Drop It (Japan Remix 94) - Various - Best Of Techno Bass (CD)

David Pollock. There are few artists who can demonstrate themselves as being entirely committed to and in control of the execution of their artistic vision as Flying Lotus. Jazz, funk and electronic music meld so perfectly in that instantly recognisable groove. Henrik Schwarz 's speciality as a remixer has, at his best, been to imbue vocals with a sense of towering grandeur , to magnify their emotion by swathing them in rich production.

Six years into his career, Schwarz demonstrated that his ability to transform unlikely source material into a deep house rush remained strong with this rework of a former child soldier's call for the South Sudanese to vote in Sudan's elections the title means "leader" in the Nuer language. Schwarz - whose affinity for weaving cross-continental African sounds into his work has been a constant - doesn't seek to divorce his remix from this context.

It's built around the tension already present in the original , and even retains Jal's "Don't let your vote be bought! Every time I've been lucky enough to hear this on the dancefloor, the crowd has responded with rapturous chants in kind.

Alex Macpherson. The s saw the label continuing in this innovation-first , genre-later mission, its ever-growing roster and increasingly diverse outlets of late suggesting yet another decade of seminal releases and standout artists.

Jasmine Kent-Smith. Ralph Moore. But it was as Caribou he perfected his blend of delicacy and dancefloor dynamics. Joe Roberts. Even now, these three remain arguably the most iconic house records he ever produced.

Before you start -ing us on Twitter I know, I know that technically this landed back in via a rare white label release. But, it did land on Night Slugs officially in Lil Silva remains innovative and in-demand too, offering up his skillset to collaborators and remix subjects such as Sampha , George FitzGerald , Tourist and even Adele. Outsider dance music before the name was a term, its filled with crunchy, decaying house, techno and post-dubstep rhythms, all 14 track enshrouded by a hazy ambience and driven with a dark, futuristic funk.

An apparently simple combo of fuzzy bass, monophonic melody, 8-bit bleeps and pads over a rudimentary beat, its supreme feeling stills keep you lost in its grooves. This was the record that lifted us out of the commercial dubstep doldrums and showed us that a new world, full of melody and emotion and bass warmer than an MDMA cuddle puddle, was possible.

A brief moment where sounds aligned and we stumbled out of the shadow of tear-out wobble not knowing what to call it but loving every syrupy hit. Though it had roots in vinyl culture, things quickly morphed on SoundCloud and YouTube. Some went down in cult history , others faded into obscurity. And James Blake stripped back his sound and wrenched his heart out for stadium-sized crowds. Seb Wheeler. Looking back at the early tens garage revival is like finding a treasure trove of sun-splashed holiday photos during a spring clean.

Everyone looks young, happy and is having the time of their fucking lives. And, obviously, it still goes off now. At the time there was a real resurgence of feel-good, summery vocal-led club music with artists like Maceo Plex, Art Department, Deniz Kurtel, Guy Gerber and others really breaking through and dominating. Done in conjunction with Japanese outfit Oki-Ni the Moon Mix is only an hour long , but every minute is perfectly weighed and considered.

A low key, largely beatless affair, with moody strings, spectral pianos, lots of hiss and acres of space. A sort of ambient-shoegaze-gothic night of the soul that surfaces into uplifting but still unpredictable electronica.

In Andrew and Sean Johnston began a travelling disco that took on a life of its own. Read this next: The best Andrew Weatherall mixes. A masterclass in how to create a seamless, thrilling, perfectly joined up DJ set which contains little that could actually be described as dance music but which is still aimed at moving feet. Post punk, indie, psyche rock, general weirdness - but to dance to. The first edition of , and what turned out sadly to be his penultimate show , is fast becoming legendary.

Please try again later. Of all modern classical composers, Steve Reich is the one whose music is most likely to attract the rock-oriented ear. It was only to be expected that other artists would start sampling Reich's works. It is my No. So I was intrigued to discover how it would be re-worked for this album.

I was disappointed, frankly. The Coldcut Remix provides no evidence that the DJ has listened beyond the first five minutes of the original. But there's no heresy in modifying Reich's music. I welcome every effort to do so. I knew about half of the pieces selected here, so, for me, it's partly a Reich sampler.

The great thing about the album is that not only did it get me buying more of Reich's output, but it also got me listening more to the originals. For me, the stand-out track here is 'Piano Phase', which applies prog-rock values to a piece I didn't know at all well.

It could so easily be Rick Wakeman or Keith Emerson playing the synth lines over the piano loop! The opening track has grown on me over the years. At first listen, the Megamix seemed to have too many different samples crowded in; it seemed too ambitious in searching for common musical themes between no fewer than nine of Reich's albums. But now it flows nicely. The closing track, supposedly based on the Desert Music, is a straightforward techno track, almost Prodigy-like, whose relationship to Reich's music seems entirely tangential.

I believe every Reich fan should hear this album, even though a few will find perhaps nothing to like. And I'd recommend anyone who buys this album without knowing Reich to listen also to 'Different Trains', 'Electric Counterpoint', and of course, 'Music for 18 Musicians'.

Until Nonesuch releases in the US the greatest hits CD compiled in Japan, we will have to rely on this as the only single-CD tour through Reich's works, however oblique and re-shaped these may be. If you're into electronica, and have some knowledge, or interest in Steve Reich, I think you'll probably find this album interesting and give you an idea what Reich is like. It takes samples, or segments of Reich pieces, and puts them mostly to techno beats.

But as another reviewer said, this album doesn't really capture a lot of the essence of Reich's music, as the music is almost all pure techno or IDM, and eschews phase, counterpoint, or the evolving, multi-chord style that marks the crux of Reich's contribution to music history.

What would be nice to see is a Part II, or a sequel to this of sorts, that isn't quite as much pop based, but one a little truer to Reich's style while not being afraid of synthesizers, samplers, drum machines etc. One person found this helpful. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers. I'm really not sure then how much more I need to say to persuade you just how essential this album is.

If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? All in all then, a fair selection of compositions from Reich's long and varied career are represented. In , Benga, Skream, and other dubstep producers provided the soundtrack to much of the second series of Dubplate Drama , which aired on Channel 4 with a soundtrack CD later released on Rinse Recordings.

A track by Skream also featured in the second series of the teen drama Skins , which also aired on Channel 4 in early The show was the evolution from her seminal BBC Radio 1 Dubstepwarz Show in , and further documented another set of dubstep's producers. As the genre has spread to become an international rather than UK-centric scene, it has also seen a number of women making headway into the scene in a variety of ways. Alongside Soulja of Ammunition Promotions and Mary Anne Hobbs, an influx of female producers, writers, photographers and DJs all have broken through in the up-til-then male orientated scene.

With key 12" releases on Hyperdub , Immigrant and Hotflush Recordings, producers Vaccine , Subeena and Ikonika have introduced a palette of new sounds and influences to the genre, such as double-time bass drums, 8-bit video game samples , hand percussion and lushly arranged strings. You see the female-to-male ratio constantly going up — it's got the potential to be ". The influence of dubstep on more commercial or popular genres can be identified as far back as , with artists such as Britney Spears using dubstep sounds; critics observed a dubstep influence in the song "Freakshow", from the album Blackout , which Tom Ewing described as "built around the 'wobbler' effect that's a genre standby.

However, the year saw the dubstep sound gaining further worldwide recognition, often through the assimilation of elements of the sound into other genres, in a manner similar to drum and bass before it. UKF Dubstep has exploded in popularity as the music genre has hit the mainstream.

In November the channel had , subscribers, and as of November has over one million. The audience is getting more and more International and younger. The track was co-produced by Benga and hip hop producer Salaam Remi. Throughout , the presence of dubstep in the pop charts was notable, with " I Need Air " by Magnetic Man reaching number 10 in the UK singles chart.

This presented a turning point in the popularity of mainstream dubstep amongst UK listeners as it was placed on rotation on BBC Radio 1. Mainstream Top 40 chart. In early , the term "post-dubstep" sometimes known as " UK bass " or simply "bass music" was used to describe club music that was influenced by certain aspects of dubstep.

The latter in particular is heavily sampled by three artists described as post-dubstep: Mount Kimbie , Fantastic Mr Fox and James Blake. The breadth of styles that have come to be associated with the term post-dubstep preclude it from being a specific musical genre. Pitchfork writer Martin Clark has suggested that "well-meaning attempts to loosely define the ground we're covering here are somewhat futile and almost certainly flawed.

This is not one genre. However, given the links, interaction, and free-flowing ideas In , dubstep gained significant traction in the US market, by way of a post-dubstep style known as brostep , with the American producer Skrillex becoming something of a " poster boy " for the scene.

The term brostep has been used by some as a pejorative descriptor for a style of popular Americanised dubstep. It's like someone screaming in your face Commenting on the success of American producers such as Skrillex, Skream stated: "I think it hurts a lot of people over here because it's a UK sound, but it's been someone with influences outside the original sound that has made it a lot bigger.

The bad side of that is that a lot of people will just say 'dubstep equals Skrillex'. But in all honesty it genuinely doesn't bother me. I like the music he makes. Their production style has been described by Mixmag as "a viciously harsh, yet brilliantly produced sound that appealed more to Marilyn Manson and Nine Inch Nails fans than it did to lovers of UK garage".

Nu metal band Korn 's album The Path of Totality features several collaborations with electronic music producers, including Skrillex and Excision. In the early s, UK artists began to play with a style of dubstep reminiscent of a resurgence or continuation of original British dubstep styles.

This became known as Riddim , a name coined by British producer Jakes around The name comes from the Jamaican Patois term riddim , which refers to the instrumental of dub , reggae and dancehall music. Riddim producer Oolacile states "A lot of people who have been around a lot longer have a different idea of what riddim is. Older fans consider riddim to be the swampy, repetitive sound, and newer fans will associate riddim with the sound of the underground.

Beginning in mid, dubstep began to decline drastically in mainstream popularity, particularly in the United States, where many formerly successful dubstep artists became popular. Artists such as Skrillex, for instance, moved on to producing tracks for trap and pop artists, [] [] [] while artists such as Mount Kimbie and James Blake shifted their sounds from post-dubstep into more experimental or soulful electronic influenced music.

Loefah stopped playing and producing dubstep and moved onto UK bass, founding his record label Swamp81 in the process. From Wikipedia, the free encyclopedia. It has been suggested that Riddim genre be merged into this article.

Discuss Proposed since June Genre of electronic dance music that originated in South London. Sequencer turntables sampler drum machine synthesizer keyboard personal computer bass synthesizer electronic drums digital audio workstation laptop music software tablet. Brostep future garage Post-dubstep riddim. List of musicians.

Dubstep rhythm example. Excerpt demonstrating the rhythmic tension generated between the drum rhythm and bassline. This song features a very sparse rhythm almost entirely composed of kick drum , snare drum , and a sparse hi-hat , with a distinctly half time implied 71bpm tempo.

The track is instead propelled by a sub-bass following a four-to-the-floor bpm pattern. Shackleton — Naked Excerpt from "Naked" by Shackleton , demonstrating an early bass drop. See also: List of post-dubstep musicians and UK bass. Main article: Riddim EDM. Retrieved 22 November BBC Radio One. Archived from the original on 26 September Retrieved 31 March Artforum International.

Archived from the original on 13 May The Daily Telegraph. Archived from the original on 4 June Time Out London. Time Out Group. Archived from the original on 29 July Retrieved 21 June The Edge. Archived from the original on 14 July Retrieved 7 June Rovi Corporation.

Archived from the original on 29 April The Wire April Archived from the original on 9 June

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9 Replies to “Drop It (Japan Remix 94) - Various - Best Of Techno Bass (CD)”

  1. Pandisc brings you the Best of Techno Bass: The Ultimate Edition. This specially priced 2-CD set contains 35 tracks from the popular Best of Techno Bass series plus 3 brand new bonus tracks from DJ Billy E. The era of combining techno beats with heavy bottom may have peaked in the mid-nineties but the demand from fans is still there/5(2).
  2. View credits, reviews, tracks and shop for the CD release of The Best Of on Discogs.5/5(3).
  3. Apr 10,  · All tracks from Drop Bass Network label. Has Drop Bass logo as well as "HEADlab" logo - presumably a reference to Head Laboratory. Although is the latest date stated on the release, the release actually came out in according to an advertisement in a Japanese Avex magazine. "Professional use CD For DJs" (P) Drop Bass Network /5(6).
  4. Best of 90s Techno Mix | Hands Up Music Remix | Best Old School Techno Hands Up Mix New Hands Up Mixtape!!! REAL LIFE CHANNEL: chnagadardesema.lapnetptechycabolahaserukagols.co F.
  5. View credits, reviews, tracks and shop for the CD release of Techno Bass 2 - The Prototype Mix on Discogs/5(19).
  6. The first drop's a complete head-fuck throw-off from the classical medley, but you get a few more bass thumps further on that are just prime for rave carnage. It's a Grooverider fave, with the legendary d'n'b and jungle DJ including the S-Files VIP Mix in his 'FABRICLIVE 06' mix, a CD that, when hearing it as a young teen, set the tone for my.
  7. Compilacion de mas de + temas clasicos sueltos en mp3 de musica electronica() de calidad kbps-music techno trance house acid hard.
  8. Michael Jackson Special. The King of Pop meets House Music. Best of Sax, Deep and Vocal House ♫Upbeat and happy Saxophone House mix!♫ Mixed by Dj Migue.

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