EDUARDO DE LA CALLE

"llego el año 1993 ,tengo grabados en mi mente aquellos viajes de vuelta en tren o coche despues de 24 horas (otras veces 48 o incluso 72 de ruta) bailando non stop sin parar y mis pies ya dormidos ,las rodillas me dolian ,aquel dj de cabeza rapada y flequillo resbaladizo el cual caia hasta la nariz habia vuelto a mandarme ha casa totalmente destrozado y habia ganado la partida,hijo de su madre !! ,me habia dado lo que buscaba y sin saberlo aquel dj (Dani) estaba dibujando mi futuro como artista ,el paisaje detras de la melena de indio de Poli pasaba a toda velocidad por aquella ventana de tren a la vuelta de aquel combate de 1500 hipies bailando al son de esta y otra canciones durante casi 12 horas ,aquellos discos seguian sonando en mi mente,pero yo despertaba,,y de de un salto hacia arriba como aquel que sale de una pesadilla mientras duerme , me decia a mi mismo,,, "" !! joder voy en un tren!! ,de donde sale esta musica??!! ,si aqui no hay altavozes"""!!!, podeis imaginaos,,, ,no solo estaba Poli tambien solian ser frequentes en aquellos fines semana las salidas de gente mitica y colegas propios como Borja,Pera,Gordo,Fernando,Jose y como no el amo del ritmo (tu sabes quien eres), ademas de ellos habia otros cuantos mas y a todos y su compañia les debo lo que soy hoy ,me guste o no han sido parte de mi vida y debo de estar agradecido,,os echo de menos y os dedico este tema ,gracias a todos" Eduardo

ISLAND NOYZE

"I was talking with Nate Tinsley (Nathaniel X) on Skype about this period in his musical history.. he switched from producing hip-hop to producing house music, because he had been at a party in NY, and he witnessed a shooting and got caught up in the middle of it, and he wanted out of the rap game after that. He wanted to 'rebel' against his circle of friends because they were close-minded and didn't understand this 'house' music he started producing. He didn't give a fuck about money, labels or anything like that, he had this sound inside of him that needed out, and this is what led to Vil-N-X and his current resurrection as the 'Nathaniel X Project'. He's a very spiritual dude.. and I think you can hear that through his music.. he still has the plate master of this track that was played by a certain DJ at the Sound Factory back in 1991. Respect Nate.. and you too Hans."

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1983

"It was the early 1980's, and like many aging rock icons, the Rolling Stones were spending their time in the vast domain of excess that was NYC nightlife, ignoring the declared "death of disco" with the rest of the metropolitan world. Leaving their past splendor in the dust and embracing their new aesthetic surroundings with the cocky wit they always wielded, Mick Jagger and Keith Richards took a leap in 1983 with Undercover, which received lukeworm reviews as the rock world couldn't quite discern what exactly the old men were going for. "A little too much cocaine I see." Club children, of course, instantly connected and identified with the brilliant "Too Much Blood," a post-disco bloodbath of Sly & Robbie echo chambers, hi-life guitar riffs and ingenious lyrical meanderings summarizing splendidly the growing hostility of crime-ridden inner city existence. The true genius of this session wasn't fully unveiled until recently, when a doubly-long extended studio version was leaked by some committed enthusiasts. This definitive version opens a window into the still burning genius of old men traversing the endless bounds of spaced-out, intelligent and inspired underground club music, applying their time-tested musicality to a totally new canvas. Decades past its heyday, "Too Much Blood" still stands the test of time as their finest song never (properly) released, a perversion of rock's parameters born of culture's reformation and redistribution along the new paths blazed by electronic and dance. A favorite at the Paradise Garage, this special 12" pressing from slow to speak is a well-deserved look back testifying to the determination always to look forward."

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1983

DESTINY'S CHILD

GLASS PYRAMID

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MICK JAGGER II

MICK JAGGER I

LOS CHUNGUITOS

NICKI MINAJ

Vladislav Delay and AGF have recorded a 55 minute mix of Nicki Minaj tracks under new production pseudonym, RyJ. The Pickle Juice mix removes all the choruses from Nicki Minaj tracks to leave just lyrics and rapping, which Greie describes as "mainstream-free".

JOHANNA MARTZY

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HANNAH KOZAK

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PARIS TRANSATLANTIC MAGAZINE

Desaparece Paris Transatlantic. Una de las primeras paginas que me enseño a amar la música experimental, gracias por todo Dan!

"I suppose the simple, honest answer is that my heart's no longer in it. To quote what David Toop said in his Invisible Jukebox in The Wire a few years back (as Simon Reynolds did just a couple of months ago): "A lot of people feel there's too much stuff out there, too much music... I feel it myself, I love silence, but music as a whole I don't like anymore... I don't like listening to it on the radio, seeing music on television. I don't like having it on in the house... That love of music as a generalised experience, I've come to the end of that." I can't say I feel exactly the same way – for a start, I don't have a television and the only thing I ever listen to on the radio is the news, and I do like having music on and still listen to a lot of it – but I certainly think there's too much of it around and it just doesn't seem to move me the way it used to. Maybe I'm just going through a dry spell – which is Simon Reynolds' take on Toop, who's obviously still writing about music, and as well as he ever was – but I find my interests lie elsewhere these days: specifically, in cinema and literature." Dan Warburton

POOLSIDE

RETROMANIA

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SOPHIE TAEUBER

LINDA EVANGELISTA

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JASON LESCALLEET

GOBLIN

:_______)

ALLY MCGRAW