Indeed, over several years, this little disco genre grew out of it’s status as an underrepresented and disrespected fad and began to earn itself a name, each day garnering a wealth of newfound believers. And the best part about it was the fact that everyone who chose to participate was able to build off of something someone before him had already done, and to keep us all moving forward. Boys Noize‘s debut album, for example, taught the world that a loss of bit depth is not necessarily a loss of quality; Oi Oi Oi was full of beautifully destroyed, and often times disgusting sounds that, when combined with an appropriate beat, came together seamlessly. And it certainly was not just Alex doing the work. For a while, it seemed like every new album release was a revolution in itself, and that dance music itself had become untamable.

Unfortunately, this “booming prosperity” (if I may) seems to have changed as of late. And while I’ve heard from many different people on many occasions that, “everything has been done, and it’s all just boring now,” this isn’t what I mean in the slightest. Rather, it seems that all the artists that we’ve grown fond of over the years have continued to provide a steady stream of great quality, creative compositions, but that they’ve somehow lost the ability to build off of and be influenced by other artists, and have become stuck making music in the exact same vein as all of their past work. To put it concisely, it’s almost as if the creativity and originality is still working strong, but that we’ve lost our compass, and with it, our sense of musical direction. Thus, for the last several months, we’ve been stuck wandering in circles like a line of ants with a stick strewn across its path. Sure, the music still sounds great, but where is it–and where are we–going as a collective?

If anyone feels compelled to share thoughts, ideas, or even music, I’m confident that the rest of us would welcome your ideas with open arms.

Fake Blood – Think I Like It

Felix Da Housecat – Kickdrum

Boys Noize – Kontact Me (Removed as per request)

Boys Noize – Gax (Removed as per request)

Boys Noize – Nerve (Removed as per request)

As a result, I’ve become content with the notion that there simply cannot be a unified perception of these outlandish noisemakers. Where bands like the Beatles (I know I know, outdated reference. I chose it because of its irrefutability.) or, as a more contemporary example, Justice, can generally be considered “revolutionary” and “talented” whether or not you actually like their tunes, The Bloody Beetroots are forever destined to be those two guys that either ruined, or revolutionized the disco scene.

So here’s what I’m proposing. Take a good hard listen (if you haven’t already) to a few of the more enterprising tracks found on Romborama, and then if you please, let us all know exactly how you feel about the direction The Beetroots haven chosen to embody. Is it brash and unnecessarily noisy? Are they simply cultivating a field of sound and putting a beat to whatever they can get their machines to spew out? Or are they still the praiseworthy, pioneering geniuses that took control of electro back in 2006 and showed us how to really “do it hard?”

The Bloody Beetroots – House N° 84

The Bloody Beetroots – Anacletus

The Bloody Beetroots – Mother

Unfortunately for us (and mind you, when I say us, I’m referring to us tasteful folk to whom disco expands beyond the confines of a mere genre), the bedroom producers of the world took an extraordinarily long time to catch on to the lack of a market for this kind of work, and so for nearly the entirety of last year, all but a select few have been flooding the net with their obnoxious 4 bar pitch bends and nearly drowning our ears in an onslaught of overplayed sound.

With all this in mind, one must admit it seems a task of epic proportions to be able to create something derived from this same style, and at the same time keep it interesting and new within its small corner of a sub-genre. In fact, being the skeptic that I am, if you’d asked me a few weeks ago, there’s a good chance I would have dismissed it as impossible, however, this new wave digital underground of ours never fails to prove me wrong.

Motor

Despite the fact that their entire single (appropriately titled “Death Rave”) consists of nothing more than a series of escalations and drops, Dim Mak‘s newly signed artist, Motor (and no, as far as I know, there is no connection between the artist and the aforementioned Sebastian track), has ripped a whole new meaning into the word “banger.” I can’t possibly explain where on earth the sounds they’re getting come from; perhaps their strange location (half Paris, half New York City), brought forth a sort of convoluted set of influences. Or perhaps they’ve just got a thing for making hipsters feel compelled to rip their hair out in a confused state of ecstasy. Either way, they’ve challenged the devil and accomplished the impossible, and their music is the evidence. Brace yourself: Death Rave brings a whole new meaning to the word “disgusting.”

Motor – Death Rave

Watch for the release of their record “Metal Machine” this Tuesday on Dim Mak Records.

At the risk of forever being labeled as a complete fool, I’m going to be 100% honest and say that prior to the release of Felix Cartal‘s Skeleton EP, my expectations for the Canadian boy could barely be lifted off the ground. I’m not quite sure why, however, I feel it’s safe to say that my insensitive assumption could not have been entirely my fault; Up until quite recently, his tour fliers have depicted him as “opener material” by consistently placing him second to artists like MSTRKFT, Steve Aoki, and LA Riots, a spot that would likely have otherwise been filled by Them Jeans or Dan Oh and the like. Not that I have anything against the guys; It’s just that they’ve all been supporting each other as remix artists for such an extensive amount of time, that it has become unusual to regard any of them as an actual recording artist, capable of releasing a fully fledged and independent album.

Needless to say, every one of my assumptions was shattered and surpassed on levels that I didn’t even have a clue existed. Not only has the young wrecka created an EP that embraces and fully displays the sounds of modern dance music, but he’s also made the art of innovation stylish once again. That is, where I expected to hear a collection of four songs that all resembled his (and everyone else’s) past work, I was startled to experience the charitable use of complex rhythms, character of sound ranging from his trademarked banger synth to lighter, poppier noises not dissimilar to that of Simian Mobile Disco, and elegant eight bar chord progressions that work hard to draw every last piece of energy possible out of those 24 bits. Long story short, it took Felix less than a minute to establish himself in my mind as far more than just a Reason remixer. Skeleton EP is wonderful. Felix is wonderful. Dancing is wonderful. Group hug.

Felix Cartal – Redheads

Considering the poor boy put so much time and energy into this EP, I can’t bring myself to post more than a single song. If you’ve fallen as deeply in love as I have, spend the four dollars to grab a copy, and of course, don’t forget to make your way out to Cinespace tonight for the Dim Mak Tuesdays “Skeleton” Release Party!

Now you’re likely itching to point out that I’ve failed to notice the giant corporations that surround the music industry as well, and you’re certainly not wrong in letting your mind wander so, however, you’re failing to factor in one important observation: the music industry is awful. Point and case: iTunes can give my favorite tracks whatever rating they want, and it’s not going to mean a thing to any of us. Danger’s 11h30, undoubtedly a stepping stone on the path to electro as we know it, was given 1.5 of 5 stars upon its iTunes release, and all this says is that Steve Jobs (and the loyal fan base of tone-deaf tools which he’s managed to create by means of the iPod) doesn’t care for electronic music, which (I can only assume) doesn’t play much of a role in choosing whether or not to buy a particular track. Naturally, this lack of agreed upon ratings keeps music, and the creation thereof a dynamic process: People (at least the ones who care enough to realize that songs that are played on the radio are not necessarily required listening) have never been restricted to the cut of tunes deemed “appropriate” by some hypothetical checklist. Needless to say, we’ve been quite lucky.

So He Just… Plays Records?

Chances are, if you’re reading this, you either are, have been interested in, or know someone that has decided to seek enlightenment through the art of dj’ing. That being the case, chance also says that at some point in recent history, one of your friends (likely one with less than half as many cool points as you) has made the foolish mistake of asking you the forbidden question: What exactly does a dj do, and why does he get so much credit for it?

Of course, the intolerant anger starts to well up in your stomach. How could someone even ask that question? Isn’t it obvious just how much of a phenomenon it is that a single man can capture the hearts and minds of musically ignorant crowds on a nightly basis, purely through his use of music? Does this ignorant inquisitor really think his record playe–ahem–iPod can give him that same experience that a DJ can? Unfortunately, the answers are no, and sadly, yes, respectively. And the worst part is, you’ve got nothing to say that’ll make him think any different; Or at least you didn’t, until now.

What does a dj do that makes him so special? How is spinning a record, (or to be more politically correct with these a-changing times, pressing play on a midi keyboard) such a respectable deed, and what exactly is is that keeps the creatures of the technicolored night so faithfully returning? It is the plain and simple fact that no matter how many DJ sets he’s studied, and no matter how many times he’s encountered success in the past, there simply is no correct and guaranteed-to-work method of DJing. In contrast with all other forms of media, a DJ cannot simply make a playlist out of fivestar-ed iTunes songs and rest assured knowing his audience will be satisfied. Rather, DJ’ing is the art of adapting to an audience, and convincing them that though their minds tell them that they aren’t particularly fond of a particular song, that their bodies perceive every minute of it as exactly what they want to hear.

The Bloody Beetroots & Steve Aoki

So how does all this relate to anything at all? It’s quite simple, really. See, in a scene where musical taste is so incredibly inconsistent, it becomes important to get a grasp on the general reception of each particular release, despite the enormous difficulty associated with doing so. For example, releases like the latest from Simian Mobile Disco are frequently propelled into a massive collection of opposing poles, comprised of those in love with, and those disgusted by the band’s new direction, which makes it difficult to assess a particular individual’s response. There are, however, exceptional cases, one of which happens to be the latest Dim Mak release entitled “Warp”. When a track has been featured in a mix tape by just about every major artist before its actual release, has been remixed by that same lot, as well as by quite a few lesser known producers, has seen the attention of more than one false music video, and (here’s the kicker) has an official music video that grants us the privilege of staring at Steve Aoki‘s screaming face for a solid 20 seconds, it becomes clear that there shall be no controversy over the response; A thousand sweating bodies is all the five star rating I need.

The Bloody Beetroots – Warp (Feat. Steve Aoki)

I’m wondering just how many regulars I’ve lost due to the drastic increase in the text to music ratio on this site. Perhaps I should step it up in the way of audio contributions…

Oizo‘s Back

Although, whether he even left in the first place, I’m not quite sure. The guy’s approach on music is certainly a strange one. While most prominent artists (granted most fail to withstand the test of time) make a conscious attempt to produce music similar to that which has already found celebrity within the disco scene, Oizo has chosen to cling to the sound he pioneered nearly a decade ago, and to allow it to drip through its hypothetical IV so as to maintain a constant presence within the club scene.

Brilliance, consistency, and a wicked beard. What more can you ask for?

Erreurjean feat. Error Smith (Original Mix)

Mr. Oizo feat. Uffie – Steroids (Mr. Oizo Remix)

One last thing. I feel the need to give my greatest respects to those who have somehow managed to actually read this highly nonsensical post. Seeing as much of my writing makes so little sense upon looking back, having done so seems a most notable accomplishment.

See, several months ago, our faithful, electro loving community (which tends to get its highs off of distorted saw tooths, rather than the more conventional inebriates) discovered one particular video who’s contents proved considerably more alluring than most, and though we certainly made our best attempt to convince ourselves to simply be patient for a physical (and therefor admissible) release, the alluring properties such a partially revealed “symphony” so to speak were overwhelming to the point that after only a few days, none of us cared that the crumbly recording was set to the wonderfully entertaining visuals of Audio Surf (a phenomenon of which I’m quite sure we are all aware).

I mention all of this, not in an attempt to bring forth the guilt we’ve likely had suppressed for all these long months, but rather, to provide well deserved relief and reassurance, for as things currently stand, MSTRKRFT’s Fist of God album, which has consumed our lives since nearly a year ago, when we learned that the release date had initially been set for September 08, is finally less than a month away, and that being the case, I have indeed, managed to snag a copy of the track that the above mention video has taught us to love. I must warn you, however: Though the relentless fury of the Fist of God seems to provide more than four minutes of unsurpassable pleasure, it is truly impossible to fully grasp the beauty and finesse of the entire album, as well as this particular track’s place within it, without listening to the entire, unabridged work in its entirety. It does not matter how much or how little you enjoy any and all of the other titles; without the proper sequence, these tracks cannot be heard as they were intended. Thus, I beg you, the truest of MSTRKRFT fans, not to pirate, steal, or take advantage of the album resultant of those many months in the studio. Do not spoil yourself with the improper track order and spacing resultant from these careless, unappreciative leaks. You’ve got less than a month to go. And surely, this little taste will be more than enough to keep your heart racing throughout these last couple days.

MSTRKRFT – Fist of God (Removed by request)
–edit: I suppose it’s for the better–

And just as a little kicker (in case the notion of a closely pending MSTRKRFT release has somehow failed to turn you on), if you happen to be in the Los Angeles area, you’ll likely want to look into Dim Mak’s Fist of God release party, which is set to take place the 16th of March at the Roxy on Sunset. Fifteen dollars will not only buy you admission, but it will also grant you the rights to a free copy of the album.

Honestly now, how special do you feel?

Fortunately, you shan’t be left in the dark yet again, seeing as Dim Mak has officially gone all out on their upcoming Avalon-strocity of a dance party and has managed (by means of some ridiculous supernatural power) to summon the dj Feadz to make Los Angeles sparkle upon the night of the 12th of September. (That means you’ve got a little over a week to go ahead and cancel all your appointments and such. Don’t worry, you didn’t really need to go to them anyway) Considering a live Feadz headliner has become somewhat of a rarity since the inception of Uffie, it goes without saying that this isn’t something you’re going to want to miss. And as if that’s not enough for your metaphorically Irish electro tolerance, I suggest you take a look at the rest of the lineup. We’ve got Kid Cudi (I’m sure you’ve heard Crookers‘ Embrace the Martian?), Paparazzi, Them Jeans (If you’re unfamiliar, you must live in a cave), and the notorious Hyphy Crunk, all waiting to help you lace up your dancing shoes. Sure, a couple of those names do indeed frequent LA, however, having them all to yourself together in one night is pushing insanity.

For those of you who’re finding yourselves a tad confused, here’s a couple tasters to get your blood running hot. I trust the next couple minutes shall ensure that I’ll be seeing you there.

Feadz – Go On Beef (Mr. Oizo Remix)

Feadz feat. Spank Rock – Back It Up

Kill the Noise – Hey You (Paparazzi Remix)

And it’s true; From there, the disco kids decided to get in touch with their roots, hence the massive 80′s revival. Artists like Chromeo, Danger, and Calvin Harris decided they didn’t like all that distortion on their synthesizers, so they started their own revolution, and for a while there, we were all considering buying Delorians, weren’t we? (It’s okay. You don’t have to answer out loud. You were.)

Crookers

The reason I’m commenting is because it seems as though we’ve undergone yet another musical revolution. A couple guys from Italy, working under the name Crookers, decided that they just didn’t like all that noise very much at all, and they decided to do away with it all together. Their tracks are little more than a punchy house beat with a few microsamples, a few vocals, and minimal synth usage, almost like a more progressive, electro-fused minimal, and somehow they’re simply incredible. There’s no doubt the boys have started a revolution: More than just a few producers have recently adopted nearly identical styles, and the news just keeps coming. I’m clueless as to why we’ve gone crazy for merely the skeleton of the music that was so recently such an important part of disco, but that’s not to say I’m not loving it!

Also, if you’ve already hopped on the Crookers bandwagon and are just dying to see those Italian heads bob, you might be happy to hear that they’ve finally make their way out to California. They’ll be throwing down the goods tonight at Cinespace’s Dim Mak Tuesday, as well as at tomorrow in San Francisco.

While you wait, check out their latest body-mover:

Crookers – Mad Kidz

And you’re just dying to hear more of those delicious housy beats (which I know you are) you might want to look into Aston Shuffle. The (I almost feel ridiculous at this point even having to mention this) Australian artist has a similarly infectious beat, but with a bit of a more traditional electro touch. There’s no doubt the vocoded hook toward the middle of the track will have you clicking the repeat button.

The Aston Shuffle – For Everyone

A-Trak

Moving in a different direction, there’s been a rather unusual release from the likes of A-Trak today. The hip-hop gone electro dj/producer has recently finished a 45 minute long original piece for Nike that’s intended to be the perfect soundtrack to your workout. According to A-Trak himself, his mix is a cross between his newer Disco style and his hip hop roots, so you can expect to hear a bit of the electro rap we’ve been encountering more and more frequently. If you’re already busting out the short shorts and the ear buds, you might want to grab the mix on iTunes before you leave. It’s under the Nike sports section.

And as a final touch, I simply must include this rather frustrating little video I stumbled across. It’s one thing to have an opinion but oh is Mr. Henry Rollins the ignorant one… If you don’t feel like spending quite a lot of time fuming over the controversial comments on the video, I suggest you don’t read them, lest steam start to leak from your ears.

If you haven’t heard The Bloody Beetroots by now, don’t worry, I’ve already taken the liberty of devising a rather simple solution for you. It goes like this: Cancel your World of Warcraft account for just one month (If this proves too difficult to handle, you might want to look into Craftorette. It’s this really neat gum that supplies you with WarCraft replacement hormones and makes quitting easier.), and use that money to either buy their EP entitled “Let Your Washing Machine Speak”, or if you’d rather not be seen buying a somewhat old album, you can put that money in a jar and save it for the release of their full length, which I’ve heard is no longer too far off. In the mean time, you can check out their latest 2008 mixtape. The mix isn’t spectacular, but the sneak preview of their remix of MSTRKRFT’s “Bounce” will leave you anxious and frustrated at the fact that the next Cinespace Dim Mak Tuesday isn’t for 48 hours! If, on the other hand, you have heard of these guys, you might be excited to hear that their remix of Audioporno’s “Choo Choo” is no longer an artifact that you have to go to a MSTRKRFT show to listen to. As of mid July the track, which was originally not intended to be released at all, will be available in 12″ format through the German record label, Exploited Records. Why’d it take so long? Basically, the band that produced the original track had not planned on ever letting that song out of their hands, which naturally led to difficulties getting the remix published. Needless to say, they’ve found a way around it. If you’d like to pick up a copy, you can grab it here. You’ll have to have it shipped from Germany, but hey, that’s a small price to pay to get your hands on a track that people have been after for more than a year, right?
If you’re still not convinced, you might have to listen to this little teaser:
Audioporno – Choo Choo (The Bloody Beetroots remix)
And here’s their mixtape:
minimixxxx-june-2008

And just for the sake of completeness, here’s one of their newer remixes. (You have to remember that the word “new” means almost nothing when it comes to these guys. By the time you finish reading this post, they’ll probably have put out another one)
Shit Disco – Virgins (Bloody Beetroots remix)

In other exciting news, the 80′s are back.

What!?

Yeah, they’re back. If Chromeo and Calvin Harris aren’t proof enough, you might want to check out the most recent remixes from the often overlooked French producer, Danger.

The guy’s a beast. I mean god’s sake, he’s managed to squeeze incredibly cliche 80′s pad synths into “American Boy” and it actually sounds damn good. Better than damn good. It’s most definitely worth the download, so don’t be shy. Use up my bandwidth and download that shit.

American Boy feat. Kanye West (Danger Remix)

And since we’ve briefly mentioned Kanye West, I figured this video is relevant and good for a laugh.

Kanye West gets way more respect than he deserves. His ego is disgusting.

One final note:
My roommate invented two new words recently. Normally this wouldn’t be anything to post about, but after hearing these words, I was almost angry that they weren’t already in the dictionary. If you have nothing to say about the rest of this post, at least tell me how awesome these words are, and how happy you are that they’ve been invented:

• swervature – A unit measure of an object’s ability to swerve, usually a skateboard.
• bomblet – A damn good omelet. The kind that leaves you feeling like the rest of the day doesn’t even matter, because your breakfast was enough to be able to tell people that you did something today.
  ]]> http://uhohdisco.com/blog/2008/06/06/seriously-how-cool-are-those-spiderman-masks/feed/ 2