Long night...let's get a few tracks in while we're at it.
This first one is a razor-sharp rising and falling minimal bomb from Marc Houle. "Bay Of Figs" swells and backs off for a good minute and a half, the droning synth filling your head before the hi-hat kicks in and the track starts to gather speed and focus. This still a bit abrasive, but it's a lil' zipper of a track, and it almost reminds of how it would sound to fly on a bee: the drone, the tempo, the eventual toms, it all just clicks, and just all sounds...right together.
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This is a track off one of my favorite albums of all-time: Bruce Springsteen's 1975 magnum opus, "Born to Run". It's definitely a ballad, but there's something about this song thats driving, something that gives it unmatched purpose and poise on the album. It's probably the hummable, key piano riff that opens the song and hangs around throughout. That, laid against Max Weinberg's cunningly simplistic drums creates a sound that rolls along with equal ease and flow. Springsteen sounds right at home singing about a girl he wishes would leave him alone, even though she's something quite amazing. A beautiful song that you can just as easily rock out to as you can enjoy on an evening at home with friends and family.
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The final track I offer is a classic Pryda cut from 2004: "Lesson One". This is classic Pryda; you've got his addictive, proggy drums, the catchy, simplistic synth lines, and the barreling bass that thunders along beneath it all. This track in particular, though, has a dreamy, ethereal quality to it, something that makes it float about most other progressive house cuts. The delay and echo on the synth certainly helps, but just the riff itself sounds wonderfully bubbly and spacey. Lesson One: this is how amazing progressive house is done, and just another reason why you don't need any words to create a completely absorbing atmosphere.
That's all for now! Check back soon, and as always keep those ears wide open.
-NL
Monday, November 23, 2009
Sunday, November 22, 2009
Techno: An explanation, a rant, plus some tracks
Alright, to begin with, Sandstorm is not techno. It's cookie-cutter trance. While "cookie-cutter" might seem like a word very befitting of the whole electronic music genre, hear me out first. Call On Me is not techno either. It's house, in a word. Anyways, back on topic...
Techno is ALL about the experience. It does have any catchy melodies, any recognizable parts to it (generally), and no hummable lyrics. This is not a radio edit of some popular song. This is a sonic journey we're talking about. The best place to begin to experience techno is in the comfort of your own room, ONLY listening to the music. Your mind cannot be occupied with anything else. I'm being completely serious too, by the way.
It's the rhythm that will first get you. The basic foundation of electronic music; the beat. It settles somewhere from which the rest of the song builds off of, usually organically. And by that, I mean things slowly rise, building on what previously been set, not coming in all of a sudden. It rises naturally, both sonically and logically, as if the track is climbing a mountain of sound, and the higher you get, the rougher the sound.
This brings me to my next point. There are no "edits" in techno. You will hard-pressed to find any techno track under five minutes in length, the usual length being a solid ten minutes. Why no edits? It's the sound that matters, the journey. It cannot be cut short for any reason. If you try to, it will absolutely ruin the entire mood and feel of the track. Again, it's the experience that will create and palpitate the understanding and love for the sound.
Additionally, it's also important to listen to this stuff with the proper mindset. You need to understand what you're about to listen to to fully appreciate it. Yes, it will be repetitive. Yes, it will probably start very quiet and very boring. Yes, there will probably be no melodic elements to begin with, if ever. People who gripe about this shit instantly piss me off: shut the fuck up and listen. Do I start complaining about Fall Out Boy, Panic! At The Disco, Lady Gaga, or the Jonas Brothers as soon as one of their songs comes on? Of course! Because what you hear will never change. The song goes nowhere from where it starts. With techno, everything grows, slowly and quietly. So shut the hell up and be patient. It will get loud. It will get better. Just expect to hear all this when you listen to it, or else take off your headphones and go stick your head into a fan while listening to mainstream radio.
Alright, onto the tracks. Sorry for that rant. But seriously, those people piss me off so much. Anyways...
This first one is a re-edit by Eric Prydz of a classic Sven Vath track: the Beauty and the Beast. It still retains some tech house elements, which is why I start off with this. I want to ease people into this, not jar them instantly with some Pig & Dan or Ricardo Villalobos straight out of the gate. But it definitely has a techno mindset: dark, ominous, complete with eerie vocal swells and barreling, thunderous drums over a simplistic, wavering synth line. Great example of a slow start that builds to something bigger and better. Just wait for the rise...it's completely epic and rightly monstrous.
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This next track is a little spacier, but a definite techno cut if I ever heard one. This one absolutely lends itself to the atmospheric tag of techno. Close your eyes and try and picture a beach...it's really easy with this cut from Guy Gerber and Shlomi Aber. The track almost bubbles out of the speakers, filling the room with water over LFO-beefed synths and a rising, swelling background tone that just sounds so...sunny, spacey, and water...y?
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Finally, I'll start to move into some power techno. This is the truly monstrous, epic, thick, vicious, "evil-sounding" stuff that makes you feel like some kind of angry, empowered demigod after you hear it. This stuff will scare you. It will shock you. And if you're in the right mood, it might even make you angry. The bass is heavy, the sound grows completely and totally, peaking with a sincere, palpable sonic rage that actually pretty cool. Until you realize that the track is less than halfway done and the truly amazing part is only moments away. It's times like these that make the hair on the back of my neck curl. This a monster of a track; don't say I didn't warn you. I mean jeesh, look at the title! That alone should explain it. (P.S. Dios = God in Spanish. Yep.) Dubfire and Oliver Huntemann are two huge names in techno, and they both have other excellent tracks if you're at all interested.
Final note; I'll let the track speak for itself. Just remember...organic growth, faux climax, climax, atmosphere. That's all you need to know. Last warning. Listen at your own risk/enjoyment.
I will return soon with some more techno and some other tracks that EVERYONE can stomach...techno truly is not everyone's cup of tea. Enjoy, and keep on listening to anything and everything.
Techno is ALL about the experience. It does have any catchy melodies, any recognizable parts to it (generally), and no hummable lyrics. This is not a radio edit of some popular song. This is a sonic journey we're talking about. The best place to begin to experience techno is in the comfort of your own room, ONLY listening to the music. Your mind cannot be occupied with anything else. I'm being completely serious too, by the way.
It's the rhythm that will first get you. The basic foundation of electronic music; the beat. It settles somewhere from which the rest of the song builds off of, usually organically. And by that, I mean things slowly rise, building on what previously been set, not coming in all of a sudden. It rises naturally, both sonically and logically, as if the track is climbing a mountain of sound, and the higher you get, the rougher the sound.
This brings me to my next point. There are no "edits" in techno. You will hard-pressed to find any techno track under five minutes in length, the usual length being a solid ten minutes. Why no edits? It's the sound that matters, the journey. It cannot be cut short for any reason. If you try to, it will absolutely ruin the entire mood and feel of the track. Again, it's the experience that will create and palpitate the understanding and love for the sound.
Additionally, it's also important to listen to this stuff with the proper mindset. You need to understand what you're about to listen to to fully appreciate it. Yes, it will be repetitive. Yes, it will probably start very quiet and very boring. Yes, there will probably be no melodic elements to begin with, if ever. People who gripe about this shit instantly piss me off: shut the fuck up and listen. Do I start complaining about Fall Out Boy, Panic! At The Disco, Lady Gaga, or the Jonas Brothers as soon as one of their songs comes on? Of course! Because what you hear will never change. The song goes nowhere from where it starts. With techno, everything grows, slowly and quietly. So shut the hell up and be patient. It will get loud. It will get better. Just expect to hear all this when you listen to it, or else take off your headphones and go stick your head into a fan while listening to mainstream radio.
Alright, onto the tracks. Sorry for that rant. But seriously, those people piss me off so much. Anyways...
This first one is a re-edit by Eric Prydz of a classic Sven Vath track: the Beauty and the Beast. It still retains some tech house elements, which is why I start off with this. I want to ease people into this, not jar them instantly with some Pig & Dan or Ricardo Villalobos straight out of the gate. But it definitely has a techno mindset: dark, ominous, complete with eerie vocal swells and barreling, thunderous drums over a simplistic, wavering synth line. Great example of a slow start that builds to something bigger and better. Just wait for the rise...it's completely epic and rightly monstrous.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
This next track is a little spacier, but a definite techno cut if I ever heard one. This one absolutely lends itself to the atmospheric tag of techno. Close your eyes and try and picture a beach...it's really easy with this cut from Guy Gerber and Shlomi Aber. The track almost bubbles out of the speakers, filling the room with water over LFO-beefed synths and a rising, swelling background tone that just sounds so...sunny, spacey, and water...y?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Finally, I'll start to move into some power techno. This is the truly monstrous, epic, thick, vicious, "evil-sounding" stuff that makes you feel like some kind of angry, empowered demigod after you hear it. This stuff will scare you. It will shock you. And if you're in the right mood, it might even make you angry. The bass is heavy, the sound grows completely and totally, peaking with a sincere, palpable sonic rage that actually pretty cool. Until you realize that the track is less than halfway done and the truly amazing part is only moments away. It's times like these that make the hair on the back of my neck curl. This a monster of a track; don't say I didn't warn you. I mean jeesh, look at the title! That alone should explain it. (P.S. Dios = God in Spanish. Yep.) Dubfire and Oliver Huntemann are two huge names in techno, and they both have other excellent tracks if you're at all interested.
Final note; I'll let the track speak for itself. Just remember...organic growth, faux climax, climax, atmosphere. That's all you need to know. Last warning. Listen at your own risk/enjoyment.
I will return soon with some more techno and some other tracks that EVERYONE can stomach...techno truly is not everyone's cup of tea. Enjoy, and keep on listening to anything and everything.
Thursday, November 19, 2009
Too Long...
Wow. Haven't been on here in a while. And frankly, for the two of you that often check here, I apologize. However, seeing as it's getting into the winter months, I will probably find myself often holed up in my room doing homework, and as such will probably find ample time to update this thing. Anyways, enough about me, and on to the tracks...
I figure I'll just give a few of current favorite tracks the nod, but I'm planning a big techno entry later this month. Specifically, on why most electronic music is NOT techno, my opinion of the genre, and a few of my favorite, genre-defining tracks from said style of music. And this is a purely personal look at techno, I am by no means a complete expert, so yes. Be looking out for that.
Alright, on to the music.
The first track I'd like to present is somewhat old, but it's kind of grown on me lately. Be forewarned, this is about as edgy as you can get as far as minimal techno is concerned, but it is well worth at least one listen.
Dutch producer Patrice Baumel dropped this violent, jarring minimal techno cut back in July 2008 on Get Physical. First thing to point out? No kick. That's correct, there is, in a word, no "beat". But this only makes things more interesting. Behind a steady procession of heavy, commanding claps and mechanical plonks of the "roar" (which is more akin to a chainsaw), that thick, grating, abrasive ROAR kicks in, before dropping out at the last minute. But with momentary piston hisses and a slowly gathering structure through most of the six plus minutes of the track, this is what techno would sound like through the ears of a robot: mechanical, vicious, thunderous, and completely devoid of any melodious elements. Not a track for a sunny, happy day.
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The next track I'd like to spotlight is a month old joint straight from the mind of A-Trak. The man has, undeniably, a knack for remixing. He did it for Sebastien Tellier's "Kilometer", Boys Noize's "Oh!", and now he does it again for the Yeah Yeah Yeahs. His remix of "Heads Will Roll" is banging, hissing, funked-out house cut. Karen O sounds right at home over A-Trak's addictive keys, hip-hop influenced beats, and glittering synth riffs. I honestly don't think A-Trak will ever be able to outdo his remix of "Kilometer", but this elastic, catchy-as-hell remix highlights what A-Trak does best, and this will definitely remain among my favorite tracks for a few months.
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This next track is a wonderfully Spanish tech house joint from German techno/tech house producer Stimming. I've heard this referred to as minimal, but it's simply not true. It's tech house. Anyways, this track brings the rhythm, and that, plus the breezy, ghostly vocal, will beckon you into a warm, coastal beach house, complete with hammocks, that fresh sea air, and a near broken radio too. The crackling vocal becomes the cnterpiece for this track, and everything else is built around it. The vibrating undercurrent of a beat, the "slap claps", and the intermittent, wavering horn swells all create a comfortable, flowing atmosphere that gets this track bouncing off the walls of your head, filling every inch with that casual, sunny-day vibe that you can almost feel radiating off this cut.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Finally, I'm going to bring it back with my second favorite producer of all-time: Eric Prydz. The man does NOT release many remixes anymore, but when he does, you just know that they'll be quality cuts. And his latest remix of Calvin Harris's "Flashback" is no exception. It's your typical Prydz prog/tech house sound: spacey, layered synths, lush, delayed vocals, proggy drums, it's been done before. But it's how Prydz's introduces everything slowly but surely that keeps this remix on it's feet. Additionally, he handles the vocals with the utmost care. The female lead sounds delicate yet buoyant over Harris's wonderful harmony that works even better with Prydz's simplistic synth riff. It's drawn out to near eight minutes, but personally, the ebbs and flows, the crests and troughs of the whole thing are well worth it. Another excellent remix by Prydz. Much better than that commercial turd David Guetta dropped.
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That's all! Check back soon for a journey into the depths of techno. You've been warned.
-Keep listening to anything and everything you can! -NL
I figure I'll just give a few of current favorite tracks the nod, but I'm planning a big techno entry later this month. Specifically, on why most electronic music is NOT techno, my opinion of the genre, and a few of my favorite, genre-defining tracks from said style of music. And this is a purely personal look at techno, I am by no means a complete expert, so yes. Be looking out for that.
Alright, on to the music.
The first track I'd like to present is somewhat old, but it's kind of grown on me lately. Be forewarned, this is about as edgy as you can get as far as minimal techno is concerned, but it is well worth at least one listen.
Dutch producer Patrice Baumel dropped this violent, jarring minimal techno cut back in July 2008 on Get Physical. First thing to point out? No kick. That's correct, there is, in a word, no "beat". But this only makes things more interesting. Behind a steady procession of heavy, commanding claps and mechanical plonks of the "roar" (which is more akin to a chainsaw), that thick, grating, abrasive ROAR kicks in, before dropping out at the last minute. But with momentary piston hisses and a slowly gathering structure through most of the six plus minutes of the track, this is what techno would sound like through the ears of a robot: mechanical, vicious, thunderous, and completely devoid of any melodious elements. Not a track for a sunny, happy day.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The next track I'd like to spotlight is a month old joint straight from the mind of A-Trak. The man has, undeniably, a knack for remixing. He did it for Sebastien Tellier's "Kilometer", Boys Noize's "Oh!", and now he does it again for the Yeah Yeah Yeahs. His remix of "Heads Will Roll" is banging, hissing, funked-out house cut. Karen O sounds right at home over A-Trak's addictive keys, hip-hop influenced beats, and glittering synth riffs. I honestly don't think A-Trak will ever be able to outdo his remix of "Kilometer", but this elastic, catchy-as-hell remix highlights what A-Trak does best, and this will definitely remain among my favorite tracks for a few months.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
This next track is a wonderfully Spanish tech house joint from German techno/tech house producer Stimming. I've heard this referred to as minimal, but it's simply not true. It's tech house. Anyways, this track brings the rhythm, and that, plus the breezy, ghostly vocal, will beckon you into a warm, coastal beach house, complete with hammocks, that fresh sea air, and a near broken radio too. The crackling vocal becomes the cnterpiece for this track, and everything else is built around it. The vibrating undercurrent of a beat, the "slap claps", and the intermittent, wavering horn swells all create a comfortable, flowing atmosphere that gets this track bouncing off the walls of your head, filling every inch with that casual, sunny-day vibe that you can almost feel radiating off this cut.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Finally, I'm going to bring it back with my second favorite producer of all-time: Eric Prydz. The man does NOT release many remixes anymore, but when he does, you just know that they'll be quality cuts. And his latest remix of Calvin Harris's "Flashback" is no exception. It's your typical Prydz prog/tech house sound: spacey, layered synths, lush, delayed vocals, proggy drums, it's been done before. But it's how Prydz's introduces everything slowly but surely that keeps this remix on it's feet. Additionally, he handles the vocals with the utmost care. The female lead sounds delicate yet buoyant over Harris's wonderful harmony that works even better with Prydz's simplistic synth riff. It's drawn out to near eight minutes, but personally, the ebbs and flows, the crests and troughs of the whole thing are well worth it. Another excellent remix by Prydz. Much better than that commercial turd David Guetta dropped.
~~~~~~~~~~~~~~~~~~~~
That's all! Check back soon for a journey into the depths of techno. You've been warned.
-Keep listening to anything and everything you can! -NL
Tuesday, September 1, 2009
End of Summer Jamz
Well, it's here. School. But it's still warm, and the nights are still relatively free of stress. But why not blow it off with the freshest fall jams this side of September?? Let's get to it.
The newest single off of Kid Sister's new album, "Ultraviolet", isn't something you might expect at first. A pretty weak intro literally gets capped, and the violent, walloping synths kick in, with the bass following in perfect succession. It's definitely got a rap vibe, but...what's with the synths and that electro flow it's got going on? It's produced by Steve Angello and Sebastian Ingrosso, that's why. Two of the biggest producers in house music today (and both of the infamous Swedish House Mafia) cut this amazing, glitchy, electro gem for Kid Sister, and it's been on repeat in my car for a good month. Check it out:
My computer is acting ridiculously slow tonight, so this will be the last song unfortunately... :/
Noob & Brodinski, the latter known as a seasoned French electro maestro on Tiga's own Turbo Recordings, have collaborated on a massive electro banger known fondly as "Peanuts Club". Slamming snares and thick, tubular kicks fill the sound space, and the trademark electro synth is present too. However, there are enough hip-hop elements to make this track more than suitable for the dancefloor: unique, funky rhythms are toyed with, and the melody isn't TOO abrasive. But again, this IS electro we're dealing with here. Enjoy the monkeys and start bangin' this track; it's been on repeat as well for a good two weeks. Expect a formal release on Turbo later this month. GET HYPE:
That's all for now. Expect a few more updates before school and cross country consume my soul and/or life. Until then, bop out.
-RBGK
The newest single off of Kid Sister's new album, "Ultraviolet", isn't something you might expect at first. A pretty weak intro literally gets capped, and the violent, walloping synths kick in, with the bass following in perfect succession. It's definitely got a rap vibe, but...what's with the synths and that electro flow it's got going on? It's produced by Steve Angello and Sebastian Ingrosso, that's why. Two of the biggest producers in house music today (and both of the infamous Swedish House Mafia) cut this amazing, glitchy, electro gem for Kid Sister, and it's been on repeat in my car for a good month. Check it out:
My computer is acting ridiculously slow tonight, so this will be the last song unfortunately... :/
Noob & Brodinski, the latter known as a seasoned French electro maestro on Tiga's own Turbo Recordings, have collaborated on a massive electro banger known fondly as "Peanuts Club". Slamming snares and thick, tubular kicks fill the sound space, and the trademark electro synth is present too. However, there are enough hip-hop elements to make this track more than suitable for the dancefloor: unique, funky rhythms are toyed with, and the melody isn't TOO abrasive. But again, this IS electro we're dealing with here. Enjoy the monkeys and start bangin' this track; it's been on repeat as well for a good two weeks. Expect a formal release on Turbo later this month. GET HYPE:
That's all for now. Expect a few more updates before school and cross country consume my soul and/or life. Until then, bop out.
-RBGK
Wednesday, August 19, 2009
What's an audio orgasm? An EARGASM.
Alright, a semi-short post today. Just had to highlight a few progressive house joints that I've been diggin' lately. Plus NEW PRYDA JUST DROPPED ON PRYDA RECORDINGS :O :O
And it's amazing.
So let's kick it off with Pryda. Waves, which includes the A-side "Waves", and the B-side "Alfon", is another storied practice in Pryda bangers: lush, swelling synths with unforgettable, instantly-hummable melodic tidbits, and (eventually) monumental kicks, snares, and hi-hats.
"Waves" starts with a snaking series of kicks and what sounds like a horsefly on acid, amidst a rather ambient, simple synth line. Momentarily, harmonic electric piano stabs come in, establishing a base on which the track will be built. Things build in volume and fullness of sound until 3 minutes or so, when the drums drop out, and the main synth hook is slowly brought, signaling the subsequent breakdown that always follows. The drums, hi-hats first of course, are slowly brought back in, and at 4:50, the snares and snaking hiss are brought back in, and the sound is fully realized, snaking and bouncing along, before a lone arpeggio line plays amongst the sharp kicks and sparce drum sound effects. The track is ambient, but there are enough melodic elements to make it more than just a "drum" track. Please enjoy!
Now for Alfon, my preferred track. Things start out similar, with more noticably heavy kicks and snares, before a twitchy hollow twangy stab is brought in. The bass starts to roll along under the gated snare. Things continue in this manner until about 2:40, when everything fades out, and the gloriously simple hook is brought in, in all its trancey piano goodness. The kick follows (of course), then the rolling bass line sans kick, then both the kick and snare return, as the sound grows fuller and fuller by the minute. It continues this way until the end, bringing in and dropping various elements to shape the sound and mood of the track. The final minute sees the twitching tom stabs exit with the drums in tow, banging away at the simple four-to-the-floor beat. Enjoy.
Pryda nevers lets us down, and this time is no exception. Now I get to wait for new Sebastien Leger on Mistakes Music. Expect THAT soon too!!
Now onto a few more tracks. First, Michael Feiner's gloriously rhythmic prog house remix of Arno Cost's already bangin' "Cyan". The beginning alone gives testament to what rhythm means in a song. Listen to ten seconds and try to NOT move your body in some way. Additionally, Feiner brings in the fuller version of the hook much faster than Cost does. And this is a marvelous thing. Feiner's drums are tighter and better suited to the track. Also, the short, melodic riffs Feiner adds over the intro piano riff do just a little to add to the track as a whole. His buildups are much fuller and sound better than they do in the original version. Overall, Michael Feiner turns this track from a banger into an absolute smash. The tightening of the drums, the extra melodic synth lines, and the incredible sense of rhythm do wonders for an already amazing track. Enjoy!
Finally, we come to Steve Angello. Kim Fai's remix of Angello's cookie-cutter prog (progressive) house track "Isabel" is both spacey and thunderous, laidback, and full force. For the beginning, Fai incorporates minimal drums, but with a greater sense of rhythm then Angello. His synths are spacier too, and seem to fill the empty space of the main hook, gutting it and sending it to the farthest corners of the room. Things tighten from there on, with hi-hats, gravel claps, and trancey synths abound. The ending drops off a little bit, but overall this remix is much more solid than the original, bringing in enough different elements and varied rhythms that it feels like different tracks almost, and not one repetitive prog house joint. Here it is in full:
That's it for me for today!! Check back in soon, I'll be going over my favorite indie rock tracks of the summer next time. Until then, bop out.
-RBGK
And it's amazing.
So let's kick it off with Pryda. Waves, which includes the A-side "Waves", and the B-side "Alfon", is another storied practice in Pryda bangers: lush, swelling synths with unforgettable, instantly-hummable melodic tidbits, and (eventually) monumental kicks, snares, and hi-hats.
"Waves" starts with a snaking series of kicks and what sounds like a horsefly on acid, amidst a rather ambient, simple synth line. Momentarily, harmonic electric piano stabs come in, establishing a base on which the track will be built. Things build in volume and fullness of sound until 3 minutes or so, when the drums drop out, and the main synth hook is slowly brought, signaling the subsequent breakdown that always follows. The drums, hi-hats first of course, are slowly brought back in, and at 4:50, the snares and snaking hiss are brought back in, and the sound is fully realized, snaking and bouncing along, before a lone arpeggio line plays amongst the sharp kicks and sparce drum sound effects. The track is ambient, but there are enough melodic elements to make it more than just a "drum" track. Please enjoy!
Now for Alfon, my preferred track. Things start out similar, with more noticably heavy kicks and snares, before a twitchy hollow twangy stab is brought in. The bass starts to roll along under the gated snare. Things continue in this manner until about 2:40, when everything fades out, and the gloriously simple hook is brought in, in all its trancey piano goodness. The kick follows (of course), then the rolling bass line sans kick, then both the kick and snare return, as the sound grows fuller and fuller by the minute. It continues this way until the end, bringing in and dropping various elements to shape the sound and mood of the track. The final minute sees the twitching tom stabs exit with the drums in tow, banging away at the simple four-to-the-floor beat. Enjoy.
Pryda nevers lets us down, and this time is no exception. Now I get to wait for new Sebastien Leger on Mistakes Music. Expect THAT soon too!!
Now onto a few more tracks. First, Michael Feiner's gloriously rhythmic prog house remix of Arno Cost's already bangin' "Cyan". The beginning alone gives testament to what rhythm means in a song. Listen to ten seconds and try to NOT move your body in some way. Additionally, Feiner brings in the fuller version of the hook much faster than Cost does. And this is a marvelous thing. Feiner's drums are tighter and better suited to the track. Also, the short, melodic riffs Feiner adds over the intro piano riff do just a little to add to the track as a whole. His buildups are much fuller and sound better than they do in the original version. Overall, Michael Feiner turns this track from a banger into an absolute smash. The tightening of the drums, the extra melodic synth lines, and the incredible sense of rhythm do wonders for an already amazing track. Enjoy!
Finally, we come to Steve Angello. Kim Fai's remix of Angello's cookie-cutter prog (progressive) house track "Isabel" is both spacey and thunderous, laidback, and full force. For the beginning, Fai incorporates minimal drums, but with a greater sense of rhythm then Angello. His synths are spacier too, and seem to fill the empty space of the main hook, gutting it and sending it to the farthest corners of the room. Things tighten from there on, with hi-hats, gravel claps, and trancey synths abound. The ending drops off a little bit, but overall this remix is much more solid than the original, bringing in enough different elements and varied rhythms that it feels like different tracks almost, and not one repetitive prog house joint. Here it is in full:
That's it for me for today!! Check back in soon, I'll be going over my favorite indie rock tracks of the summer next time. Until then, bop out.
-RBGK
Wednesday, August 12, 2009
Top Ten Summer Tracks of 2009
It's that time of year, folks.
Summer's winding down, and, well, school is three weeks away. It's reality. Deal with it.
But we're not QUITE done here...so may I present MY picks for the top ten summer tracks of this season that, for me, have made summer, well, SUMMER!!!!!!!!!!! Please enjoy, and feel free to comment and give me your thoughts on my picks. Enjoy...
The Bloody Beetroots - Awesome [10]
Let's kick off the list with an abrasive monster of a track perfect for joyriding into the wee hours of the morning: the Bloody Beetroots' Awesome. With the Cool Kids contributing verses and the chorus, this track is 100% BANG. The metallic, grating synths are classic Beetroots, and give this cut a odd swagger all its own. The bass is still there, bigger and better than ever, plus the synth detuning through parts of the track add to its maddening, almost brutal punch. Most of all though, the drums are absolutely monsterous, clobbering, booming, and thunderous for the entire two and a half minutes. If you ever wanted to piss off the neighbors with that one song, THIS would be that song. Awesome.
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Major Lazer - Hold The Line feat. Mr. Lex & Santigold [9]
Ahh another sound system banger. Dubstep is the new thing, and the production from Diplo and Switch on the kickoff track to the amazing summer album "Guns Don't Kill People...Lazers Do" is absolutely destructive. Snare stabs abound, plus some of the craziest sound effects you'll ever hear, including horse nays, girly squeals, cell phones ringing, and machine gun fire, create a hectic, manic atmosphere that drives this track at 500 miles per hour through your speakers. The drums ripple and shake, and the A Milli-esque hook sung by Santigold rounds out this package as a crazy-go-nuts drive time speaker breaker of massive proportions. I can almost feel the bass now.
---------------------------
Dam-Funk - Toeachizown [8]
Where would summer be without the proverbial midnight jam? Enter Dam-Funk, who released his debut on the renown Stones Throw label. If ever there was an instrumental begging for a verse to be laid over it, this is that track. Plonky, funky synths, and sharp, booming kicks spell the funk out, but the track REALLY begins after the first eight bars. Warm, gyrating, almost breathing, the track hunkers along with a smooth, mellow gait despite its monstrous sonic girth. Late night car rides, evenings at home, either one of those needs this track. It may have no lyrics, but dammit, actions speak louder than words. And this one is practically screaming "MIDNIGHT SUMMER FUNK JAM OF THE DECADE" at the top of its imaginary lungs.
---------------------------
Tiga - Beep Beep Beep (Punks Jump Up Remix) [7]
Released on his own Turbo Recordings label, DJ/singer/songwriter Tiga dropped this and a number of other quality remixes from Soulwax, Emperor Machine, and Loco Dice, among others. But the Punks Jump Up remix by FAR trounces them all. It immediately gets into the swing of things, complete with banging drums, hand claps, and a rippling, wavy synth line, before slingshotting the bass into the mix. The chorus is handled expertly, spiraling through the vocal ohh's and ahh's and beep's over Tiga's matter-of-fact delivery of how the world operates in this mechanical age. The song itself points out the obsession with electronics in today's world, and what better way to celebrate the summer? It reminds me that the days of summer are not spent indoors by yourself, they're spent out with friends, enjoying and living life. "My phone goes BEEP BEEP BEEP, the crowd goes BEEP BEEP BEEP, the whole world goes BEEP BEEP BEEP, but you go ohh ohh ahh..."
---------------------------
Scope - Night Reeds [6]
http://rapidshare.com/files/216926038/Scope_-_Night_Reeds__Original_Mix_.mp3 (Sorry no vid for this one!)
Sure, summer's great for parties, roadtrips, and intimate moments, but what are we forgetting? Ah yes. The chill factor. Sometimes, it's all but perfect to just sit down and relax. Chillin' with your friends, or by yourself, it's how you get the energy to do all those other fun and exciting summer activities. And what better recharger than Scope's deep house gem "Night Reeds"? Yes, there's a classic, housey beat, but it never plays itself up, which is just fine. This track breathes calm and cool, with a light, breezy horn section that drifts and floats like a cloud over lush, mellow keys. The atmosphere sways and shifts ever so slightly, but it never strays far from typical deep house fare. But by far, this is an amazingly chill cut, and almost feels like a breeze itself, especially with the fluttering flute line and breath-taking strings in the middle. In ever there was an electronic music track to fall asleep too, it would be this one.
---------------------------
Fink - Sort of Revolution (The Cinematic Orchestra Remix) [5]
http://rcrdlbl.com/artists/Fink/track/Sort_Of_Revolution_The_Cinematic_Orchestra_Remix (Sorry not for this one either!)
It's time to get a little sentimental. Acoustic guitar, and a light percussion section, is all this song needs to make my skin crawl. It's breath-taking, open, and absolutely beautiful. The vocals remind me of Jack Johnson a little bit, or a little more rugged version of Matt Nathanson, and Fink does an incredible job of creating a very warm, inviting atmosphere, especially during the chorus, where the multiple guitars and hums sink through your skin and you just feel...alright. The perfect song to play with that special someone. The rhythm is a little faster than the original, but it gives the slightest bit of urgency that the track needs to become less of a ballad and more of a rushed, beckoning call to enjoy what little time there is left in summer. Simply amazing.
---------------------------
The Whitest Boy Alive - Golden Cage (Fred Falke Remix) [4]
Whenever I think of summer, I can't help but think of Fred Falke. His production style could be a word-for-word adjective list of summer: relaxing, playful, jubilant, raucous, soothing, the list goes on!! Now, there are a lot of Falke productions I could've used, but this oldie is by far my most treasured. Erlend Oye's vocals work in tandem with Falke's production to turn an already stellar indie rock track into a bed of blissed-out, fluffy, summery joy. It's all here: Falke's signature, lush, catchy keys, French house-esque drum patterns, and equally pleasing breakdowns. The whole track sounds like a dream sequence, something not of this world, something above it, more pleasing, joyful, and ethereal than anything palpably sonic on the face of this planet. But as soon as the beat drops, I can't help but smile. Another perfect, late-night beach party jam courtesy of the sultan of summer.
---------------------------
Passion Pit - Moth's Wings [3]
Every summer needs its anthemic, rock ballad. And although the five guys from Cambridge may never write an ACTUAL ballad, this is pretty damn close. An electronic guitar riff kicks things off, before a absolute sweeping piano riff takes you off your feet towards the sky. Minimalist drum work does wonders here, never taking away from the majestic atmosphere that swirling and sways for every single moment there is sound, but keeping enough of a rhythm to give the song structure. For roadtrips, there is no better song. The booming chorus with all five voices and uplifting chords breathe summer and the magnificent feeling of joy and freedom that it brings. The chorus alone tears open my mind at the seams to let out all the bad thoughts and troubles, leaving nothing but happiness and pure, unadulterated ecstasy. They speak of friendship without enemies, and the same goes for summer: enjoy it with everyone. No matter who, what, where, when, or why. "Come lay with me on the ground..."
---------------------------
Bag Raiders - Shooting Stars (Shazam Dub Mix) [2]
Within the first ten seconds, you just almost FEEL the warm, summertime vibes just oozing off this cut. Australian Shazam (BangGang 12s) takes this track from fellow Aussies Bag Raiders (Modular/BangGang 12s/Fool's Gold) and gives it a classic disco twist. Blaring horns, classic four-to-the-floor drum sequences, catchy-as-sin strings, and plonky, dense synths over the original riff. Occasional chorus vocals create an atmosphere straight out of 1973, and Shazam successfully works magic to turn this vocal-tinged light electro track into a grooving, jiving, bouncing behemoth, complete with a tasty bass riff. This is the penultimate barbecue, summer mixer, beach party banger for those late July nights. The only thing missing are verses from Earth, Wind & Fire.
---------------------------
Sebastien Tellier - Roche (Breakbot Remix) [1]
And here we have it. Number one. Everything about this track says summer. And I mean EVERYTHING. French house maestro Breakbot takes an already decidedly chill piano tune from fellow Frenchman Sebastien Tellier and injects with glittering, shimmering synthwork, tight French house drum production, and a chorus and breakdown so warm and inviting you can't help but try and speak French to attempt to sing along. You can even hear waves crashing in the background! Just close your eyes and allow yourself to be transported to the beach. Instantly. Few songs are so atmospheric that they instantly create worlds and settings all their own, but this track does it. This is the definitive track of summer. It's danceable, relaxing, and bangin' all at the same time. If summer could sing or make noise, this is what it would sound like. To a tee.
Well there you have it. Hope you enjoyed the countdown. Summer's not over yet folks ;)
Have a wonderful rest of the summer and expect a new post in the very near future! Bop out.
-RBGK
Summer's winding down, and, well, school is three weeks away. It's reality. Deal with it.
But we're not QUITE done here...so may I present MY picks for the top ten summer tracks of this season that, for me, have made summer, well, SUMMER!!!!!!!!!!! Please enjoy, and feel free to comment and give me your thoughts on my picks. Enjoy...
The Bloody Beetroots - Awesome [10]
Let's kick off the list with an abrasive monster of a track perfect for joyriding into the wee hours of the morning: the Bloody Beetroots' Awesome. With the Cool Kids contributing verses and the chorus, this track is 100% BANG. The metallic, grating synths are classic Beetroots, and give this cut a odd swagger all its own. The bass is still there, bigger and better than ever, plus the synth detuning through parts of the track add to its maddening, almost brutal punch. Most of all though, the drums are absolutely monsterous, clobbering, booming, and thunderous for the entire two and a half minutes. If you ever wanted to piss off the neighbors with that one song, THIS would be that song. Awesome.
---------------------------
Major Lazer - Hold The Line feat. Mr. Lex & Santigold [9]
Ahh another sound system banger. Dubstep is the new thing, and the production from Diplo and Switch on the kickoff track to the amazing summer album "Guns Don't Kill People...Lazers Do" is absolutely destructive. Snare stabs abound, plus some of the craziest sound effects you'll ever hear, including horse nays, girly squeals, cell phones ringing, and machine gun fire, create a hectic, manic atmosphere that drives this track at 500 miles per hour through your speakers. The drums ripple and shake, and the A Milli-esque hook sung by Santigold rounds out this package as a crazy-go-nuts drive time speaker breaker of massive proportions. I can almost feel the bass now.
---------------------------
Dam-Funk - Toeachizown [8]
Where would summer be without the proverbial midnight jam? Enter Dam-Funk, who released his debut on the renown Stones Throw label. If ever there was an instrumental begging for a verse to be laid over it, this is that track. Plonky, funky synths, and sharp, booming kicks spell the funk out, but the track REALLY begins after the first eight bars. Warm, gyrating, almost breathing, the track hunkers along with a smooth, mellow gait despite its monstrous sonic girth. Late night car rides, evenings at home, either one of those needs this track. It may have no lyrics, but dammit, actions speak louder than words. And this one is practically screaming "MIDNIGHT SUMMER FUNK JAM OF THE DECADE" at the top of its imaginary lungs.
---------------------------
Tiga - Beep Beep Beep (Punks Jump Up Remix) [7]
Released on his own Turbo Recordings label, DJ/singer/songwriter Tiga dropped this and a number of other quality remixes from Soulwax, Emperor Machine, and Loco Dice, among others. But the Punks Jump Up remix by FAR trounces them all. It immediately gets into the swing of things, complete with banging drums, hand claps, and a rippling, wavy synth line, before slingshotting the bass into the mix. The chorus is handled expertly, spiraling through the vocal ohh's and ahh's and beep's over Tiga's matter-of-fact delivery of how the world operates in this mechanical age. The song itself points out the obsession with electronics in today's world, and what better way to celebrate the summer? It reminds me that the days of summer are not spent indoors by yourself, they're spent out with friends, enjoying and living life. "My phone goes BEEP BEEP BEEP, the crowd goes BEEP BEEP BEEP, the whole world goes BEEP BEEP BEEP, but you go ohh ohh ahh..."
---------------------------
Scope - Night Reeds [6]
http://rapidshare.com/files/216926038/Scope_-_Night_Reeds__Original_Mix_.mp3 (Sorry no vid for this one!)
Sure, summer's great for parties, roadtrips, and intimate moments, but what are we forgetting? Ah yes. The chill factor. Sometimes, it's all but perfect to just sit down and relax. Chillin' with your friends, or by yourself, it's how you get the energy to do all those other fun and exciting summer activities. And what better recharger than Scope's deep house gem "Night Reeds"? Yes, there's a classic, housey beat, but it never plays itself up, which is just fine. This track breathes calm and cool, with a light, breezy horn section that drifts and floats like a cloud over lush, mellow keys. The atmosphere sways and shifts ever so slightly, but it never strays far from typical deep house fare. But by far, this is an amazingly chill cut, and almost feels like a breeze itself, especially with the fluttering flute line and breath-taking strings in the middle. In ever there was an electronic music track to fall asleep too, it would be this one.
---------------------------
Fink - Sort of Revolution (The Cinematic Orchestra Remix) [5]
http://rcrdlbl.com/artists/Fink/track/Sort_Of_Revolution_The_Cinematic_Orchestra_Remix (Sorry not for this one either!)
It's time to get a little sentimental. Acoustic guitar, and a light percussion section, is all this song needs to make my skin crawl. It's breath-taking, open, and absolutely beautiful. The vocals remind me of Jack Johnson a little bit, or a little more rugged version of Matt Nathanson, and Fink does an incredible job of creating a very warm, inviting atmosphere, especially during the chorus, where the multiple guitars and hums sink through your skin and you just feel...alright. The perfect song to play with that special someone. The rhythm is a little faster than the original, but it gives the slightest bit of urgency that the track needs to become less of a ballad and more of a rushed, beckoning call to enjoy what little time there is left in summer. Simply amazing.
---------------------------
The Whitest Boy Alive - Golden Cage (Fred Falke Remix) [4]
Whenever I think of summer, I can't help but think of Fred Falke. His production style could be a word-for-word adjective list of summer: relaxing, playful, jubilant, raucous, soothing, the list goes on!! Now, there are a lot of Falke productions I could've used, but this oldie is by far my most treasured. Erlend Oye's vocals work in tandem with Falke's production to turn an already stellar indie rock track into a bed of blissed-out, fluffy, summery joy. It's all here: Falke's signature, lush, catchy keys, French house-esque drum patterns, and equally pleasing breakdowns. The whole track sounds like a dream sequence, something not of this world, something above it, more pleasing, joyful, and ethereal than anything palpably sonic on the face of this planet. But as soon as the beat drops, I can't help but smile. Another perfect, late-night beach party jam courtesy of the sultan of summer.
---------------------------
Passion Pit - Moth's Wings [3]
Every summer needs its anthemic, rock ballad. And although the five guys from Cambridge may never write an ACTUAL ballad, this is pretty damn close. An electronic guitar riff kicks things off, before a absolute sweeping piano riff takes you off your feet towards the sky. Minimalist drum work does wonders here, never taking away from the majestic atmosphere that swirling and sways for every single moment there is sound, but keeping enough of a rhythm to give the song structure. For roadtrips, there is no better song. The booming chorus with all five voices and uplifting chords breathe summer and the magnificent feeling of joy and freedom that it brings. The chorus alone tears open my mind at the seams to let out all the bad thoughts and troubles, leaving nothing but happiness and pure, unadulterated ecstasy. They speak of friendship without enemies, and the same goes for summer: enjoy it with everyone. No matter who, what, where, when, or why. "Come lay with me on the ground..."
---------------------------
Bag Raiders - Shooting Stars (Shazam Dub Mix) [2]
Within the first ten seconds, you just almost FEEL the warm, summertime vibes just oozing off this cut. Australian Shazam (BangGang 12s) takes this track from fellow Aussies Bag Raiders (Modular/BangGang 12s/Fool's Gold) and gives it a classic disco twist. Blaring horns, classic four-to-the-floor drum sequences, catchy-as-sin strings, and plonky, dense synths over the original riff. Occasional chorus vocals create an atmosphere straight out of 1973, and Shazam successfully works magic to turn this vocal-tinged light electro track into a grooving, jiving, bouncing behemoth, complete with a tasty bass riff. This is the penultimate barbecue, summer mixer, beach party banger for those late July nights. The only thing missing are verses from Earth, Wind & Fire.
---------------------------
Sebastien Tellier - Roche (Breakbot Remix) [1]
And here we have it. Number one. Everything about this track says summer. And I mean EVERYTHING. French house maestro Breakbot takes an already decidedly chill piano tune from fellow Frenchman Sebastien Tellier and injects with glittering, shimmering synthwork, tight French house drum production, and a chorus and breakdown so warm and inviting you can't help but try and speak French to attempt to sing along. You can even hear waves crashing in the background! Just close your eyes and allow yourself to be transported to the beach. Instantly. Few songs are so atmospheric that they instantly create worlds and settings all their own, but this track does it. This is the definitive track of summer. It's danceable, relaxing, and bangin' all at the same time. If summer could sing or make noise, this is what it would sound like. To a tee.
Well there you have it. Hope you enjoyed the countdown. Summer's not over yet folks ;)
Have a wonderful rest of the summer and expect a new post in the very near future! Bop out.
-RBGK
Saturday, August 8, 2009
Eric Prydz = Cirez D = Pryda = Sheridan = Moo
Finally. I've been waiting to do this post for a while. Arguably, Eric Prydz is my favorite DJ/producer of all-time. From the bangin' nu-disco dance smash "Call on Me", to the layered, tech house Pink Floyd-remixed gem "Proper Education", to his most recent massive progressive house EP on his own Pryda Recordings "Melo/Lift/Reeperbahn", Prydz (which consequently is pronounced 'Prid-z') is on a roll of epic proportions, and whenever he spins a new track, you can bet that there will be a low-quality video of the new joint on YouTube. He's THAT big.
Alright, a little history first. Eric Prydz is a native of Stockholm, Sweden, and his career as a DJ really kicked off with the release of "Call on Me" in 2004. Before then, he had played in a local band and experimented with music his whole life. As many of you already know, "Call on Me" was an absolute smash, and has garnered worldwide success and popularity; it's still being played at dances the world round. His first release as Pryda (the more progressive house side of Prydz), Human Behaviour/Lesson One, saw release in '04 as well. In 2005, Prydz released the minor hit "Woz Not Woz" with fellow Swede Steve Angello. As Cirez D (the more tech house side of Prydz), the Swedish DJ released a number of records, including Knockout, Re-match, Teaser, and Lost Love.
The year 2006 saw Prydz's second smash, the "Another Brick in the Wall, Pt. 2" remix "Proper Education", which featured a devastating synth stab hook, and a lush bass groove and the signature youth vocals that everyone knows from the original track. Interestingly, until the release of "Proper Education", Pink Floyd had NEVER allowed ANYONE to remix their tracks. And honestly, Eric Prydz was the perfect first choice to break new ground. Here's the track in full:
Pryda's fifth record, Frankfurt/Remember, also dropped in '06, and the A-side established Pryda as a force to be dealt with; the track looms and swells for a few minutes while maintaining a sense of rhythm and presence, before the key four-beat kick signals the downward spiral through spacey synths and thunderous kicks and claps, all while the frantic, robotic synth line rises and falls with an almost mechanical bounce.
With out getting into too much more detail (for now) '07, '08, and '09 have been the best years for Eric Prydz (in my opinion). His rainbow-themed string of releases on Pryda Recordings ended after magnificently powerful club favorites like Europa, RYMD, Armed, Balaton, Muranyi, Evouh, Pjanoo, Rakfunk, and Wakanpi. Since then, Animal/Loaded/Miami to Atlanta and Melo/Lift/Reeperbahn have both carried the torch successfully, but Pryda's older releases will always hold a special place in my heart. If you're interested in more Pryda, let me know in an e-mail or message. I'll always have a Pryda CD on hand for anyone that wants one! Here are some of his best cuts:
Now then. Prydz also runs the label on which he releases Cirez D tracks, Mouseville. With a more techno feel (thus the label of tech house) these releases haven't seen as much popularity, but they definitely still stand on their own feet as quality Eric Prydz material. Here are some of the best tracks off of Mouseville:
There you have it. This is basically the abridged history of Prydz, as he runs ANOTHER label, Pryda Friends, but we'll save that for a little later. This is probably information overload for a lot of you!! I definitely recommend Pryda; if you liked "Call on Me", then there's definitely something for you on Pryda Recordings. I'll post some more stuff later today hopefully, but until then, enjoy the tracks, bop out, kidz.
-RBGK
Alright, a little history first. Eric Prydz is a native of Stockholm, Sweden, and his career as a DJ really kicked off with the release of "Call on Me" in 2004. Before then, he had played in a local band and experimented with music his whole life. As many of you already know, "Call on Me" was an absolute smash, and has garnered worldwide success and popularity; it's still being played at dances the world round. His first release as Pryda (the more progressive house side of Prydz), Human Behaviour/Lesson One, saw release in '04 as well. In 2005, Prydz released the minor hit "Woz Not Woz" with fellow Swede Steve Angello. As Cirez D (the more tech house side of Prydz), the Swedish DJ released a number of records, including Knockout, Re-match, Teaser, and Lost Love.
The year 2006 saw Prydz's second smash, the "Another Brick in the Wall, Pt. 2" remix "Proper Education", which featured a devastating synth stab hook, and a lush bass groove and the signature youth vocals that everyone knows from the original track. Interestingly, until the release of "Proper Education", Pink Floyd had NEVER allowed ANYONE to remix their tracks. And honestly, Eric Prydz was the perfect first choice to break new ground. Here's the track in full:
Pryda's fifth record, Frankfurt/Remember, also dropped in '06, and the A-side established Pryda as a force to be dealt with; the track looms and swells for a few minutes while maintaining a sense of rhythm and presence, before the key four-beat kick signals the downward spiral through spacey synths and thunderous kicks and claps, all while the frantic, robotic synth line rises and falls with an almost mechanical bounce.
With out getting into too much more detail (for now) '07, '08, and '09 have been the best years for Eric Prydz (in my opinion). His rainbow-themed string of releases on Pryda Recordings ended after magnificently powerful club favorites like Europa, RYMD, Armed, Balaton, Muranyi, Evouh, Pjanoo, Rakfunk, and Wakanpi. Since then, Animal/Loaded/Miami to Atlanta and Melo/Lift/Reeperbahn have both carried the torch successfully, but Pryda's older releases will always hold a special place in my heart. If you're interested in more Pryda, let me know in an e-mail or message. I'll always have a Pryda CD on hand for anyone that wants one! Here are some of his best cuts:
Now then. Prydz also runs the label on which he releases Cirez D tracks, Mouseville. With a more techno feel (thus the label of tech house) these releases haven't seen as much popularity, but they definitely still stand on their own feet as quality Eric Prydz material. Here are some of the best tracks off of Mouseville:
There you have it. This is basically the abridged history of Prydz, as he runs ANOTHER label, Pryda Friends, but we'll save that for a little later. This is probably information overload for a lot of you!! I definitely recommend Pryda; if you liked "Call on Me", then there's definitely something for you on Pryda Recordings. I'll post some more stuff later today hopefully, but until then, enjoy the tracks, bop out, kidz.
-RBGK
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