#DJ Splice

[da-ill-spot]

Thursday, December 21st | Neighborhood Watch Presents x The Unity Project Annual Toy Drive feat. MC Supernatural

The Temple Bar | West Covina, CA | 21+ | $10

[elriel-is-real]

elriel is real

[brewscoop]

🎉 Join us as we celebrate the 30th Anniversary Music Festival at Saint Arnold Brewing Company! 🍻 Enjoy an all-day extravaganza featuring top Houston musicians like Kam Franklin, Devin the Dude, Robert Ellis, and more. Special limited-edition beers, local vendors, and a fantastic community vibe await you. Don’t miss out on this epic event! #SaintArnoldBrewing #30thAnniversary #HoustonMusicFest

[kemetic-dreams]

House is a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute as a re-emergence of 1970's disco. It was created by DJs and music producers from Chicago's underground club culture and evolved slowly in the early/mid 1980s, and as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat

House was created and pioneered by DJs and producers in Chicago such as Frankie Knuckles, Ron Hardy, Jesse Saunders, Chip E., Joe Smooth, Steve "Silk" Hurley, Farley "Jackmaster" Funk, Marshall Jefferson, Phuture, and others. House music initially expanded internationally, to London, then to other American cities, such as New York City, and ultimately a worldwide phenomenon.

In its most typical form, the genre is characterized by repetitive 4/4rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo of between 120 and 130 beats per minute (bpm); synthesizerriffs; deep basslines; and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually sounded on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909, or a TR-707. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation. One of the signature rhythm riffs, especially in early Chicago house, is built on the clave pattern. Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel

One book from 2009 states the name "house music" originated from a Chicago club called the Warehouse that was open from 1977 to 1982. Clubbers to the Warehouse were primarily African, gay men, who came to dance to music played by the club's resident DJ, Frankie Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers. After the Warehouse closed in 1983, eventually the crowds went to Knuckles' new club, The Power House, later to be called The Power Plant, and the club was renamed, yet again, into Music Box with Ron Hardy as the resident DJ. The 1986 documentary, "House Music in Chicago", by filmmaker, Phil Ranstrom, captured opening night at The Power House, and stands as the only film or video to capture a young Frankie Knuckles in this early era, right after his departure from The Warehouse. 

In the Channel 4 documentary Pump Up the Volume, Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car joked, "you know that's the kind of music you play down at the Warehouse!" In self-published statements, South-Side Chicago DJ Leonard "Remix" Rroy claimed he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets

[wakebymoonsleepbysun]

So DJ's eyes are now glowing white and his mouth glow is off? Wonder why that is. Is that what we're repairing maybe?

OH OH OH what if he's blinded and that's why he's lumbering towards us like that? He's not trying to hurt us he just doesn't know we're there or doesn't know who we are or something??

It's possible I think! We're getting more animatronic allies (Freddy in SB and then Roxy and Eclipse in Ruin) so seems plausible. Esp since DJ seemed to only be aggro in bouncer mode, and he was content to vibe on his stage once we turned that off.

The past couple FNAF trailers (Ruin and the movie) have also had some rather cheeky edits to misrepresent some things. Namely playing Eclipse's scene in reverse and the way they spliced two scenes to make the Mike and Springtrap confrontation look much different than it actually was. So I think making a scene of DJ lumbering towards us look more sinister for the trailer isn't out of the question.

Though man...wouldn't it be wild if they gave him a voice? I'm not sure what I'd do if they did that. Probably still write him mute/ASL/language barrier.

[thewertsearch]

This is... a Becquerel.

That energy is unmistakable. This is a troll, or possibly a human, who has been spliced with the MEOW code, creating a being with Bec’s powers, and what seems to be a devious, intelligent mind. 

And that mind has been tasked with the destruction of the universe. 

He also seems to be located in the Intermission’s manor. The guy doesn’t just share an employer with the Felt - he’s their missing cueball. 

He might not fit the Lord English coat, but he’s certainly higher in the power hierarchy than any Felt member we’ve seen before - I’d like to see Slick try to kill this guy. 

You try to be the white text guy, but fail to be the white text guy. No one can be the white text guy except for the white text guy.

Is this the first time a character has been completely immune to the comic's ‘commands’? I know Dave resisted one, and John resisted WV, but this is a Hussie-submitted reader command, which feels like a bigger deal. 

The white text guy is known as Doc Scratch.

Sounds like a DJ. Well, he’s dressed in all white, so maybe he’s an actual doctor - a researcher, or laboratory scientist. 

His intelligence isn’t a ruse, I’m pretty sure. This guy is legitimately a brainbox, which makes me wonder if that’s the MEOW code at work. If it is, just how much does Bec really know? 

He is an officer of an indestructible demon known as Lord English. His job is to pave the way for the arrival of his master, who will be summoned upon the termination of the universe. He has worked at this task for many centuries, and will continue to do so until THE GREAT UNDOING.

This is mostly just a confirmation of what I’ve already suspected. It’s notable, though, that unlike the billion-year-old Bec, Doc Scratch seems to have existed for mere centuries. I guess there’s no reason the Frog Temple can’t have been deposited that recently.  

Scratch is Alternia's FIRST GUARDIAN. Every planet destined for intelligent life has such an entity meant to protect it, and facilitate the planet's ultimate purpose. A first guardian is typically almost as old as the planet itself, and each has a unique, circuitous origin through the knots of paradox space. They can be born into a great diversity of forms, though they all share a common, especially potent genetic sequence. The code grants them near omnipotence, and when merged with a host of great intelligence, near omniscience as well.

This, however, is one of the densest infodumps in the entire comic. Allow me to summarize:

Every planet that will ever have intelligent life, will also have a First Guardian. They’re usually deposited on the planet shortly after its creation. 

Every First Guardian is created in a different way, but they all come into being through ‘the knots of paradox space’, which I’m interpreting to mean that they’re all created through time travel. 

First Guardians do not have a set appearance, but they all have DNA - and their DNA always contains the MEOW sequence. 

MEOW grants them what is dubiously described as ‘near omnipotence’. We know they at least get teleportation, size shifting, portals, enhanced speed and immortality. 

Provided the genetic base is sufficiently intelligent, it also grants them extreme clairvoyance. The implication seems to be that Becquerel does not possess this trait.

First Guardians are supposed to facilitate their planet’s ‘purpose’. This purpose is not specified, but seems to require intelligent life. 

That’s what we’re told, but there’s also a chilling implication here, hidden slightly under the surface. 

Bec was created in a Veil facility seemingly designed to create him, and the code used to do so was implanted in a Player. Plus, these things are created by time manipulation, which is Sburb’s bread and butter. First Guardians seem to be closely tied to Sburb, even if they’re not formally ‘game constructs’. 

A First Guardian is spawned on every world with intelligent life. In other words, they show up on every world that will develop the tech to run Sburb. 

It sounds a lot like a planet’s ‘ultimate purpose’ is to generate Sburb sessions. 

A First Guardian is the first symptom of your planet’s doom. 

[latenightsundayblues]

Your favorite song’s opening plays without any disturbance, only for the vocals to be drowned out by a remix of the buddy holly riff. I’m talking full on dj splicing shit. I call that “what’s with these homies ruining my songs” your welcome ;3

What sort of twisted idea of pleasure do you derive from this.

[lbodraws]

Neo Junks vs. Unit 04 boss fight

infodump about Splecha AU under splice.

Pilot 4's mech gets contaminated with fuzzy ooze.

"But LBo, how can a mech get contaminated with fuzzy ooze? It's made of metal."

i'm glad you asked, convenient-voice-of-many-questions, because the plot twist in the Splecha AU plot is that the mecha that the NSS and New Inkadia government use are part human. in essence: they're alive.

since The Great Turf War, the Inkadia government have been looking for a means of creating semi autonomous mecha for surveillance purposes, but lacked the technological capabilities of the Octarians. instead of making amends with the Octarians, they decided to launch "scientific expeditions" into human bunkers within their territory. at this point, there are no living humans. however, some of the bunkers contained cryogenic frozen human DNA and cells. while not what they were initially hoping for, the government set their scientists to work on growing genetically modified lab born humans, with the end goal of infusing them into mechs.

the vast majority of the cells grown in the labs failed. those that survived were incorporated into the existing mecha of the time period.

Units 01, 02, 03 and 04 managed to survive.

these units would be kept in a secret loading bay on the outskirts of Inkopolis near the Octarian territory. (think of it as Area InkyOne.)

Craig Cuttlefish is tasked with manning an assault force in the event of an Octarian mecha threat. he recruits his granddaughter Callie, who goes on to recruit her cousin Marie. Callie pilots Unit 01, and Marie Unit 02.

two pilots remain to be recruited. queue Pilot 3's entry into the scene; the Great Zapfish has gone missing, and the Inkadia government are on high alert. the pressure to find a third pilot is resolved when Craig encounters Pilot 03 at an illegal mecha race in one of the abandoned underground domes during one of their races. seeing how Pilot 03 handles their mech, Craig enlists them on the spot, and tasks them with finding the Great Zapfish.

fast forward 5-ish years. Hiro and Veronika (and Buddy) pilot Junks; their homemade mech.

the trio meet Craig in The Crater after a mech race breaks out and they have to hide from the government mecha force. Craig recruits them much like he did Pilot 03.

the trio traverse Alterna in Junks, solving missions and completing the Log Book.

Junks gets damaged in the fight up the rocket. luckily DJ Octavio is on hand to salvage what's left of Junks and infuses it into one of the human machines that were left behind.

After Alterna

when the dust finally settles, everything goes back to what could be considered normal.

Craig makes amends with DJ Octavio, the NSS go back into inactivity after the major threat alert.

that being said; Unit 04 has gone missing after heading out on a research mission with no response to comms. it's up to the Junks trio to locate and bring back Pilot 04 and their Unit.

[stickkitty]

Underrated AvAvM fan on YT

they are thisissocool-iu2od and they do faces on videos except it is DJ’s voice spliced. I am their first subscriber (now they have 9). They also make original short animations that are funny (so far made one idk if they will do more)! [Link to Channel] Go check them out if u wanna! :D

[losergendered]

ID: a set of 26 images in 13 pairs. each has one image of the listed trolls character, with a white outline in front of their corresponding flags, and a second image which is a blank flag splice. END ID

Cooper from Trolls is an intersex, trismascfluid, sweetnsillygender, honkquotic, rollercadic, bowarmballoonic, ravefelic, axenica masculine, goofyfluid, funbodiment, balloongender, confettilexic, genderbouffon, weirdkidpartyic, dinorainbimigic, gofenian, clownfool, praesboy, panqueer violenatian who uses any pronouns, but prefers masculine, neutral, feminine, clown, fun, jester, sound, & emoji related pronouns/neopronouns! Cie only feels platonic and familial attraction! Sil has autism, ADHD and is a maladaptive daydreamer!

Prince D is a transambitidal, rosgenderfaun, abinary, nonbinaryboyflux, agender transmasc, pomboy, nioyqueer, hiphopic, urbancoric, coolbodiment, chillbodiment, lofihiphopic, vintirapmusica, heybbsongic, dontwanfallovica, zodiackillica, nasmoralesica, doomsdayica, meandyourmamica, canikickica, futurefunkic, chillbodiment, tminarluec, glowystaric, neonarcadix, darkneongender, nexelic dalaen who uses hi/hem, they/them, h☆/h☆m, neon/neons, wit/wits, vibe/vibes, hip/hop, xe/xem, and cy/cyb pronouns! H☆ has autism, chronic fatigue, and narcolepsy!

Prince D & Cooper are twin siblings!

Satin is a queerfeminine, rosenion, marisundyethe, doveoospilaholoec, confettilotusemojic, foxjamfloralac, bisexual femme lesbian troll! Shi uses feminine pronouns! Fae’s in a QPR with Ripley Wisp!

Chenille is a futchfluid, selefutch, cenisolar, genderfaeren, cloudsunraina, regapphinoic, rainottalunaquic, glassmilaric, m-spec neptunic, enbisapph, gaigirl fingirlboy troll who uses mae/mer and ala/alum pronouns! Mae have HPD & NPD, and are in a soft romo relationship with DJ Suki!

They are twins, and both have ADHD!

DJ Suki is a casualic, fem 2 masc, girlbutch, azurboygirlvs, anonbinary, rejectionarian, fluidflux, transmasquasifem, gnc woman/non-binary evenic, vivesse, invivapostribus, notteskatic, lazybodiment, marvlaen, futurefunkroic, nu-discoroic, daisygender, chillpillpoeic vesbian! Dj uses he/him, she/her, they/them, bee/boop, dai/daisy, & xyz/xyzs, 🎧/📻/🎤self, nameself, and no pronouns! Dai are in a soft romo relationship with Chenille!

Biggie is a high futch, helifemme, femspecere, autigender, translotus, sillynerd, lovecatian, vanillafettiageric, cutesieaesic, breadcakena, caliadorcakic, lumisoul, veldifemascyne, rosbian, auroraskycoric, pluskysafstar, kidcolovic, starrycottorica, dorlunaesic, goldlihydrian beartwink who uses they/them, zhe/zhim, nya/nyas :3/:3, co/coz, waf/waffle, pie/pies, maca/ron, bub/ble, pitter/patter, and eep/eeps pronouns! Bub is hyperverbal, hyperempathetic, and has GAD; Mr Dinkles is his emotional support worm!

Mr Dinkles is a xenoutherine, rainbowputtyic, shinyic, semi verbal worm who uses he/him, it/its, and all other pronouns except she/her!

Smidge is a sportyaesic, cute presenting, peach femme, transambilunar, rageroomic, irasteelkic, sharpsolikarmic, anler, genderklok, angerity, breakstuffsongic, ragefiric, chompgender, carnibunnic, BPDragender, tinydangimal, boomexplosik, angrybungender, sunnystormic, starfreak, rostrirl, turigirl pitbull who has BPD, erotomania, & IED! She is dating Harper, her FP!

Harper is a bigenderdox, findyne, condisstrange, extrogender, vanillafunfettic, owlstarindic, brightcanvasic, paintenfemasc, willofairylunen, neurocolour, y2khypopstalgic, bowmojimothric, cmykartic, rainbowgender, glostrabrightic, gendercaprio, anlovecorin, autiquoifem, clarconflux troll who uses sh!!/h!!r, !!t/!!ts, th!!y/th!!m, ao/aos, viv/vivid, doll/dolls, laugh/laughs, tri/trick, yip/yips, jest/jests, splish/splosh, mrrp/mrrps, paint/paints, 🎨/🖌️/🎭/🗣️/🌟/🔆/🌈/💮self pronouns, and she/he auxillary pronouns! !!t has ADHD and is dating Smidge!

Laguna is a acagender, gendermarine, crepumothic, altumerlumin, mermaidaesic, cowajellic, dolphinshrine, seavastia, oceanset, seadraconic, stelluffin, bioluminae, desean, biolumarineic, thalassogender, calmseashellic, sansolramare, astrobyssian, celesealampic, mariluminotte, eelgrassraindeeric, obsessedfreak, femspecere, deepgreenic, interefluid, autiquoirose binaryn’t gal. Sea uses she/her, sea/shell, bleu/bleus, oce/ocean, ae/aqua, co/cor, glub/glup, and other marine-related neopronouns! Co is legally blind and has autism, fluctuating empathy, and social anxiety!

Dante Crescendo is a lindrodox, angelenic, surgitlunica, lacerocodaintic, diviniumgender, luxrauvas, cessgelcorian, fantaroyalia, soldivingela, sofpoetric, empyrealexic, classicalmusica, angellen, seroanus, aeterlum, ferrinaderic, angelcessian, stardustlexic, relatiquin, porcelaineic, angelfluid, cherublexic troll! Hē uses is/eum, ely/elym, fri/frill, shy/hyr, cel/celest, fai/faith, ly/lyre, var/vaeir, hē/hine, & ou/ous, archaeopronouns, and any angel related neopronouns!

Demo is a soft femme malewifepresentic, eternelyn, gentlecoreflux, rerondire, rockfem, punkmasc, hardcoreguyic, radicalexic, fireguitarna, guyromusinwayven, punkcaerus, genderostex, aggrorockvolicboy, popunkmasc, puncomedic, genderdystoxe, pupsleepyic, bugbrownaturic, datesime aroace troll who uses he/him, rock/roll, elec/trick, metal/metals, and bass/bass pronouns! Rock has ADHD!

Ripley Wisp is a butch, velocier, freelekour, parkouaic, motorcyclic sapphic who uses she/her pronouns! She is dating Satin!

For 🌖☄️ anon!

[nikicherry1234]

- not human au related. - "Other reset" au (an amalgamation of the previous ones and other people's aus and ideas)

Reset happened, the sign reads "Sunniest place on earth". But what if things were just made worse? - Welcome to Crystal Cove, the "rich people summer home place".

The deamon was never there, but the pattern stayed. The people stayed.

Destroido corp. - Genetics research, gene splicing, cloning and more. Sister company - Quest Laboratories - weaponry and robotics.

Sterling Security - Traps, but primarily security equipment , cameras, alarms. Even robotics. Works together with Destroido, not for. This is where Ricky's surveillance comes from.

Ricky "Mr. Enigma" Owens - Head and owner of Destroido. Also head of the IT. Initially tried music, failed and went for business.

Ed Machine - "Can it be done remotely? -> No? -> Throw Ed at it." C.E.O. and face of the company.

Cassidy Williams - DJ Angel Dynamite. The wife of the owner of Destroido. Public knows that they have history together, not just how much. The group split apart after graduation and each went for different career option. Music it was for Angel.

Judy Reeves - Co-owner of Sternum & Sternum. (Physics, a mechanic) They don't live in Crystal Cove and headquarters are elsewhere. Still they have a building here and a summer house.

Brad Chiles - Co-owner of Sternum & Sternum. (Geometry, mathematics)

Professor Pericles - Unofficial, faceless head figure. Writer? Professor Professor Pericles - gets a title. (Unfinished and unpolished writing with this one) Mentor of sorts to Scooby-Doo. Works under a pseudonym.

Fred Jones (senior) - Ex-mayor. (Current mayor is the redhead Nettles.) Him and sheriff were dating at one point, but broke up. Godfather? to Freddy. Freddy lives with him when parents are away.

Marcie Fleach - There is no theme-park. Father's a theater actor. Marcie studies programming, specializing in robotics.

- Welcome to a world where the biggest mystery are your own lives. -

Fred Chiles-Reeves - In this world Fred Jones is, despite or because of his weird interest, the popular kid. Learning that Daphne is his fiancé here must have been a shock.

Daphne Blake - Youngest and the latest of Blake's daughters. Older sisters are considered failure. (They're average.) Aspiring fashion designer Daphne.

Velma Dinkley - Parents own a regular info shop (they're still fascinated by supernatural) and she's girlfriends with Marcie.

Shaggy Rogers - A chef, has multiple awards from competitions. Eye for detail comes from parents (artists). A theater kid.

Scooby-Doo - In Crystal Cove gets treated like a human. Has his own bed, sits at the table, allowed entry to places. Also would face all consequences like a human. "You know that the "Oh, but I'm just a dog" thing doesn't work on us." (his existence could possibly be a result of Destroido's experiments?)

[da-ill-spot]

November 9th | Ganjah K Day | DTLA

Roach Gang presents the 4th celebration of life for the legendary Ganjah K, presenting a host of talented artists! I will be in the house pushing the gear!

Wall Street DTLA | 1714 Wall St. Los Angeles, CA

9pm - LATE | 21+ | $20

[nameofjones]

"What would become known as hip-­hop sprang from a foundation of DJs with powerful sound systems who operated around the same time as DJ Kool Herc in the early 1970s. Disco King Mario, who lived one floor above Paradise Gray, who would himself go on to help create X Clan, in the Bronxdale Houses projects, threw some of hip-­hop’s earliest jams with his Chuck Chuck City crew. Disco King Mario and Afrika Bambaataa were both members of the Black Spades gang.” and Mario lent equipment for some of Bambaataa’s earliest sets."

"Pete DJ Jones, a transplant from North Carolina, was popular in Manhattan club circles. He was the first DJ who many, including Kurtis Blow, ever witnessed working two turntables and duplicate copies of the same record, which become the foundation for DJing, extending the breaks of funk and soul songs. Pete DJ Jones also served as a mentor to Grandmaster Flash."

"Brooklyn’s Grandmaster Flowers is recognized as one of the earliest pioneers of hip-­hop for mixing funk and disco records in sequence and throwing massive block parties. Flowers even opened for James Brown at Yankee Stadium in 1969."

"DJ Mister Cee (producer): That was the time when a lot of DJs was getting into the craft of DJing and buying them big kick-­ass speakers—and I’m saying “kick-­ass” because there used to be a sticker on the speaker that said “Kick Ass.” That was around that time that DJs would play outside and break into a lamppost. Nowadays, there’s an outlet in there. Back then, we would break into the lamppost and splice the wires up and connect to an extension cord. That’s how we would power up."

[highaltitudedude]

The Great Equalizer: How Technology Democratized Music Production by Gary Dranow

Hey there, fellow music lovers!

I'm Gary Dranow, and today, we're diving deep into a phenomenon close to my heart: the democratization of music production through technology. Gone are the days when you needed a multi-million dollar studio to craft a masterpiece. In this modern era, your laptop and a spark of creativity might just be enough!

From Exclusivity to Accessibility

Historically, the realm of music production was reserved for those with the means to access high-end studios and equipment. However, technology has been a great equalizer, leveling the playing field and providing everyone the opportunity to become a music producer.

Affordable Beginnings with GarageBand

Enter GarageBand – Apple's gift to budding musicians. This free software, preloaded on every Mac, offered a suite of production tools that, while basic, were more than enough for many to start their journey. GarageBand made it possible for anyone to dabble in music creation, recording, and mixing without any initial investment.

The Rise of Advanced DAWs

For those who sought more advanced capabilities, software like Ableton Live, Logic Pro, and FL Studio entered the scene. They offered a professional-grade music production environment at a fraction of the cost of traditional studio setups. Ableton Live, for instance, is not just a DAW but a performance instrument in its own right, empowering DJs and electronic musicians globally.

Online Platforms: The Power of Collaboration and Learning

The internet has further pushed the boundaries. Platforms like SoundCloud and Bandcamp provide artists a space to share and monetize their music. Meanwhile, collaboration tools such as Splice and Endlesss have made remote collaborations seamless.

For those keen on learning, there's a vast universe of online resources. Websites like Coursera, Udemy, and Skillshare offer courses on everything from basic music theory to advanced production techniques. And let's not forget the plethora of YouTube tutorials, where seasoned professionals and enthusiastic amateurs alike share their knowledge.

Conclusion: A New Era of Music Production

The landscape of music production has undeniably transformed. Today, a teenager in their bedroom has the same power to produce music as a professional in a high-end studio. This shift has led to a beautiful diversity in music, with genres and sub-genres flourishing, and voices from all corners of the world being heard.

While technology has made music production accessible, it's the passion, creativity, and soul of the artist that truly makes a piece resonate. So, to all the budding producers out there – the world is your oyster, and your soundtrack is waiting to be written.

Until our next musical discourse, keep experimenting, keep learning, and most importantly, keep producing.

Warm regards,

Gary Dranow

[chicago-geniza]

Starting a notes app essay about the DJ Surge-N Alejandro/I Am Not A Robot remix & its music video spliced cut as a 2009-10 implementation of 1920s C/EE avant-garde theories about film and music and the Zeitgeist, due to, I am insane & this is a decent distraction. We are also getting into: Lady Gaga is Italian American and Marina is Greek British and how those religious and diasporic sensibilities & aesthetics inform their videos in various ways, not to mention their ~class backgrounds. Creating a substack just to quote Stefania Zahorska, Debora Vogel, Lady Gaga, Marina Diamandis, and several YouTube comments in the same essay

[joemuggs]

Winging It

Thirty years ago today, one of the greatest albums of the 90s came out. I wrote about it for MOJO in 2018, including some hilarious words from the sadly missed Andrew Weatherall.

👇🏻

The album that soundtracked the end of the acid house honeymoon – for the select few that loved it – has a suitably decadent beginning.

“I was playing at a club in Rimini as part of some Balearic charabanc,” says DJ / producer Andrew Weatherall, “and at about 6am when it finished the owner opened up the back of the club onto the beach and said we'd be carrying on on his yacht. Not quite a Roman Abramovic superyacht, but sound enough – and off we went. So there I was, spangled and enjoying the view, and a young lady came up and started singing in my ear. 'I'm Dorothy Allison and I've got a band in Glasgow,' she said. Then we landed and stumbled back up the beach, terrifying the tourists.”

Her band was called Dove, a trio of Allison, Jim McKinven (formerly of Altered Images and Berlin Blondes), and Ian Carmichael (producer and occasional keyboardist for Sarah Records janglers The Orchids). They'd only released one song, “Fallen”, on Glasgow's Soma label – but that song's dub space, insinuatingly whispered vocal and harmonica lifted from a Supertramp record had captured the bittersweet mysteries of the morning after the rave better than almost any, and caused quite a stir. Weatherall, meanwhile, was on a high in every sense having – despite next to no studio experience – just marshalled Primal Scream into completing Screamadelica.

The first collaboration to come out of the yacht introduction was reworking “Fallen” for the renamed One Dove. “I was nervous!” says Carmichael. “Andy [Weatherall] came to my studio in Glasgow and I was late meeting him so he was waiting outside when I got there. I thought he'd be really pissed off, but the reviews for Screamadelica had just come out, so he was reading the papers on the doorstep and was obviously delighted.” The remix happened quickly. “It was instinctive and spontaneous,” says Carmichael “The whole time I was watching recording levels on my old Revox 1/4” bouncing into the red, and splicing lots of sections of tape together with shaking hands; it was terrifying for me. I thought the whole thing would be a mess, but when we played it back at the end and heard his version of 'Fallen' it was miraculous.”

This quickly developed into a slick working relationship, releasing on Weatherall and friends' Boys Own Productions. The three would write, send tracks to Weatherall, who brought in associates like Jah Wobble and Primal Scream's Andrew Innes for embellishment. Surprisingly rapidly given the fervid times – “I remember next to nothing of the process, I'm afraid” says Weatherall, “or indeed of those years” – it fell together into an extraordinarily coherent whole. “Every song we came up with went on the album,” says Carmichael, “we were buzzing the whole time as each one came together.” The sound blended the ambient dub of the time with a rich streak of country heartbreak (something they'd nod explicitly to by covering “Jolene” on a b-side), everything covered in sonic velvet to match the purity of Allison's softly breathed mysteries. “There were no histrionics,” says Weatherall; “it was the antidote to the wailing diva thing we'd all embraced in house music.”

It's a gorgeous, lingering dream of an album with a dark heart, and it's a perennial puzzler why it didn't sell like hot disco biscuits; after all, Boys Own now had the backing of major label London. “It's easy to blame the record label,” says Weatherall, “so let's do just that. The album came together nice and quickly – if they'd just have put it out, said 'here's a cool new band' and let them get on with it, one suspects the second album would have been where they got big.” But London kept Morning Dove White in limbo for a year, insisting on more pop mixes of the album's singles by Stephen Hague, and pushing for quick fix success. In fact those single mixes are gorgeous, but, Carmichael says “maybe they put a lot of the hardcore Weatherall fans off.” William Orbit remixed too, sonically prefiguring his work with Madonna and All Saints.

Despite promising performance from the singles, MDW didn't become the hit London wanted, and the stress took its toll. The second album – made without Weatherall – was painful, the band's relationship disintegrated, their “failure to become the new Eurythmics” led to the label shelving the album, and they split in 1996. Allison would go on to make some great solo records, working with everyone from Death In Vegas via Pete Doherty to Scott Walker. McKinven still plays and DJs in Glasgow, and has released with occasional projects including the fantastically moody electro guises Organs Of Love and WomenSaid on the connoiseur's imprint Optimo Music. Carmichael worked with trip-hoppers Lamb for some time, produced for the likes of Bis and The Pastels, and maintains an ongoing relationship with The Orchids – as well as being a director of the School of Sound Recording. MDW, a couple of b-sides and some leaked second album demos on Soundcloud remain the only remaining monument to their time together: just a glimpse of what might have been, and as such perfectly evocative of the “Transient Truth” of the pleasures and regrets of its era.