- Dj Sprinkles Midtown 120 Blues Rar Download
- Dj Sprinkles Midtown 120 Blues Rar Menu
- Dj Sprinkles Midtown 120 Blues Rar 2017
- Dj Sprinkles Midtown 120 Blues Rar Collection
- Dj Sprinkles Midtown 120 Blues Rar Online
Midtown 120 Blues (Comatonse) By Kevin Ritchie. The commodification of dance music subculture is an ongoing trend, but the rise of aggro rave beats. DJ Sprinkles- Midtown 120 Blues House isn't universal. House is hyperspecific. Suffering is in here, with us. All at 120 beats per minute. These are the midtown 120 blues. Posted by Electric City at 12:11 AM. 4 comments: Anonymous November 12, 2009 at 1:37 AM. Listen to Midtown 120 Blues on Spotify. DJ Sprinkles Album 2012 10 songs. Buy Midtown 120 Blues at Juno Records. In stock now for same day shipping. Midtown 120 Blues. 100% Secure Shopping. Studio equipment. Our full range of studio equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices. DJ SPRINKLES aka TERRE THAEMLITZ.
| regional order forms 注文用紙 | ¥ | € | $ |
| comatonse recordings shop ショップ |
DJ SPRINKLES 'MIDTOWN 120 BLUES' |
| CD in archival vinyl pouch with double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm). |
| package design デザイン | | | reviews レビュー |
| dj sprinkles midtown 120 blues ミッドタウン１２０ブルーズ (2008/2014) |
DJ Sprinkles: Midtown 120 Blues | Full-length CD Album | May 31 2014 | C.022
DJ Sprinkles is please to announce the re-issue of Midtown 120 Blues, self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself.
First released in 2008, DJ Sprinkles' debut full length album continues with themes from 1998's 'Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney's buyout of Times Square' (a track featured on Ame's 'Coast2Coast' DJ mix compilation for NRK Records in 2007). While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.
The audio on the 2014 CD is identical to the 2008 first edition and subsequent represses on Mule Musiq. There are no plans for a vinyl edition because the bass spatialization effects that give many of these recordings their sonic character are incompatible with vinyl mastering techniques.
| hype ハイプ |
- #1 Album of 2009 in Resident Advisor staff poll.
★★★★★ (5 of 5 stars) from Cisco Music (Japan), August 2008.
★★★★★ (5 of 5 stars) from Electronic Beats, January 2009.
★★★★★★★★★☆ (9 of 10 stars) from Music Magazine (Japan), October 2008.
Dont Rhine (Ultra-red) 2008 Year-end Round Up Artist of the Year, #2 Album.
#2 in Pete Chambers (Resident Advistor) Top 10 Albums 2008.
#3 Album of the Year 2008 in Little White Earbuds.
Juno Records (UK) Top 10 Bestseller of the Week, February 1 2009 (ranked #9).
#14 Album of 2009 in Boomkat (UK).
#17 Album of 2009 in Fact Magazine (UK).
'Midtown 120 Blues' listed in Fact Magazine Tracks of the Week, February 20-27 2009.
Holger Klein (Spex): 'The world's first discourse house album.'
Dj Sprinkles Midtown 120 Blues Rar Download
| cd track list cdトラックリスト |
- Midtown 120 Intro・ミッドタウン１２０イントロ
(Excerpt / 抜粋) 2:47 2.2MB MP3 128kB/s - Midtown 120 Blues・ミッドタウン１２０ブルース
(Excerpt / 抜粋) 1:05 900KB MP3 128kB/s - Ball'r (Madonna-Free Zone)・トランズジェンダー舞踏会（マドンナ・フリー・ゾーン）
(Excerpt / 抜粋) 1:08 944KB MP3 128kB/s - Brenda's $20 Dilemma・ブレンダちゃんの＄２０のジレンマ
(Excerpt / 抜粋) 1:01 848KB MP3 128kB/s - House Music is Conrollable Desire You Can Own・ハウスミュージックは所有することができる制御可能な要望
(Excerpt / 抜粋) 1:12 1MB MP3 128kB/s - Sisters, I Don't Know What This World is Coming To・シスターズ、この世界はどうなりましたか
(Excerpt / 抜粋) 1:22 1.1MB MP3 128kB/s - Reverse Rotation・後戻り
(Excerpt / 抜粋) 0:58 808KB MP3 128kB/s - Grand Central, Pt. I (Deep into the Bowel of House)・グランドセントラル駅 パート１（ハウスの腸の深い場所まで）
(Excerpt / 抜粋) 1:05 900KB MP3 128kB/s - Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅 パート２（列車でミズーリ州から72時間）
(Excerpt / 抜粋) 1:01 844KB MP3 128kB/s - The Occassional Feel-Good・時たま良い感じ
(Excerpt / 抜粋) 1:01 852KB MP3 128kB/s - Vinyl Remix EP: Brenda's $20 Dilemma・ブレンダちゃんの＄２０のジレンマ (Kuniyuki Remix)
(Excerpt / 抜粋) 1:11 984KB MP3 128kB/s
| |
House isn't so much a sound as a situation. There must be a hundred records with voice-overs asking, 'What is house?' The answer is always some greeting card bullshit about 'life, love, happiiness....' The House Nation likes to pretend clubs are an oasis from suffering, but suffering is in here with us. (If you can get in, that is. I think of one time in New York when they wouldn't let me into the Loft, and I could hear they were actually playing one of my records on the dance floor at that very moment. I shit you not.) Let's keep sight of the things you're trying to momentarily escape from. After all, it's that larger context that created the house movement and brought you here. House is not universal. House is hyper-specific: East Jersey, Loisaida, West Village, Brooklyn - places that conjure specific beats and sounds. As for the sounds of New York dance floors themselves, today's house classics might have gotten worked into a set once in a while, but the majority of music at every club was major label vocal shit. I don't care what anybody tells you. Besides, New York Deep House may have started out as minimal, mid-tempo instrumentals, but when distributors began demanding easy selling vocal tracks, even the label 'Strictly Rhythm' betrayed the promise of it's own name by churning out strictly vocal after strictly vocal. Most Europeans still think 'Deep House' means shitty, high energy vocal house. So what was the New York house sound? House wasn't so much a sound as a situation. The majority of DJ's - DJ's like myself - were nobody's in nowhere clubs: unheard and unpaid. In the words of Sylvester: reality was less 'everybody is a star,' and more 'I who have nothing.'Twenty years later, major distribution gives us Classic House, the same way soundtracks in Vietnam war films gave us Classic Rock. The contexts from which the Deep House sound emerged are forgotten: sexual and gender crises, transgendered sex work, black market hormones, drug and alcohol addiction, loneliness, racism, HIV, ACT-UP, Thompkins Sq. Park, police brutality, queer-bashing, underpayment, unemployment and censorship - all at 120 beats per minute. These are the Midtown 120 Blues. | ハウスミュージックは音と言うよりも情況です。 １００枚以上のレコードの中にナレーターが「ハウスとは…？」って言うのを聞くかもしれない。答えはいつも安いメッセージカードに書いてあるような「ライフ、ラブ、ハッピー」ばっかり… ハウスネーションはクラブが不幸から逃れるられるオアシスのようにいうけど、不幸は私達と一緒にある。‥もしあなたのファッション（服装）でクラブに入る事が出来れば、ね。ニューヨークに住んでいた時のある出来事を思い出す。有名なロフトというクラブに入れてもらえなかったことがあった。まさに入口で入場を断られているその時、中から私の（作曲した）レコードがかかっているのがきこえた。嘘じゃない。 あなたが一時的に逃れようとした物がなにか忘れないで。結局、ハウス・シーンができたのも、ここにあなたがきたのも、逃れたい何かがさせたことだから。ハウスは普遍的じゃない。ハウスは超限定的な物。例えばイーストジャージー、イーストビレッジ、ウエストビレッジ、ブルックリン… その場所だけにあるサウンドとビートとか。当時のニューヨーク・ダンスフロア自体の音について言うと、今「クラシック」と呼ばれる曲がかかるのを時々聴いたけど、すべてのクラブでかけられていたほとんどの曲はクソなメジャーレーベルのボーカル曲ばっかりだった。他の人があなたになんて言ったかなんて知らない。その上、ニューヨークのディープハウスはミニマル、ミドルテンポインストロメンタルとして始まったかもしれないけど、レコード会社のディストリビュター達がもっと売れやすいボーカルハウスを要求し始め、そのうち「ストリクトリー・リズム」（「リズムだけ／ボーカル無し」の意味）というレーベルでさえ、ボーカルばっかりの曲を次から次へとリリースして自らの名前にさえ背いた。ヨーロッパの人のほとんどは、まだ「ディープハウス」が下手な、ハイエナジーの、ヴォーカルありの音楽を意味すると思ってる。 それならば、ニューヨーク・ハウス・サウンドは何だったのか。ハウスミュージックは音と言うよりも情況だった。多くのDJ（自分のようなDJ）は名も無いクラブの名も無い人々、誰も聴かない、お金も払われない、ものだった。シルヴェスターの歌詞の中に「誰でもスターである」っていう言葉も「何も持っていない私」っていう言葉もあるけど、現実は後の方。 ２０年経って、メージャーディストリビューションは私たちに「クラシックハウス」を与えている。ハリウッドが作ったベトナム戦争の映画のサウンドトラックから「クラシック・ロック」を与えたのと同じ方法で… ディープハウスが出現した背景が忘れられていく：セックスとジェンダーのアイデンティティー崩壊、トランズジェンダー娼婦、闇ホルモン剤市場、麻薬とアルコール中毒、孤独、人種差別、HIV、ACT-UP（エイズ解放連合）、トンキンズ・スクエアー公園の暴動、警察の蛮行、ゲイ・バッシング、低賃金、失業、検閲… すべて毎分１２０のテンポで。 これはミッドタウン１２０ブルーズです。 |
| |
When Madonna came out with her hit 'Vogue' you knew it was over. She had taken a very specifically queer, transgendered, Latino and African-American phenomenon and totally erased that context with her lyrics, 'It makes no difference if you're black or white, if you're a boy or a girl.' Madonna was taking in tons of money, while the Queen who actually taught her how to vogue sat before me in the club, strung out, depressed and broke. So if anybody requested 'Vogue' or any other Madonna track, I told them, 'No, this is a Madonna-free zone! And as long as I'm DJ-ing, you will not be allowed to vogue to the decontextualized, reified, corporatized, liberalized, neutralized, asexualized, re-genderized pop reflection of this dance floor's reality!' | マドンナがヒットソング「ヴォーグ」をリリースした時、それがトランズジェンダー舞踏会の終わった事を告げた。ヴォーグという踊り方は特にクイアー、トランズジェンダー、ヒスパニックとアメリカ系黒人の間にあった独特な現象だったけど、彼女の曲の中の歌詞「あなたが少年であろうと少女であろうと、あなたが黒人であろうと白人であろうと、全く関係ない」は、そのヴォーグという現象に特有の意味と背景を消してしまった。その曲からマドンナはお金をどんどん貰っていた、一方、彼女にヴォーグを教えたそのニューハーフはクラブでわたしの前に座っていた… 薬の禁断症状を示して、鬱々と、無一文で。だから誰かが私のDJ中に「ヴォーグ」とか別のマドンナの曲をリクエストしたら、わたしは「いいえ、ここはマドンナ禁止地帯です！わたしがDJをしている限り、情況が無視され、企業化され、具象化され、中和され、自由主義化され、無性化され、よりジェンダー化された、このダンスフロアにある現実をポップバージョンにしてしまった曲でヴォーグする事は認めない！」と答えた。 |
Dj Sprinkles Midtown 120 Blues Rar Menu
| |
In 1986, at age 18, I left Missouri by train, pulling into Midtown Manhattan's Grand Central Station some 72 hours later. Until that point life had, quite frankly, been miserable, each and every day facing verbal and physical harassment as a queer-fag-pussy-AIDS bait. The climate in New York wasn't really so different. But from within my isolation I saw others isolated like myself. One of the places we met, in our self-containment, was on the dance floor. The nastiest and seediest clubs were located in Midtown. That's mostly where I DJ'ed, at tragic places like Sally's II and Club 59. In the early 1990's, Disney bought 42nd Street, closing the places around which transgendered life revolved for many of us. That 'community of isolation' was scattered to other cities, other states, other countries. Isolated, still.... | １９８６年、１８歳の時に、電車で72時間かけて、ミズーリ州からミッドタウンマンハッタンにあるグランドセントラル駅に着きました。人生はそれまで辛かった。毎日毎日、性と性別の為に悩まされました。でもニューヨークは全く異なってはいませんでした。ただ、隔離されたわたしが、自分のように隔離された別の人を見ただけでした。隔離されたままの私たちが出会った場所の一つはダンスフロアでした。ミッドタウンのクラブが一番寂くかつ変態的でした。わたしはそこでDJしました… Sally's II とか Club 59 など… ９０年代、ディズニーが４２丁目の土地を買い、ミッドタウンのトランズジェンダー達を追い出しました。その隔離された人々のコミュニティーがばらばらになりました。皆が別の市、別の州、別の国へ引っ越していきました。 隔離されたまま、ずっと… |
To preserve the full dynamic range of the original recordings, this album was mastered without compression and is intentionally quieter than some. Turn up your stereo volume for best playback.
All tracks produced and published by T. Thaemlitz (BMI), 2008. Additional sounds on 7 provided by Kuniyuki. Paintings by Laurence Rassel. Thanks to Dont Rhine of Ultra-red for guidance and support. Design and text by Terre.
The audio on this CD is identical to the 2008 first edition and subsequent represses on Mule Musiq. There are no plans for a vinyl edition because the bass spatialization effects that give many of these recordings their sonic character are incompatible with vinyl mastering techniques.
Featuring Comafidelity Multi-Channel Sound. No fucking-sucking-licking-sticking without latex. Clean your works with bleach and water. Do not attempt using any part of this product as a safer sex device.
| releases in this series by mule musiq (out of print) このシリーズのリリース（ミュール・ミュージック版、OP） |
| full-length albums アルバム |
- DJ Sprinkles: Midtown 120 Blues Japan: Mule Musiq, 2008, MMD7
| vinyl 12' singles ビニール１２インチのシングル |
- DJ Sprinkles: Masturjakor (w/KiNK & the Neville Remix) Japan: Mule Musiq, 2010, MM044
- DJ Sprinkles: Sisters, I Don't Know What This World is Coming To (w/Motor City Drum Ensemble Remixes) Japan: Mule Musiq, 2009, MM038
- DJ Sprinkles: Brenda's $20 Dilemma (w/Kuniyuki Remix) Japan: Mule Musiq, 2009, MM034
- DJ Sprinkles: Grand Central, Pt. I Japan: Mule Musiq, 2008, MM033
| compilations コンピ |
- Enjoy the Silence: Part 2 of Mule 5th Anniversary Release, Japan: Mule Electronic, 2009, MED16[JP]/MECD15[EU]. Includes 'Music is Controllable Desire You Can Own' (ambient remix of 'House Music is Controllable Desire You Can Own').
- I'm Starting to Feel OK Vol.2 Japan: Mule Musiq, 2008, MMD05. Includes previously unreleased track by DJ Sprinkles, 'Masturjakor Dub'
- I'm Starting to Feel OK Vol.3 Japan: Endless Flight, 2009, EFCD3. Includes 'Brenda's $20 Dilemma (Kuniyuki Dub Remix)' and 'Grand Central Pt.1 (MCDE Bassline Dub)'
Journalism and discourse has tended to favour the former definition, denoting music as ‘dance’ based on its sonic DNA, propulsive machine rhythms and repetitive melodic hooks, rather than its use on the dancefloor. This makes sense: if any music that was danced to in clubs was considered a part of the ‘dance’ genre then the sonic range would be so vast as to render the term useless. Yet since the dawn of machine-made club music in the late 80s, there have been fringe artists taking dance music and making it un-danceable, fracturing it into broken drum-trips or inverting its tropes to glacial slices of ambience which harbour only the ghosts of house, techno or electro.
So how do we account for dance music which isn’t meant to be danced to, but instead attracts bedroom listeners and commuters? Perhaps some of these listeners are educating themselves in the vast archives of dance music history, or are in fact DJs vetting the latest tunes for potential play. Yet there are far more who will find that dance music livens up their daily activities: listening to propulsive music while working, travelling or walking lends an energy to quotidian life, constituting an escape for many of its listeners.
This musical escape is not unlike the club experience. Dancers go to release the tension built up over a week of drudgery, entering a world where pleasure is priority. They will shuck off their responsibilities, worries and (often aided by stimulants) the construct of their selves. The identity imposed upon them in everyday life is dissolved in the club-crowd consciousness, as each dancer abandons themselves to the single task of losing and finding themselves within the groove.
This, at least, is what the club prophets might say. But this article isn’t about the experience of clubbing, or even the sense of escape that dance music can offer the daily listener. Something else must account for the ubiquity of dance music on the headphones of those resolutely not dancing, as well as the success of myriad sub-genres of dance-not-dance music (to resurrect an apposite yet awkward term).
This article hopes to show that less club-orientated strains of dance music, taking deep house as a case in point, offer the listener not an escape but the opposite: a more nuanced understanding of the world around him/her. When the musical layers are stripped away and the BPM slows, the attentive listener becomes more sensitive to subtle musical changes and slowly evolving melodies. When listened to on the urban commute this increased concentration pervades our perceptive faculties beyond the auditory: the deep house listener becomes more attuned to minute shifts in the fabric of his environment. When heard outside of the club, dance music doesn’t necessarily shut out the listener’s surroundings. It can let the world in.
While the soul-infused deep house of US descent continues to offer brilliant music from artists young and old, it’s the genre’s European sibling which best elucidates this article’s focus. Germanic deep house, championed by labels such as Dial, Kompakt and Smallville (but now adopted by musicians the world over) is one of the most steadfastly melancholy strains of dance music out there.
A hollow 4/4 anchors slow rhythms that are more head-nodding than fist-pumping, while sonic detail is concentrated in the high-end, whether through intricate synth melodies or dusty instrumental samples (often strings and piano). The sounds are unhurried, allowing the listener to appreciate the nuances of texture; tapping patient emotional resonances rather than beckoning the instant rush of euphoria. The aforementioned sonic formula is by no means a hold-all description, however. Often the deep house sound is more stripped, honing in on the subtle interplay of drumkit, bassline and swooning ambient wash. The feature this music has in common, in opposition to big-room dance music, is that it doesn’t tell the listener how to feel. Rather than using the dynamics of tension to create a communion of shared feeling on the dancefloor, deep house trades in subtlety, allowing the listener to explore and indulge his own particular mood, whatever that might be.
There’s something to be said for the road less travelled, not instructing the listener’s emotional response but instead allowing it to be considered and intensified. It also raises an interesting question: does melody move the listener emotionally while percussion moves him/her physically? Like some other genres, notably ambient, the deep house album creates a contemplative space within the listener’s mind encouraging him/her to introspect, to tune in and switch on.
In order to showcase the effect, this article will chart the last five years of deep house music, picking one album from each year. There is no singular feature which unites these releases, but each album shows in a different way how the house album can bear attentive, repeated listens, offering dance music which can have a transformative effect outside of the simple, joyous fact of dancing.
Painting by Laurence Rassel
DJ Sprinkles – Midtown 120 Blues
Dj Sprinkles Midtown 120 Blues Rar 2017
For an article primarily focused on the German house sound, it may seem odd to start with a release by an American. Yet rather than a typical American house record which might wear its funk and soul heritage on its sleeve, Sprinkles’ muted palette has much in common with European house practitioners; a journey to the centre of the mind, not just the soul.
To anyone interested in house music beyond its dancefloor thrall, Terre Thaemlitz should need little introduction. Gender theorist, dance historian and music academic, Thaemlitz also happens to make some of the finest house music pressed to wax. 2013 was a banner year for Sprinkles, with a remix compilation accompanied by a mix CD, yet we must travel back to 2009 for Sprinkles’ most striking release to date, Midtown 120 Blues on Mule Musiq.
This is so much more than a club album: Thaemlitz uses a suite of lush, melancholic tunes as a springboard for an interrogation of a music which has lost sight of its context. A veteran house DJ who survived the genre’s inception in largely marginalised communities (transgendered, black, latino and queer in Chicago, Detroit and New York), Thaemlitz offers a spoken-word introduction to remind us of the conflict and hypocrisy which birthed our beloved genre and continues to plague it.
Thaemlitz’ commentary on this and other tracks is ruthlessly incisive, refusing to allow the listener to divorce the music from its troubled and troubling context. Yet Midtown 120 Blues is no dry academic exercise. Instead, the album is a deep house masterclass, a suite of sonic tapestries which combine chunky drum patterns with rich melodic accompaniments, ranging from churning basslines to twinkling synths and melancholic keys.
‘Ball’r (Madonna-Free Zone)’hypnotises the listener with its steady pulse and subtle keys, before delivering a sharp criticism of the popstar’s crimes of cultural appropriation. Thaemlitz clips the words ‘brothers and’ from the vocal of ‘Sisters, I Don’t Know What The World Is Coming To’ to offer a feminist skew on the conventional house gospel sample bathed in lush, jazzy orchestration. Later the dazzling ‘Grand Central Pt. II’ summons a gaseous ambience, consuming the listener in languid tones and an alarmingly emotionless vocal describing an instance of queer-bashing.
This kind of critique had not been levelled at the genre before, and while it may not have gone platinum, the continued critical coverage of Sprinkles and her ideas in dance media shows that her message did not fall on deaf ears. Thaemlitz’ true stroke of genius in Midtown 120 Blues was to couch her criticism of the house scene not in an essay or article but within an exceptional example of the genre itself. The best way to communicate to house listeners is in the form of house music, and realising this Thaemlitz crafted something challenging, rewarding and beautiful. Each track is a rich miniature, expertly composed with emotional heft: it’s the near-impossible achievement of a house album which makes you think hard and feel hard.
Terre will reissue ‘Midtown 120 Blues’ on CD, with new packaging and poster, sometime this summer through her Comatonse imprint. You can listen to clips of Midtwon 120 Blues via Comatonse
Want more? Check out Thaemlitz’ album ‘Routes Not Roots’ under her K-S.H.E alias.
CONTINUE READING
Dj Sprinkles Midtown 120 Blues Rar Collection
Part 1. DJ Sprinkles ’120 Midtown Blues’
Part 2. John Roberts ‘Glass Eights’
Part 3. Moomin ‘The Story About You’
Part 4. Recondite ‘On Acid’
Part 5. Kim Brown ‘Somewhere Else It’s Going To Be Good’
Discover more about DJ Sprinkles, Terre Thaemlitz and Mule Musiq on Inverted Audio.
ArtistDJ SprinklesTerre Thaemlitz