krelmatrix

I guess Mars didn't like the CD. http://cgi.ebay.de/ws/eBayISAPI.dll?ViewIt...mMakeTrack=true (look at the seller name...suspicious )

Just finished listening to it for the first time. Oh yeah, it's good. Really fucking gooooood. First impression - could be album of the year for me. There was only one song that didn't make my nutz retract from pure joy. The whole thing is BIG bassline heaven. Major progression from all of their previous works. Definitely worth being more broke and having to resort to eating nothing but lentils for the next few days. (I'll refrain from saying more so Moni doesn't turn green from jealousy )

New one for me....for the progressive fans. Dousk - Estrange I'm not so sure if it's just the melody that brings a tear to my eye so much as the overall effect & mood of the track. Absolutely sublime.

I just picked my copy up from the record store. Woot! I'm feeling lazy & antisocial, so think my night is going to consist of the following: Ticon - Zero Six After Meller - Rockable (just the remixes ) Insane Creation - Connected 2 bottles of wine Tonight's going to be a good night. If I'm lucky, the new Element album will arrive in time for the hangover tomorrow morning.

It's strong - seriously strong. I might even be tempted to call it..... killer!!!! but I'm only tempted at this point. Anyways samples are on the 3beat site at the link I posted. Also look out for the next one on Sprout (D-Nox & Beckers - My Number One - True to Nature remixes) in a month or so.

I didn't see this announced here yet. It's already been out a couple weeks, but perhaps some of the more proggy-oriented fans didn't know about it yet. __________________________________ Artist: Tim Fishbeck Title: React / Aquamineral Label: Sprout Music Format: Vinyl 12” / Digital download Cat.No.: spt011 Releasedate: October 26. 2005 Tracks: A: React AA: Aqua Mineral Having passed the 10-release milestone, Sprout gives us the first taste of their strong fall and winter release lineup. Both sides of this sure-fire hit 12” from rising German star Tim Fishbeck are sure to inflict maximal mayhem on the dancefloor and put any sound system to the test. Despite being a relatively new face in German progressive circles, Tim Fischbeck has proven himself to be one of the most promising young producers to look out for in the coming months. Since his first exposure to electronic music at the age of 14, Tim’s love of fine grooves has led him into the studio where he has steadily perfected his craft. His first success came early when his remix for Ralph Fridge’s “Mystery” was one of the 4 winners of a remix contest selected for release. Tim’s biggest break, however, came with another contest, remixing Baggy Bukaddor’s hit “VIP” for Sonic City. His impressive winning re-working led to a second remix of the track as well as a long-standing studio collaboration with Baggy himself. Following 2 successful releases together on German stalwarts Mutekki & Electribe, as well as massive production work on Oliver Klein’s recent “Rien Ne Va Plus” double-EP, Tim Fishbeck is ready to present his first solo outing, which is already receiving huge reactions from the likes of Anthony Pappa, Barry Gilbey, Kasey Taylor and D-Nox. From the get-go, “React” makes no mystery of its purpose – complete dancefloor mayhem. A simple percussion scheme underlies a methodically building low-end. Following the dramatically drawn-out break, a lerger-then-life bassline detonates like an American cluster-bomb over an Iraqi wedding. If you want to make the dancefloor feel like the remains of New Orleans, this is the hurricane for you, bitch. “Aqua Mineral” is just the sort of tough tribal progressive monster which can be counted on to bring the night to its peak. The heavily-throbbing bassline gives a hypnotic basis upon which dark atmospheres, chants and powerful synth stabs create the tense mood of an approaching storm. A track that will keep you guessing until the final beat, “Aqua Mineral” is a commanding anthem that’s gonna make all da sexy ladies shake dem asses Storming dancefloors near you soon…. 12" vinyl available in all the usual stores (psyshop, trance-shop, cosmophilia, etc) Digital downloads also available at: 3Beat Digital store

This isn't goa!!!! Skazi does not approve. Anyways, great review! You don't write many, but they always give an excellent idea of the music. The album sounds great, and I'll definitely have to check it out. Traumschallplatten is definitely one of the most innovative labels out there nowadays. I'm sure I'll be kicking myself for missing Eulberg last weekend after I hear the album.

And virgins. You can't forget the virgins!! the virgins! Virgins! VIRGINS!!! :lol: You asshole - I forgot that I told you about that. (sorry to moni for hijacking her topic - I'll punish myself by going with GSH for his Skazi-torture punishment)

That's a wholly different matter. Nobody - I repeat - nobody is getting rich directly from running a label in this scene. Somebody like Raja Ram may have benefitted in the form of increased gigs from being associated with a widely-recognized label like TIPWorld, but one could also argue that his association with Shpongle/1200 Mics had a greater effect. I personally can't think of any elite "goa superstars" that are *only* label owners/managers and not also artists. Actually, this is quite believable and is to be expected for somebody as famous as Infected Mushroom. For the A-list DJs outside of the psytrance scene, a €5000-25,000 fee is definitely not out of the ordinary for a weekend, and first-class flights & 5-star hotel are definitely standard. Up the price for a live PA and consider it's two people, and what "a guy" was quoted for IM is totally reasonable when you consider how widely known they are now. (and I also don't personally think that IM sold out, but that's a completely different topic) You don't even want to see what how much it costs to book both of The Gay Satanic Hippies for a gig. It's absolutely shocking. proof? Can you show me bank statements or is this "just a hunch"? Ah - you probably mean that even €0.01 is too much money for these guys. In which case, I fully agree.

Just curious - were this creative input presented as suggestions or conditions for release? The first example sounds a bit wanky (if there was pressure involved), but I could definitely understand the second one under certain conditions. The label manager has an idea or concept for a release and asks a producer who they admire to make it come true. I could also see a label requesting a certain style for a track on a compilation or remix. In the more vinyl-oriented scenes, it is very common to release a track one on side of a 12" and have a different artist do a remix on the other side. Were I a label manager deciding on a remixer, I can think of many artists who I would definitely love to hire. However, some of these artists produce several different styles of music, so I would have no problem telling them what sort of style (within their range of styles) I was looking for.

Hey man, leave Twisted out of this.

Woah now, just take a few breaths and calm down. Breathe slowly. Slowly. Repeat after Frank... Serenity now. SERENITY NOW!!!!!!!!! (I still think the track is cool and I can't stand 99% of full-on )

Yes. For underground music markets, it is a synergistic relationship between artists & labels that keeps things going. Labels obviously wouldn't have any purpose whatsoever without the artists. It's that simple...not much else can be said here. Artists could still make music without the labels, but they wouldn't have any really effective means (or time) to get their music to the general listeners, effectively promote their music, take care of all the necessary legal & technical BS for releases, etc. Just about all artists could do without labels is produce their tracks and make them available for free on the internet and by giving away demos (which some artists are perfectly happy with, but is not the goal for most). Labels really do connect the artists to the listeners/buyers and give them some sort of frame by which they can choose what they want to buy. An important function of labels is as "shit filters" - they find those few specks of corn in a big pile of shit and put it on a CD/record. Not that everything that gets released is great, but just imagine all of the crap that gets left behind. Without the labels to act in this function, it would be arduous for listeners to constantly pick through the horrible crap out there for the even half-decent music. Remember mp3.com? Remember how much absolute crap there was on that site compared to decent music? Now imagine if that was the only way we had to get our music. Without artists, labels have no purpose. Without labels, artists have no effective way to reach a broad range of listeners. I would even take it a couple steps farther and say that labels would have trouble existing without the distributors and that distributors would be screwed without the shops, but that is not the point of this thread anyways. It all comes down to the people buying the music anyways - all of them (artists, labels, distributors & shops) should be down on their knees kissing our royal butts. ------------ One semi-related tangent....I see people often expressing the belief that labels are greedy and out to make money, and that label owners are somehow getting "rich" in this scene. Nothing could be farther from the truth. A relatively large "commercial" (that term here makes me laugh) label like Chemical Crew or TIPWorld probably makes enough to support a couple low-paid full-time employees. Nobody is getting rich. Even a successful small label is usually run in somebody's spare time and isn't the main source of income for anybody involved. However, the vast majority of underground labels are lucky to break even and quite often lose money. At the worst, a label-owner is trying to use it as a springboard to fame & gigs. But in most cases, the small underground labels are run out of extreme passion for the music and a particular vision. Even if the people running them have no fucking clue what they are doing.... There are often mis-understandings between artists & labels in this scene. People are extremely quick to say "fucking greedy labels!". However, in most cases the fault is the label (or the label & the artist) having no professional sense and being in over their head. There is no money in owning & running a label.

OK, I can hear a rolling-ness about the bassline similar to what you hear in full-on, but I this track overall is still miles away from full-on. There is subtlety, emotion and that definite elegant Astral flavor that was absolutely oozing out of Dancing Galaxy. To be honest, I really dig the sample - best thing I have heard from them in years (and I've been really disappinted by their output lately). I'll agree that there is too much generic full-on out there, but again, this track is definitely not full-on crap IMO. It seems to be a step back from the whole super-cheesy clubtrance vibe they were starting to take on and going back to the elegant euphoric feeling of their late-90s tracks. Or at least that's what I get from the 3-4 minute sample on the site. And just because some people on forums say that full-on is bad doesn't mean that it's "stupid" for producers to make it. If that was the case, then it would be "stupid" to make just about any type of music since every style has its haters. Well, if they were to read this topic, they would see that there are more people posting that like this track than those who don't. Like I said, quite over-reacting and just don't buy it.

Check out the sample of their lone track on the compilation - doesn't sound like full-on. Sounds like typical Astral. Obviously they haven't changed *their* style to the overdone full-on sound, even if they select some full-on tracks to go on a compilation. It's just one CD. Just don't buy it and quit over-reacting. Anyways, this CD isn't being released by Trust in Trance as you said in your post - it's being released by Compact which I'm pretty sure is a full-on oriented label. Why is it so shocking that there are full-on tracks on this CD?

Yo Alex, happy #26! I was trying to send Andrea up your way for a strip-o-gram, but unfortunately the tequila stash is running low and she needs more than beer to get her in the huge birthday cake. But you will get your belated birthday teabagging in November. Until then, I hope this will do...

Yeah, anything from those X-Dream boys & related cronies is going to have more bass than your headphones can handle. Get all you can from these guys: The Delta, Organic Noise ("Laybrinth of Colours" was always my low-end sound check) , C.O.P., and of course X-Dream. I remember sitting in a room at a party adjacent to the room where X-Dream was playing with a very thick wall between us and the sound system (don't even ask why I wasn't on the dancefloor), and literally feeling the entire building rumble from their basslines for the hour that they were on. Nothing compares, IMO.

Yaniv played that?? Wow, I couldn't even imagine that considering what I've heard from him in the last 2 years. Are you sure it wasn't "psy-trance god" Tsuyoshi? I've got a set he did for my show back in April - I'll see if I can dig it up for you. Fucking great electro & electro-tinged prog grooves. The upcoming Floorfiller:Restless comp he compiled (and mixed for the 2nd CD) is also absolutely fantastic.

"Bang-up job" is a serious understatement when it comes to that remix. It's one of those tracks I'll probably still be playing 10 years from now. Oh, and I'll have to disagree with you about Yaniv. He rocks as a DJ...if you're a fan of that electro sound. I defininitely agree with you on this one. My only complaint about this track is that the vocals are still too much for me. IMO, it would have been much better if they had cut up the vocals and used them more as a sample than as lyrics. I also just don't like Michele Adamson's voice.

Yep, "Defiance" is definitely my favorite track of his. The way the track develops from the beginning is excellent. I also really dig "Funnels" from the album as well. Good stuff.

Which one? I just have some of the tracks from his album that was released on Treibstoff earlier this year. Does he have a new 12" out?

Heh - there seem to be a lot of these lately. I'll add mine to the mix. Broken Symmetry on Mercury Sessions - broadcasting Monday Oct. 17 - http://www.mercurysessions.com Download previous shows at: http://www.krelmatrix.com (several new mixes online) ____________________________________________ Today is the special "All Doctors" show, featuring a wicked new breaks mix from my long-time Texaliens cohort Dr. No. The doctor has been behind the decks since 1999, spinning a his variety of psych-laden funk to twisted Texas masses. A long-time organizer of parties as a founding member of the Texaliens (and former resident of the Psychedelic Living Room), Dr. No has been responsible for more hangovers, Sunday-headaches and "why the fuck are you in my bed?" moments than he is probably willing to admit. You can hear him regularly thoughout Austin in some of the most filthy clubs, lounges, living rooms and public bathrooms. He has occasionally has been known to do his impression of a musical bridge troll, seranading the unsuspecting pedestrians with a bit of midnight funk. info: www.texaliens.org For the first hour, I've got a mashup of some of my favorite minimal, electro & tech-house beats that have been tickling my eardrums for the last few weeks. Er....I mean the most killargggghhhr deranged evil beats that have ever violently molested the eardrums of man!!!! AAAAARRRRGGGHHHHHH!!!!!! OK, I admit...it's the minimal tech-house stuff. But it still RAWKS! ____________________________________________ info: Broken Symmetry feat. Dr. Krelm Oct. 17 guest - Dr. No (Texaliens) 1st & 3rd Monday of the month 2-4pm (EST), 7-9pm (UK), 20-22:00 (Germany) http://www.mercurysessions.com Here is a list of mixes I'm currently offering on my site, for anybody feeling the need to rape my bandwidth... Broken Symmetry - Sept. 5, 2005 archive (deep progressive) Broken Symmetry - Sept. 19, 2005 archive (2 hours of deep/tech/electro house) Dr. Krelm pres. Gonzo Beats (breaks) Dr. Krelm pres. Krelektro (figure it out from the name, dummy;) Dr. Krelm pres. Summer Rainstorms (progressive)

I fucking love this shit. A lot of the classic Kompakt-esque minimal sort of bores me, but this minimal-tech-house hybrid that I've been hearing lately (especially from Scandanavia) is the dog's balls. Wicked stuff - some of it is IMO more psychedelic than most "psychedelic" trance being released nowadays. It also works as a great crossover to some more subtle electro-house sounds. Some of my favorites... Trentemøller (the king) Martinez (this guy is a fucking god in studio!!!!) Maetrik (the Texan who sounds more German than most Germans) Minilogue (their recent stuff on Traumschallplatten & Frosty Music) Kalle M Jussi Pekka Matthias Schaffhäuser cool labels: Out of Orbit (my absolute favorite label these days) Frozen North Recordings Audiomatique Poker Flat Deeplay/Deeplay Soultec Worldless Productions Also keep an eye out for a new Swedish label called Frosty Music - I've only heard samples so far, but they are really pushing the new Minilogue minimal sound. And just for a little plug, there is going to be quite a bit of this style during the first hour of my internet radio broadcast tonight. Check it out on www.mercurysessions.com - the show is called Broken Symmetry and comes on from 8-10pm German time (2-4pm NYC time). The mix in the first hour starts off with some more minimal sounds and also has a bit of the dirty electro-tech-house in it as well.

Is it just me, or is she sportin' a bit of a mullet in this one??!?! Deathtrance meets Whitesnake......

To be quite honest, I've never really seen the hype with Final Scratch. For me, its main advantage seems to be that you can bring huge quantities of music to a gig on a hard drive or laptop. I don't see it really advancing the creative process of DJing - just delaying back injuries from lugging crates of vinyl to gigs. But other than that, unless I'm missing something, it's still the same physical interface as the classic "2 turntables and a microphone" setup with the same performance limitations. The only advantage I see over a 2-CDJ setup is that you can play your digital files *directly* without having to first burn them. If/when I decide to "go software" with DJing, I will do the Ableton thing, no doubt. Naturally with my own personal-built Maven controller. But for that you need a totally kickass laptop, which is pretty damned pricey. I guess I am familiar with your particular DJing situation somewhat, so I'll mention a few things to consider... 1. Can your laptop handle the software? I know you've had it for a few years and newer software often runs shitty on older computers. 2. I assume that you will still play your records in addition to your digital files on final scratch. I believe that the final scratch system has a special stylus that will only work with the special timecoded platter. Will it be a problem for you to switch & re-balance to a normal stylus on the fly if you want to go from playing a mp3 file to playing a record (or vice versa)? Or will you just record all of your important vinyls to mp3 files? 3. I know that you enjoy scratching with your balls when you play. Will musty cocksweat dried into the grooves of the special platter cause problems with it? For your current situation, it's probably not such a bad idea. You have a lot of really kickass tracks on your laptop that you cannot otherwise play (Careless Whisper?!?!) and Final Scratch will give you a way to do it. It's probably no better or worse for you than CDJs...maybe a bit better since it's a pain in the butt to burn & catalogue several hundred tracks.