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HOURS OF WORSHIP
We see ourselves as two vibe-obsessed bros with a history removed from producing music designed to simply move bodies. In other words, we're not really proper DJs. Armed with a passion for blackened metal, nihilistic hardcore, and the realm of tripper techno, we've set out to create progressive electronic compositions rooted in mind-engulfing vibes and tones. Rather than compiling tracks conceived to simply make people thoughtlessly move, we've constructed a mix that inspires and encourages us.
The track selection itself leans toward a psyched-out post-electro trip, and the decision to go with any one track had more to do with the general feel of a given piece than a particular affiliation with or affectation for a specific artist. On paper, the list is fairly representative of something that we would do in a live context. Although, we've actually strayed from an obvious "live" performance, we've become increasingly engaged with making mixing more interesting for us rather than simply selecting a clip in Ableton–and more interesting for the crowd instead of just fucking with effects. The balance that we're aiming for is not a gimmick wherein we include any and everything we possibly can, but we want to revel in the celestial, cosmic elements about which we are most passionate.
We can only hope that this mix stokes out that dude in the corner smoking grass as much as any enthusiast of all night raving and all-things banging.
01. Death In June "Death Books I" (NER)
02. Märtini Bros. "From Buleaux (Konrad Black Remix)" (PokerFlat)
03. Pan Sonic "Hapatus" (Mule Musiq)
04. Pig & Dan "Sly Detector" (Cocoon)
05. Håkan Lidbo "A Call for Islam" (Shitkatapult)
06. Basteroid "16 Steps Away From the Stars" (Areal)
07. Hours of Worship "Violence Against Violence" (Unreleased)
08. Phil Kieran "I Think I'm A Monster" (Cocoon)
09. Alex Smoke "Brian's Lung 12" Mix" (Soma)
10. Guy Gerber "Last Frequency"
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GLOWFISH
When Rayna asked me to do a Process mix back in September of 07, I was pretty excited. My boyfriend had just finished up a mix for the Modyfier blog, and it opened my eyes to all the amazing talent that had contributed their skills not only in production and mixing, but also in expressing the ineffable of the creative process. I started thinking about how I could contribute. I wanted to do something ambitious, something that would stimulate the ears of even the pros that had already contributed, and I wanted to do something that I could look back on with some pride. I decided to remix a collection of old ambient tracks, and make a seamless mix out of them. A simple enough idea, yes?
I loaded the old files into Live and started messing about. The first two (not much more then atmospheric pads and melody) were relatively easy to add to. It felt good to lay some beats underneath them, throw a few filters on the original .wav files, and play around with the sequencing. The second track even leant itself to a vocal line from a recording an old band-mate of mind did. It took a few weeks to get them down, but by the time I moved on to the next track, I felt like the project was taking shape: ghostly, atmospheric, very melodic, and rather melancholy. Perfect.
The next few tracks became harder and harder to nail down. I got in the habit of importing most of the session data from the previous project, maintaining reverb, filter, and master bus presets so as to keep a coherency to the production. But the source material on the other tracks was more beat heavy than the original two pieces. I started adding more and more percussion, the sounds becoming larger and brasher than I originally expected. After pushing through the next two tracks, I felt like I was losing coherency to the project. This led to remixing all the tracks involved, trying to clean up the production, trying to maintain a thread between them, trying to figure out how they would go together in a seamless mix. It was getting harder and harder to see them as part of the same project.
Around December, my boyfriend was pretty damn tired of me coming home from work and disappearing into my room until 9 or 10 at night. I must admit, I was getting pretty frustrated myself. I had some engineer friends come over and listen through one of the tracks, helping me prune out some elements that didn't work and bring the real voice of the piece to the forefront. It was also around this time that I plugged in an old set of Roland Micro-Monitors, and started mixing on those instead of the Events I had been using. I realized what was missing from the tracks was a real voice for each one. Something that defined it. There were too many layers all fighting against each other. Around this time I also gave up on the idea of this being a down-tempo/ambient affair, and instead listened to what each track was actually trying to say. I tried to keep each song very simple, uncluttered, and focused on the things I could control: melody and rhythm. I stopped thinking about production so much, which helped immensely. I find the minute I start thinking about key frequencies and compressor settings, I stop thinking about writing a good track and become paralyzed with indecision.
Finally, a few days before the new years, I got it down. I had to cut two of the tracks out, but the four that were left fit nicely together. I would say the results were somewhere between the dance-floor and the late-night headphone session. Something you might put on once you've come back from the club but aren't yet ready to submit to sleep. This is the debut of the glowfish project, and I really do hope you like it. Check back at glowfishmusic.com for more tracks in the near future. Thanks to Phil (the boyfriend and sfscene blogger) for the support and listening to that horrible vocal sample so many times, and thank you, Rayna, for giving this project a chance to come to be.
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TIM PARIS
This song’s creation process is very typical of my way of writing music.
Here’s the story: my mate Jef.K once recommended me this Japanese movie called ‘Ame Agaru’ (“After The Rain”).
I watched it and was completely captivated in ways I can’t really explain but found it completely inspirational. Its music and atmosphere just made me want to try to reproduce it with my own words - i.e sounds. This idea haunted me for almost a couple of years, and on many an occasion I tried to use some samples I took from the score.
One day I arrived at the studio and told myself that it was time to achieve the song and to disregard the notion of it being ‘spun’ by any DJs on the planet. I now realise that mindset and self imposed pressure just prevented me from making any music.
Then, ‘Ame Agaru’ just came out very naturally in a few hours. I tried to follow one of the themes of the movie, which is basically to express that very feeling you get in a forest just after the rain, when everything springs back to life. This explains the construction of the track which is very long and evolving. The intro is basically trying to capture the atmosphere when the rain stops. The sounds here can be related to noises of the nature...
losing lost...
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...:::...it seems there are fewer and fewer ways these days to find yourself lost. with more technologies geared towards telling you exactly where you are at any given moment, those kinds of wonderful mis-turns that you might have taken are becoming increasingly rare...
over the holidays, there was an ad campaign around san francisco that showed a helio cell phone with the imperative command to, 'lose your lost' sprawled across gigantic billboards. i thought, 'how horrible'...it's that very feeling of finding myself in the unfamiliar that has provided a re-occurring threshold to so many undiscovered things.
i wonder as the margins for the unknown shrink in the physical world (in terms of place and time, for example...) whether conceptual wanderings might be effected, too. is there a direct correlation? has the idea of being "lost" been re-contextualized? has it taken on a discrete vocabulary of it's own? has it become detached from possibility altogether because people are no longer comfortable with not knowing where they are? by giving it the same appeal as say, cancer...has it been re-defined to mean something that can make you sick and must be treated with a trusty hand-held device?
i hope not. this is the place that inspiration lives...that shoulders are found to stand on...that work re-invents itself. learning to get lost freely...to let go without fear...continues to show me the most wonderful and illuminated things.
maybe it's all as simple as knowing your point-of-view. daniel boone once said, "i never was lost in the woods in my whole life, though once i was seriously confused for three days..." here's to that dark ocean. amen...:::...
download: 080115-modyfier_part01
move d – computer flop feat. dj la : apr 2007 on workshop
pole – achterbahn (shackleton remix) : oct 2007 on scape
alessandro crimini – dubweiser : oct 2007 on sthlmaudio recordings
bjoern stolpmann – the space between : nov 2007 on harthouse
kassem mosse – untitled a1 : sep 2007 on workshop
pigon – promises : oct 2007 on dial records
jan jelinek – tierbeobachtungen (thomas fehlmann up to my same old trick again mix) : dec 2007 on scape
raz ohara & the odd orchestra – kisses (pantha du prince remix) : nov 2007 on get physical music
ben klock & marcel dettman – dawning (revisited) : dec 2007 on ostgut ton
friendly people – music is improper (martin buttrich remix) : nov 2007 on apnea
kiki – dancing graffiti (zander vt remix) : dec 2007 on bpitch control
etienne jaumet – repeat again after me (ame remix) : nov 2007 on versatile records
p.toile – tigre della stella (dachshund remix) : oct 2007 on channels records
paolo olarte – sin formiere : dec 2007 on galaktika records
robert lippok – the heart of nut picked by the crows of neu koeln : jan 2008 on monika enterprise
download: 080115-modyfier_part02
timo garcia – magic roundabout (lutzenkirchen remix) : nov 2007 on berwick street danton eeprom & a kind of ceasar – highlight of the damage done (a kind of ceasar version) : dec 2007 on backroom dandy
guido schneider & jay haze – acai force (fuckpony dark passenger mix) : dec 2007 on tuning spork
afrilounge – lux dementia : dec 2007 on connaiseseur recordings
heckmann – silverscreen : dec 2007 on afu limited
alex under – gris : dec 2007 on cmyk music
cirez d – teaser (deadmau5 remix version two) : dec 2007 on mouseville
walter meego – through a keyhole (solid groove & sinden remix) : dec 2007 on pieces of eight records
skat – take it back : nov 2007 on sthlmaudio recordings
natural rhythm – mumble mouth (style of eye ‘let’s talk’ mix) : dec 2007 on dotbleep
poni hoax – antibodies (chateau flight remix) : oct 2007 on tigersushi
lauhaus et chaptal – freedom fries : nov 2007 on remote area
hardrock striker – metallika (in flagranti danceteria nyc mix) : dec 2007 on skylax records
samim – heater (robidog remix) : dec 2007 on get physical music
the mountain people – mountain 005.1 : dec 2007 on mountain people
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INANNA
I'm currently sitting on the floor of my boyfriend’s studio apartment, smoking a freshly rolled spliff. I'm revisiting this mix, contemplating one year later what motivated me then, and what still makes it central to my reality now. It’s an honest mix. What do I mean by honest?
I set out with specifics goals when making this mix. There are two central ideas that compromise it and I followed an emotional and analytical formula. This was the quickest mix I have recorded to date, 4 days. It’s a translation of how I feel about love, god, and every crazy, wonderful, sad, beautiful, phenomenal, frightening thing about everything. Each track was a petal to the flower. It was as much about the space in between as the sounds themselves. It’s about the void, and what fills it. With each track I chose I asked, what does this say, if anything? I wanted a subtle mix of genres. Each track was played out almost in its entirety, every note had to be heard.
This mix was also silently dedicated to someone for there inspiration in its making. People, as flawed as we think we are, are miraculous creatures. We allow each other to experience love, and a whole collection of other emotions and experiences. If it is only for a moment we come together, I can always be thankful for what people allow me to experience and what they teach me. This is a recognition of the beauty and the ugliness, that people can create together.
A year later I can still listen to it and enjoy it. I'm still in that place.
1. Analog Box - Intro - Original Mix
2.Darius Kohanim - Revitalized - Habersham Mix
3.BrightLight - Walkabout Creep - Original Mix
4.Ellen Allien, Apparat - Jet - Ben Klock Remix
5.Patrick Chardronnet - Eve By Day - Ripperton Remix
6.Cristian Paduraru - Open Minded- Original Mix
7.Stephan Bodzin - Papillon - Original Mix
8. Oscar - Freak Inside - Gui Boratto Mix
9.M.I.K.E. - Salvation - Album Re-Vised Mix
10. Tatiana - Beastweak - Inanna's At 3AM Mix
11.Re-Moved_Original_Mix
12. Nick Hogendoorn & Eelke Kleijn - Monkey Puzzle
13. Jimpster - Square Up - Original Mix
14. Daso - T.Anders - Original Mix
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ALLEZ-ALLEZ
I’ve always had a fascination with bringing people new things, watching someone hearing and or dancing to a great piece of music for the first is my favourite part of being a DJ; sharing music that you think is great with other like-minded people.
For me the idea of achieving this solely through having the most upfront minimal promos and the latest remix of this or that is crazy – I think that some DJs are guilty of forgetting that they are there to entertain an audience (whether it be in a club or online) rather than simply impress their peers. Accordingly with our (Allez-Allez) mixes we attempt to dig a little deeper, avoid clichés and generally take the path less travelled to put together a more personal and stimulating listening experience, for you the listeners out there.
On to the mix… I recently acquired the Peter Jacques Band ‘Fly With The Wind’ track, which really blew my head off – I love disco that has a melancholic, ethereal quality too it, and this really caught my imagination, so I decided that would set the tone. From there the mix goes through a variety of different styles, but all are tunes that are close to my heart, some discovered myself, others recommended to me by friends or even tracks I’ve heard on other mixes that jumped out at me as being great.
I put together my mixes in Ableton Live 7, so I tend to re-edit the beginning and end of most tracks to enable the most fluid mix and keep things flowing as seamlessly as possible. Often it’s just a case of looping sections of the track to keep it in the same key as it fades out, or creating mini glitch edits as fills to make a transition work better.
- sam willis
01. Tangerine Dream - White Clouds
02. Peter Jacques Band - Fly With The Wind (12" Mix)
03. Ganymed - Music Takes Me Higher
04. Minimal Compact - Statik Dancin'
05. Dj H & Steffy - Come On Boy (Instrumental Mix)
06. Patrick Cowley - Mind Warp
07. Paul Rutherford - Get Real
08. Tokyo Black Star - Blade Dancer (Dixon Edit)
09. Fairmont – Fade And Saturate
10. Alex Under - Vacarneroveja
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