Marlena Shaw – Woman of the Ghetto EP (Catz ‘N Dogz Remix) [Pets Recordings]

I Want You To Get Together

Catz ‘N Dogz (Grzegorz Demiañczuk and Wojciech Tarañczuk) take over this iconic vocal live sample to officially honor American jazz, blues, soul singer Marlena Shaw. The three-tracks EP will be out on August 25 through their imprint, Pets Recordings.

Premiered by BBC Radio 1 DJs Pete Tong and Annie Mac, it’s a surprise summer track. It’s the kind to be on that list of titles that update old sounds for a purpose, as well as Bedouin will drop Pink Floyd’s “Set The Controls For The Heart Of The Sun” on the same date. It’s another suggestion what Berlin based Polish duo have done with the original material though. Instead of a recreational cover, they take the vocal sample to a current techno deep house beat from where suddenly rumps an acid straight line. As simple as it has ignited every track, remix and DJ set that has used it throughout these years, more than two decades. But, this time, in full credit. A second version goes for the Afrobeat percussion inspired and developed from the back then stage performance.

Originally included on her second studio album “The Spice Of Life,” the last she released for Chess’ subsidiary Cadet Records in 1969, ‘Woman Of The Ghetto’ got a live version on July 5, 1973, at Montreux Jazz Festival. The recorded performance hit the shelves a few months later as “Marlena Shaw/Live: Cooking With Blue Note At Montreux”. The moody spoken introduction to the song became house music’s legacy. The line hit with Blue Boy’s “Remember Me (Pharm, 1997) and peaked with ‘Rose Rouge,’ on St. Germain’s album “Tourist” (Blue Note, 2000).

It is by way of tribute not only to Marlena Shaw herself but for a generation that grew in the 90s; a period trended on the so-called rare groove scene. At the end of the 60s, she occasionally ventured in soul charts, right after being the vocal counterpart for Jazz giants like Cannonball Adderley and Ramsey Lewis Trio. Splitting from Cadet Records, she worked periodically with Count Basie until she signed for Blue Note in 1972 to build a solid recording career. She left some gems on the way, and diggers were aware. As it happened with ‘California Soul,’ with Diplo’s remix featured on volume 4 of the “Verve Remixed” compilation series, now it’s time to recognize officially to Marlena Shaw for the famous inviting phrase on the “Woman Of The Ghetto” introduction line in a remix.

W- 2019.10.14-20

                2014.10.14                                 museumoflovedef

LCD‘s drummer Patrick Mahoney joined Jee Day (Dennis McNanny) in 2011 to remix Battles‘ “My Machines (ft. Gary Numan).” They felt in the same sensibility wave to go for more and extend the experience. The join-venture grew to Museum Of Love, a duo named after Daniel Johnston’s song. In 2013 appeared the first two singles ‘Down South’ and ‘Monotronic.’ DFA released the eponymous debut, a nine-track full of clashy New York. David Byrne would walk along with it.

               1999.10.14                                 keithjarretthemelodyatnightwithyoudef

American pianist Keith Jarrett released “The Melody At Night, With You” on ECM. The album contains jazz standards, two traditional songs, and one improvisation. It is out of love and devotion to his wife, Rose Ann, convalescent from chronic fatigue syndrome.

               1999.10.14                                 adria-punti-l-hora-del-patidef

The Catalan musician Adrià Puntí, former leader from the celebrated Gironan band Umpah-Pah, released “L’hora del pati” through the local label, Picap. Produced by Quimi Portet (former El Último de la Fila), Puntí‘s sophomore album gives an endearing nostalgic tone to the fifteen tracks, with ‘Coralí‘ and ‘Sota una col‘ as highlights. Motifs come echoing from infancy through popular catchphrases and Catalan cultural facts with his peculiar talent of a proper language goldsmith. It’s rock’n’ roll intimacy; self-defined as “distorted acoustic” work. It gives a pat to the debut “Pepalallarga i…” in a freshly spontaneous way.

                1994 10.14                                whiskynscollonsdef

The pop-rock band from Reus (Baix Camp) Whiskey’ns (Collons) debuted in the long format with an eponymous album, released by Al·leluia Records. The sarcastic name they choose, a phonetic tricked way to get the English pronouncing of the Scottish beverage close to a famous Catalan exclamation, in allusion to the testicles. This decision gave the group an aura of provocation. They staged with a correlated rock and lyrics. As becoming popular, they signed to RGB and dropped the inconvenient word as reconsidered their themes.

                1994 20.14                                 Ilikeitlikethatdef2

The film “I Like It Like That” by debutant Daniel Martin premiered Certain Regard Cannes 1994. A comedy-drama based in the hard-living of a Puerto-Rican couple in the South Bronx. The Black-All Stars was the band for the Original Soundtrack, a supergroup formed by famous Latin stars Ray Barreto, Tito Puente, Paquito D’Rivera, Tito Nieves, Dave Valentin, Sheila E., and Grover Washinton Jr. They released a cover of Pete Rodriguez‘s 1967 debut single. A classic boogaloo that came back to prominence last year with Cardi B‘s debut album, “Invasion Of Privacy.” The Bronx rapper, actress, and songwriter updated ‘I like It‘ featuring Bad Bunny and J Balvin and sampling Tito Nieves‘ trademark ‘Yeah, I Like It!” and the original ‘I Like It Like That‘ chorus.

                 1964.10.14                                 francoisehardymonaimelarosedef

The French singer Francoise Hardy, famous for ‘Tous Les Garçons Et Les Filles‘ since 1962, released “Mon Amie La Rose,” her fourth album on Disques Vogue. The title track became one of the most beloved and successful of her career, coming from a poem written by Cécile Caulier and Jacques Lacome. An emotive homage to model and actress Sylvie Lopez, who died from leukemia in 1956.

Hyperdub turns 15

On Friday, October 18th, Hyperdub will celebrate the 15th anniversary at London’s Village Underground with an all-star lineup that spans the label’s history and future.

The London-based imprint is one of the greats and crucial to understanding the U.K. peculiarities in electronic music evolution coming from Chicago, Detroit, and New York’s basis. Furthermore is a synthetic and itself defining the part, a yield contribution to the so-called “Hardcore Continuum.” This musical wave function is continuously creating its space-time with every new twist, radically avoiding unitarity. ‘Expected’ is not participle to fit. Adjective ‘proper’ is unuseful. Multiculturism and multiracialism flow as interactions. It goes beyond acceptation. The Hyperdub’s inception context is mutability, the moving force on the British binding sequence of rave adjacent styles, from hardcore and jungle to garage, dubstep, and grime.

Hyperdub is the diasporic sense from any irradiating source. A big part of the dubstep growing belongs to it. Supporting flagship artist Burial from his debut to the latest 12-inch, “Claustro/State Forest,” gave “Untrue” to the world as unbeatable achievement, at least, a definitory paradigm for self-consciousness. DJ Rashad and affiliates from the Teklife family had a welcome home out from the raw streets of Chicago. His death was a tragic loss and a crossing stop in the label’s defiance. DJ Spinn and DJ Taye keep on waving the adventurous flag so high. There is a risk in the options, both in straight gaining and in turbulence. Diversity goes through flaming the unthinkable match. Creative cohabitation always knocking at the entrance. There is no label sound, but fluctuation and modality by prizing individuals. Its roster is a bunch of free-mind artists, as diverse as committed in their imaginativeness, able to create on the outside lane.

Hyperdub began in 2000 as a webzine, home for critical thinking journalism, taking music to politics and everything connected in between. A difficult task few music journalists were able to afford but the late Mark Fisher and Simon Reynolds, among others. Ideas proved not to be good contenders in the market. The webzine became a record label. Hyperdub’s music outcome was in April 2004. The owner, Steve Goodman (Kode9), joined vocalist, poet, live performer Stephen Samuel Gordon (June 17th, 1970-October 2nd, 2014), then under Daddi Gee alias and better known as The Spaceape, for the first release, ‘Sign Of The Dub/Stalker.’ Then, nothing sounded like that. It was pulsating, slow and spacy, with a line of muted synth and a bass-driven from which emerged an introspective spoken word. Inspired in Prince’s classic, they took the title’s appreciate constituents towards a new form and meaning. In 2006, the main track became ‘Sine‘ into “Memories Of The Future,” the duo’s first full-length album.

By the time, Hyperdub increased the number of releases, and its logo spun as a symbol of captivating material into the underground club scene. Neatly pressed in the center of the record’s sticker, it was reliable for any restless DJ looking for the new, mostly as a physics law. Symmetry is the keyword, working in both directions, from the past to the present, as the future’s premonition. And in revers, anticipating a rapidly changing time in electronic music history.

Hyperdub is situational listening. You have had the experience of disruption, the decoherence left on a fact, recognizable objects on the loose, sounds on the riddled corners of the borderless. Take a breath.

“Unknown Pleasures” turns 40

This Saturday, we celebrate the 40th anniversary of a landmark in the post-punk era. Joy Division debuted in the long format with “Unknown Pleasures” on June 15, 1979, released through Factory Records. Today, a commemorative limited edition on red vinyl hit the shelves via Mute Records. The nth time re-release is a must for the collectors and completists, by importance and transcendence.

The album is a collection of ten memorable, intense, threatening and oppressive tracks. Not only for Ian Curtis’ harrowed voice and lyrics to the bone but also the Bernard Sumner (then Bernard Albrecht) escalating single notes and dense guitar riffage over the Steven Morris’ obsessed and delayed drums. Peter Hook holds the melody with his distinctive bass line. As personal as to inform The Cure’s introduction to Goth rock.

The proper first and most excellent of Joy Division’s truncated discography forged a new-creational key. Art-rock influences and primitivist archetypes of punk were bound for an intriguing stasis. Unusual methods of recording added became as influential as to shake conventional forms forever.

The Iconic cover artwork by Factory art director and graphic designer Peter Saville relates to the point of no return. That image of radio waves from Pulsar CP 1919 means more than a creative momentum; it is welcoming a new factor in music production, the modern aesthetics: the irruption of technology new devices.

Joy Division installed a blanket new framework. Better to say an ‘Interzone,’ a sizeable open space to be in and explore, between the initial, reclusive Hook’s bass line leading to Curtis’phrasing. His lyricism, repeatedly exposed in terminal keywords, gave a non-empathic but real vision of life as Manchester was crumbling down to the post-industrial decline. The band intoned the dark and gloomy fierce of human suffering, idealism crashing on reality. They scanned the solitary zone of the lost, created by words spinning around like a sucking vortex in the middle of isolated oblivion. They are the sound, edging people for living in a permanent down unconsciously, in sparse and creepy metal. Somehow, Joy Divison’s lead singer and lyricist bridged The Velvet Underground’s obsessive and claustrophobic descriptions into full debauchery and despair. Pure nihilism that captured a time spirit of raw angst, almost in essentialist perspective, as direct and vivid as to move everyone’s mirrored self-perception. No one could do that since Lou Reed.

“Unknown Pleasures” wouldn’t exist without Martin Hannett production. According to the partner and director at Tony Wilson’s Factory Records, “Joy Division was a gift for a producer.” He took that given sound space to fulfill it with amassed devices he called “bluetop echo and delay boxes.” He applied distinctively to Morris’ beating, even recording separately the drums kit elements one by one to better supervision. He incorporated sound effects, the looping technology and some of the new synths in Sumner’s parts. Great and primitive is the intro of “She’s Lost Control,” but still works after four decades. His unorthodox methods were not new, but he well fitted them in a purpose.

Hannett’s visionary production marked a solid step into the acceptance of electronic “arrangments” for a band who grew over the simplicity, speed, and aggression of punk. He did it extensively, giving entity to the electronic artifacts that would change musical aesthetics to nowadays. He experienced with OMD (Orchestral Manoeuvers In The Dark) to sign the path for synth-pop. He broke ambient into post-rock with The Durutti Column. Joy Division is a remarkable stand for the music evolution, only compared with Talking Heads’ “Fear Of Music” amb PIL’s (Public Image Ltd) “Metal Box,” both released in 1979, a propelling year for the new.

Here we go again!

Tight up to the lace one more year, I am moving the tail for being your dog (Rendition to the forthcoming Stooge‘s 50th anniversary.) Ready to periodize time for taking a healthy knap. It’s going to be rushy. There are too many offerings for a rational schedule, from PRO through pre-(whatever) and, finally, to the exhausting post. However, there’s the magical word: choice. I’ll be there, at my prescripted corner, Primavera Bits, where I stood last year, almost on stillness mode. I’ll do the walk (or transfer – thanks, SEAT -) for the exciting rest. I swear I’ll wear under my pants a flowered Bermuda swimsuit for the main stage, “Lotus,” to go for a “Splish, Splash” at the right time.

In a model of gender parity, the most acclaimed DJ-producers will be on the decks. From Laurel Halo to Veronica Vasicka (excited for what can come off from her box running Minimal Wave). Helena Hauff, her sister in sound, who’s always taking me back to an ambiguous disturbing-pleasant background. Yes, Sophie. Narrator Marie Davidson. I want that NYC raver kid on Princess Nokia‘s set. I am celebrating proposal Octo Octa b2b Eris Drew. I’ll stand for Peggy Gou. Pop up with Robyn. Choreographed FKA Twigs. Lately, Nina Kraviz. Erykah Badu, I won’t forget you.

Concerning guys, Cybotron is a piece of history. Curiosity for Nas and Dâm Funk. If I can, double Objekt. To recapitulate, Hieroglyphic Being. Richie Hawtin, an excellent pre- for Avalon Emerson. Apparat, you take me for the longest run. You also are expecting James Blake with Rosalía.

Nitzer Ebb, promise I’ll be there. Stiff Little Fingers, Guided By Voices, Liz Phair, Primal Scream and Tame Impala you’re worth for a transfer, from schedule to my heart.

Ok, we all love indie music, but what some of us like the most is to evolve. Moreover, what I appreciate from Primavera Sound is that programmers do their job, going along with the music changing times. To the J Balvin reggaeton offer, locals bill talented Rosalía, who took her trained “cantaora”‘s flamenco roots to the nowadays standards of musical production. They don’t stop in this, and they go further. Primavera Sound 2019 offers a privileged contrasting situation. There will be a middle stage between these two significant phenomena. A Point of interest. “El Punto” stage, placed on the Parc del Fòrum’s electronic side, where artist Yung Beef curates a selection of seventeen (17) urban music local emerging talents going from trap to reggaeton. It is for the owner, a place where the rich Spanish culture contributes to the globalized musical forms. It will allow discerning and qualifying the incomes and feedbacks; what gave Imperial Spain to the Ultramar colonies to conform Caribbean musical roots, where J Balvin takes his reggaeton from; what can add those new voices to the urban of its own and vice-versa, leaving Rosalía as an outstanding contribution to the pattern in “quejíos.” Lovely, Nathy Peluso. Have a nice time. We’ll see around!

Hivern turns ten

The Catalan Way

Hivern Discs is about to celebrate its 10th-anniversary party, set on September 10th at Vila Habana, in Castellbisbal, a location near Barcelona (Catalonia/Spain.) The event calls followers to join in a journey set, from 4 pm September 10th to 6 am September 11th.
The bill is under the imprint’s boss control, John Talabot, who invites a diversified bunch of friends and colleagues like Ben UFO, Daniel Baughman, Inga Mauer, Aleksi Perälä, Benedikt Frey, including artists who debuted on the label like Cleveland. Also takes those who are in the sound taste of the imprint like Romanian duo Khidja or under the headquarters’ attention as Dutch producer Oceanic, French The Pilotwings or Japanese artist Sapphire Slows. The traced historical background comes from local associates who were the early core for the label’s roster and its growing, from Mistakes Are OK (Franc Sayol) and C.P.I. (Hugo Capablanca + Marc Piñol) to the latest JMII, among others.

This line-up belongs to the spirit that decided Oriol Riverola (John Talabot), Salva Coromina and Franc Sayol to create Hivern Disc in Barcelona back in 2008. Do their own. First for patting themselves on an excellent job along a decade. If there is no intention for that, I’ll do it sincerely for them. Focus now. Primary, they began this ten years run to give support to the local talent. It was a decision made out of personalism. A label created by an individualities’ will to get along but not moving with the program. The fact is that, at the time, there was no program at all. With a tremendous lack of media support, enabled to consider electronic music as a cultural movement, it rested as an atomized and dispersed appeal available only for a few, a bunch of rare and uncontrollable beautiful ones. They were jumping from Nitsa/Apolo to Razzmatazz and dug in through numbered of import record stores in Barcelona, purchasing wax on the Internet and concentrating year after year at Sonar or the starting Primavera Sound. Those who built these prestigious festivals now were also individuals who pushed forward against all the odds. All of them went the Catalan way. Growing flowers out of stones.

In 2008, out of Razzmatazz‘s DJ booth, Oriol Riverola took his first moniker as D.A.R.Y.L. and released “FlorDance,” the first Hivern Discs reference, a 12-inches accompanied by his fellow at the decks, MouseUp (Salva Coromina), on a complementing B-Side. The first label’s compilation, “Hivern a L’Estiu,” came out ten years ago with the same names but with a first track signed by John Talabot. This artistic name was on the radar’s attention since “Sunshine.” Permanent Vacation put out his “Afrika” in May 2009, and the reactive to fixed forms Munich label opened up his space for debuting full-length album “ƒIN,” a personal catapult as demanded remix artist who turned to international recognition with his contribution to DJ Kicks series in 2013. John Talabot was inventive, kaleidoscopic, going in from dark tropical to African percussive in diaphanous synth lines, and his house enriched in Balearic mode. By the way, as John Talabot going to the crest of success Hivern Discs released a consistent amount of local acts, from Pional to Marc Piñol, Aster, Kresy, Eduardo de la Calle, Olde Gods and so on. Of course, Hivern Discs approached Red Axes for the Eastern moods as well as John Talabot had something to do with Axel Boman in Talaboman act, same DJ Koze related to Studio Barnhus. They share an attitude.

Hivern Discs has fed primarily on Anglo-Saxon and German electronic musical tradition, but let their hearts devoting most of its work to nappy digestion of effluent dreams, or was it soulful work (‘ànima,’ in Catalan)?… They looked out further from any border and trespassed them all. However, behind that apparent decision of celebrating the tenth anniversary, I would like to dedicate the place they were born in and be proud of what it means. These guys are from Catalonia, a real hub on diversification from trends and tendencies, in a confluence of geographical and cultural blessings. They are full-time on a Mediterranean state of mind. I mean, ask Dj Koze for the effects of an Espelt (winegrowers in Empordà) red wine bottle, and the view of a little village in Costa Brava for morphing different shores on his album “Amygdala” (Pampa, 2013). If I am too exogen, specific or personal, let’s put it another way. In musical terms, the Mediterranean Sea (a way to see) set the epithet ‘Balearic‘ to the standard, out of the rule. A lot of comes and goes in trading; a sea sailed on adventures since the first words became history. Always in the sense of beauty.


The Hellenic touch is in the Hivern Discs‘ logo, created by Arnau Pi, graphic designer, and art director for the label. A Greek Bust, as individual as the capital H (for Hivern) working as factions. Moreover, the ‘H‘ has many faces. Because of Hivern Discs have many flexions, and complexions, as much diverse and unique as the appealing of a one musical moment: taste. No imprint sound to enforce, but captivating artists that work out of the norm, deserving an exclusive cover art. Hivern Discs is for followers. Let’s celebrate it!

Primavera Sound 2018

Primavera Bits, my favorite corner

Barcelona, the capital of Catalonia, concentrates attention around one more Spring, with one of the most prestigious European Festivals. Artists are coming from everywhere, all of them are reviewed present interest from headliners to newcomers, representing all kind of genres in a rich, full musical diversity. They are about to get packed Parc del Fòrum one more time. This facility located at the municipality of Sant Adrià del Besòs is the near downtown main scenery, getting stage complement with clubs in the heart of the city, where some public buildings set for the professional program by the organization, the so-called Primavera Pro. One more year, attendants will be in a joyful flow of colors, moves, and celebrating diversification, mainly from May 31st to June 2nd.

Diversity is the keyword for Primavera Sound‘ success. From the beginning, back in 2001, the festival’s bill was a vast range amalgam of genres, with indie pop-rock as prior subject, caring for local artists, always paying homage to the greats and never taking foreign highlights for granted. This attitude from programmers enlighted with big names the successive editions, first with few, now in massive. Increasingly, year by year, essential artists brought hip-hop, urban and electronic music to the audience. The later did a giant leap in 2016, concentrating a specific place for DJ sets in an area called Beach Club, on the Parc del Fòrum East-South side, close to the shore. Last year the zone became Primavera Bits, a proper two-stages territory for electronic music, one dedicated to the DJ sessions and the other to the DJ/ Producers’ live sets. Each one associated with a drink naming mark. Primavera Bits 2018 added a third drink named stage, giving beats a consolidated status at Primavera Sound Festival with a specific line-up.


Since 2016, this has been my favorite corner at Parc del Fòrum attending Primavera Sound, always keeping an eye on the app for not losing any of the other exciting proposals offered.

Image credit: Viviane Vieira at Instagram (@strollingbarefoot)

‘Talking With Myself’ by Electribe 1.0.1

This Ain’t Chicago

This unique piece of house history was in the making, about to flourish in Spring 1988, now thirty years ago. What it took several months since the Electribe 1.0.1‘s debut track hit the shelves that November, released by Club, a Phonogram sublabel. It became a soulful house favorite for a few, initially underrated and overlooked for the lack of promotion, but an anthem for the British way of saying “This Ain’t Chicago.”

Talking With Myself‘ came as an 8-Track demo hold by Hamburg born composer, and vocalist Billie Ray Martin, who lived in Berlin before to move into London. It was a natural destination traced in the illusions mapping of several German artists since DAF (among others) did the way for capital support back in the early eighties. Billie Ray Martin was another case; she was not on the precursive dark and industrial forefront that gave European personality to the incoming techno from abroad. She was a talented vocalist, composer, and writer on a mission, to provide meaning lyrics and a warm brit response to the early house of Chicago imports. Billy Ray Martin entered in the late 80’s deep house frequency with a sense of modulation saying we can do it another way; we re-style it to our sensibilities. By the time, London raved in the transformation of UK garage into acid and speed house, trainspotting tags in hyper-sensory conditions as the whole UK was on S’Express and Bomb The Bass. She was absorbing influences to create something on her own, the way A Guy Called Gerald and Baby Ford did before, and getting ready for main inspiration on Julian Jonah‘s ‘Jealousy And Lies‘ as she recognized later.

In February 2016, Billy Ray Martin decided to offer ‘Talking With Myself (Original 8-Track Demo)‘ for the fans, with accompanying press note where she explained briefly the story of the making it. It is a precious little time capsule to contrast. She mentions the announcement entitled “Soul Rebel seeks Musicians, genius only” she hired to look for back up on “Melody Maker,” asking to materialize her composition as the soulful house anthem is now in time perspective. You guess how impressive for her was listening to Julian Jonah‘s track through the speakers in a London night rave from Heaven to Wag. As remarkable as to say: “This!” to wrap her original up with the right arrangement. An idea of a sinuous and relentlessly Roland SH-101 sequence built for her narrative voice was in work, and she got the feeling to transmit it to the fab-four from Birmingham, the genius bunch of receiver’s call who did so for good; Brian Nordhoff, Joe Stevens, Les Fleming, and Roberto Cimarosti. The gift Billie Ray Martin gave us is a documentary piece of how similar was the demo compared with the official single released a few months later, without the “Mission Impossible” part she always denied. Electribe 1.0.1 formed as a band and the demo received the OK from Phonogram for signing. The imposed norm of prescriptive rework by the label took place at the studio with arrangements, and new vocal takes that never came out in the final cut or in a fragmentary way as she punctuates. The single had a hard unpromoted run, but white label promo copies had consistent airplay to create fuzz about the band. Who they were was a question only answered for a few. They were a must that summer in the Balearic sets at Café del Mar (Ibiza/Eivissa) and a pick to go by at any of that peculiar British movement called rave, taking crowds from clubs to improvised locations fueled in Ecstasy.

Managed by Tom Watkins of Pete Shop Boys fame, the band signed to upper-level Mercury/Polygram Records. In a long run of a year since Electribe 1.0.1 became noticeable with ‘Tell Me When The Fever Ended,’ released on October 1989 and vindicated with ‘Talking With Myself‘ as Mercury reissue. ‘You’re Walking,’ released on September 1990, was a previous step to the recognition that came fully reviewed with the debut album, “Electribe Memories,” a month later. Summarily this is Electribe 1.0.1‘ story from ‘Talking To Myself‘ beginnings. However, what made Electribe 1.0.1 unique is the attributed clear example of being representative of “This Ain’t Chicago,” referring London and extensively to the UK.

What hides this expression is not a ridiculous comparison between London and the Windy City or, in the broader view, the UK with the USA. No, It is a self-affirmative of Brits capable of doing creative outputs another way. It happened with rock’n’roll and with house music once again. Also happened with techno, and the Detroit pioneers had to deal with the fact that their nucleotide music style took different developments from the basic structural unit, first from the Germans then from the Islanders. Improvement from stolen? Yes, for groove sake!

Chicago built house music from talented DJ individualities, editing R&B classics played differently every night with the enforcement of Roland TRs in diversity stronghold clubs, as well as NYC warehouses were packed up in similarity. It was a sense of community, the expression of the outcast sensibilities in an enclosed space safe. Techno was the postindustrial feeling inside out. Detroit was going on cracked down. No space to cover up. The UK unblocked the club’s emergency exits for expansive freedom run on hedonism, where everybody was embraceable, where house and techno meltdown in a hug. Raving was certificated dangerous movement, but intolerance was running out in a new open space, massively searched. Electribe 1.0.1 belongs to this, specifically ‘Talking With Myself.’ The loving missed Frankie Knuckles agreed with it.