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djkable

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  4. interesting article on moby

    in Miami

    Posted

    "Hotel" is complete trash... this article is a little less forgiving:

    What's Left After the End of Music

    By KELEFA SANNEH

    Published: March 31, 2005

    n the late 1990's, Moby wasn't yet an ideology or a brand name or even a pop star.

    He was just a soft-spoken music geek, and he seemed likely to spend his career enjoying the kind of underground fame that might ordinarily attach to a punk rocker turned electronica producer turned eclecticist. But then came "Play," in 1999, which laid scratchy old gospel and blues samples over spotless new house music; nearly every track was soothing, sort of melancholy, unexpectedly hummable. And soon Moby wasn't just a musicmaker - he was a paradigm-shifter.

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    "Play" was an unexpected commercial success, even though the guy behind it had neither a famous face nor a famous voice nor even, at first, a famous song. Moby has been lodged in the celebrity constellation ever since. His albums don't sneak into record shops anymore, they arrive - or they are supposed to. This week, his new double CD, "Hotel" (V2), makes its disappointing debut at No. 28 on the Billboard album charts.

    How did "Play" make Moby a star in the first place? As most articles about "Play" mentioned, Moby marketed his album by licensing the tracks to commercials and soundtracks; relying on the power of corporate synergy, he had made an end run around the pop establishment.

    His wasn't just a success story, then, it was a new kind of success story. Even better (according to the strange rules that governed 1999), it was a success story involving the words "geek" and "synergy." Suddenly, regular pop stars seemed old-fashioned: a bunch of oversized personalities, jockeying for space on radio stations that broadcast their songs using an antiquated system of frequency modulation. By contrast, Moby was a scientist, a musical technician who listened to everything and distilled what he heard into some state-of-the-art pop essence.

    "I want to have the broadest possible sonic palette to draw on when I'm composing music," he told Gerald Marzorati of The New York Times Magazine, adding that he'd been listening to "pop records, dance records, classical records." And you could tell he felt a bit sorry for those sad 20th-century types who confined themselves to a single genre. He was a pop star for a world too sophisticated to believe in pop stars - a post-pop-star, perhaps.

    "The end of history will be a very sad time," the political theorist Francis Fukuyama wrote in 1989, anticipating, after a fashion, Moby's world. Mr. Fukuyama imagined a future defined by "economic calculation, the endless solving of technical problems, environmental concerns, and the satisfaction of sophisticated consumer demands." The appeal of Moby was that he would give us a way to enjoy this future; he would satisfy our "sophisticated consumer demands" through superior engineering.

    In 2002, having picked up a few million new fans, Moby got a chance to put this theory into practice with "18," and it was immediately clear that something had gone wrong. In the liner notes, he opined, "One problem in writing an essay for this record is that the circumstances of the world are in such a state of flux," and many of the songs were just as banal (and, somehow, as smug) as this bit of boilerplate.

    Too sophisticated to believe in musical genres, Moby caricatured them instead. "We Are All Made of Stars" had some vaguely new-wavey guitar, a gentle backbeat and lyrics that aped the spaced-out platitudes of a bad David Bowie song: "People they come together/People they fall apart/Nothing can stop us now/'Cause we are all made of stars." From the token hip-hop track ("Jam for the Ladies," which sounded a lot like the Chemical Brothers) to the "Play"-ish "Sunday (the Day Before My Birthday)" - which sounds less appealing, not more, when you learn that Moby was born on Sept. 11 - the album showed the limits of pop as science.

    Last year, Moby followed "18" with a stopgap techno album, "Baby Monkey" (credited to his alter ego, Voodoo Child), which was meant as a lark but sounded like an insult. He seemed to think he was a smart producer dabbling in a dumb genre he had long since outgrown (he called the album "very simple, melodic, electronic, dance music"), although the CD swiftly disproved the notion that techno was easy.

    And now comes "Hotel," packaged as a two-disc set: the album on one disc, and a series of "ambient" remixes on a second. Again, there are liner notes to guide us through the music. "I don't feel like making music that is airless and lifeless because I also really like people and the messy miasma of the human condition and I want to make messy, human records that are open and emotional," he writes, as if this truism unlocked a secret to music making.

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    More than ever, the focus here is on Moby as a singer and songwriter, which is strange, because he is not very good at either job. In his effort to leave generic constraints behind, he has drifted toward some rather neutral variant of alternative-rock. In the lyrics, as in the liner notes, he seems to mistake obviousness for truth: the lead single is a mind-numbing song called, "Beautiful," where the romantic dialogue consists largely of couplets like, "I love you baby/I love you now/I love you baby/I love you now."

    This music isn't just dull, though. Like much of what Moby has produced since "Play," it's condescending, too. Much of it sounds like the work of a producer who thinks pop music is supposed to be kind of idiotic, and who thinks pop audiences should be glad that he deigns to give us what we want. Do we like sex? O.K., here's "I Like It," four singularly unpleasant minutes of heavy breathing. Do we like songs about how the world is happy and sad and good and bad? O.K., here's "Slipping Away," with a wispy beat and Moby crooning, "Open to everything, happy and sad/Seeing the good when it's all going . . ." - you can finish the couplets yourself. And, knowing that we like familiarity, Moby has his collaborator, Laura Dawn, sing a slowed-down version of the New Order hit "Temptation."

    Maybe this isn't really Moby's fault so much as it is ours. Like so many other things in the late 1990's, his new paradigm seemed like a great idea: car commercials were going to be the new pop songs and laptop composers were going to be the new pop stars. But it turns out that we really do like those oversized personalities who clog the radio stations - some of whom even double as superior engineers.

    Mr. Fukuyama, in his famous obituary, might have written (but didn't quite, of course) that "boredom at the end of music will serve to get music started once again." That's an appealing idea, but it's also appealing to know, listening to "Hotel," that it won't be necessary. The end of music seems to have ended itself.

  11. mecha.

    in Miami

    Posted

    MechaC1.jpgMechaC2.jpg

    dj:kable - mecha.

    download (85.33MB)

    running time - 75:30

    00:00 dj:kable - Couch of Boom (Those Were the DAZE Mix)

    08:00 Giaga Robot - Every Monday (Ricky Montanari Neu Beat Mix/Kable’s Infinite Sunday Edit)

    11:15 Ben Mono feat. Sirius Mo - Protection (Michi Lange Re-edit)

    16:23 Soul Mekanik - Kolor Spektrum (Illegal 303 Version)

    22:53 Alex Kidd feat. Lissette Alea - Don’t Hide It (Josh Wink Acid Pussy Interpretation)

    29:01 Karc Bartos - I’m the Message (Felix Da Housecat Mix)

    33:02 Dylan Rhymes - Salty (King Roc Remix)

    39:21 Spektrum - Kinda New (Tiefschwarz 12†Dub)

    45:35 Armand Van Helden - Hear My Name (Solid Groove Hear My Rub)

    50:04 Francesco Farfa - The Kings of Dirty Gold (Phunk Investigation Mix)

    57:04 Boogie Pimps - Somebody to Love (Moonbootica Remix)

    62:29 Larra - Nirvana (Reprise Mix) + Digital Witchcraft - Fingerpaint (Kable’s “On Core†Mashup)

    66:59 Anthony Class - Emperor (Dr. Kucho! Remix)

  15. Some producers shouldn't spin...

    in Miami

    Posted

    yet...somewhat in his defense, he never really took it seriously...

    (from a Lunar interview a few years ago)

    Lunar: Now, how are you enjoying your newly-found DJ talent?

    BT: [excitedly] Oh my gosh dude, I suck...

    Lunar: [laughs] Well that's what we've always appreciated about you is that your honest about it, you know from the first Renaissance compilation you did.

    BT: Well, I think everybody just takes that shit so seriously. I'm like, "You get to fly first class for playing records?" I may not play with my band anymore because that can be a pain in the ass sometimes! If I want Thai food, or I want to go to a strip club, I mean I just get on the plane with a fucking box of records and go and party. I mean I totally miss playing with my band, but we're not going to do it until the next record comes out, but [DJing's] a lot of fun man. And also I like testing out my new tracks and I like testing out my friends' new tracks and then I can get feedback on at least the stuff I do for the dancefloor.

    Lunar: Right, so when you DJ does your style stay characteristically your sound or do you just play all over the place?

    BT: Oh it's all over the place, but the two things that I primarily play are funky breaks and sort of emotional, progressive stuff. But not like the fucking Oakenfold-style, you know-a little more classy.

    Lunar: So how do you find that the crowd responds compared to a live performance?

    BT: They go spastic dude! It's insane, it's crazy. I think that it's fun for crowds too because they're used to a lot of DJs, I mean either you have like Jesus Christ Superstar Paul Oakenfold doing his hanging from the cross thing, or you have people that totally don't interact with the audience at all. There's nothing really in between, and I just go and I don't take it serious. I just go and have fun. I keep getting in trouble for doing this, but during records that I really like I'll run out in the audience, which has happened to me many times now, and the place just goes spastic. They're like "Holy shit!" I mean, I just have fun dude.

  18. Rabbit in the Moon 2/19/05 @ Sonar

    in Miami

    Posted

    you guys know what though, last couple of times i saw them namely the last ultra, it looked like as far as the music production was concerned all that was put on stage was a roland 505, a sub mixer, and a synth with some nice piano patches. bunny tweaked a theremin for a little bit (as usual).

    does sonar have a stage... never been there before.

    RITM should play a live PA!

    watching RITM spins records is like watching michael jordan play baseball.

    ha ha...i dunno what you saw, but they have a LOT more equipment than that... and there was definitely a lot more than that at Ultra... and btw, Dave doesn't use a 505. seriously, there isn't enough room at Sonar for them to do a live show. and to be honest, their dj sets are full of great music...and far from predictable. Dave spins 12" and cds, and Bunny rocks the pc-dj set.

  21. dj:kable on The Womb 1.29.05

    in Miami

    Posted

    i had a great time...and i may be doing a weekly now because of it...

    the tracklist:

    intro: jeff wayne's war of the worlds - the eve of war //columbia 1978

    giaga "robot" - every monday //re-vox

    ben mono feat. sirius mo - protection (michi lange re-edit) //compost records

    dirk technic - i love you (pfn's mr waldorf i presume mix) //10 kilo

    friendly - fetish //tcr

    rennie pilgrem - coming up for air (koma & bones remix) //tcr

    soul mekanik - kolor spektrum (illegal 303 version) //rip records

    alex kidd feat. lissette alea - don't hide it (josh wink acid pussy interpretation) //fcom

    unknown - unknown //white

    infusion - girls can be cruel //audiotherapy

    meat katie & elite force - the answer (santo's dragone remix) //kingsize records

    lee coombs and the drumattic twins - tribal tension (lee coombs remix) //thrust

    unknown - e wawa //white

    roland clark presents urban soul - if i was a dj (blackwatch dub) //bpm king street

    armind van helden - hear my name (solid groove hear my rub) //tommy boy

    francesco farfa - the kings of dirty gold (phunk investigation mix) //absolutely records

    unknown - one night in bangkok //white

    infiniti & francisco da'silva - motormouth //alternation

    boogie pimps - somebody to love (moonbootica remix) //ultra

    koma & bones feat. robert owens - take me back (k&b remix) //tcr

  23. dj:kable on The Womb 1.29.05

    in Miami

    Posted

    Saturday 1.29.05

    4pm - 6pm EST

    live audio/video broadcast.

    i'll be dropping a set of chunky house and breaks, with some analog yumminess and an acid groove or two...

    go to wombmusic.com at 4pm and choose either Real Media or Windows Media on the top-left.

    hope some of you can tune in...

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