Kosmonautenschule

Warm Beats For Warm People

Thursday, May 29, 2008

Capturing The Streets




"The city is a ‘body without organs’, as Deleuze says, an intersection of channeled flows. The skaters* themselves come from the territorial order. They territorialize decoded urban spaces – a particular street, wall or district comes to life through them, becoming a collective territory again."

Jean Baudrillard

Sunday, May 25, 2008

Sunday, May 18, 2008

What remains...at the end of the week (XX)

Neon Judgement - Voodoo Nipplefield
Cevin Spacey finally has time for voodoo and nipples.

Troy Tate - Love Is (Dance Mix)
Captain Clark's borrowed nostalgia for the unremembered 80s.

Sunday, May 11, 2008

Monday, May 5, 2008

Gorillaz LP



I lately dug up this highlight of my childood when I was driving and looked through the cds in my glove box. It's really uncool to post it, eh? Yeah, maybe.
But what I want to get at is not the ultra-funny and cool story about this notorical mopish cartoon band and neither is it Damon Albarn, De La Soul or Dan The Automator since you can read about all that stuff on wikipedia if you really want to.
It's basically about my astonishment when I fingered out the cd. With my 11 years in 2001, when their debut came out I more or less skipped from Clint Eastwood to 19-2000 to Rock The House and didn't really get the album. Now, 7 years and a musical emancipation later these songs seem boring and straight. Tunes like Double Bass and Latin Simone (Que pasa con tigo) now attract me with their undetermination and tastefulness aside from any mainstream capacity and built up cultic factor. You can't really declare the album good; the wanted eclecticism is definitely forced to much. The dispensable punk-song Punk at least includes a certain irony but other tracks like M1 A1 are just over the top. Albarn wanted to run riot with this project but wasn't officially included in the progress of producing. I find that without his voice on some songs (listen to Starshine) the whole record would have gained a lot.
The evidence that the project as such already created quotable material is supplied by remixes or fine-tuning by Quiet Village and on Chapter One of the DFA Remixes.

Gorillaz - Latin Simone (Que pasa con tigo)

Gorillaz - Double Bass

Sunday, May 4, 2008

What remains...at the end of the week (XVIII)

The Smiths - Meat Is Murder
Cevin Spacey likes animals...fried.

SBB - Trojkat Radosci
Captain Clark says nothing, because it would destroy the beauty.

Monday, April 28, 2008

Baleardo Villalobos



Watching this video totally made my day when I saw it. Ricardo takes an old South American folk tune and is mixing it with a deep German minimal techno track. Seems to be an incredible moment for the crowd which is completely out of control. I wish I was among them! The video proves that Ricardo is really holding an exceptional position in the techno scene. There’s not a single other DJ who can create such an emotional moment. And Ricardo is always testing borders and sometimes even passing them. It’s the love to music, the curiousness, a daring attitude, being keen on experimenting, what it’s about. Ricardo is one of the very few DJs where I can see these ambitions. What a pity that I don’t like most of Minimal at all…

Ricardo doesn’t get tired of pointing out that he sees so many origins and analogies of modern dance music in old folklore from South American. A kind of music he often came across with as a child, because his family comes from Chile and he was also born there. He came to Germany when he was three years old. And Germany stands for a tradition of creating and developing electronic music, he says in one of his interviews. It’s probably these two halves which characterise him well. And the video above captures this kind of background quite accurately! And it proves how based on rhythmical elements such an old folk tune can be. It stays in beat the whole time, probably because of Ricardo’s mixing skills, too.

However, people were so surprised when he took Shackleton’s “Blood On My Hands” and integrated it into his sets. It’s a Dubstep track, dark and mesmerizing, but quicker than most of Dubstep. There’s no straight beat, just lots of congas and percussions. It’s a risk to play this to the common techno crowd I guess. But it just made sense. I totally dig the Voodoo-Vibe of this piece of music. Ricardo later turned it into monster remixing it. This track was SO dark and hypnotic. An almost 20-minutes-long trip through the evil parts of human life. It became one of the few tracks I like of the minimal genre!

When Ricardo spoke to German Groove Magazine last year, he said he wishes for a place where the music would be played the whole day and would not have to fulfil any dance-expectations. I like this No-Rule-Mentality. It shows where things should go to. And I’d love to hear the music Ricardo would play without having to entertain the minimal crowd.

For me, it’s just a question of time before this guy will break out, step free, whatever! Perhaps an exceptional mix for this blog would be a good start, Ricardo? Hehe…Till then, just keep it up dude!