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bearpillowmonster · 5 years ago

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Top 15 Music Artists!

I won’t be doing a separate song one, instead I’ll just recommend a few for each artist (at most 3). Other than that, there aren’t any rules to this, no order, it’s all just opinion. I will however say that I don’t like “one genre or another” I either like a song or I don’t and I’m not as big of a stan for individual artists, just what song they created so I always hate when people ask me. Not to mention most music I listen to is from either a game, anime, or movie. I’ll try to make most of these the clean versions.

Daft Punk: This is an easy one. They created the Tron Legacy soundtrack (Tron seems to always make its way onto most of my top 15 lists), they are my number 1 that I would go see in concert (that’s still around) if only they’d have another tour. So many other artists have sampled their work and people have mixed their tracks with other artists on YouTube and they just add to the excellent sound.

Some notable jams: Robot Rock, Instant Crush, Something About Us

David Bowie: This a bit of a comfortable one, in a way it reminds me of my stepdad but his music ranges from stuff about space to just every day stuff that massages your needs, another one that can have remixes done and just add to the magic. I’ve heard some of his songs before he died like Moonage Daydream in Guardians of the Galaxy but it was only after his death that I really started liking his music. I used to think he was an actor first and a musician second but I stand corrected.

Some notable jams: Oh! You Pretty Things, Moonage Daydream, Space Oddity

The Weeknd: This boy can drop a track and the words don’t even have to matter because the lyrics can be twisted but the vocals and the beat say otherwise and I know somewhere, somehow, you’ve heard his music even if you haven’t realized it. Oh and Starboy? Yeah that features Daft Punk. Oh and that song? Got its own Marvel comic! (before it was cancelled after the first issue due to name and story issues)

Some notable jams: Starboy, Secrets, Reminder

Kendrick Lamar: I don’t consider myself into rap much but I genuinely think that Kendrick is probably one of the best rappers. Who else do you know that talks about Grey Poupon mustard and makes it sound good? His voice is recognizable and calm but almost raspy but then he can turn it and make it fast and angry, either would make just about any song sound good. I wish they had him cover ‘Can you feel the love tonight’ for the Lion King, because I could just imagine how good it’d sound especially with Beyonce.

Some notable jams: Humble, Poetic Justice, Swimming Pools

Electric Light Orchestra: My introduction was Don’t Bring Me Down but what really brought me into their music was trying to come up with something classic for a soundtrack for one of my stories and well this stood out the most.

Some notable jams: Don’t Bring Me Down, Turn to Stone, Strange Magic

The Black Eyed Peas: I grew up in this age. This was the kick-off to getting myself into music. It was my first CD, it was my first song on my new iPod nano, it was the first time I even showed an interest (which was late in the game).

Some notable jams: Imma Be, Just Can’t Get Enough, Back to Hip-Hop

Aerosmith: Another early one for me because this is what I was exposed to as a kid and everything since then has made an impression on me. Steven Tyler had the most plays on that iPod nano. I would normally suggest Dream On but I picked You See Me Crying first because it came to mind first to display the range of music they have, it’s a very sad song but also a bit of a calmer one that I don’t think gets nearly as much attention as it should.

Some notable jams: You See Me Crying, Cryin, Walk This Way (Ultimate version)

Kanye: He made a music video based on Akira. Did I mention that it popularized the shutter shades again? Oh, and the song? Yeah it samples Daft Punk. That’s not even the only time he did that either, he sampled a track from Tron with Kid Cudi (but it was just a demo). He does a lot of sampling but somehow he builds on the original songs and tracks and makes them better.

Some notable jams: Stronger, Roses, Through the Wire

MJ: I can’t find a better deconstruction of a song than Billie Jean. It’s practically a masterpiece. Take the track out and the vocals still sound good. Take the vocals out and the track still sounds good. You can do whatever the heck you want to this song and it will still sound good, I even listen to the Animal Crossing remix sometimes. The closest I could find to that was Billie Joel’s ‘For the Longest Time’ because it’s acapella.

Some notable jams: Billie Jean, Bad, Thriller (vocals only, it’s creepier)

Twenty One Pilots: Trench. Need I say more? I like nearly every song in that album and that’s rare. I see plenty of stans for this band but that’s not what made me care, because a lot of their old songs are ear worms and have been overused and I think even they realize that such as ‘Ride’ and ‘Stressed Out’ (more like Worn Out). But then somehow something good came out of the Suicide Squad movie, a special song, Heathens! By the title, it sounds odd but upon closer inspection, it’s juicy. On top of that, Trench comes out and basically clarifies that a lot of their music videos connect and involve theories with their own universe and whole ARGs devoted to it.

Some notable jams: Heathens, Legend, Chlorine

Genesis: If I could give this band a number, it would be 17 because that’s the age that Genesis seemed to define. I liked a lot of their songs but I began using the songs as references to my love life at the time because I was going through a lot. I like Phil Collins on his own too but Genesis simply has more tracks that I love, I even bought and read Phil’s autobiography because as you probably already know, he did the music for both Tarzan and Brother Bear.

Some notable jams: Invisible Touch, In Too Deep, Tonight Tonight Tonight

John Mayer: I almost put Drake Bell here instead but John Mayer is the kind of music you listen to when your heart aches and I for one like it.

Some notable jams: Heartbreak Warfare, Moving On and Getting Over, Gravity

Smash Mouth: These later ones are getting a bit weird, huh? But yeah, the famous ‘All Star’ creators make some decent music, I won’t even reference any more from Shrek.

Walking on the Sun, Can’t Get Enough of You Baby, When the Morning Comes

Sweet: You remember that part in Regular Show where they had the dance off with the ghost DJ’s? Or how about the Guardians of the Galaxy Vol.2 trailer? I even have a shirt with their logo on it because I liked the idea of making it tie-dye but it didn’t work very well so now it’s just an orange stained Sweet tee.

Some notable jams: Love is like Oxygen, Fox on the Run, Ballroom Blitz

Sheryl Crow: “This ain’t no disco. This ain’t no country club either. This is L.A.” I can’t help but vibe when I hear her, I’m not into country (as you can see from this list) but she makes it fun, she is an exception of sorts, she doesn’t do just one thing. If you read her Wiki, she does basically all genres and I like that she isn’t bound to one thing, it’s representative of her fun music and personality. Yeah, she’s guilty of the mainstream wear out as well but they can’t have them all. Picture is technically Kid Rock but she’s featured and I’d feel bad if I didn’t include it.

Some notable jams: All I Wanna Do, Picture, Real Gone

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amoveablejake · 5 years ago

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Singles Lost in an Avalanche

Why listening to the Avalanches singles away from the album feels wrong

Before we begin, if you have never listened to ‘Since I Left You’ by the Avalanches and ‘Wildflower’ stop reading and go and listen to those two albums. They are two albums that are cult classics, they are masterpieces, near perfect pieces of art and just happen to be two of my favourite albums of all time. In fact, I would dare to say that ‘Since I Left You’ is definitely in the top fifty of the aforementioned Jake list of favourite albums that perhaps will one day be published here and ‘Wildflower’ is in the top ten with a sight of sneaking into the top five. Even if as an album ‘Wildflower’ wasn’t in the top five one song in particular would be in the top five, ‘Saturday Night Inside Out’ is a song that I could even earn the title of being my favourite. That is if ‘Pet Sounds’ and ‘Heroes’ didn’t exist. But I digress, all of this is to illustrate how special the Avalanches are to me. I adore them, they’re my favourite band, beating out Daft Punk but perhaps being drawn on equal terms with The Beach Boys. Again, I am straying away from the point. The point is the albums that the Avalanches have put out so lets get back to them.

As you have now gone away to listen to both records I am sure there is no need to explain the two albums but I will just so we can all have a catch up. ‘Since I Left You’ and ‘Wildflower’ are two albums that run continuously. Not into each other but individually. Each song bleeds into the next, quite frankly to listen to either one on shuffle would be a crime. They are intricately crafted in a way that I haven’t seen on any other record. Ever. Now, neither album is perfect, they both get very close but sadly make small missteps, in the case of ‘Wildflower’ it is a masterpiece with one, truly horrific song but I can look past that because of how much I simply adore that record. A few years back I traveled to Mallorca and whilst I was there I only listened to the Avalanches. Their two records were the soundtrack for the entire trip, particularly ‘Wildflower’. I say I did this so that every time I listened to the albums after they would be linked with the holiday, forever connected to those sun soaked memories. However, that may have been my intention but its not quite the real reason. The real reason is that those two records completely took me in and made me their own. They ended up shaping the holiday, what I mean by that is that my time there felt almost like the background to them. It felt that they were always going to be played on that island and I just happened to walk in and pick up the headphones. For instance, there is one song as I mentioned previously called ‘Saturday Night Inside Out’, this is my favourite track and the one that played in my head as I stood on the back of a wooden train that takes you from Soller back to Palma. It was a journey that took my breath away, travelling on the viewing platform of this old train in the evening sun travelling through the mountains. It was spectacular and the Avalanches definitely helped to make it so magical.

Again you may be thinking now that I’e gone off track or indeed that I have turned this into an album of the week piece however, stay with me. What I have been trying to convey is that the albums from the Australian band should exist as exactly that, albums. Yes I adore certain songs more than others but it is the complete piece that reaches its full potential. For clarification the reason why I have spoken about Saturday night is not only because it is my favourite song from the work but because it is the final one rounding things off. The Avalanches have a new record coming out this December and whilst I am hugely excited for it, I am also quite nervous. I am nervous because I love their work and I want to love this album as much as the others but more than that I am nervous because they have been releasing singles from the album. These singles having been coming out in isolation. So far, they do not bleed into each other. I am starting to worry that this next album won’t be one continuous piece or even that their won’t be any links at all. The songs that have come out have ranged from being good to truly excellent however, none of them will truly hit home unless they do what only the Avalanches can which is creating a work of art that should be held in such high esteem, both in a cult way and in the general sphere of influence.

I am also hugely aware that I have no right to complain, the Avalanches are releasing another album and uncharacteristically soon after their last, the first break between albums was sixteen years, but what can I say when you release something so special it is hard to not build up expectations like this. When it gets to December I think that I’ll listen to the album a few times, hoping that I won’t be able to tell when each song ends, then I will ofcourse come back here to go through my thoughts and feeling and I hope, more than I should, that all I end up typing is, ‘it’s perfect.’ Well, its perfect followed by a very long P.S. What can I say, I can’t help it. I’m a wildflower. Oh stop that eye rolling we all knew that was coming.

- Jake, a man who spent far too much time trying to pick between three topics to write about tonight - for the record the two that didn’t make the cut were Gareth Bale returning to London and my love for Atalanta F.C. Don’t worry, we’ll have notes about Gareth’s return to Tottenham as he gets underway, I should give him a chance before commenting and I have no doubt at all that throughout the season and every one after we will have love letters sprinkled throughout to my team in blue and black, oh boy have I fallen for Atalanta. Also, yes, this was meant to be a quick sign off but its turned into this mess, lets just ignore that shall we and go back to hating the puns, 20/09/2020.

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praphit · 7 years ago

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Iron Fisted 2: The Immortal Snooze

Dag gon it! I've been iron fisted again!

Season 2 snuck up on us with barely any promotion. Marvel isn't even confident in this thing. I was actually all about season 1 - well, at least in the beginning. I remember that everybody was hatin on this series, but I wanted to give this man (Danny Rand aka Iron Fist) a chance. And for 8 of those 13 episodes I was in! But, you know, looking back on it I may have just been saying to myself "it wasn't THAT bad" at the end of each epi.

It was kinda like trying to be supportive of one of your siblings in something that they're clearly terrible at.

If you don't know the story of Iron Fist - think "Batman Begins". You know how Bruce Wayne ran off to train with ninjas. Here a rich white boy gets stranded with some kung fu fighting monks. The monks train him as their own, and in return he snatches the power of the Iron Fist ( a power that they pretty much worship and need to protect themselves) - He then abandons them (taking the power with him), and goes back home to be rich and white. And while being rich and white, he flashes around this particular Asian culture that he stole, and uses this new power of the FIST to beat up Asian gangs.

Well, I made it sound worse than it... well... it IS this, but...

...

... let's just move on.

I thought that season 1 was good until the last few epi's - which felt like they tied cement blocks to an already flimsy plot, and shoved those blocks off a cliff, and at the bottom of the cliff there was only pavement. As the plot hits the pavement in bloody splendor, the blood spells out the words "bleep you".

IRON FISTED, BABY!

Season 2 is in reverse. Most of this season is trash. You really only need to watch the last few epi's when it seems like they start having hope for this series again. BUT, though I say it's trash, even trash has hidden goodies in it. Have you ever been to the dumpster and seen a nice item?

- like a dresser or a lamp or a sweater? You think to yourself "If I can get those mystery stains out of that sweater, it'd look good on me." You want to do it, but you're afraid that someone will catch a pic of you shopping in filth and shame you online.

That's what we're going to do - look through this trash and find our nice sweater.

So, at the end of season 1, Iron Fist and his gf Colleen Wing enter IF's home (a secret, magical, kung fu place with monks, spells, and dragons). This seems like an awesome spot to start the next chapter right??

NOPE

Season 2 kicks off with IF and Colleen living together as boringly as possible in their apartment with little mention of their time in that interesting, magical place - this is not a plot hole, but a canyon!

On top of this, as I mentioned, is Danny's (IF) boringness. This here is his true super power; boring the audience to death. He actually makes other characters MORE boring; it's kinda amazing.

This is the plot - other characters trying to be interesting while Danny Rand weighs them down with his immense boringness:

Colleen (girlfriend who deserves better)- mysterious blood line, badass fighter, former member of a cult, and a knack for walking into crime. Seriously, every time she walks down the street a crime is committed in front of her. But, when she's in the room with Danny she becomes a nagging girlfriend character. BORING.

Ward ( like a brother to Danny). He's an asshole, but he's an asshole with flair. He's in rehab, but banging his sponsor. He's getting into drunken bar fights. He's buying guns off the streets. But, in Danny's presense, an overprotective brother/ insecure asshole. Bold asshole when alone, boring and insecure asshole when with Danny. SEEING THE PATTERN?

Joy - (like a sister to him)... to be fair, she is kinda boring on her own, BUT she's cute... cute and drunk. As soon as Danny shows up she gets shot - every time! Barely moving and in pain = boring.

Walker/Mary (one of the villains) - she is a badass who has been training to take down the Iron Fist, she also has D.I.D. Side note/plea: Hey writers! If you're going to write a character with a mental disorder, could you please write them so they are not defined by their disorder? And do they always have to be a villain? But, anyway, D.I.D. aside, an interesting character that we'd like to get to know. Around Danny she just wants to kill. The actress who plays her is excellent though.

Misty (from the Luke Cage series) - great chemistry with Colleen. I don't think she bothers much to talk to Danny - smart woman.

Then there's our main villain and Danny's brother from another - Davos.

Davos is a bit one note with always focusing on revenge, but once he finally gets it -whew! He became the Double Iron Fisted! He did things with that fist that Danny couldn't even dream of. It was at this point that I started rooting for Davos. Plus, once he gained this power, he wanted to clean up the streets - talk about a leader! Of course, he used his talents to go on a murderous rampage of gangs and a few innocents, but still.

In my mind, I totally changed the "Iron Fist" series. I had the pilot for whatever this new show of mine will be called, starting off with The Immortal Snooze vs The Amazing Double Fisted - Davos lands a punch on Danny, making IF's head explode - like BLAOW - like the goriest thing Marvel has ever done.

I want it in 3D! I want fake blood to shoot out intot eh theatres as it happens. I want four different angles simultaneously showing this display as The ADF ends the source of boredom in their city.

Then, Davos is a villain, but a villain that heroes call on from time to time.

I would also have Misty and Colleen have a buddy cop thing going on... and maybe a romantic relationship (their chemistry is just too good to waste). Or maybe it's one of those deals where the audience wants the relationship to happen, but they're too busy kickin ass; no time for love, just crime and comic relief.

Maybe it would just be their show, and they would call on The ADF every once and a while, but then he'd go back to killin for justice.

And there would be a soundtrack brought to you by Daft Punk and Drake; maybe they could even be in the series as Davos' sidekicks.

I've gone way down this rabbit hole - sorry, but you know my version would be a hell of a lot better. I keep waiting for Marvel to give me a call, but...

Instead we get 8 episodes of boredom with splashes of other characters (not named IF/Danny Rand) being interesting. And then, 2 episodes of good action and favorable plot developements.

Like Colleen now being the Iron Fist. BOOM!

And Danny Rand now being double fisted, but he uses his skills to shoot bullets. Idk how he went from chi and kung fu to gunslinging, but... idk people. I also don't know how something so sacred like the iron fist can simply be passed around like some good weed; seems like bad writing to me, but... you know what - I'm just gonna give this season its grade before it gets lower, as I continue to think about it.

Grade: D

Season 1 I gave an F, but with this season it seems like they've been listening to the fans complaints: the action was better, the dialogue though still kinda bad, was better and you can tell that they're trying. And even though I think the fist passing hands is stupid, they've passed the torch (kinda) to Colleen, who is Asian, which aides other issues (racially) that people had with this series.

And though I think as long as Danny Rand is around, boredom still lingers at every step, maybe they'll change that too if they get a season 3; it gives us chumps hope.

Speaking of anticipation, did y'all see the trailer for DD3? - that's what I'm talking about!

I'm hoping that the darkness within DareDevil leads him to end Danny Rand, and other annoying characters in these Marvel series'. It would be cool if all networks had a show within all shows, where a character hunts bad shows/characters down. Instead of the network cancelling the shows, this character would simply walk into their show and kill the characters off.

Another golden idea! Come on, Marvel! - where's my phone call?

#Marvel Comics #iron fist #john praphit #praphitproductions.com #iron fist season 2 #netflix #praphit #Daredevil #marvel #nami #stigma #boredom

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dancewithmeplano · 7 years ago

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Groove Terminator talks 30 Decades of Australian dance music

This season sees Simon Lewicki celebrating three decades of mischief since Groove Terminator.

Starting out as a hip-hop DJ in his hometown of Adelaide from 1987, Lewicki made his way to the climbing club scene of Sydney in the mid-’90s. From there he swerved into building a couple of artist records with Virgin/EMI — 2000’s Road Kill along with 2002’s Electrifying Mojo— who cemented the GT title and made him a local festival circuit.

The two Groove Terminator LPs came in a formative time. Even though Road Twist nodded to Fatboy Slim with a sample-driven big beat sound, its own follow up featured digital maestro Andy Page as an studio collaborator. The mid-2000s watched up Lewicki team with Sam Littlemore for the project Tonite however there was room for standalone GT about the bar circuit.

30 years on from Lewicki, that awakening and his alter ego are specialists of the arena. In his life, the DJ-producer repetitions house music on the weekends and performs his 9-5 as A&R Manager for Publishing and Recordings for TMRW Music Group (previously Ministry of Sound Australia.)

Lewicki can also be on board as the Director of Orchestrated after seeing the MOS Reunion Tour’s sold-out success. The displays in Melbourne and Sydney will reimagine dancing classics with a live symphony orchestra, together with GT also joined by Daniel Merriweather and Owl Eyes. The toughest part is determining which particular anthems make the trimoff.

“We’ve got a working set-list that’s true to what Australian classics have been,” Lewicki informs inthemix. “You whittle it down out there to what is likely to sound great with an orchestra behind it. I could’ve easily done a four-hour show with this much stuff.”

Sinking into the spirit of celebrating the past of Orchestrated, inthemix requested us to walk .

What’s life like as a DJ before you made your very first album, Road Kill?

It’ll seem weird to people however I did that the very first. It was completely illegal but I sold thousands and thousands of duplicates. I get people hitting me up on it. It was a time in a community of a couple thousand people. Everyone was really in it and super-critical of their standard of mixing.

I transferred to Sydney so I grabbed the tail-end of the expat celebrations. Subsequently with guys like Phil [Smart] and [Sugar] Ray doing Tweekin’ to a Friday night , there was an extraordinary party vibe. I really don’t know when the medication had something to do with this, however, the music in Adelaide was a ton quicker than Sydney, so it took me some time to slow down it! That’s when I started getting more into that very first wave of filter house, which occurred together with the arrival of Daft Punk.

I signed about two years. I was the first DJ and they had no clue what to do with me personally.

Can it be a surprise for you as well that you were suddenly an artist with a record deal?

Josh Abrahams Paul Mac and I got picked up around exactly the exact same moment. And a wave of executives came in and everybody got dropped together with me. Obviously Josh then proceeded to make ‘Addicted To Bass’ and Paul had the biggest listing of his career [3000 Feet High] two decades after that.

Kathy McCabe, who’s currently in the Tele, was A&Ring afterward, and I believed it was eyesight on their own behalf. I can not even begin to imagine the type of discussions she had been having with EMI in the moment, who had activated their having anything that is not done for most of the ’90s. They proceeded to get an wonderful run.

Was there a specific release out there in the time that turned EMI onto you?

I had a record out on Dance Pool [‘It’s On’] and I had done a remix for [UK dance-pop group] Dead or Alive that had gone gold. I had been given an advance, so I did everything you’d usually do if you’re granted a whack of money get onto a plane and go to Europe. I ended up with most of an album thank god, but it still took me a year and a half.

“I really don’t know if the medication had something to do with this, however, the audio in Adelaide was much quicker than Sydney”

It was to make a record back then — I delivered it fairly cheaply but to get a sampler was 8000 back. I started off as a hip-hop DJ and that I approached things with this particular magpie sensibility. I was fortunate they coughed up.

Were the advances then unlike anything that an artist would see now?

Well, here’s a good example. I had been signed to Virgin to make a listing. Most folks would have gone off and purchased a house and still exercised a way. I chose to utilize it all to make the record. You get to a point where you’re running out of money.

“I really don’t think people have an opportunity on documents as much nowadays.”

Fortunately my buddy Tim [McGee] worked in Central [Station Records]. Also he went and I told him I had so I flicked that off to him and sold it in the united kingdom to Ministry. We got roughly a $50,000 advance for this. This was the kind of money that floated about back then. I thought, ‘Oh, this is fairly easy, I could definitely keep doing so!’

And those sorts of numbers dried up. I really don’t think nowadays people have an opportunity on documents as much. If you’ve got every label on the planet is going to be knocking down your door to throw money at you. However, no one’s going to take a chance.

Can Road Kill take its cues from what was occurring internationally with digital music at the moment?

You can certainly hear the effect of ol’ Norman Cook on that record. I was a fan. To me it was really important to take everything I had been into — punk, hip-hop, breakbeats, house audio, and also the pop up I climbed up on — and then mash it all together.

‘Here Comes Another One’ was based on an MC5 riff. Subsequently [The Fifth Dimension’s] ‘Let The Sunshine In’ [sampled on GT’s ‘One More Time (The Sunshine Song)’] is such a ’60s anthem of the moment. I had been hanging out with Fatboy Slim a little, and I truly wished to make a record that he would play in his collection. This was my intention for that one. After it was heard by the label, they were like, ‘No, ‘ that’s your only.’

I had been looking back at some older Big Day Out line-ups, and I first saw your title in 1996.

I did in a row like ten Big Day Outs, and now I feel the previous four or five I had been in the touring party. It had been me and Paul and Bexta Mac — it was a community with the people about the line-ups everywhere. I’m still friends with all those people now.

I recall playing [the ‘ Chemical Brothers’] ‘Block Rockin’ Beats’ at the Boiler Room when that record was huge, and the reaction was just over the top. In 1997, The Prodigy was the very first digital action to perform the main stage, and I remember thinking ‘Oh yeah, we have arrived, we are taking over today.’ It was a great moment.

“The 2006 era needed The Presets, Cut Copy, Sneaky Sound System; I believe time stood up any place on the planet and always will.”

The line-ups was crazy, since you’d have then and Aphex Twin OMC [of ‘How Bizarre’ celebrity]. It would not be merely techno all day. I believe that the diversity was super-important and informative. There was a lot of tribalism happening with genres ‘I like techno’ or ‘I just like happy hardcore’. You’d see it with all the tribes dressed in their way in Central Station Records. But everybody comes together in the Boiler Room.

From the early 2000s, when Road Kill came out, there is a groundswell of other Australian digital groups: you’d Pnau, Sonic Animation, Resin Dogs, The Avalanches…

Yeah, you noticed it when it was time to collect a tour to get a record. I toured with Sonic Animation and I toured with Grinspoon, you understand? It was like, ‘They both play Big Day Out, they could go!’

I know that the songs the Pnau boys had been making before they found nightclubs was full-on psytrance. And they had this moment, found Derrick Carter and DJ Sneak, and went stateside. Then the Avalanches album is just one of the best to ever come from this country stop. I recall that being the soundtrack of summer hanging out with…oh, I’m not even going to name-drop, however a few touring DJs! That album was being played with nonstop.

In that 2005-2008 period once you started Tonite Just, the audio coming from Australia felt very connected to an worldwide phenomenon.

From the early 2000s everybody was in their own lane setting out their records. Then I think that the advent of having the ability to record in-the-box and not go into studios attracted the cost of production right down.

This 2006 era had Cut Copy, The Presets, Sneaky [Sound System]; I think will and always that moment stood up any place in the world. Those documents had a large influence. I recall seeing DJ AM do an open format hip-hop/rock/party set and going to LA, playing [the Just remix of Sneaky Sound System’s] ‘Pictures’ in its middle. That wave of electro — with a clean sawtooth wave, a snare and a kick — only sounds great loud. You can not beat it.

As a young DJ, you’re Australian runner-up from the DMC DJ competition. The tools of the trade have changed quite a great deal since then…

When I started DJing, I did not even see [Technics] 1200s for two decades. It was this idea that there! It had been like, what? These were the types of discussions.

You are able to learn to DJ in about 90 minutes so the bar has lowered. The thing that’s not likely to change is that the art of DJing is understanding what tune to play next. That is any time period, any genre, ever. That’s how you rock a celebration: understand what tune to play following the one that’s playing.

Orchestrated together with the Ministry Of Sound Orchestra strikes Melbourne’s Hamer Hall on Friday August 11 and Sydney’s State Theatre on Friday August 18. Tickets are now on sale.

Jack Tregoning is an independent writer based in New York. He’s about Twitter.

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