Here is my first electro mix that consists in a mixture of electroclash sometimes meshed with cosmic disco, detroit techno and quirky electro beats with some serious synth action. I am sometime quite fed up of people ranting that they’re listening to electro when it only refers to electronic music. What kind of electronic music, ambient, electronica, dubstep, breakbeat, house, trance, downtempo or electro? Electro is a genre of electronic music directly influenced by the use of TR-808 and Moog synthesizers. Records in the genre typically feature drum machines and heavy electronic sounding deprived of vocals in general, although if present, they are delivered in a deadpan manner, often through an electronic distortion such as vocoding. Cosmic disco on the other hand is often associated with Italo disco and Prins Thomas, Lindstrom and now especially Tensnake which is featured heavily on this mix 🙂 I will try to put a direct download into Windows media player but please be patient these things are very much time consuming, this mix alone is close to 15 hours of work ! We, fans of electro and electronic music, aren’t we all geeks after all…And electrocuted ?
1) Etienne Jaumet : Mental vortex
2) Daft punk : Tron legacy ( Crydaluv rework )
3) Urban tribe : Insolitology
4) Junior boys : Work
5) Sally Shapiro : Jackie jackie (Junior boys dub)
6) Sally Shapiro : I’ll be by your side
7) Tensnake : Moody bang (Original mix)
8 ) Mitsu : Hush
9) Crystal Castles : Air war
10) Tensnake : Moody bang ( Ajello mix)
11) Jackpot : Raggaza
12) Tres demented : Shez satan
13) Pimo : Don’t bring me down
14) Miss Kittin & Hacker : Ray ban
15) Max Berlin : Elle & moi ( Joakim remix )
John Carpenter’s mostly know for his brand of horror flicks that includes Halloween, The thing and the fog. But he is also a gifted soundtrack composer as he did the score for Assault on precint 13, released in 1976. One of the film’s distinctive features is its score, composed and recorded by Carpenter. The combination of synthesizer hooks, electronic drones and drum machines sets it apart from many other scores of the period and creates a distinct style of minimalist electronic soundtrack with which Carpenter, and his films, would become associated. The score consists of two main themes: the main title theme, with its familiar synthesizer melody, and a slower contemplative theme used in the film’s more subdued scenes. The main theme was partially inspired by both Lalo Schifrin’s score to Dirty Harry and Led Zeppelin’s “Immigrant Song”. Besides these two themes the soundtrack also features a series of ominous drones and primal drum patterns which often represent the anonymous gang gathering in the shadows. Carpenter made roughly three to five separate pieces of music and edited them to the film as appropriate.
That famous foreboding melody throughout the film transposed up quite a few octaves and perfectly blended with a nice moving bassline and 4/4 beat. The reverb on the snare drum is so huge, it fills in the gaps of the track whenever they are present. And to top it all off, some of the deepest, most beautiful synth choir voices ever committed to vinyl. The analog overtones on the End are quite simply breathtaking.
Carpenter had several banks of synthesizers that would each have to be reset when another sound had to be created, taking a great deal of time. He was assisted by Dan Wyman in creating the musical score. The score was written in three days. Beyond its use in the film, the score is often cited as an influence on various electronic and hip hop artists with its main title theme being sampled by artists including Afrika Bambaataa and Tricky.
“The End” is a dark, moody and mysterious electronic arrangement around 125 BPM, and even though I have not seen the film, just by looking at the cover and listening to the track, I can already sense a slightly dark and depressed tone. “The End” is still played today by all the top electronic DJ’s such as Laurent Garnier, Carl Craig, Juan Atkins and DJ Hell. Its now 35 years old.
John Carpenter : The end [Sound version] – 1976
Mystique drums is the fifth album by Millimetrik a.k.a. Pascal Asselin, who hails from Quebec city (And so am I…) but it’s not the reason why I’m reviewing his album since a lot of readers of my blog are from foreign countries. I’m not too fond of chauvinist people who praise music for their origins or city. It’s not because it’s from Berlin, Detroit or London that the music is automatically interesting. Whilst it’s fair to say that Mystique drums is the work of someone who’s manage to keep himself up to date in the realm of electronic music with dubstep and breakbeat beats spliced together with amazing soundscapes, I think what I liked the most about Mystique drums is the fact that this album has a lot of what dance & electronic records seems to be somewhat lacking these days : emotions. Danse rue de Chabrol danse almost got me confused with Boards of Canada, for its sheer emotional content. It’s music with depth, with an evolving lullaby, a rhythm that never gets tedious, and that seems to glide along with the listener into a peaceful and yet engaging landscape…Chilled and with energetic rhythms, tracks like Quebec city mountains maintain a dynamic presence of elements interacting with each other especially in the rhythm area as Asselin, a former drummer for Below the Sea, also played drums on some of the tracks such as Outhouse / I Wish You Will Never Leave and Gong Fu Cha. As a matter of fact, the only complaint I have with the album, is that I wish some of the tracks would last a bit longer. Listening to Mystique drums is such a pleasant journey, one you’d wish would never end…Bravo Pascal !
Millimetrik : Danse Rue De Chabrol Danse : 2010 / Make mine music