Dj Deeon - Let Me Bang (2003)

ARTIST`````Dj Deeon

ALBUM`````Let Me Bang

GENRE`````Ghetotech, Tech, House, Fuck Yeah Party, Underground

YEAR````````2003
From me:
Damn this is some fun raw tech stuff.

Who

Though he's revered among Chicago DJs and around the world as the original master of ghetto dance music, Deeon started small, on Chicago's south side. He sold his DJ mixtapes in the parking lot where he lived, and played house parties in the projects.These crowded living room parties started the feeling and inspiration for the sound Deeon produced, music he simply refers to as, "for the strippers, for the street".While tracks like "Accelerate" on Dance Mania were doing well overseas, he was getting little support or play from local Chicago clubs. Deeon calls ghetto house the "stepchild of Chicago house". Eventually the incredible response from his music forced the clubs to concede and play his records.These "techno with a ghetto edge" tracks have found way to the decks in clubs around the world. Deeon found his home on Chicago's own Dance Mania label, where he released hits like "Let Me Bang", "Who You Wit", "Da Dick Suck" and "The Freaks".Deeon is currently signed to Databass Records, which is rereleasing most of his back catalog with new remixes.

Here's an interview with DJ Deeon:

http://www.5chicago.com/theproject/dj-deeon/

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Here's a bonus track Da Dick Suk
http://www.mediafire.com/?b3tujqpv2241a1z

Richard Devine - Asect-Dsect (2003)

ARTIST`````Richard Devine

ALBUM`````Asect-Dsect

GENRE`````Electronic, IDM, Glitch, Breakcore

YEAR````````2003

A metallic shitstorm of samples, cracks, bangs, rips and green slimy goo.

Review

Richard Devine’s aspirations to the profession of cinematic sound designer have become increasingly apparent with each of his recent offerings, and in Asect:Dsect, he has, even without the aid of a corresponding film, actually managed to enter into the realms of planetary creation. The man is a specialist in throwing sounds around an area, and he uses this technique as much as is technically possible within the confines of a stereo setup, to the effect of placing the listener in an artificial space – one that upon entering, becomes eerily reminiscent of movies such as Ridley Scott’s “Alien” series.

From Dusted

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Colleen - Everyone Alive Wants Answers (2003)

ARTIST`````Colleen

ALBUM`````Everyone Alive Wants Answers

GENRE`````Indie Post Rock Experimental Electronic

YEAR````````2003

As promised:)

Review

Just when you thought this kind of tangled, floating, ambient wash -- sometimes with guitars, sometimes without -- couldn't get any better than specific parts of Susumu Yokota's Sakura and Grinning Cat, Colleen came along with Everyone Alive Wants Answers. Colleen is actually Cecile Schott, a Parisian who wrenches out cobwebbed melodies that are fully fleshed out as frequently as they are stunted and knotted. Her means aren't all that unique. Barbed glockenspiels, worn music boxes, humming keyboards, happenstance guitar melodies, soft-focus production -- all of that's been done before, right? What makes her stand out is that her songs seem meticulously stitched together while nearing the brink of collapse at the same time, almost all of the time.

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Hossam Ramzy - Sabla Tolo Vol. 2 Further Journeys Into Pure Egyptian Percussion (2003)

ARTIST`````Hossam Ramzy

ALBUM`````Sabla Tolo Vol. 2 Further Journeys Into Pure Egyptian Percussion
GENRE`````Africa, Instrumental, World
YEAR````````2003

Biography:

Hossam Ramzy is an Egyptian professional percussionist, composer and music arranger. Hossam Ramzy's friends call him "The Egyptian Rhythm Ambassador". He recorded his first solo album, An Introduction To Egyptian Dance Rhythms in 1987. This album was a break from his career as one of the most sought-after session percussionists of his generation. His CV at the time read like a who’s who of '80s music - Boy George, Marc Almond, Peter Gabriel and Killing Joke were just a few of his clients. After achieving this success, Ramzy decided to look deeply at his own musical roots. He said that his intention was "to record, document, enhance and contribute to the rhythms and compositions of a musical and dance culture that was slowly being eroded by the desire for progress, modernisation and superficial Westernisation". Ramzy was convinced that a vital musical and cultural tradition and heritage would be lost if many of the compositions that he knew and loved so deeply were not recorded for future generations. He recorded 22 CDs from 1987 to 2007.

Website

Tracklist:

01 Wana Be-ied Annak (When I am not Near You)
02 Harrira & Basboosa
03 My Brazilian Pearl
04 El Esma Wel Ma-soom (Our Fate)
05 Amar El Sahara (The Moon of the Sahara)
06 Wady Samba Ala El Malfuf (Samba over Malfuf)
07 Halloween
08 Oyoun El Fallaha (The Eyes of a Fallaha)
09 Ya Gama-a (Calling all the Group)
10 Hawary Al Qahira (The Back Streets of Cairo)
11 La' Bel Hadawa (No, Cool and Gently, Please)
12 Ya Sha-eyya (You Naughty, Playful Girl)
13 Rakataka

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Kraftwerk - Tour de France Soundtracks (2003)

KLING KLANG, KLING KLANG, KLING KLANG,
ARTIST`````Kraftwerk
ALBUM`````Tour de France Soundtracks
GENRE`````Electronic
YEAR````````2003

WHY:
I am sure that most of the people fiddling around electronic music surely have this glorious album but since I find it to be one of the best electronic albums of this decade I just had to post it.

In short, this album was a slap in the face to the entire electronic scene (and wider) when it came out because Kraftwerk were (at that time) a hugely respected visionary act but - they were an 80's gem. Yes, they created and influenced every corner of music as much as The Beatles did but from the trendy critics narrow eyes they were simply - retro (I tend to disagree with this because when you listen to their 80's stuff it still sounds much fresher and open than everything that came out after them). Of course Daft Punk, Autechre and the whole techno movement gang updated their style (and the English accent) for 90's clubbers in dire need of something punchy and raw but nobody really expected something new from the Kings of Robots.

No matter how much I explore the endless possibilities of electronic musicians I always feel like sitting on a pile of Kraftwerk records while doing that. I wonder how does it feel when you ARE electronic music.

Short review:
The seeming ease with which the group unselfconsciously effects a seamless transition from its prior recordings to its latest creates the impression that the band cryogenically froze itself for seventeen years and then immediately re-entered a newly equipped digital studio.
http://www.stylusmagazine.com/reviews/kraftwerk/tour-de-france-soundtracks.htm

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Also, be aware of this:
“Finally, after cancellation and consternation Kraftwerk’s back catalog gets remastered and reissued…We think it’s – whisper – better than the Beatles.”

I was very surprised reading that Kraftwerk made this album completely in a software based studio using Cubase and lots of software effects. This is quite a big change considering their long history as hardware pioneers.
Read a short interview about the software used on this album.

KAADA - THANK YOU FOR GIVING ME YOUR VALUABLE TIME (2003)

A BEAUTIFUL COLLAGE
ARTIST`````KAADA
ALBUM`````THANK YOU FOR GIVING ME YOUR VALUABLE TIME
GENRE`````SOUNDTRACK, ALTERNATIVE, EXPERIMETAL, POST-ROCK, TRIP-HOP
YEAR````````2003

WHY:
Excellent, subtle album by one of Europe most interesting and mystified producers.

ALBUM REVIEW:
This album has the same kind of warm, reverb-y production that Ipecac head honcho Mike Patton often favors (see Fantomas' Director's Cut), and has a collage-type avant-garde pop/rock feel that's not a million miles away from something like Director's Cut or Mr. Bungle's California. Then again, it's certainly not beholden to those influences either: the main inspirations here seem to be hip-hop (especially in terms of the production) and old American R&B and soul music, combined with an unusually user-friendly experimental streak. Basically, Kaada takes isolated samples and loops from old recordings, mixes them together with live instruments and (sometimes) vocals, and creates new songs that are essentially virtual collaborations between musicians from these different times and places. The striking thing about this album, although it's only striking once you try to analyze it, is that it's almost impossible to tell what sound is coming from what record. Whether it's sampled or live or not, or if you know all the recordings he's dealing with, knowing such things won't prevent you from enjoying the music here.

Thank You For Giving Me Your Valuable Time is full of such subtleties, which, rather than merely sounding coy and clever, add some real heart to the album and elevate from just a technically impressive collection of sampling and production trickery into something more.

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ASA-CHANG AND JUNRAY - 2 SINGLES + 1 MINI ALBUM

JAPAN'S FINEST TABLATRONIC SAMPLEMANIA ETHOGRAPHERS OR SIMPLY SAID - THE FUTURE SOUND OF JAPAN
ARTIST``````````ASA-CHANG & JUNRAY
SINGLE 01`````KANA (2004)
SINGLE 02`````SENAKA (2004)
ALBUM`````````TSU GI NE PU (2003)
GENRE``````````ELECTRONIC, EXPERIMENTAL, POST-ETNO (HA?)

WHY?:
Extraordinary sampling techniques and brilliant beat-programming are trademarks of this Japan-based experimental band. Unfortunately, these 3 recordings are all I have. If anyone has their album/compilation "Jun Ray Sung Chang" please let me know because I simply cannot find it anywhere.

I don't understand one word they are singing (speaking mostly) but it somehow seems they are examining the Japanese language itself. I've realised that for people who don't understand their chopped-up lyrics, this album may even sound more interesting because the voices litteraly become rhytmic instruments just like percussions and sound textures they are using.

My favourite tracks are "Toremoro" from "Tsu Gi Ne Pu" album and "Kana" from "Kana" single.

This is strange, but their albums, EP's and singles are extremely rare to find on the internet and that makes this a must-must-have:)

SHORT BIOGRAPHY:
Based in Tokyo, self-taught tabla guru Asa-Chang spends his professional life touring with multi-million-selling J-pop acts - groups that make S Club 7 sound like Joy Division. Regarded as Japan's premier session percussionist, in his spare time this loveable eccentric makes music that might just blow your head off.

Asa-Chang & Junray is the name of the Asa-Chang experience, and comes from the 'Jun-Ray Tronics' soundsystem he uses. The word also means 'pilgrimage' - Asa-Chang is on a mission to take music to places it's never been.

All three recordings are packed in one zip file.

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Read an interview here: Asa-Chang & Junray feat. Kyoko Koizumi