, it's definitely one of Voltergeist's darkest pieces to date, despite the solid, grinding rhythm.

Be very afraid."

69 Psalmpled

Reward on Moozar : http://reward-my-music/6713 Really enjoying this contest.
For me it is not about to win. It is really a passionate thing!
It´s a dream to work with these samples, as this track belongs to my plastikman favorites.
Big thanks to Mr Hawtin!
At the same time i find it is a really hard job.
I hope everybody sees the Dr.Nojoke inside here.

Good luck to everybody.


Junk Yard ver3

Liam.Arnold

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