Wouldn't a schaffel remix of "La Rock" by Vitalic be the greatest thing ever?

who knows what the forthcoming single/album will bring though.

X-POST

schaffel! remember when ILM would have arguments about whether schaffel techno was 4/4 or 3/4? ahhhh

the minimal years were a bad time

6/8 dammit come on

I loved the minimal years!

They never made sense outside if a heaphones context though

Like who dances to minimal?

It took me ages to get the appeal of minimal but it was a great gateway for this IDM/leftfield electronica fan to get into 'proper' dance music. Yeah I danced to it a bunch of times.

this is a very 00's thread title

Like who dances to minimal?

erm... p much the entirety of europe and the rest of the world, for the duration of its popularity and probably still.

seriously what a moronic statement

now i truly feel back on ilx in the mid 00s

jesus christ

erm... p much the entirety of europe and the rest of the world, for the duration of its popularity and probably still.

― Bein' Sean Bean (LocalGarda), Thursday, November 2, 2017 1:39 PM (twenty-six minutes ago) Bookmark Flag Post Permalink

seriously what a moronic statement

― Bein' Sean Bean (LocalGarda), Thursday, November 2, 2017 1:39 PM (twenty-six minutes ago) Bookmark Flag Post Permalink

now i truly feel back on ilx in the mid 00s

― Bein' Sean Bean (LocalGarda), Thursday, November 2, 2017 1:39 PM (twenty-six minutes ago) Bookmark Flag Post Permalink

Haha, hate to bring this conversation back from the dead after 10 years, but when you say 'the entirety of Europe', you're talking the most major cities - London, Berlin etc. Don't remember hearing much about minimal outside of the capital at the time. Electrohouse, breaks, maybe dubstep, probably still d'n'b and techno, but London's always been a house enclave compared to the rest of the UK and always will be.

i'm not from london

A lot of minimal "anthems" were actually pretty banging and maximalidt anyway

exactly, ilx never had "minimal years" - again it's all regurgitating convos from the time but i don't recall richie hawtin or m_nus getting much attention around here.

i could post records itt if could be bothered which people described as minimal at the time which are clearly just house or techno and would have been called that in any other time.

When was Vitalic ever minimal anyway

yeah not sure why on earth that's come up here in the first place

because schaffel was a minimal house thing?

also yes vitalic was a “maximal” house producer and we can have an intelligent conversation about what that implies because there was a whole discourse about maximal production that sprung up in response to the conversation about minimal

might want to recalibrate the memory there - schaffel was not "a minimal house thing"

not everything from germany is "minimal"

the first kompakt schaffel comp was about 1999 or something - many years before any period which could in any way be described as "the minimal years"

finally i call that time the minimal years because that was what dominated the discussion about house and techno in those days (tho i suppose electrohouse was a close second, so i could have called it the electrohouse years)

personally i see and hear a whole different style of house and techno becoming ascendant at about the same time berghain and panorama bar became important concerns

personally i much prefer the current situation

kompakt’s not a minimal label? profan?

1999 is pretty close to mid-00s

also i don’t understand why you’re so snide about this

even if you don’t agree surely you can see where i’m coming from

besides i thought you only listened to balearic jerking off on the beach music these days

what’s really strange is i feel the same abt the moodymann remix it shares the side with

i keep reading this title as 'schlager remix' and now i wanna hear it

yeah they're all still going - like it's easy itt above where people are like "yeah remember that thing" - it prob hasn't even gone away. i guess it's just now like what prog was in 2005 - big stalwarts still hanging around. but then there is good stuff that still sounds like melchior or audio werner or the like too.

to me it was sort of exciting, at least initially, when some of the music i really liked around 03/04 etc got really popular - but the whole m_nus thing was just weird and crap. i never liked any of that stuff despite spending most of my time during those years arguing about the word "minimal". but there was always other stuff happening. there's stuff like eg that marvin dash record i posted in the bobbins of the past thread which was released about 2006 or 2007 - just kind of house music or disco-inspired stuff - that was bubbling under for ages and ages before whatever fascimile of house became the front of the magazine thing.

i'm always sort of interested in the way that stuff progresses and becomes popular but i know others don't give a shit.

xposts

Still slightly surprised that Vitalic never became huge, given that what he was doing was basically the gateway into frankenhouse and through that some bits of EDM, he could have just turned everything up even louder and chased the mega-festival $$$ but he never really did. Not heard any of his records since OK Cowboy and maybe they're completely different but I'm guessing not? Loads of those 2002-05 electro guys could have really thrown themselves into selling out in a big way, Black Strobe and the like, and I wonder if they ever wish they'd just gone fuck it and done so.

all that sound was already in the charts in a more commercial form fairly quickly - there never was any scope for them to get really big imo.

yeah I guess people like Justice came along and did it for him

Vitalic made a dogshit EDM album five years ago fwiw

tHE aEROPLANE fLIES hIGH

saw this thread and thought fuck let's not bring them back too!

not even justice like - there were much more commercial one-off #1s than that which were clearly inspired by electrohouse.

For me essential Vitalic ends with the Fanfares 12. Tack on the Silures ep. Leave everything since. Pretty much been my feelings since 2005. Horrible case of diminishing returns. One of the worst.

i've never heard anything after the first record.

should have disappeared after the poney lp

i've been revisiting the mid 00s minimal stuff a lot lately. mobilee, tuning spork, eulberg, perlon.

playhouse is a klang sublabel, it's not so much stricly minimal as the dancier side of egghead things

i mean, the tiefschwarz spectrum remix was on one of the Better Off Dead comps, they definitely went everywehre

Hahaha gee I was joking when I said “who dances to minimal?”... relax... it would have made more sense if I added a /s tag at the end there, sorry.

I dance to minimal and all that mid 00s trend has been one of my favorite moments in house/techno so far. The older I get the more I miss the music of the mid 00s.

i've been revisiting the mid 00s minimal stuff a lot lately. mobilee, tuning spork, eulberg, perlon

A lot of this stuff is crazy unfashionable right now but holds up, I still put on Sebo K's RA mix every now and again and it's the perfect document of that moment at its peak.

I learned today this charmer was made in Blackpool, never noticed that before. I can't find my copy but its as clear as day in the discogs picture, go 'ed lads!

https://www.youtube.com/watch?v=2pmRMXTiQEY

That was supposed to be for the scallies of the past thread but it must have taken a wrong turn somewhere near Preston!

Sebo K put out a 7 track album this year on Rekids, I'm curious to hear it

a lot of the contemporary stuff I listen to now seems to make a point of drawing equally from mid/late nineties Detroit tech-house (in the Craig / Pullen sense), the minimal era and then post-dubstep, as if to deliberately troll all of us who were forced to take sides in the Years of Schism.

REKIDS is still a thing !?

i guess digital only at this stage ?

REKIDS is still a thing !?

i guess digital only at this stage ?

― mark e, Thursday, November 2, 2017 2:19 PM (three minutes ago) Bookmark Flag Post Permalink

it releases records still. and is only like 10 years old iirc?

ahh.
i never fell for their vinyl excess, only the cd compilations and it has been bloody years since anything came out.
i still listen to REKIDS stuff a lot.
just wish i had picked up the nina k REKIDS cd album when i saw it.

Total heroes for that Mr G comp a few years back

i have one of the Mr G releases (Still Here), but not the 2cd comp, cos that shit is stupid £££ now.

ok, until a few minutes ago i had no idea Mr G was part of The Advent.
fucking hell.

I wonder if they ever wish they'd just gone fuck it and done so.

i always just sort of assumed that they did under different names

The person from that era who really got shafted is probably Ewen Pearson, whose remixes of “Midas Touch” (with Al Usher) and “Manila” basically set the primary agenda for house-derived dance pop for the entire next decade - effectively until tropical house cane along.

As to the “minimal era”, when I think that some of my favourite 2017 tunes are Call Super jams like “Fluenka Spoke” and “I Look Like I Look In A Tinfoil Mirror”, which are basically on some kind of Loco Dice / Gabriel Ananda / Dominika Eulberg / Anja Schneider / Jacek Sienkiewicz tip, it leads me to conclude that none of these sounds/impulses ever die, they’re just get drawn into different meta-stylistic configurations.

I mean really the only thing that has happened is that we no longer talk about Germany as some sort of geographic driving force in house or techno - it’s basically all international now but the UK and Canada in particular play a much more prominent role (the US is prominent as always, of course).

ewan pearson was the fucking man... i still play his slam ft dot allison remix a lot, one of my favorite songs of the 00s.

I think for me the Perspex Sex remix will always be THE ONE. I remember that totally blowing me away when I first heard it at the beginning of 2003 (which was probably late) - it immediately crystallised in my head this idea of a post-electroclash house sound that was brutalist yet populist... which by the next year we were all calling electro-house.

there was a write up re Ewan a couple of years ago that basically broke down the stereotype re name producers and £££.
basically, for all the brilliance Ewan has created (and seriously, his remixes are always fantastic), he lived a very basic life and is broke.
was really quite an eye opener, as i had just assumed that once you get a rep like he had then that was it, sorted.
his mix for kompakt was wonderful, was not into it for a while, but then the penny dropped, and its now one of my fave kompakt mixtapes.

god that is fucking sad. he should be like max martin level huge

or, y'know, big industry producer huge

Am I correct in thinking that most remixers still only get paid a flat fee?

Perhaps he should have attached himself to production work for a big artist (ie. bigger than Tracey Thorn etc.) - Kylie or similar.

(Easier said than done, of course)

found the article.
tQ of course.
http://thequietus.com/articles/22853-power-corruption-and-sighs-ewan-pearson-interviewed

hen he remixed Freeform Five's 'Perspex Sex', helping to define the electro house genre ("which was horrendous")

yep

lol vahid (cue sinead o’connor’s “drink before the war”)

there are some good electro house songs

even some good mixes (thinking of smagghe's "bugged out" in particular)

it's just ... i felt so let down in the 00s ... remember that abe duque + blake baxter track "what happened?" after the 90s it was like ... what happened? techno had gone down the rabbit hole of swedish drum loop boringness and house had turned into a bland pool of mushiness ... and the detroit and chicago dudes ... well, let's face it, nothing gold can last forever. so i guess electroclash and minimal and electrohouse were preferable to what passed for straight house and techno at the time ... but it's just felt really great over the last five years to see a return to foundation sounds. it's made me really happy.

Had no idea Ewan Pearson produced Jens Lekman and Tem Fe this year. I love those two albums, sad to hear the current state of the industry. London is super expensive tho... couldn’t he move to another more affordable city inside the UK?

But yeah wouldn’t expect someone with such pedigree and so famous to be struggling.

There's an interview with Pearson from the mid-00s where he talks about this moment, towards the end of the period where he was *the* go-to remixer, when he was offered this new song from some indie band, but he wasn't feeling the record, didn't think he wanted to do anything with it, and so turned it down. That song turned out to be 'Take Me Out' by Franz Ferdinand and you get the sense that he spent like a year kicking himself about it.

But I think it suggests that he wasn't the type to really chase the money, he always seemed spiritually closer to people like Trevor Jackson or Bill Brewster than, say, Stuart Price. But he's also very closely identified with that 2002-2005 period - when places like Trash were getting really big - and he seemed to drift away when people like Erol just started playing wall-to-wall hyper-compressed midrange sub-Justice blare, which also clearly wasn't his style. In any case the period he's associated with just isn't very fashionable right now, he's not really on the DJ circuit bar a few festivals aimed at people in their 30s and 40s. But you can also just tell when a producer or DJ is going through the motions and he's never done that.

even some good mixes (thinking of smagghe's "bugged out" in particular)

This is the one electrohouse mix I go back to year after year and the one I'd play to someone who really wanted to 'get' that moment and why it was so exciting. Helps that in pace and construction and mood it's basically a techno mix. But it also felt like early electrohouse and microhouse and minimal were exciting and shiny new skins for the music, whereas the return to foundation sounds you talk about is kinda boring to me, even if great records keep being made.

(Obviously the Cortney Tidwell remix is probably Pearson's masterpiece but it felt like the start of a very different path to what he'd been doing previously)

there was loads of stuff that was just electronic house or techno around the "electrohouse" time - again the looking back is massively reductive. something becomes solidifies as a genre in people's minds then dies and all that's remembered is the chrysalis of its final incarnation.

p much all the ivan smagghe mixes from that time would prob stand up today, not least cos most of them didn't even only feature music that was contemporaneous. but equally, as with anything else, there's loads of stuff from back then that's just another strand of house and techno waiting to be recycled again. the idea of us reducing 3/4 years down to barely remembered tiefschwarz and black strobe is not so functional with dance music. i don't trust much of the memory at work itt, including my own.

Yeah there was loads of other stuff going on back then and that's the way narratives work, but at the same time this sound was *all over* London at the time. I suppose you hear it in the way that DJs who aren't especially associated with a particular scene start playing stuff old and new that fits a particular sensibility, someone like Weatherall went big on the electro thing for a while before he got bored and went off and did something else. Whenever I saw Smagghe after about 2005 or 2006 he was mostly just playing clumpy tech-house, but before that his sets were amazing.

Same way that if you went into club in London 2007 or 2008, without going to see a specific name DJ, it wouldn't have been all minimal all the time, but you were more likely to hear minimal than anything else.

i never saw him play a good set, and i saw him loads of times and supported him a few times. i always felt he was like the glimmer twins in that regard, incredible at making comps but never v good live.

I suppose a lot of the stuff you're talking about might have sounded more electrohouse at the time because of the context in which it was being played. Some random Roman Flugel 12" or whatever would have been lumped in there because it was surrounded by electro-ish stuff in sets, when the same record could be played now without anyone thinking of it like that.