Originally I had created the metronome project based on two ideas.
1) to promote myself as a DJ
2) to create a web page that emulates Rolling Stone, but instead of focussing on rock music, look at the world through electronic music.
Lately I have been re-examining the intent and I am dropping number one to focus on number two. To go along with the course correction the following items will be added. Hopefully most of these will be up after this weekend!
ALDJ Mix Club - A weekly mix chosen by the folks over at ALDJ. This podcast will not only focus on the great mixes that the users post on the site, but also ones that need help. Along with each mix there will be links included in the podcast to get more information on the tracks and to comment on it.
ALDJ Classic Mixes - Over the past past year ALDJ members have created some incredible mixes that not only sound great, but push the boundaries of the mixing tradition. This podcast will also have links for information on each track.
Metronome Approved Tracks - A podcast that will collect all those awesome free tracks on the web and collect them into one place. Along with exclusives from us.
Design - Music is a reflection of what people see, and feel. To expand on that the metronome project will add pages for art and architecture.
Additional contributers - That one is pretty self explanatory.
So there it is. Hopefully in the end a page will be created that not only reflects life, but stimulates it.
Thursday, November 29, 2007
Tuesday, November 27, 2007
Fizheuer Zieheur
Track : Fizheuer Zieheur
Artist : Villalobos
Label : Playhouse
When I first heard these tracks on the Dance Department podcast I was intrigued, “The longest techno track ever?” Of course they could not play them in their entirety, but the segments that I heard sounded great. Unfortunately it never went for sale on Beatport and I eventually forgot about it.
Recently reading an article on Villalobos I was reminded of the track and did a google search and found the CD at amazon.com.
I have been listening to the EP for the last two days, at over 30 minutes plus each it takes a while to get through them, and I have to say that they are good. The groove, the sound, the mental state that they create is amazing; unfortunately their length bogs them down. Fizheuer Zieheuer has a horn sample that eerily floast over a deep groove while Fizbeat is a hypnotic minimal track that slowly rolls along.
However, do they need to be 30 minutes plus each? No. While the tracks are outstanding, they become monotonous because they lack the internal movement to become a sonata. Instead they feel like really long techno tracks.
The upside though is that there is enough room in the track to layer other songs on top of it, slowly bringing them in and out. Adding that additional drama that the tracks require to be played their full length.
And this is what I intend to do.
Artist : Villalobos
Label : Playhouse
When I first heard these tracks on the Dance Department podcast I was intrigued, “The longest techno track ever?” Of course they could not play them in their entirety, but the segments that I heard sounded great. Unfortunately it never went for sale on Beatport and I eventually forgot about it.
Recently reading an article on Villalobos I was reminded of the track and did a google search and found the CD at amazon.com.
I have been listening to the EP for the last two days, at over 30 minutes plus each it takes a while to get through them, and I have to say that they are good. The groove, the sound, the mental state that they create is amazing; unfortunately their length bogs them down. Fizheuer Zieheuer has a horn sample that eerily floast over a deep groove while Fizbeat is a hypnotic minimal track that slowly rolls along.
However, do they need to be 30 minutes plus each? No. While the tracks are outstanding, they become monotonous because they lack the internal movement to become a sonata. Instead they feel like really long techno tracks.
The upside though is that there is enough room in the track to layer other songs on top of it, slowly bringing them in and out. Adding that additional drama that the tracks require to be played their full length.
And this is what I intend to do.
Monday, November 26, 2007
David Guetta at On Broadway, San Diego
Two facts:
1) I like David Guetta’s music. Sure it is pop, and I have heard it described as the McDonalds of electronic music, but I like McDonalds. Two double cheeseburgers, a small fry, and a large soda for under $5? Sign me up. Wait, now let me go vomit.
2) I don’t like David Guetta’s mixing style, or at least I thought I didn’t. I used to subscribe to his podcast and the music did not flow, and an hour of straight pop? See above. Plus why was it always two half hour sets? 60 minutes a little too much for ya?
I had needed a good night out dancing though, and Z-Trip in all his glory, was not enough for me to get my full groove on. So I succumbed and went to see Dave. At least I will be on the guest list I thought. Wait, no, the guest list closed 5 minutes ago. Can’t be too expensive. $25?! Screw it I really need to club. Wait, now its $30... This will really affect my drinking…
Once the door drama was over I let my friends know that if they want to find me look on the dance floor and I am off. Entering the main room I could not help but noticed that it was slammed, and it was only 10:45. I took a deep breath and dove in.
As the trunk bar started to catch up with me my ass joined the groove. Time became a blur and the next thing I knew Guetta stepped up. He dropped a vocal intro, smiled, and took control. The floor started to heave. Sweaty bodies gyrating, eyes closed, even some guys with their shirt off. It was enough to make a missionary run. Things then really lost control, and although I can’t remember a single detail (like any good DJ should be able to do) I knew that when the night ended at 2 it was to soon.
F!@& Me I am Famous indeed.
1) I like David Guetta’s music. Sure it is pop, and I have heard it described as the McDonalds of electronic music, but I like McDonalds. Two double cheeseburgers, a small fry, and a large soda for under $5? Sign me up. Wait, now let me go vomit.
2) I don’t like David Guetta’s mixing style, or at least I thought I didn’t. I used to subscribe to his podcast and the music did not flow, and an hour of straight pop? See above. Plus why was it always two half hour sets? 60 minutes a little too much for ya?
I had needed a good night out dancing though, and Z-Trip in all his glory, was not enough for me to get my full groove on. So I succumbed and went to see Dave. At least I will be on the guest list I thought. Wait, no, the guest list closed 5 minutes ago. Can’t be too expensive. $25?! Screw it I really need to club. Wait, now its $30... This will really affect my drinking…
Once the door drama was over I let my friends know that if they want to find me look on the dance floor and I am off. Entering the main room I could not help but noticed that it was slammed, and it was only 10:45. I took a deep breath and dove in.
As the trunk bar started to catch up with me my ass joined the groove. Time became a blur and the next thing I knew Guetta stepped up. He dropped a vocal intro, smiled, and took control. The floor started to heave. Sweaty bodies gyrating, eyes closed, even some guys with their shirt off. It was enough to make a missionary run. Things then really lost control, and although I can’t remember a single detail (like any good DJ should be able to do) I knew that when the night ended at 2 it was to soon.
F!@& Me I am Famous indeed.
Thursday, November 22, 2007
metronome podcast 002
This mix begins like the girl you met last week, soft and innocent, but wait to you get her home…
You can download this mix here at at mixdepot: http://www.mixdepot.net/CharlesCushman
or subscribe to the podcast (manually) by copying this URL http://www.themetronomeproject.com/podcast/podcast.xml and clicking "subscribe to podcast" under the advance tab in iTunes.
Track : Artist
I Gotta Thang, Uh Huh : Cass & Mangan
The Screetch (Original Mix) : The Screetch
Pulling Me Under : Richard Dinsdale Ft Wray
Swimming Places - Sebastian Ingrosso Re-Edit : Julien Jabre
Fucking In Heaven (Accapella): Fatboy Slim
Swimming Places - Sebastian Ingrosso Re-Edit : Julien Jabre
Most Precious Love feat. Barbara Tucker (DF's Future 3000 Mix) : Blaze, UDAUFL
Stoopit (Original Mix) : The Martin Brothers
Jack U (Original Mix) : Felix Da Housecat, Diddy
African People (Original Mix) : Trentemoller
Spastik (Dubfire Rework) : Plastikman
My Black Sheep (Radio Slave Remix) : Len Faki
Sexy Fuck (Steve Angello Edit) : Who's Who
Silmarions (Claude VonStroke Bavarian Ferrari Mix) : Mikael Weill
You can download this mix here at at mixdepot: http://www.mixdepot.net/CharlesCushman
or subscribe to the podcast (manually) by copying this URL http://www.themetronomeproject.com/podcast/podcast.xml and clicking "subscribe to podcast" under the advance tab in iTunes.
Track : Artist
I Gotta Thang, Uh Huh : Cass & Mangan
The Screetch (Original Mix) : The Screetch
Pulling Me Under : Richard Dinsdale Ft Wray
Swimming Places - Sebastian Ingrosso Re-Edit : Julien Jabre
Fucking In Heaven (Accapella): Fatboy Slim
Swimming Places - Sebastian Ingrosso Re-Edit : Julien Jabre
Most Precious Love feat. Barbara Tucker (DF's Future 3000 Mix) : Blaze, UDAUFL
Stoopit (Original Mix) : The Martin Brothers
Jack U (Original Mix) : Felix Da Housecat, Diddy
African People (Original Mix) : Trentemoller
Spastik (Dubfire Rework) : Plastikman
My Black Sheep (Radio Slave Remix) : Len Faki
Sexy Fuck (Steve Angello Edit) : Who's Who
Silmarions (Claude VonStroke Bavarian Ferrari Mix) : Mikael Weill
Tuesday, November 20, 2007
Z-Trip at On Broadway
I came to the realization recently that I needed a vacation. My stress levels and the thought time off after a year of no vacation sounded great. Looking at the calendar I decided to take the two days off prior to my gig at Faces Nightclub. Unfortunately the promoter canceled his event and I was stuck with two days and no plans.
Luckily I saw that Z-Trip was going to be playing at On Broadway for their 7-year anniversary. I have been a huge fan of Z-Trip since listening to his Live at the Future Primitive Sound Sessions CD. I was even lucky enough to see him at the 10 year anniversary of that event.
Arriving at the club I entered upon what appeared to be the remnants of a shareholders meeting. A mixture of clubbers, businessman with trophy wives, and guys in zoot suits. To deal with this odd mixture the opening DJ was playing a mix of music that at best could be described as Top 40, worst wedding.
As Z-Trip took control of the decks he faced an impassive crowd and immediately moved to take control. Starting out with some classic hip-hop he slowly started building the energy. Every cut / scratch / record had a point. And once things started moving the mash-ups began. I am not the biggest fan of mash-ups, to many SD lounges based on them. But Z-Trip’s are so unique and expressive I go a little crazy. From their the night became a little of a blur, sweet beats mixed with vodka tonics begat a dancing frenzy which peaked with Z-Trip being joined be a live drummer on the stage.
When Z-Trip returns, the : metronome : project will be there.
Luckily I saw that Z-Trip was going to be playing at On Broadway for their 7-year anniversary. I have been a huge fan of Z-Trip since listening to his Live at the Future Primitive Sound Sessions CD. I was even lucky enough to see him at the 10 year anniversary of that event.
Arriving at the club I entered upon what appeared to be the remnants of a shareholders meeting. A mixture of clubbers, businessman with trophy wives, and guys in zoot suits. To deal with this odd mixture the opening DJ was playing a mix of music that at best could be described as Top 40, worst wedding.
As Z-Trip took control of the decks he faced an impassive crowd and immediately moved to take control. Starting out with some classic hip-hop he slowly started building the energy. Every cut / scratch / record had a point. And once things started moving the mash-ups began. I am not the biggest fan of mash-ups, to many SD lounges based on them. But Z-Trip’s are so unique and expressive I go a little crazy. From their the night became a little of a blur, sweet beats mixed with vodka tonics begat a dancing frenzy which peaked with Z-Trip being joined be a live drummer on the stage.
When Z-Trip returns, the : metronome : project will be there.
Thursday, November 15, 2007
Chris Galvin - the : metronome : interview
With a new successful club night in San Francisco (Dirty Dirty Techno) and a new wife, the : metronome : project catches up with Chris Galvin.
You have been a DJ for quite some time, how did you initially get into the music and what has influenced you to develop you current electro / tech house sound?
Oh man, that’s a tough one because there have been a lot of variables that have influenced my sound. I guess It really goes back to what I was listening to when I was a kid.
When I was a punk little kid in the 'burbs of Orange County, a good friend of mine's (Chris Grim) sister would collect these really obscure underground records from the UK. He would sneak a few select records out of her room a week, bring them over to my house and then we would record them to cassette tape. There was also this movement of megamixes that were floating around at the time from producers like Cameron Paul and Shep Pettibone. I would save all of my money from doing chores and just order these subscription services from DMC and Mixx-It. I was also really into the electro hip-hop records of the 80s too, like: Pretty Tony, Freestyle, Egyptian Lover, World Class Wrekin’ Cru, Megggatron, etc. That’s really where my love of the 808 for me began. You can still here that in my sets today. I really like to lean towards that 808 kick sound.
I think I was 17 when a CD shop opened up near my house. The guy who ran the place was also into obscure English records. He had crates and crates of these records all in the back room. It was like a gold mine for me. Mind you, this was all pre-rave in the US. I would go down there after school and just listen to all of these records from like Mr. Lee, Todd Terrry (Royal House), Ralphi Rosario DJ Pierre, Frankie Knuckles, and the Fingers Inc.. I had no idea who these guys were, but I really got into those records. Eventually, he started to order the more raver stuff from the likes of Stakker Humaniod and A Guy Called Gerald’s “Voodoo Ray.”
Ultimately, this all came together at around the age of 18 when I met Aldo Bender. He was running and DJ’ing this club in Laguna Beach called Club Post Nuclear. I called down to the club and asked if they were hiring DJs. Aldo, laughed at me on the phone, and told me to come down an audition. The audition went well and I became Aldo’s protégé. I would roll down to the club on Friday and Saturday nights and stand in the booth just listening to Aldo drop mix after mix after mix until finally I was allowed to throw down a half an hours set. He would hand me the records to play, from his kit, and then I would mix away. Finally, I was free to start playing my own records and sets.
It must have been around 1989-1990 when I started going to underground parties in Los Angeles that were put on by Gary Blitz, Steve Kool-aid, and a couple of other promoters. My first rave was in downtown Los Angeles in some rickety old meat wearhouse with no lights and a sound system just blaring acid house, techno and rave tunes galore. I remember specifically the moment I walked in the door that this is what I wanted to play.
From there it has morphed into what I play today.
It seems like in the early days of DJing, equipment choices were made for you, Technics turntables and a DJ mixer, now days the choices are not so obvious. DJs can use turntables, CDJs, or be laptop based. What are the primary factors for you in choosing to use Serato? Is there a missing piece of kit that would lead you away from your current setup?
Back in the day there weren’t that may options to choose from when buying DJ gear. There wasn’t really a DJ supply stores within a 20 mile radius of my house, so when I first started out DJ’ing, I would use a dual cassette tape deck and an old Hitachi belt-drive turntable that my Dad had given to me. I would fade a song out, press the “Turntable” option on my amp to play the next song. Right around my 14th birthday, I had saved enough money to buy an audio mixer from Radio Shack. My friend, Chris Grim, and I would get together once or twice a week after school and we would set up all of our gear and just play for hours. We both had a set of these old belt-drive turntables, a couple cassette decks and this crappy little Casio sampling keyboard going through our rickety Radio Shack mixers. We would mix two copies of some crappy 80s records and try to beat match them with electro hip-hop tracks. We were trying to extend the track for as long as we could. Making each extension sound different. It’s insane how many options DJ’s have nowadays. I mean, seriously, look at James Zabiella he has been weaned on technology and the things he can do with two CDJs, a 600 and EFX are insane. Imagine what is going to be available in a couple of years and the kids coming up are going to be able to do.
There are many reasons why I latched onto Serato and that was for the flexibility of carrying around thousands of tracks in my laptop, I’m able to download tracks at any given time and play them and I don’t need to carry around a big ass box of records.
I think if there was a way for me to plug my iPod directly into a mixer, like you do with the Wii remote for Guitar Hero, I would ditch my laptop and Serato.
What gear are you currently using in your studio?
For production, what I use Ableton, Reason, Absynth, and a couple of other plug-ins for creating loops and writing music. Once I’ve come up with a few elements for a track, then I’ll team up with my production partner, Marcosis, and we will export the loops into a super “special” piece of equipment and then sequence. We also use a plethora of obscure and vintage rack effects.
For DJ’ing I use two Technics 1200s, two CDJ1000s and Serato Scratch. Call me old-school, but I still like the interaction with vinyl. With CDJ’s I can have different beats and elements running while I mix over the top with vinyl.
What are your plans for the future of F4 Music? Any thought of making it a netlabel?
I really like the notion of net labels, but I also really like vinyl still. Ideally, I would like to concentrate on doing a really limited edition of vinyl, say 500 pieces, with some very special mixes and packaging. Then, for the net release, provide another set of mixes.
It seems like traditionally there was a lot more risk in releasing music, how do you think the advent of net labels is affecting that?
It’s not the net labels that are in question here, it’s the archaic licensing and traditional distribution channels of the major labels and the old-guard still in place. Net labels are smart. Distribution across the Internet is much smarter than pressing millions of pieces of CDs or vinyl, shipping them to thousands of stores and then hoping the masses will buy them. Now, I can just go to my favorite online shop and sell them tracks without some tangible return – aside from money. This is amazing. I mean, just five or six years back, the distribution channels were really small and there were just a few buyers who bought records, so getting a record labels tracks into those distribution channels was really tough. I use to go down to the record store every Thursday and wait for the shipment records to arrive so I could be the first one on all of the new releases. I don’t have to do that anymore. Now, I can go to beatport or djdownload and get all of the latest tracks I want in less than 10-15 minutes…and for cheaper than the price of an import piece of vinyl.
Nowadays, I can sell to net distribution channel and the tracks on the label can be in the hands of some kid in Bombay and on the turntables in Prague in just a matter of minutes. I think that is a good thing, not a bad thing.
Has working in Silicon Valley, specifically at Apple Computer affected your view of electronic music?
Not really, if anything, I think it has opened doors to other types of music that I would have never heard of before. There is such a diverse and intelligent group of people working here. And it’s not just working in Silicon Valley either. San Francisco is such a diverse a vibrant city. On any given night I can go out and see amazing live show, DJs, art installation or whatever. You name and San Fran has it.
Dirty Dirty Techno has moved from Anu to The End Up, what are your future plans for the party?
Yeah, Alland Byallo and I have teamed up with DJ Ladyhouse to merge Dirty Dirty Techno into Phonic for a bi-monthly event at The End Up here in San Francisco to continue to showcase quality artists and DJ’s.
You have been a DJ for quite some time, how did you initially get into the music and what has influenced you to develop you current electro / tech house sound?
Oh man, that’s a tough one because there have been a lot of variables that have influenced my sound. I guess It really goes back to what I was listening to when I was a kid.
When I was a punk little kid in the 'burbs of Orange County, a good friend of mine's (Chris Grim) sister would collect these really obscure underground records from the UK. He would sneak a few select records out of her room a week, bring them over to my house and then we would record them to cassette tape. There was also this movement of megamixes that were floating around at the time from producers like Cameron Paul and Shep Pettibone. I would save all of my money from doing chores and just order these subscription services from DMC and Mixx-It. I was also really into the electro hip-hop records of the 80s too, like: Pretty Tony, Freestyle, Egyptian Lover, World Class Wrekin’ Cru, Megggatron, etc. That’s really where my love of the 808 for me began. You can still here that in my sets today. I really like to lean towards that 808 kick sound.
I think I was 17 when a CD shop opened up near my house. The guy who ran the place was also into obscure English records. He had crates and crates of these records all in the back room. It was like a gold mine for me. Mind you, this was all pre-rave in the US. I would go down there after school and just listen to all of these records from like Mr. Lee, Todd Terrry (Royal House), Ralphi Rosario DJ Pierre, Frankie Knuckles, and the Fingers Inc.. I had no idea who these guys were, but I really got into those records. Eventually, he started to order the more raver stuff from the likes of Stakker Humaniod and A Guy Called Gerald’s “Voodoo Ray.”
Ultimately, this all came together at around the age of 18 when I met Aldo Bender. He was running and DJ’ing this club in Laguna Beach called Club Post Nuclear. I called down to the club and asked if they were hiring DJs. Aldo, laughed at me on the phone, and told me to come down an audition. The audition went well and I became Aldo’s protégé. I would roll down to the club on Friday and Saturday nights and stand in the booth just listening to Aldo drop mix after mix after mix until finally I was allowed to throw down a half an hours set. He would hand me the records to play, from his kit, and then I would mix away. Finally, I was free to start playing my own records and sets.
It must have been around 1989-1990 when I started going to underground parties in Los Angeles that were put on by Gary Blitz, Steve Kool-aid, and a couple of other promoters. My first rave was in downtown Los Angeles in some rickety old meat wearhouse with no lights and a sound system just blaring acid house, techno and rave tunes galore. I remember specifically the moment I walked in the door that this is what I wanted to play.
From there it has morphed into what I play today.
It seems like in the early days of DJing, equipment choices were made for you, Technics turntables and a DJ mixer, now days the choices are not so obvious. DJs can use turntables, CDJs, or be laptop based. What are the primary factors for you in choosing to use Serato? Is there a missing piece of kit that would lead you away from your current setup?
Back in the day there weren’t that may options to choose from when buying DJ gear. There wasn’t really a DJ supply stores within a 20 mile radius of my house, so when I first started out DJ’ing, I would use a dual cassette tape deck and an old Hitachi belt-drive turntable that my Dad had given to me. I would fade a song out, press the “Turntable” option on my amp to play the next song. Right around my 14th birthday, I had saved enough money to buy an audio mixer from Radio Shack. My friend, Chris Grim, and I would get together once or twice a week after school and we would set up all of our gear and just play for hours. We both had a set of these old belt-drive turntables, a couple cassette decks and this crappy little Casio sampling keyboard going through our rickety Radio Shack mixers. We would mix two copies of some crappy 80s records and try to beat match them with electro hip-hop tracks. We were trying to extend the track for as long as we could. Making each extension sound different. It’s insane how many options DJ’s have nowadays. I mean, seriously, look at James Zabiella he has been weaned on technology and the things he can do with two CDJs, a 600 and EFX are insane. Imagine what is going to be available in a couple of years and the kids coming up are going to be able to do.
There are many reasons why I latched onto Serato and that was for the flexibility of carrying around thousands of tracks in my laptop, I’m able to download tracks at any given time and play them and I don’t need to carry around a big ass box of records.
I think if there was a way for me to plug my iPod directly into a mixer, like you do with the Wii remote for Guitar Hero, I would ditch my laptop and Serato.
What gear are you currently using in your studio?
For production, what I use Ableton, Reason, Absynth, and a couple of other plug-ins for creating loops and writing music. Once I’ve come up with a few elements for a track, then I’ll team up with my production partner, Marcosis, and we will export the loops into a super “special” piece of equipment and then sequence. We also use a plethora of obscure and vintage rack effects.
For DJ’ing I use two Technics 1200s, two CDJ1000s and Serato Scratch. Call me old-school, but I still like the interaction with vinyl. With CDJ’s I can have different beats and elements running while I mix over the top with vinyl.
What are your plans for the future of F4 Music? Any thought of making it a netlabel?
I really like the notion of net labels, but I also really like vinyl still. Ideally, I would like to concentrate on doing a really limited edition of vinyl, say 500 pieces, with some very special mixes and packaging. Then, for the net release, provide another set of mixes.
It seems like traditionally there was a lot more risk in releasing music, how do you think the advent of net labels is affecting that?
It’s not the net labels that are in question here, it’s the archaic licensing and traditional distribution channels of the major labels and the old-guard still in place. Net labels are smart. Distribution across the Internet is much smarter than pressing millions of pieces of CDs or vinyl, shipping them to thousands of stores and then hoping the masses will buy them. Now, I can just go to my favorite online shop and sell them tracks without some tangible return – aside from money. This is amazing. I mean, just five or six years back, the distribution channels were really small and there were just a few buyers who bought records, so getting a record labels tracks into those distribution channels was really tough. I use to go down to the record store every Thursday and wait for the shipment records to arrive so I could be the first one on all of the new releases. I don’t have to do that anymore. Now, I can go to beatport or djdownload and get all of the latest tracks I want in less than 10-15 minutes…and for cheaper than the price of an import piece of vinyl.
Nowadays, I can sell to net distribution channel and the tracks on the label can be in the hands of some kid in Bombay and on the turntables in Prague in just a matter of minutes. I think that is a good thing, not a bad thing.
Has working in Silicon Valley, specifically at Apple Computer affected your view of electronic music?
Not really, if anything, I think it has opened doors to other types of music that I would have never heard of before. There is such a diverse and intelligent group of people working here. And it’s not just working in Silicon Valley either. San Francisco is such a diverse a vibrant city. On any given night I can go out and see amazing live show, DJs, art installation or whatever. You name and San Fran has it.
Dirty Dirty Techno has moved from Anu to The End Up, what are your future plans for the party?
Yeah, Alland Byallo and I have teamed up with DJ Ladyhouse to merge Dirty Dirty Techno into Phonic for a bi-monthly event at The End Up here in San Francisco to continue to showcase quality artists and DJ’s.
New Podcast / Mix
Techno - the: metronome : project : podcast 001 - cwcushman
Welcome to the first metronome podcast. Each podcast will focus on a different aspect of EDM. This week Techno. You can subscribe to the podcast in iTunes by clicking on the advanced tab and add podcast. Enter this URL:
http://www.themetronomeproject.com/podcast/podcast.xml
Hopefully it will be listed on iTunes shortly.
To download go to:
http://www.mixdepot.net/CharlesCushman
Track : Artist
Evil Dub (Original Mix) : Trentemoller
Red Box (Original Mix) : Ludwig Coenen
Less (Original Mix) : Baggy Bukaddor, Tim Fishbeck
Shake The Disease (Tiga Remix) : Depeche Mode
Remember Love (Dop Remix) : Noze
Getts Down : Modeler
Stay Together (Bubble Beats) : Barbara Tucker
The Ultraviolet Catastrophe : The Sky Patrol
Heater (Claude VonStroke Remix) : Samim
A Walk In The Park (Wink's Run Through The Park Interpretation) : DJ Minx
In The Music (Acapella) : Deep Swing
Ride The Pony (Original Mix) : Fuckpony
Tickle (Original Mix) : Booka Shade
Shiny Disco Balls (accapella) : Who Da Funk Feat. Jessica Eve
All About House Music (Noir 2007 Remix) : Noir
Boom Shaka (Boomshakapella) : Andre Basho
Dark Tide Disco (Original Mix) : Alland Byallo
Welcome to the first metronome podcast. Each podcast will focus on a different aspect of EDM. This week Techno. You can subscribe to the podcast in iTunes by clicking on the advanced tab and add podcast. Enter this URL:
http://www.themetronomeproject.com/podcast/podcast.xml
Hopefully it will be listed on iTunes shortly.
To download go to:
http://www.mixdepot.net/CharlesCushman
Track : Artist
Evil Dub (Original Mix) : Trentemoller
Red Box (Original Mix) : Ludwig Coenen
Less (Original Mix) : Baggy Bukaddor, Tim Fishbeck
Shake The Disease (Tiga Remix) : Depeche Mode
Remember Love (Dop Remix) : Noze
Getts Down : Modeler
Stay Together (Bubble Beats) : Barbara Tucker
The Ultraviolet Catastrophe : The Sky Patrol
Heater (Claude VonStroke Remix) : Samim
A Walk In The Park (Wink's Run Through The Park Interpretation) : DJ Minx
In The Music (Acapella) : Deep Swing
Ride The Pony (Original Mix) : Fuckpony
Tickle (Original Mix) : Booka Shade
Shiny Disco Balls (accapella) : Who Da Funk Feat. Jessica Eve
All About House Music (Noir 2007 Remix) : Noir
Boom Shaka (Boomshakapella) : Andre Basho
Dark Tide Disco (Original Mix) : Alland Byallo
Tuesday, November 13, 2007
Top 10 (+1) 11 November 2007
Track : Artist
Dub-H (Real Tone Records) - Original Mix : Alix Alvarez, Franck Roger
What draws me to this track is that it creates nice tight groove that can work either in the middle of a deep house set or early in the evening with some progressive music.
All About House Music (Noir 2007 Remix) : Noir
Pure squelchy madness.
My Bleep (Rekids) (Original Mix) : Radio Slave
A minimal vibe that you can trance out to.
Turn To Me feat. Inda Matrix (Original Mix) : Brian Gionfriddo
Big room tribal progressive with a rocking female vocal.
Cosa Nostra (Original Mix) : Chaim
I like to balance out the deep minimal tracks that I play with more upbeat tracks like this. They still have that techno feel, but are much more upbeat.
Dark Tide Disco (Floppy Funk) - Original Mix : Alland Byallo
A dark techno track by the man I was lucky enough to play with at Dirty Dirty Techno in San Francisco.
Needle Damage (Chriss Ortega & Thomas Gold Dub) : DJ Dan
Banging Electro from DJ Dan, how can it go wrong?
Phunk (Intacto) - Original Mix : Shinedoe
A solid techno track where the melody become is being pounded out so hard that it is more rhythm than notes.
Heater (Claude VonStroke Remix) : Samim
The first time I heard this song I new I had to have it. So different than anything else on the dance floor, sure to bring a smile…
Faxing Berlin (Chris Lake Edit) : Deadmau5
I have to admit that I was very late to the Chris Lake party, but his Essential Mix blew me away. Here is a rising progressive gem from that.
Rollin' & Scratchin' : Daft Punk
I had this track on vinyl had been meaning to record it so that I can use it in Ableton, luckily the local public library had a copy of their greatest hits on CD saving me the trouble. Big room techno that will never go out of style.
Dub-H (Real Tone Records) - Original Mix : Alix Alvarez, Franck Roger
What draws me to this track is that it creates nice tight groove that can work either in the middle of a deep house set or early in the evening with some progressive music.
All About House Music (Noir 2007 Remix) : Noir
Pure squelchy madness.
My Bleep (Rekids) (Original Mix) : Radio Slave
A minimal vibe that you can trance out to.
Turn To Me feat. Inda Matrix (Original Mix) : Brian Gionfriddo
Big room tribal progressive with a rocking female vocal.
Cosa Nostra (Original Mix) : Chaim
I like to balance out the deep minimal tracks that I play with more upbeat tracks like this. They still have that techno feel, but are much more upbeat.
Dark Tide Disco (Floppy Funk) - Original Mix : Alland Byallo
A dark techno track by the man I was lucky enough to play with at Dirty Dirty Techno in San Francisco.
Needle Damage (Chriss Ortega & Thomas Gold Dub) : DJ Dan
Banging Electro from DJ Dan, how can it go wrong?
Phunk (Intacto) - Original Mix : Shinedoe
A solid techno track where the melody become is being pounded out so hard that it is more rhythm than notes.
Heater (Claude VonStroke Remix) : Samim
The first time I heard this song I new I had to have it. So different than anything else on the dance floor, sure to bring a smile…
Faxing Berlin (Chris Lake Edit) : Deadmau5
I have to admit that I was very late to the Chris Lake party, but his Essential Mix blew me away. Here is a rising progressive gem from that.
Rollin' & Scratchin' : Daft Punk
I had this track on vinyl had been meaning to record it so that I can use it in Ableton, luckily the local public library had a copy of their greatest hits on CD saving me the trouble. Big room techno that will never go out of style.
Saturday, November 10, 2007
Dirty Dirty Techno in San Diego?
An opportunity has arisen for the:metronome:project to host a club night in downtown San Diego. With every opportunity like this first comes the excitement. Here is a chance to create a night that I would want to go to, my vibe, my music.
Unfortunately, that is quickly tempered by reality. A $2,500 guarantee, no support from management other than running the venue, and a previous cliental that was hip-hop driven and have refused to even check out previous attempts at electronic music nights (which have failed miserably).
To succeed I need to bring in partners which means watering down the vision. Quickly the night starts loses direction and instead of creating a night like Club Mighty in SF, it devolves into a cheap emulation of Ruby Skye relying on model wannabes and another overpriced DJ in an already saturated market.
Is it worth it, I have until Monday to decide…
Unfortunately, that is quickly tempered by reality. A $2,500 guarantee, no support from management other than running the venue, and a previous cliental that was hip-hop driven and have refused to even check out previous attempts at electronic music nights (which have failed miserably).
To succeed I need to bring in partners which means watering down the vision. Quickly the night starts loses direction and instead of creating a night like Club Mighty in SF, it devolves into a cheap emulation of Ruby Skye relying on model wannabes and another overpriced DJ in an already saturated market.
Is it worth it, I have until Monday to decide…
Thursday, November 8, 2007
Where do you start?
So here it is, the first blog for the metronome project... Let's just start at the beginning:
The Metronome Project is dedicated to seeing the world through the eyes of the electronic music prisim. Where off notes, the miscellaneous, and rhythm have created a new form of music.
The Metronome Project is dedicated to seeing the world through the eyes of the electronic music prisim. Where off notes, the miscellaneous, and rhythm have created a new form of music.
Subscribe to:
Posts (Atom)