We are each others influences. Since it's on-the-spot recording, what the other one does determines what happens next, then the next song is influenced by what happened during the last song.
Sounds Like
The free spirit of the 70's combined with the electronic sound of the 80's.
When most people hear that you're going to Iowa City to visit a good friend from high school, they figure that on a July 4th weekend that the majority of your time will be spent trying not to blow your fingers off with fireworks.
If you had asked either of us, that's what we would have said too.
But when Drew started going through the Combo patches on my Korg Triton, I started hearing more than just drum 'n' bass. I was hearing compositions, and I headed upstairs to Drew's office to grab his Roland JV-90 as quickly as I could. To his living room I headed with wonderful visions of lucious melodies and chord progressions racing through my mind. He selected one patch, and we played together perfectly as though we had reheased this song many times before.
About three songs into our "experiment," Drew suggested we should be recording this, because what we were doing was very innovative and cutting-edge. Ten songs later, I definitely stand by his
observation.
For the next two days, we couldn't stop playing it in his home, in his car, in a box, with a fox, in the rain, on a train. We were impressed at what we did. But not just impressed; we were amazed. We had written an entire album in one afternoon. An album of no boundaries, new ideas, and new directions. This is a breakthrough album, improvised and played live on the spot with occasional musical-lingo suggesting key changes or part configurations.
Whatever it was, it turned out sounding great. Drew played the entire album on a Korg Triton and I played on a Roland JV-90. The album was written exactly as it is arranged on the CD, from start to finish. (We took a burrito break between the 4th and 5th tracks because we were hungry. Just thought I'd add that in.)
So now when I drive to Iowa City to see him, we only have one thing on our minds... What will we come up with this time?
Whats up!!! Glad to have your friendship and wanted to give you our latest Live Progressive House Mix From Saturday Sepetember 5th 2009 In San Luis Mexico Download it or listen in player on my page please rate mix @ http://djmix.net/MichaelOphime/EssentialProgressionEpisode01
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One of the biggest releases from Slavic this year. This collaborative work consists of 10 remixes on original "New High" (Nikolai Stepan). Styles vary from house / electro / tech / electronica / breaks / minimal ... Enjoy this collection of very talanted artists.
Remixes by:
• Nikolai Stepan (US) • Eric Ross (US) • 99ers (Moscow) • Champa re (LoveIsInTheMusic NYC) • DJ Felix (Russia) • Andrés Fumero pain) • DJ Andrey Senin (Ukraine) • Alex M (Slovenia) • Aaron Lee US) • Fukito (France) • Amptek (Italy) ______________________________________________________
First exclusive from 99ers studios in Moscow. The history of this project is short but very sweet and full of great solid and slamming club tracks
Remixes by:
• Nikolai Stepan (US) • Andrés Fumero (Spain) • Aaron Lee (US) • Fukito (France) • Amptek (Italy)
Progressive Miami's home base is in Miami, FL. With all of your support we are the # 1 Progressive House Station on Live365.com Our Format Includes Progressive House, House, Electro, Breakbeat, Acid House, Minimal and Drum & Bass all electronic music 24hrs a day. In the weeks to come we will have some of the best mixes from the best club Dj’s and producers in the world. Please check back often to get additional updates and show dates. If you are a Dj Interested in having your mix played on Progressive Miami or stopping buy our studio for a live session please send us a message. Please Keep Electronic Music Alive in Miami
By now you've likely heard the news about the Copyright Board's ruling regarding net radio. Simply put, it approximately triples the amount paid to record labels via SoundExchange for streaming Internet radio over the next three years, changes the way the payments are computed (from what is called an "Aggregate Tuning Hour" basis to a straight "per play"), adds a confusing and onerous "per station minimum" fee with no maximum, and extends the new rates back to the beginning of 2006. Many small Webcasters won't be able to afford this, and you can bet large Webcasters like us are all taking a hard look at the Internet radio business and our products to decide if it's really worth the cost. Big companies might have more money, but they can't stay in businesses where they don't make any profit, a pretty simple business fact.
Compare the implications of this decision to terrestrial radio which pays NOTHING to SoundExchange, or even satellite radio which pays only 3-7% of their revenue to
