After three hours with Jeff Mills I have
found out the secret:
1. Cue your records in three seconds and mix it
in.
2. Work three turntables like second
nature.
3. Create impromptu tracks with a 909, some of which
are really banging and sounds better than the
records playing!
4. Shake your butt.
5. Work doubles on the go, i.e. change the patterns
live as the two records are played out without
cueing...
6. Be left-handed, and wear a
studious-looking specs
when not DJing.
Real Sound
It was a 7000 seat arena (or so i
was told) with the floor covered in pressboard. the sound was about the best you
could hope for in a venue that size, stacks in each of the 4 corners of about 24
speakers each (just a guess, i didn't count). Still a little distorted and boomy in spots, but quite good
for most of the arena floor.
24
speakers a corner, 4 corners.
Real
Sound.
--
Definitions of Hardcore
"At least in music we should know, after the electronic
revolution, anything is possible. And
this should be a signal to life. And that's dangerous! Because> it short-circuits Control and opens up the Pirate Dimension.
Hardcore is such a sonic weapon, but only as long
as it doesn't play by the rules, not even its
own rules (this is where Jungle, Gabber
etc. fail). It could be anything that's
not laid back, mind numbing or otherwise reflecting,
celebrating, complementing the status quo.
Hardcore is even the wrong word (but not completely, since it
also refers to a secret complicity with
co-conspirators something that is miles away
from the 'Tribal' structures that after a short time start replicating the
hierarchical structures of dominant
society). So maybe we should find another word,
but only as a disguise."
(christoph fringeli)
"The ex-hibition of sounds is about a
self-sufficient and vicious contemplation of
these metaphoric isolated shreds of contemporary art museums ; and there is
absolutely no will to control, since
the contemplation stays completly gratuitous.
Hardcore celebrates the brutal, abstract and cold repetitivity
which trepans awakening and tickle the
unusual thoughts, these thoughts that come
to our minds and could not have came... more than an electronic surprise,
hardcore is an esthaetic of
contingency, and goes farther than Noise, which is
the quintessence of contingency but
without the « esthaetisation » of it. In Noise,
the absence of constraint does not really allow for the full
acknowledgement of its possible
richness. Hardcore is the best compromise between the need for our thoughts to have a frame and the will not
to be
prisonners of a system, as it occurs in
techno."
(hangars liquides)
--