tape#11: Blood Turns Cold by MusicForNightclubs
Mixed after ten days in Tokyo. An hour of late-summer ice.
No tracklist this time – a little mystery is nice sometimes.
Enjoy,
Aaron @ musicfornightclubs.com
ps: if you’re looking for a download link – use the tiny arrow on the soundcloud player.
Eighteen Minutes of Freedom by MusicForNightclubs
Here’s a fresh dj mix for y’all.
Eighteen minutes of pure, unscripted edge.
Play loud!
By special request: A previously-unreleased dubstep mix from the archives. 100% bass weight from an all-vinyl set mixed by Aaron Shinn on 23 April, 2009.
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NO TRACKLIST THIS TIME
Sorry folks. If you really want the tracklist, msg me and I’ll get it together.
Cover art by Mia Bengtsson
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And the finale for this set of undisco edits.
“When I Come Home”. Another not-quite-disco edit from MFN. An unclassic tune from a group related to the group who made the mighty ’snapshot’ and ’slide’. This one from the early eighties electro boogie era. Stretched and tweaked for today’s dancefloors.
Made exclusively in Peak – no overdubs, no sampling, no efx.
MFN Edits 2 – When I Come Home by MusicForNightclubs
Next: SO WRONG!
MFN Edits 2 – So Wrong by MusicForNightclubs
First up, Run Like Hell. Enjoy!
MFN Edits 2 – Run Like Hell by MusicForNightclubs
Fresh disco edits from MFN – downloads available for a limited time.
MFN Edits 1 – Heavy Love by MusicForNightclubs
MFN Edits 1 – Freak With Me by MusicForNightclubs
MFN Edits 1 – Meganova by MusicForNightclubs
Without any clear organization, a new sound has been bubbling up from locations as disparate as Los Angeles, London, Amsterdam and Glasgow. It’s not completely coherent, it’s not a genre, and it doesn’t have a geographic locus, but producers and fans are gelling into a kind of scene. Yes, I’m talking about the music described as ‘wonky’.
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Dubstep has gotten me thinking about hardcore lately. Cluekid and LD are doing these retro-themed tracks, Tubby from Newham Generals did a 1994 jungle set for his Rinse show a few weeks ago, and even the BPMs are starting to converge. As Dubstep creeps into the mid-140s, suddenly 155 bpm hardcore records are looking compatible.
All of this has prompted me to go back to my UK hardcore roots. This is the music that got me started as a deejay. When my high school classmates were listening to Guns N Roses, House of Pain, U2, or Boyz II Men, I would play some Nebula II for them and give them a good scare. I borrowed $500 to buy decks at age 15 and was playing out as soon as I could. I followed as hardcore became jungle, and jungle became DnB, and DnB became dreck, but I digress.
Now I listen to Rinse FM all day long and covet dubs and fantasize about making beats. Dubstep has plunged me back into the same musical mindset I inhabited in high school. So I thought it was high time to touch the old vinyl again, and really get back to my hardcore roots.
Whether this sound is new or old to you, all crew get ready to rush!
Dubstep is insane right now. Many of the old talents who brought the sound to global prominence (Skream, Distance, DMZ, Loefah, Hatcha, and Kode 9) have been very quiet this year. Fortunately, the power vacuum has been good for dubstep.
Until very recently, it was looking like Dubstep might follow the same path as Drum N Bass. Since the late nineties, DnB has been an endless competition between producers to express the same formula in harder, heavier executions.
The present climate in Dubstep resembles the earlier days of Drum N Bass – I’m thinking 1994 here – when nobody really knew what the formula was. Newer producers are working to put their own signature on the sound, and new talent is emerging constantly.
This mix, titled Mavericks, captures some of the madness of the moment. Please enjoy it loud.