mashing up history

check the slogan on the label of this version of the original Jem 77 tune -
"Proper Bloodclaart Pirate Radio Bizness"




this other recent Rave 2 the Grave tune is better than the Jem 77/Cubic 22 one I think



of course there were tracks that were effectively mash-ups  -  aka rip-offs - happening in real-time back in the old skool days. i can't think of any examples off the top, but there were quite a few that were composites of existing killer tunes.

This Mickeybeam75 chappie is slinging this kind of thing up there, along with a lot of high-quality uploads of original-era tunes

this one - not a mash up but a new-old tune -  is quite devastating, beats and bass-wise. really like it




Here's the whole Wetman  EP on Vivid



Funny title

This is an earlier EP by Wetman

get euphoric

new mix by Pearsall of nu-skool rave - "tracks that capture the spirit of '92 while using modern production techniques"

Tracklisting:

01. Try Unity – Time To Believe (Rave Radio)
02. Soundbwoy Killah – Tell Me (Warehouse Rave)
03. Manix – Hold Dis (Reinforced)
04. DJ Jedi – Acid Test (Rave Radio)
05. Trigger Happy – Vol. 2 (Side A2) (Trigger Happy)
06. Pete Cannon – Here We Go Again (Kniteforce)
07. Systec – Dreams (Peace On Wax)
08. Boykz & Chapman – Relapse (Enormous Mouse)
09. TenTun – Bass Drum (Rikka Jam)
10. Innercore – Suspense (Peace On Wax)
11. 2 Bad Mice – Gone Too Soon (Sneaker Social Club)
12. DJ Jedi – Utopia (Jedi Recordings)
13. Thumps & Bumps – Hardcore Sound (KHK)
14. Systec – Hardcore Generation (Peace On Wax)
15. Stormski – Come Selector (Stay On Target)

release rationale in full here


extracts:

"One difference between then and now is that production standards have clearly improved – these tracks sound crisp in a way that relatively few 1992 rave tracks do. High-end audio mastering technology was a luxury for the few back in the day, whereas every random bedroom producer today has access to the kind of tools that would have been an impossible dream for all but the wealthiest old skool rave producers.

"Another difference is that the march of time has ensured that producers are much more aware of how to program their tracks in a dj-friendly way – I flipped this mix together in one take and everything slid together quite nicely, which is emphatically not the case with many tracks back in the day, as they are often plagued with random bars throwing the mix structure out, strangely-triggered samples, sudden drops and the like....  so many producers were self-taught and basically unaware of how to structure their tracks to make life easier for a dj. For the listener, this unpredictability is part of the charm, but for a dj it can be hair-tearingly frustrating, as you think you have safely navigated the mix in for landing only for something incredibly weird to appear out of nowhere and send the whole mix flying off into fiery oblivion."


Looking forward to Pearsall's promised next mix Get It 005 - "devoted to dark 1993-esque rave sounds"

Rewind for his earlier mixes of new-old skool

Future Proofed




Get It 003 - devoted to ragga-junglish nu-core tunes



interesting discussion of the general issue / idea of new-old skool tracks) over at The Next Groove blog

"In my opinion, imitation (and nothing but imitation) can only take us so far. It seems to me that if we want to recreate the energy of the old school Hardcore era, we have to dig deeper than its plasticity, to unveil what its spirit and approach were, rather than its specific sonic palette. Hardcore was a bastard genre, a sort of Frankenstein's Monster taking bits and pieces from other genres of that era. Techno of that era. House of that era. RnB of that era. Hip hop of that era. Dancehall of that era.

"If we want to bring back the sense of catharsis that the older generation experienced, we have to start by creating our own bastard genre of today. Taking bits and pieces from the music of today. Techno of today. House of today. Dancehall of today. Etc. And we also have look at new genres that have sprung up in the last two decades: Dubstep, Grime, Funky House, Alternative RnB, Drum n Bass, Afrobeats, Afroswing, Gqom, etc, etc. Only then, I think, can we get our own "being there", our own "being part of something new and special", and our own "feeling of freedom and reverie". "