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Letzte Woche gabs erst das fantastische 5 Stunden Set von Jus-Ed. Jetzt sind seine Homies Fred P aka Black Jazz Consortium und DJ QU im Bunker Podcast 44 am Drücker. Wieder deep deepah und wieder ein paar wirkliche Perlen dabei. TIP!
After running the label since 1993/ 94 we recently noticed that we were going to repeat ourselves. We started as a label influenced by the first wave of techno and house labels who were just releasing music for the sake of good and personal music (we cloned what they did… by just having fun and release music which we enjoyed ourselves). We have started very immature and without having an idea in mind that we we’re going to make this a business…
At that moment we were exploring the field of minimalish techno and acid. Then our attention slowly moved to electro, post Detroit techno and the new sonic territories with modern electronica. We’ve had the return of disco in the late 90’s and the nu-disco thing and a fusi on of styles in the early ’00. Simultaneously we’ve released dark electro techno, campy nu-disco ,advanced modern electronica and personal favorites in the rebound.
Artists developed into different directions and there is not much we haven’t touched in our field… from very ‚obscure‘ records to ‚underground‘ dance floor hits that got big festival crowds and balearic holiday ravers moving. So what is there left to do? Basically there is no challenge at this moment… we can continue releasing everything we like (from people we like) without a marketing strategy and without a potential buyers in mind as we used to do… but we already did so for many years.
At this moment we don’t understand the popularity of many artists and releases….or… actually we do!. We do, to a certain level, because we’ve tried many things when we just started our journey into music when we were teenagers and when we started the label +/- 15 years ago! By now we do understand the tricks and formulas of dance music and the different users. However using these tricks and formulas just to ensure maximum effect would be betrayal to our own musical ethics because our goal with Clone records is to entertain ourself with the music we release (and to be clear… with the music…and not the sideeffects). Somehow we feel we’ve had an almost complete life cycle of personal evolution in dance music and thats also how we developed the label into a versatile label which is releasing different styles of dance music for different purposes. Its a difficult decision because the label is doing very well and we get warm reactions from the strangest places in this world and we could do this for another 10 years!
But in order to remain passioned about what we do, we feel we should not continue the label as it is.. so we won’t.
but no worries.. there will be new things coming, but its just not exactly clear what, how (and when). More news on th at in a few weeks time!
There will be to two remaining releases (scheduled for Februari.) C#55 – I-f ft Fred Ventura/ Ajello – I cut my heart out (Craig Richards edit)/ I’m ready C#56 – Marco Bernardi – Mystery Of Nazerus (plus a limited Marcus Bernardi rmx 12″) then it will be quiet on the label…
oh.. and Clone Clasic Cuts still has some releases lined up (incl a Unit Moebius CD release), so for now we don’t know what will happen with that.. but most likely we will continue with the Classic Cuts Series.
Seit gestern gibts den Mix 18 auf mnml ssgs. Dieses Mal von Kassem Mosse. So ist hier Leipzig zusammen mit Kann auf Random Circuits schon zwei mal mit dabei. Beim ersten Hören blieb anfangs meine Erwartungshaltung mit Skepsiss zurück. Doch spätestens nach ner halben Stunde hat er mich… voll und ganz!
Meine Platte des Tages: Paperclip People – The Secret Tapes Of Doctor Eich. Ich kann mich noch sehr gut an diesen Montag 1996 im Plattenladen erinnern, als ich die das erste Mal gehört habe. Es war meine erste Begenung mit Detroit Techno – und das hat mich bisheute nicht mehr losgelassen. Ich schließe mich vollkommen kodebreaker an, der bei Discogs sagt:
Every one of the tracks is a creative collection of minimal elements bound together to form a compelling track. From the gritty bass on „The Floor“ to the modulating synth patterns on „Oscillator“ Carl Craig weaves his unique musical talents to the maximum and delivers an essential piece of music history.
Performance for a matrix of 64 gas balloons, lights, and sound
A room is filled with deep, evolving noises from a four-channel sound system. An eight-by-eight array of white, self-illuminated spheres floats in space like the atoms of a complex molecule.
Through variable positioning and illumination of each atom, a dynamic display sculpture comes into being, composed of physical objects, patterns of light, and synchronous rhythmic and textural sonic events. Change, sound, and movement converge into a larger form.
The height of each helium balloon is adjusted with a computer-controlled cable winch, whilst the internal illumination is accomplished using dimmable super-bright LEDs, creating a pixel in a warped 8×8 spatial matrix.
The sonic events, the patterns of light, and the movement of the balloons are manipulated in real time as a 45-60 minute-long performance.
Die Platte „Robert Henke: Atom/Document“ gibt’s bereits auf Monolake/Imbalance.