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Langsung aja gan ane mau jual headphones populer yang satu ini. Pemakaian bener2 baru 2 bulan kurang, itu juga ga tiap hari. Kondisi bagus, cuma smudge2 ringan bekas pemakaian. Kelengkapan full. Garansi ga ada soalnya barang singapur. Untuk foto nyusul gan :D Kalo ga sabar bisa minta langsung ke whatsapp ane: 0811 203 3301. Harga di 1,6 nego. Ditunggu gan  *tepuktangan*

Halo semua,

Langsung aja nih gw lagi nyari temen buat nonton Ben UFO di SG tanggal 11 ntar. Gw sih udah book tiketnya, PP 860ribu pake Jetstar :D Yo ayo siapa mau bareng, best DJ today IMO ;D

interplanetary prophets
anthony naples
kyle hall
basic house
laurel halo
circuit breaker
acid jesus
claro intelecto
parallel 9


a sloppy fun b2b session with munir, check it outtt. features tracks by funkineven, kris wadsworth, dreamer g, dj sprinkles, justus kohncke, alton miller, rick wade, agnes, medlar, grown folk, jay shepherd, wise caucasian, etc lupa lagi.


just my kinda house ;)

ohwert - realm
marcellis - untitled
flori - dusty socks
recloose - mym230
chicago damn - be your man
!!! - slyd
weekend express - going to chicago
chromatic filters - horizon stripes (jamie 3:26 re-whump)
herbert - non-stop
smallpeople - in the jungle
innerspace halflife - wind
malvoeaux - targets
boo williams - mortal trance
jitterbug - dream memory
circulation - memory
polarius - nemo airfield


disco ladies galore.

carolyne bernier - hold me, touch me
madleen kane - touch my heart
astrud gilberto - all i've got
andrea true connection - what's your name, what's your number
mandy b. jones - 1-2-3-4
claudja barry - sweet dynamite (todd terje edit)
k.i.d. - do it again
the afternoon delights - general hospitale
sticky fingers - takin' a chance on you
tom tom club - wordy rappinghood
electra - feels good
mary jane girls - candy man
passengers - speedy like gonzales
gepy & gepy - african love
soccer - time out for love
broadway - kiss you all over
sheryl lee ralph - in the evening
cerrone - call me tonight
leonore o'malley - put a rainbow in your heart


halo semua,

mau tanya dong, untuk beli set serato live (termasuk turntable, mixer, dll) butuh berapa duit ya kira2? yang second aja, hehe. terus worth it ga untuk upgrade dari controller? thank youu..

Joe - Studio Power On
Wraetlic - Rats
Teeth - Jusqua Tendresse (Kowton Remix)
Komonazmuk - Underground (Paul Woolford Remix)
Addison Groove - Entropy
Boddika - Soul What (Boddika Remix)
DJ Deeon - Where The Hoez (Uh Oh)
BRKTK - The Music Is Dope
TS7 - Nothing To Show
Meechie - You'll Never Find (Rhythm Masters Club Mix)
Toyboy & Robin - No More Sunshine
Lil Silva - Pulse vs Flex
Lobster Boy - Planet X
Breach - Fatherless (Doc Daneeka MRR SNRZZ Remix)
Brackles - I Can't Wait
Cashmere Cat - Mirror Maru



the world would be a better place if these proposed new year resolutions were adhered to by all. maybe.

“last few tickets remaining, we wouldn’t want you to miss out” posts many a promotion on facebook. sure. of course. how altruistic. please stop. you aren’t kidding anyone that a) you are actually down to your last few tickets, and 2) that you give a shit who is at your party. after all, someone is going to miss out, will they get a letter of condolence? claiming “limited capacity” is also a laugh. what venue doesn’t have a limited capacity? even our actual planet has its limits.
komen: sounds familiar ;D

yeah, they were cool when you saw that guy in one. but then you got one. and so did your mate. and before long even that floppy haired pop pin-up from one direction was wearing one. now your mum knows what a snapback is. time to move on.

sync debate
no one cares that some idiot presses play on a pre-recorded set for some idiots who barely know who the idiot playing is to dance to like idiots. of course it isn’t djing, of course it isn’t devaluing the art of djing, in fact it’s probably doing the opposite. tits might claim anyone who can count to four can be a vinyl dj and that it’s “the past”, but you and i both know prosumer/craig richards/andrew weatherall/etc aren’t the djs they are just because they are numerate.

fighting publically
house and techno is not mid 90s hip hop. quit fighting with each other. when someone does something i don’t like, i forget about it and move on. the swedish house mafia’s antics are about as relevant to our shit as heat magazine is to investigative journalism. just do your do.
-so true! stop being childish ;D

venue: tba
ah tba, that lazy attempt to cash in on some 90s nostalgia. but alas, a nasty warehouse with shitty sound, muddy floors and pissy toilets does not necessarily a memorable rave make. just tell us where it is already. better still, use an actual venue.

chart postions
the world does not need hourly updates (nor screen shots) about where your latest track is sitting in any chart. that information is for you, and even then it shouldn’t matter. begging for help to get you higher is what crack addicts do. have some decorum.

poor quality vinyl
it’s dope that vinyl is back. i’m fully subscribed. but, if you’re going to do the decent thing and commit something to wax, get it done properly. too many tunes on one side is no good for anyone, and quiet pressings just get a subconscious black mark next to them in the library of your mind as they slip ever further to the back of your collection. and who wants such a fate for their sonic creations?

clear vinyl
even bedroom djs will know that clear vinyl is sent from hell to FCUK you up mid mix. it never starts where you thought and it always ends in a different place than the one you were cuing for. stick to black or colours, puh-lease.

90s house
like all trends, it came, it conquered, it concussed us into boredom. the world tried hard but still no-one managed to out kerri chandler kerri chandler, so let’s finally un-tether that now well weathered boat and cast it off for burial at sea: we need another flappy shutter snare and stabby organ bassline like we need a breaks revival.
-kalo sekeren bicep atau MLIU sih asik2 aja kalo kata gw

drip fed festival headliners
attempting to stay in the headlines for 6 months by releasing your headliners one at a time is a cheap trick. one fulsome dump should be enough. if it’s not, book better people.
-again, sounds familiar, uhuk2

boomkat write up
a write-up on boomkat is not a review. they are trying to sell that shit. stop shouting about it like you just got licked by a virgin.

Mix Tape / Demo sharing / Podcast / Danzig - Mix #8
« on: 02/01/13, 16:27 »
mix pertama dengan beatmatch manual :o

DJ Sprinkles, Big Strick, Schweiz Rec., Scott Grooves, Genius of Time, Move D, Redshape, Julius Steinhoff, Maurice Fulton, Arttu, STL, Ra.H, Coco Da Silva, Omar-S, Recondite, Hundred20, John Beltran


Langsung aja gan, ane jual iphone ane soalnya mau ganti hp :o

kelengkapan: lengkap semua minus earphone dan "jarum".

-fisik 92%, ada bocel dikit di ujung dan bekas2 case di bezel.
-protector belakang doang, depannya telanjang, ane ga suka pake. tapi terawat kok masih kinclong.
-batere masih oke.
-home button bagus.
-iOS 5.1.1 (jailbroken)

-bumper SGP case neo hybrid IIs warna gold. waktu itu di ibox harganya 349rb, masih ada kuitansinya gan. kondisi 95%, ada bocel dikit bgt di ujung.

lengkapnya liat aja pic2nya:

Dilepas di 4,3 juta. bisa kurang kalo ga pake bonus.

Kontak: 083866821986 (whatsapp/imessage)
COD: Pahlawan, Dago, dan sekitarnya
Rekber OK

halo2, jadi gw tadi ngerekam mix pake traktor s2. settingnya kaya gini:

pas udah jadi, gw play kok suaranya jelek ya. flat gitu bass ga keluar. padahal udah milih audio device s2 asio. mohon pencerahannya ya teman2..

halo2, ini kenapa ya gw tiap checkout dari beatport atau juno selalu ga bisa diproses belanjanya? declined lah, unable to process lah. pake cc atau paypal sama aja. giliran gw mau ke jalan yang benar aja dipersulit ;D apa karena gw dari indonesia yaa? ada yang pernah ngalamin? thanks.

Bulan kemaren gw iseng2 ikut ngevote di poll salah satu forum musik ternama (ILM), dan sekarang udah keluar result-nya, silakan disimak:

.       1   lindstrom    i feel space   
.   2   luomo    tessio (vocalcity version)
.   3   jurgen paape    so weit wie noch nie
.   4   the juan maclean    happy house
.   5   metro area    miura
.   6   mark e    r&b drunkie
.   7   delia gonzalez and gavin russom    relevee (carl craig remix)
.   8   ame    rej
.   9   friendly fires    paris (aeroplane mix)
.   10   daft punk    one more time
.   11   burial    archangel
.   12   the knife    heartbeats (rex the dog remix)
.   13   black leotard front    casual friday
.   14   cortney tidwell    don't let stars keep us tangled up (ewan pearson‚äôs objects in space remix)
.   15   oni ayhun    oar003 b
.   16   vitalic    la rock 01
.   17   joy orbison    hyph mngo
.   18   booka shade    in white rooms
.   19   house of house    rushing to paradise (walkin these streets)
.   20   the mfa    the difference it makes (superpitcher remix)
.   21   ricardo villalobos    dexter
.   22   basement jaxx    romeo
.   23   hercules and love affair    blind
.   24   audion    mouth to mouth
.   25   tensnake    coma cat
.   26   vitalic    poney pt 1
.   27   azari & iii    reckless for your love
.   28   omar s   psychotic photosynthesis
.   29   mandy vs booka shade    body language
.   30   daft punk    digital love
.   31   pantha du prince    saturn strobe
.   32   girl unit    wut
.   33   herbert    moving like a train (smith n' hack remix)
.   34   lifelike & kris menace   discopolis
.   35   sweet female attitude    flowers (sunship mix)
.   36   daft punk    face to face
.   37   todd terje    snooze 4 love
.   38   royksopp    what else is there (trentemoller mix)
.   39   faze action    in the trees (carl craig remix)
.   40   todd terje    inspector norse
.   41   justus kohncke    timecode
.   42   ricardo villalobos    easy lee
.   43   theo parrish    falling up (carl craig remix)
.   44   laurent garnier    the man with the red face
.   45   ellen allien & apparat    way out
.   46   nathan fake    the sky was pink (holden remix)
.   47   omar s   here's your trance now dance
.   48   isolée   schrapnel
.   49   hercules & love affair    blind (frankie knuckles remix)
.   50   studio    life's a beach!
.   51   lcd soundsystem    losing my edge
.   52   antena    camino del sol (joakim remix)
.   53   dj koze    brutalga square
.   54   ricardo villalobos    fizheuer zieheuer
.   55   fischerspooner    emerge
.   56   akufen    deck the house
.   57   alan braxe & fred falke    rubicon
.   58   aeroplane    whispers
.   59   sebastian tellier    la ritournelle
.   60   matias aguayo    minimal (dj koze remix)
.   61   gui boratto    beautiful life
.   62   four tet    love cry
.   63   thomas bangalter & dj falcon    so much love to give
.   64   larry heard presents mr. white    the sun can't compare
.   65   boards of canada    in a beautiful place out in the country
.   66   kerri chandler   bar a thym
.   67   the knife    silent shout
.   68   dntel    (this is) the dream of evan and chan (superpitcher remix)
.   69   crazy cousinz    inflation
.   70   sticky    boo!
.   71   superpitcher    mushroom
.   72   dj koze    don't feed the cat
.   73   sound stream    livegoes on
.   74   the fives    it's what you do
.   75   rex the dog    prototype
.   76   zed bias    neighborhood
.   77   lindstrom & christabelle    baby can‚äôt stop
.   78   cosmos    take me with you
.   79   partial arts    trauermusik
.   80   dolle jolle   balearic incarnation (todd terje's extra dill mix)
.   81   the knife    we share our mother's health
.   82   basement jaxx    where's your head at
.   83   theo parrish    solitary flight
.   84   moodymann    j.a.n.
.   85   alter ego    rocker
.   86   juan maclean   give me every little thing
.   87   booka shade    mandarine girl
.   88   stl    something is raw
.   89   studio    west side
.   90   closer musik    maria
.   91   richard davis    bring me closer
.   92   james blake    cmyk
.   93   pepe braddock    path of most resistance
.   94   the field    over the ice
.   95   still going    still going theme
.   96   underground resistance    transition
.   97   hatchback    white diamond (prins thomas remix)
.   98   blawan    getting me down
.   99   m83    don't save us from the flames (superpitcher remix)
.   100   green velvet    la la land

thread lengkap: http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=93382

youtube playlist: http://www.youtube.com/playlist?list=PL5D929515B2E7016D&feature=mh_lolz

Mix Tape / Demo sharing / Podcast / LAPAR DAN HOUSE
« on: 29/07/12, 15:32 »

Features tracks by:

Patrice Scott
The African Dream
Octo Octa
Grown Folk
Dream 2 Science
NY Stomp
Kenny "Jammin" Jason with "Fast" Eddie Smith
Mr Lee
Alexander Robotnick
Anthony Shake Shakir
Farley "Jackmaster" Funk
Murat Tepeli
Krystal Klear
Magic Touch
George Duke

Enjoy! ;)

Sehubungan sama thread "Apa yang sebenarnya diinginkan crowd EDM sekarang," gw mau nyumbang artikel bagus bgt nih, yang masih nyambung juga sama artikel itu. Klik http://hotwaterinc.tumblr.com/post/25938207447/hitstart untuk versi komplitnya (with hot links and stuff). Di bawah gw tampilin text only-nya.

Press Play? Hit Start

There’s been a lot of noise over the past few weeks, from various people and places, about the quality of the current electronic dance music experience.

On June 23 – enjoying the afterburn of a Rolling Stone cover story in which he called out everyone from Skrillex to David Guetta for dialing in their sets – Deadmau5 used a Tumblr post to piss on the importance of technical DJ-ing skills, saying that with the advent of Ableton and its automatic beat-matching capabilities, “we all hit play.” An editorial on super-blog Dancing Astronaut declared that “EDM” had officially “mainstreamed,” and decried the lack of new music in most superstar DJ’s sets: “What worries me is not that DJs are simply ‘pressing play,’ but that they’re pressing play on the same tracks in the same order night after night after night,” said writer Jacob Schulman. Meanwhile, Paris Hilton played her first official DJ gig – and apparently wasn’t even able to press play (a tech came onstage to do it).

Earlier this month, the Wall Street Journal (of all places!) even chimed in, bemoaning the “dumbing down of electronic music,” and labeling crossover artists like David Guetta and Calvin Harris “cliché-riddled, white-bread house that don’t represent the best of the genre.” Then there’s the much-talked-about feud between veteran DJ Sneak and Swedish House Mafia (sample: “I do not respect DJ actors”); and icons like Mark Farina and Dennis Ferrer being asked to vacate superclub DJ booths for not playing recognizable music.

The bottomline: Artists are getting comfortable, some fans are starting to notice, and the ancients are rhapsodizing about the way we used to do it (for you younglings, that’s a track reference).

As a dance music lifer who had her conversion experience on a New York dance floor in 1999, and who has since made it her (literal) job to cover the genre’s evolution and development (as dance music reporter at Billboard) – of course I had feelings about all of that. But the only reason I’m writing this now is because someone else – someone who is experiencing this music for the first time – finally said it himself. For an old fan like me, Schulman’s final paragraph, a direct plea to DJs, is practically a tearjerker: “Don’t be afraid to take risks. Don’t be afraid to play a song that you released in 2011, 2010, or 1995 for that matter. Don’t be afraid to play a new song from an up-and-comer that has the potential to make people ‘go bananas.’ Don’t be afraid to omit your latest single for once. Don’t be afraid to leave us wanting more.”

Full disclosure: I’m 32. That’s older than most of the people at Electric Daisy Carnival and Ultra Music Festival, but younger than the majority of those who have committed their lives to the genre of electronic music – or house, or EDM, or IDM, or electronica, or whatever you want to call it.

I was welcomed into the community – and that’s what it was, a community – at New York nightclub Vinyl, on Danny Tenaglia’s dance floor. Now, don’t all roll your eyes at once. If I were your age, I’d get sick of listening to old(er) people talk about the same stuff too; people and places that have little (perceived) relation to the music you love now. But if you want to talk about DJs taking risks, supporting new talent, skipping the big track, teasing crowds of thousands with little to no regard for their reaction, and making people not only go bananas, but weep, yell, and question the nature of their existences – then gather round the fire, children.

In that Wall Street Journal article, Avicii literally said this: “I can’t play house for two hours.” Then what in God’s name would you do for 26? When Tenaglia finally closed Vinyl, which was then called Arc, in 2004, he played a 26-hour set. I know; I was there for every one. By then, I had been a regular for five years, dedication that had won me the auspicious position of cashier – which in a cash-only club with no liquor license is a pretty important person.

Because of this role, I heard Danny’s entire set, from the midnight open to the 8 a.m. close, for nearly three years. When I would work the door for his other events – like his Winter Music Conference marathon, quite literally the international dance music party of the year for nearly a decade – people in my queue would look at me like I was the anointed one. “I’ve seen him three times,” one guy from London said. “You’ve seen him hundreds. WOW. Now can I get in?”

The WMC parties were so big because they represented what at the time was the ultimate experience in dance music: Hours and hours (and hours and hours) in the presence of a master. Tenaglia didn’t press play. He hit start – and that’s not a Technics reference (sorry purists). Every set was an experience, a journey, a play starring you but not meant for you at all. In five years and well over 200 sets, I never heard him mix the same two records together twice. That’s for real.

I remember everything about the dance floor at Vinyl. I remember Murk’s dub of Karen Ramirez’s “Looking For Love”: It sounds thin compared to the hyper-compressed bombs of today, but back then it set the room on fire. When DT dropped it – sometimes over three hours into his set – it meant the night was about to take off. What would come next was always different; we’d say it depended on his mood, or the weather (“It’s raining, Danny’s going to play really dark tonight!”). Sometimes it was honking adrenaline rushes like X-Press 2’s “AC/DC”; smirking references to the normal world like Superchumbo’s mix of Missy Eliot’s “Get Your Freak On”; mind-blitzing techno like Underworld’s “Kittens.” Sometimes it was something from DJ Pierre’s canon of Wild Pitch masterpieces; soulful confessions with modern grooves like Cuba Computers’ “Haunting Me” (the Chus & Ceballos mix); old shit like Henry Mancini’s “African Symphony” (originally released in 1976) that amazingly fit right in.

[Note: Tenaglia got tons of flack from the “old-school” house DJ community for playing current, not-necessarily-house music, including trance (Tilt’s “Angry Skies” was a Vinyl anthem) and minimal tech-dub (Maurizio’s “M-Series” inspired a lot of his own productions). So while he’s grouped with these guys now, he was something of an outcast and revolutionary at the time.]

I know these IDs only because I was there and I hunted them down like a beast – at the local record store, mostly, or by befriending DJs and other punters, and eventually DT himself (one of the most important relationships of my musical life). No one recorded sets – that was punishable by expulsion, not only from the club but from the community. At a certain point, you realized you weren’t even supposed to ask people for track IDs. Either you knew, or you didn’t.

But more often than not – and this is a critical point – WE DID NOT KNOW WHAT THE F*CK WE WERE LISTENING TO. We did not know where one track ended and another began. We did not care to know. We were losing our minds out there. We were in the depths of minimal synthetic despair one hour, brought up by the palpable joy of gospel house the next, then mind-blown by a postcard from the world outside. DT once dropped Truth Hurts’ “Addictive” (it’s hip-hop) and Portishead’s “Numb.” He knew what was going on in music. He made it his business to know, so he could run it through his filter and feed it back to us. That was our deal, our bargain with each other.

(It’s important to tell you that some nights were bad. Some nights we waited and waited and the magic never came. That was part of what it meant to be there. And can you imagine the anticipation – and eventual blissful relief – of a drop that took literally weeks to build?)

I look back on this now and realize that ID-coveting was overly insular, and probably hindered the wider development of dance music. But that was kind of the point. Vinyl was a subversive mix of black, white, gay, straight, tranny, poor, rich, American, Euro, young, old – it was allowed to exist because it was a small group. More people meant dilution, potential misunderstanding, and maybe even danger. “DON’T tell your friends,” DT used to say into the mic at the end of the night. Cell phones and cameras were not allowed on the dance floor; security guards actually enforced this. To have the experience, you had to be there. And you had to participate.

Danny was my guy: He had a mix of darkness and soul that resonated for a kid who came of age to Nine Inch Nails and Lauryn Hill. But there were others, so many others; some with similar weekly residencies, some who breezed through town once or twice a year. Junior Vasquez would get to the epic snare-roll build in a record – his circa-2000 Twilo-era stuff sounds so much like these “Atom” bombs today, it’s almost comical – loop it a few times, and then not let it drop, just cut the music and start another track. That’s what you got for expecting him to do ANYTHING – he was in control, you silly dancer. The Body & Soul DJs (Francois K, Danny Krivit, Joe Clausell) could blend tribal drum tracks, with disco, with stuff like Beenie Man’s “Dude.” Carl Cox – OMG, CARL COX! – used to brag that he could keep three turntables going in a mix that was “tight as a cat’s ass” (in a British accent, the hardest phrase I’ve ever had to transcribe). But that didn’t even matter: He was a master at energy. Even last year at Electric Zoo, hearing him go from Rage Against The Machine’s “Killing in the Name” into a set of pure acid techno was a reminder of his terrifying prowess.

What does this have to do with today? Not much, really. You can’t ask artists who are essentially pop stars to do things like this. And that’s not a judgment. Dancing Astronaut said that “EDM” just mainstreamed now: I would say that it happened two years ago, when guys like Deadmau5 and Swedish House Mafia got popular more for their brands than for their music or their performances. SHM has five (maybe six, if you count “Leave the World Behind”) tracks to its name: That music made an impression, for sure, but it’s not why they were able to sell out MSG in nine minutes. That was more about what they represented: Jetsetting, hyper-cool international playboys, fist-pumping in the spotlight. Without that mousehead, Deadmau5 would just be a kind of punk-rock bedroom producer with incredibly rich, dominantly instrumental tracks that never cracked the radio. And that is – say it with me now – OK.

The Swedes and others like them are masters at making music that a lot of people like; they know texture, and dynamics, and how to make a drop really hit home. The only way to perform this studio-created music is to play it back. You cannot fault them for that. Festival crowds want to hear this music; it is probably, for most of them, their one chance of the year to experience the given artist. In an hour, there are only so many tracks they can play. The artists have to use this massive platform to promote their own music (and that on their labels), and to keep these modestly (musically) educated, casual fans happy. They have to give them the music that best defines them. It just makes sense.

Tenaglia released a great album, 1998’s “Tourism.” But he, Cox, Vasquez (despite his giant remix library), and others like them were not producers who DJ-ed mostly as an outlet for music in which they had a direct stake. They were curators of other people’s music. There was no shame in not being able to DJ: If you were a talented producer and wanted to tour, you might try to learn. But the DJs were your patrons and your champions. You can’t think of Tenaglia without thinking of Cevin Fisher and Oscar G (both fantastic DJs, but also the creators of many of his pivotal records). Vasquez made names out of local guys like Razor & Guido and Tim Rex, who produced records with the express goal of having the maestro play them. Being able to DJ to a level worthy of a 5,000-capacity crowd was thought of a rare thing, a talent. I still think it’s probably one of the hardest things in the world to do well – and no, Deadmau5, not because of beat-matching (which I even taught myself on belt-driven Gemini turntables from Sam Ash). Because of programming; fitting a universe of music into 26 measly hours.

So, you can’t hate on a dog for not being a cat, or a car for not being able to fly, or any other non-judgmental metaphors you can think of. And you can’t expect a growing mass of EDM fans to want a rarified, occasionally difficult, protracted dance floor experience: They probably just want to buy the ticket, ride the LED-lit ride, and go home. But if you want more, you can definitely take your business elsewhere – or to an additional place.

Being a DJ – or a curator, a filterer, an MTG (musical tour guide – I just made that up), whatever you want to call it – can still be an elevated, difficult, aspirational thing, like an Olympic athlete or an opera singer. You can seek out old masters of the craft: Frankie Knuckles and David Morales had Cielo on its knees a few weeks back. Or you can challenge the current DJ crop to show their chops, like when a movie star does a Broadway play, or a pop artist goes unplugged: Can you play a six-hour club set? Do you even want to?

But most importantly, you can start to set new standards for upstarts, demanding that in order to be called a DJ-curator-MTG-whatever, they have to dig deep. They have to show you something. They have to change it up. They have to play with their heads AND their hearts. They have to be able to tell you the studio musicians on their favorite R&B records, and how that guy’s bass sounded different from any other (Tenaglia can do this). They have to force tracks on you, maybe that you really don’t like at first, but-OK-geez-after-200-times-I-give-up-Coca-Da-Silva’s-“Saudade”-is-bloody-genius. Their platform will not be the festival stage or the concert venue, unless those models seriously evolve; it will probably be the nightclub. You will have to be of age. You will have to spend hours there. You will have to listen, dance, learn. You will have to tell your friends, if you ever want them to understand. You may have to endure long stretches without seeing a particular jock, because weekly residencies don’t currently make economic sense, for DJs or venues.

But one more thing: This will continue to happen even if you don’t seek it out. DJs like this have been around since before one snagged me for life in ’99, before the Brits lost their minds to ecstasy and beats at Shoom in ’88. Most people will tell you it started with Larry Levan at New York’s Paradise Garage in 1977. He had predecessors and contemporaries, absolutely – Frankie Knuckles, Francis Grasso, David Mancuso (just go Netflix “Maestro” and thank me later). But the Garage was where it all came together, where the modern underground nightclub was born. This was too important of a cultural development to fall away. It will ebb and flow like it always did before 2010, but true believers will not let it die. You, young Jedi, can be a part of that special crew.

I think Deadmau5 is a real talent and a visionary. The Swedes are epic showmen with incredible studio savvy. Skrillex makes music that sounds like my inner 16-year-old; visceral, out of control, but from the heart. I love him. I think Flux Pavilion, Porter Robinson, Knife Party, Steve Aoki, etc. etc. are awesome. But, after all these years, I still think Danny Tenaglia is a god.

I hope you get to have the dancefloor experience I had hundreds of times even once, with a DJ who speaks to you, your personality, your musical history – and who helps to show you your musical future. That’s what a DJ can do. Go find yours. S/he’s out there.

Videos / Paris Hilton Makes Official Debut As A DJ
« on: 26/06/12, 14:01 »

House / Mix of the Day
« on: 24/05/12, 16:42 »
sesuai judul ;D please post yours.

Pulse.075 - Genius Of Time
deeeeeepp and smoooth

1. Open House - 7 day weekend (Brennan Green remix)
2. Anton Zap - Kingdom
3. Vincenzo K - Untitled
4. Inertia - Satisfaction (GOT edit)
5. Closer Musik - Closer dancer (GOT edit)
6. Basic Drum Track System - UK happy disco II
7. Taron Trekka - Kopsallee
8. Cloud - Innocence
9. The Tortoise - She took the tortoise home (Genius of Time remix)
10. Andrés - Jack city
11. Nicholas - Free at last
12. Mark E - Smiling
13. Ralph Lundsten - The bewitched pond
14. Auji - Not a song 19

special for house lovers nih ;D

haruomi hosono - heliotherapy
recondite - robur
kassem mosse - untitled
october - string theory
och - whalesong
kerri chandler - get up
italojohnson - untitled
arttu - attic house (snuff crew remix)
willie burns - waste your time
ny stomp - the ny house trak
kaspar - so right (gerd's old school remix)
terrence parker - untitled
candy j - somethings they never change (the razz mix) [sori suaranya rada ancur, abisnya ga nemu versi hq-nya :'(]
soundstream - good soul
quenum - my furious thing
dj assassin - a face in the crowd (intellidread mix)
cheap and deep - deep in the feeling (re-version)
photek - glamourama
bdi - decoded messages of life & love
pol_on - used to say
mike - oi van voi
glenn underground - jaz love #2
alex smith - here with me (feat. diviniti)


Videos / Daniel Wang: most entertaining DJ?
« on: 11/05/12, 10:31 »

Music / what is "original mix"?
« on: 04/05/12, 12:55 »
ngutip dari forum lain:

seems the stupidity that originally beatport invented is now worldwide accepted. "original", "original mix" and similar bullshit is now all over the place. especially "original mix" bothers me endless. if it's the original track how can it be a mix then? mixed from what? samples? notes? or should it be more like a proof of quality, like "genuine leather"? "that's not a shitty chinese remix, that's the ORIGINAL MIX yea bitch!"

beatport was putting in this generic tag automatically on everything that was not a remix, god knows why, and now everyone thinks that must be a part of the trackname and adds it if it makes sense or not. even on a 1 track release without remixes of it...
the only scenario where it makes a bit of a sense for me is on releases with remixes so if the original is marked as (original) i do understand but putting (original mix) on a release without remix(es) doesn't make sense for me at all.

so true..

Music / Hottest DJ's
« on: 02/05/12, 16:54 »
Just for fun. No sexism intended ;D

Versi gw:

nina kraviz

mayaan nidam

 :-[ (?) ::)

Share yours  ;)

Videos / video pendidikan: cara joget ala luciano
« on: 23/04/12, 17:57 »
udah rada lama sih tapi mungkin ada yang blom liat

Luciano & the Signature Cadenza Dance

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