(DJ Veronica) thinks this is “the most hilarious mix she’s ever heard.” And she’s heard some weird shit. I didn’t mean for it to be “funny” really, but quirky, ok sure. Perhaps this is my reverse-psychological reaction to the monotonous obnoxious drone that is mainstream music here in California where I recorded this recent mix. Ok, I shouldn’t generalize. There is plenty of great underground music to be found here. I just haven’t found it yet. At least not in LA; San Francisco, no problem. Perhaps that’s why I was intuitively more drawn to the Golden Gates than the Hollywood Hills. Speaking of which, I almost called this mix “Holly wood If She Could.” Why? Well maybe I feel like Holly, who would play funkier, heavier, more complex music in L.A. if she could; that is, if she didn’t fear being boo’d off the stage by a ravenous horde of Kanye West & Beyonce worshippers. Now don’t get me wrong, I like Beyonce and many other top 40 artists, but I also like AC Slater, Klaus Hill, and Bjork. Am I a freak of nature? Is it some special gift to have the capacity to appreciate more than one or two genres of music? Or is it that the majority of people have unwillingly let themselves be ear-fucked by the hypnotizing effect of excessively repetitious radio airwaves?
Hashmoderhimself asked me to write a little something about what this mix means to me, and how I put it together, etc. The truth is that I actually never planned on making a new mix at the time; I was just testing out my Vestax CD-RW recorder to see if it survived the move. I warmed up after a few mixes and off I went. None of the tracks were put in order or play-listed together prior to recording the mix. For me, the magic happens when I get completely pulled into the music and let everything else go. At that point, I trust my intuition to lead me to the next track, and so on. Sometimes I select a song and for a split second think, “Crap! This is not going to work!!” — but I go for it anyway. More often than not I’m pleasantly surprised. In fact I discovered the live mash-up of Cicada’s “Things You Say” with Dubfire’s “Roadkill” while I was playing a gig in Mexico City. Ok, I have to make a side-note here: Mexicans PARTY. And they love good house music. Apparently the Governator is worried about the immense influx of Mexican immigrants to California. If this is the case, Please tell me where they are exactly so I can open up a club smack in the middle of their makeshift American Zocalo! I’ve yet to find their level of enthusiasm & passion for underground house music in California.
SUCK MY TECH
Self-explanatory really! Meant to be more humorous than anything. I admit there is a tad bit of “fuck you” in there somewhere… probably to all the people who give me appalling song requests. And to my dear old dad who hasn’t spoken to me since he heard the shocking news that I shot a Playboy centerfold(download PDF file) to advance my career. Come on pops, it was no secret! If you bothered to glance at your daughter’s website once a decade you might have had a heads-up! Anyway, the real truth is, “I’m just a lady bug.” ;) Thank you Larry Tee for explaining it so well. How this track relates: I love the entertainment industry and all the contrived glamour, name-dropping, and beautiful bullshit that comes with it, but it’s what I do, not who I am. It’s a character I play, and that I adore certainly, but I try to separate my exterior identity — the social identity that can be recognized, used, and altered by people you don’t even know — from my interior identity — the unique identity that is mine and mine only to share with whom I choose. And in this case my public identity is that which I’ve created for my career: Playmate, DJ, Lyricist, etc. My private identity, the person I am when I’m at home, is similar to the one described in that song (Lady Bug is the 6th track). Anyway, Eckhart Tolle explains this stuff far more eloquently than I.
23 TRACKS IN 63 MINUTES
Very telling of the new DJ culture I find myself in. I trained myself as a House Mouse DJ in Vancouver. Long, seamless mixing was the goal, averaging 4 minutes or more per track usually, creating a smooth, fun vibe on the dance-floor. Since being exposed to a far more hip hop-inclined DJ scene my sets have become progressively busier, more compact and faster-paced. It’s a new style from that which I’m used to, but I’m enjoying the challenge. Averaging less than 3 (sometimes 2) minutes per track, I can’t help but think this style is representative of the A.D.D. generation that we DJs are now serving. The film industry entertains the same public; and mainstream film producers continue to develop bigger/better/busier movies using technology, not to mention smoke-&-mirrors, to keep its audience’s attention and distract them from their nagging restlessness. I think us DJs are being faced with the same challenges, at least those of us that serve the mainstream crowds (unfortunately I am sometimes one of them). In this DJ culture quick-fingered Turntablists are gods. But I’m holding my own the best I can. ;) The little underground house DJ lost in Hollywood… .
I never got into depth about what each track or blend means to me. I suppose that’s because I didn’t release record this for myself. I did it for the pleasure of my friends and fans, like every other mix. I’ll use it for promotional purposes of course, but ultimately it was inspired by the simple desire to feel a certain way: funky, bouncy, dirty, fun, sexy, thoughtful… ? As long as it affects the people that listen to it in some way I’ve done my job. So ENJOY!! And finally, HUGE THANKS to Hashmoder for mastering this mix like Cesar Milan masters bad-ass bitches, with ease and prowess. Thank you Omar!!!!!
I cannot get enough of this South Park’s spoof of Mad Max 2: The Road Warrior. Trey Parker and Matt Stone are truly the funniest people on the planet. Watch the Mad-Max-2 clip first and read the subtitles. Then watch the SouthPark’s spoof-clip about the “Road Warrior” queef and read the script below the video, in order to compare the two by subject-matter and skewed context. Oh what comic relief! I am a religious follower of Matt and Trey’s comedy.
“Mad Max 2: Road Warrior” clip…
South Park “Road Warrior Queef” clip from episide-1304…
Nooo! We go iiin! We kiiill! No more talk! We kiiill! Soon, my dog of war, but we have to do it my way. [switches to another voice] Losers! Losers wait!
South Park’s take on Martha Stewart’s pretty queef…
I came across a YouTube video which shows a demonstration of various objects levitating by way of magnetic and sound frequencies generated from acoustic speakers. The video’s author, Dr. David Deak, gave the following information on the video and experiment:
This is an acoustic levitation chamber I designed and built in 1987 as a micro-gravity experiment for NASA related subject matter. The 12 inch cubed plexiglas Helmholtz Resonant Cavity has 3 speakers attached to the cube by aluminium acoustic waveguides. By applying a continuous resonant(600Hertz) sound wave, and by adjusting the amplitude and phase relationship amongst the 3 speakers; I was able to control levitation and movement in all 3 (x,y,z) axis of the ambient space. This research was used to show the effects of micro-gravity conditions that exist in the space shuttle environment in orbit, but done here on Earth in a lab. This is not “anti-gravity.” So don’t waste time arguing something pointless.
Unless you travel into the vacuum of space, sound is all around you every day. But most of the time, you probably don’t think of it as a physical presence. You hear sounds; you don’t touch them. The only exceptions may be loud nightclubs, cars with window-rattling speakers and ultrasound machines that pulverize kidney stones. But even then, you most likely don’t think of what you feel as sound itself, but as the vibrations that sound creates in other objects.
The idea that something so intangible can lift objects can seem unbelievable, but it’s a real phenomenon. Acoustic levitation takes advantage of the properties of sound to cause solids, liquids and heavy gases to float. The process can take place in normal or reduced gravity. In other words, sound can levitate objects on Earth or in gas-filled enclosures in space.
To understand how acoustic levitation works, you first need to know a little about gravity, air and sound. First, gravity is a force that causes objects to attract one another. The simplest way to understand gravity is through Isaac Newton’s law of universal gravitation. This law states that every particle in the universe attracts every other particle. The more massive an object is, the more strongly it attracts other objects. The closer objects are, the more strongly they attract each other. An enormous object, like the Earth, easily attracts objects that are close to it, like apples hanging from trees. Scientists haven’t decided exactly what causes this attraction, but they believe it exists everywhere in the universe.
Second, air is a fluid that behaves essentially the same way liquids do. Like liquids, air is made of microscopic particles that move in relation to one another. Air also moves like water does — in fact, some aerodynamic tests take place underwater instead of in the air. The particles in gasses, like the ones that make up air, are simply farther apart and move faster than the particles in liquids.
Third, sound is a vibration that travels through a medium, like a gas, a liquid or a solid object. A sound’s source is an object that moves or changes shape very rapidly. For example, if you strike a bell, the bell vibrates in the air. As one side of the bell moves out, it pushes the air molecules next to it, increasing the pressure in that region of the air. This area of higher pressure is a compression. As the side of the bell moves back in, it pulls the molecules apart, creating a lower-pressure region called a rarefaction. The bell then repeats the process, creating a repeating series of compressions and rarefactions. Each repetition is one wavelength of the sound wave.
The sound wave travels as the moving molecules push and pull the molecules around them. Each molecule moves the one next to it in turn. Without this movement of molecules, the sound could not travel, which is why there is no sound in a vacuum. You can watch the following animation to learn more about the basics of sound.
Click the arrow to move on to the next slide.
Acoustic levitation uses sound traveling through a fluid — usually a gas — to balance the force of gravity. On Earth, this can cause objects and materials to hover unsupported in the air. In space, it can hold objects steady so they don’t move or drift.
The process relies on of the properties of sound waves, especially intense sound waves. We’ll look at how sound waves become capable of lifting objects in the next section.
The Physics of Sound Levitation
A basic acoustic levitator has two main parts — a transducer, which is a vibrating surface that makes sound, and a reflector. Often, the transducer and reflector have concave surfaces to help focus the sound. A sound wave travels away from the transducer and bounces off the reflector. Three basic properties of this traveling, reflecting wave help it to suspend objects in midair.
First, the wave, like all sound, is a longitudinal pressure wave. In a longitudinal wave, movement of the points in the wave is parallel to the direction the wave travels. It’s the kind of motion you’d see if you pushed and pulled one end of a stretched Slinky. Most illustrations, though, depict sound as atransverse wave, which is what you would see if you rapidly moved one end of the Slinky up and down. This is simply because transverse waves are easier to visualize than longitudinal waves.
Second, the wave can bounce off of surfaces. It follows the law of reflection, which states that the angle of incidence — the angle at which something strikes a surface — equals the angle of reflection — the angle at which it leaves the surface. In other words, a sound wave bounces off a surface at the same angle at which it hits the surface. A sound wave that hits a surface head-on at a 90 degree angle will reflect straight back off at the same angle. The easiest way to understand wave reflection is to imagine a Slinky that is attached to a surface at one end. If you picked up the free end of the Slinky and moved it rapidly up and then down, a wave would travel the length of the spring. Once it reached the fixed end of the spring, it would reflect off of the surface and travel back toward you. The same thing happens if you push and pull one end of the spring, creating a longitudinal wave.
Finally, when a sound wave reflects off of a surface, the interaction between its compressions and rarefactions causes interference. Compressions that meet other compressions amplify one another, and compressions that meet rarefactions balance one another out. Sometimes, the reflection and interference can combine to create a standing wave. Standing waves appear to shift back and forth or vibrate in segments rather than travel from place to place. This illusion of stillness is what gives standing waves their name.
Standing sound waves have defined nodes, or areas of minimum pressure, and antinodes, or areas of maximum pressure. A standing wave’s nodes are at the heart of acoustic levitation. Imagine a river with rocks and rapids. The water is calm in some parts of the river, and it is turbulent in others. Floating debris and foam collect in calm portions of the river. In order for a floating object to stay still in a fast-moving part of the river, it would need to be anchored or propelled against the flow of the water. This is essentially what an acoustic levitator does, using sound moving through a gas in place of water.
Acoustic levitation uses sound pressure to allow objects to float.
By placing a reflector the right distance away from a transducer, the acoustic levitator creates a standing wave. When the orientation of the wave is parallel to the pull of gravity, portions of the standing wave have a constant downward pressure and others have a constant upward pressure. The nodes have very little pressure.
In space, where there is little gravity, floating particles collect in the standing wave’s nodes, which are calm and still. On Earth, objects collect just below the nodes, where the acoustic radiation pressure, or the amount of pressure that a sound wave can exert on a surface, balances the pull of gravity.
Objects hover in a slightly different area within the sound field,
depending on the influence of gravity.
It takes more than just ordinary sound waves to supply this amount of pressure. We’ll look at what’s special about the sound waves in an acoustic levitator in the next section.
Nonlinear Sound and Acoustic Levitation
Ordinary standing waves can be relatively powerful. For example, a standing wave in an air duct can cause dust to collect in a pattern corresponding to the wave’s nodes. A standing wave reverberating through a room can cause objects in its path to vibrate. Low-frequency standing waves can also cause people to feel nervous or disoriented — in some cases, researchers find them in buildings people report to be haunted.
But these feats are small potatoes compared to acoustic levitation. It takes far less effort to influence where dust settles or to shatter a glass than it takes to lift objects from the ground. Ordinary sound waves are limited by their linear nature. Increasing the amplitude of the wave causes the sound to be louder, but it doesn’t affect the shape of the wave form or cause it to be much more physically powerful.
However, extremely intense sounds — like sounds that are physically painful to human ears — are usually nonlinear. They can cause disproportionately large responses in the substances they travel through. Some nonlinear affects include:
Distorted wave forms
Shock waves, like sonic booms
Acoustic streaming, or the constant flow of the fluid the wave travels through
Acoustic saturation, or the point at which the matter can no longer absorb any more energy from the sound wave
Nonlinear acoustics is a complex field, and the physical phenomena that cause these effects can be difficult to understand. But in general, nonlinear affects can combine to make an intense sound far more powerful than a quieter one. It is because of these affects that a wave’s acoustic radiation pressure can become strong enough to balance the pull of gravity. Intense sound is central to acoustic levitation — the transducers in many levitators produce sounds in excess of 150 decibels (dB). Ordinary conversation is about 60 dB, and a loud nightclub is closer to 110 dB.
Other Uses for Nonlinear Sound
Several medical procedures rely on nonlinear acoustics. For example, ultrasound imaging uses nonlinear effects to allow doctors to examine babies in the womb or view internal organs. High-intensity ultrasound waves can also pulverize kidney stones, cauterize internal injuries and destroy tumors.
Levitating objects with sound isn’t quite as simple as aiming a high-powered transducer at a reflector. Scientists also must use sounds of the correct frequency to create the desired standing wave. Any frequency can produce nonlinear effects at the right volume, but most systems use ultrasonic waves, which are too high-pitched for people to hear. In addition to the frequency and volume of the wave, researchers also must pay attention to a number of other factors:
The distance between the transducer and the reflector must be a multiple of half of the wavelength of the sound the transducer produces. This produces a wave with stable nodes and antinodes. Some waves can produce several usable nodes, but the ones nearest the transducer and reflector usually not suitable for levitating objects. This is because the waves create a pressure zone close to the reflective surfaces.
In a microgravity environment, such as outer space, the stable areas within the nodes must be large enough to support the floating object. OnEarth, the high-pressure areas just below the node must be large enough as well. For this reason, the object being levitated should measure between one third and half of the wavelength of the sound. Objects larger than two thirds of the sound’s wavelength are too large to be levitated — the field isn’t big enough to support them. The higher the frequency of the sound, the smaller the diameter of the objects it’s possible to levitate.
Objects that are the right size to levitate must also be of the right mass. In other words, scientists must evaluate the density of the object and determine whether the sound wave can produce enough pressure to counteract the pull of gravity on it.
Drops of liquid being levitated must have a suitable Bond number, which is a ratio that describes the liquid’s surface tension, density and size in the context of gravity and the surrounding fluid. If the Bond number is too low, the drop will burst.
The intensity of the sound must not overwhelm the surface tension of liquid droplets being levitated. If the sound field is too intense, the drop will flatten into a donut and then burst.
This might sound like a lot of work required to suspend small objects a few centimeters off of a surface. Levitating small objects — or even small animals — a short distance might also sound like a relatively useless practice. However, acoustic levitation has several uses, both on the ground and in outer space. Here are a few:
Manufacturing very small electronic devices and microchips often involves robots or complex machinery. Acoustic levitators can perform the same task by manipulating sound. For example, levitated molten materials will gradually cool and harden, and in a properly tuned field of sound, the resulting solid object is a perfect sphere. Similarly, a correctly shaped field can force plastics to deposit and harden only on the correct areas of a microchip.
Some materials are corrosive or otherwise react with ordinary containers used during chemical analysis. Researchers can suspend these materials in an acoustic field to study them without the risk of contamination from or destruction of containers.
The study of foam physics has a big obstacle – gravity. Gravity pulls the liquid downward from foam, drying and destroying it. Researchers can contain foam with in acoustic fields to study it in space, without the interference of gravity. This can lead to a better understanding of how foam performs tasks like cleaning ocean water.
Researchers continue to develop new setups for levitation systems and new applications for acoustic levitation. To learn more about their research, sound and related topics, check out the links on the next page.
Other Levitator Setups
Although a levitator with one transducer and one reflector can suspend objects, some setups can increase stability or allow movement. For example, some levitators have three pairs of transducers and reflectors, which are positioned along the X, Y and Z axes. Others have one large transmitter and one small, movable reflector; the suspended object moves when the reflector moves.
While the norm for most tracks go anywhere between 3:30 to 6:00 minutes in length, I prefer 15:00 minutes or longer, like the four seasons. Give me 4 long tracks to fill the hour, and I’ll be one very happy Iraqi. I love tracks that take me on long journeys through various movements. One of my all-time favorite synth-pop groups is PROPAGANDA from germany … who sound like twisted ABBA + Industrial + TechnoPop + Darkness. My favorite Proganda track is P:Machinery. I’ve taken two 12-inch vinyl versions of that track and conjoined them together as one … the way I want to listen to P:Machinery by:
Digitizing them into Protools; Spending two long months cleaning them up; Getting rid of every single scratch/pop/click; Restoring deteriorated sounds through various RE-SYNTHESIS processes and techniques; Splicing the tracks to separate clips; Re-arranging and layering clips to my taste; Throwing in my own synth-stabs, chops and other minor subtleties; Adding & automating series of chained top-notch effects throughout the mix, utilizing parameters some of you could not even pronounce ... thus resulting with more dynamic and reverberated DEPTH to the mix; Fattening the bottom-end; Widening overall stereo perception; and Mixing, engineering and mastering my version of P:Machinery the way I think it's supposed to be heard.
To my taste, P:Machinery sounds better than 'sick' ... more like master piece of shit which blasts sonically across the stereo-field ... not one element standing still but constantly moving all over the place.
Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny ( Man ) Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut’n'mix approach of nascent hip-hop. As a result, tracks like “Hip-Hop Be Bop (Don’t Stop)” and “Boogie Down Bronx” were period-defining works that provided the basic genetic material for everyone from Run-DMC and the Beastie Boys to Autechre and Andrea Parker — and they remain undisputed classics of early hip-hop and electro to this day.
Man Parrish Boogie Down Bronx (dub version) PLAY TRACK
What made Trevor Horn’s productions stand out was his unique and genius production techniques and the heavy use of state-of-the-art pro-audio gear, which made him become the torch-bearer for the kind of technology-led pop music which was hip and incredibly disciplined. Trevor Horn’s 12-inch remixes were uniquely long (anywhere from 8 to 13 minutes in duration) and told stories which took the listeners through long instrumental journeys at the begenning of tracks until the climax is reached (around the 5/6 or 7 minute mark). After the climax, the original or alternate full vocal version of the track takes over from that point on to the end, lasting additional 3.5 to 5 minutes in length.
Frankie Goes To Hollywood Relax (12 inch Sex Mix) PLAY TRACK
Trevor Horn is the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. I did some major digging and discovered some fascinating, forgotten facts and hidden gem tracks from The Buggles. In 1980, the Buggles’ duo Geoffrey Downes (keyboards) and Trevor Horn (vocals) — who were coming off an international success with their new-wave album The Age of Plastic – to help out on a new YES album. Downes suddenly left Buggles when Trevor learned that YES’ keyboardist Rick Wakeman was leaving the band, and therefore snatched him as well as lead-vocalist Jon Anderson to work on the next Buggles album Adventures In Modern Recording. The Buggle’s second album was completed in 1981 but was never released or charted. The album was a gem masterpiece.
The Buggles I Am A Camera (12 inch version) PLAY TRACK
The Hype Machine is stoked to be partnering with The Great Escape Festival again this year. The festival is a great opportunity to check out dozens of the emerging bands and artists you may already have discovered here on the Hype Machine. In fact, we asked a bunch of our favorite UK-based blogs to highlight their […]
If it’s mid-April, we may have finally gotten enough sleep to tell you about our massive party at SXSW. Hype Machine’s Hype Hotel, presented by Taco Bell, returned to Austin for another 5 days and nights of the best music being covered on music blogs. Aquarium Drunkard, Gorilla vs. Bear, Stereogum, I Guess I’m Floating, YVYNYL, Yours Truly and PORTALS joine […]
We had such a blast at Hype Hotel last year, that we just had to outdo ourselves this time! Hype Hotel 2013 will be in a larger space, so all the great things about the event will be even greater. Hype Hotel, presented by Taco Bell in support of its Feed The Beat program, is eight […]
While Hype Machine is all about breaking you out of the genres you are comfortable with, we do know that the desire for the guilty pleasures of familiarity exist. That’s why we’ve made the genre view available on the site some time ago. It uses Last.fm tags for each of the blogged tracks, and organizes […]
Most of the time, Hype Machine focuses on what’s exciting in the moment. The most blogged artists of the day, the tracks getting the most attention from our members—everything on the site sorted in reverse-chronological order. Things move quickly, and this is the only way to stay on top. Recently, though, we’ve been thinking more […]
2012 is almost over and I just wanted to say thanks for finding new music with us this year. We spend all of our time building things for music seekers, and it is thrilling to see you use and respond to what we’ve made. It’s our seventh year (an eternity on the Internet), and we […]
Click here to vote The top tracks and most-blogged artists of 2012 have been revealed, and now we want to hear from you—which albums will you remember the year by? We’ve partnered with Tumblr to create GIFs of 75 releases that music bloggers have been talking about this year. Visit the Zeitgeist Tumblr and like or reblog to vote for […]
Zeitgeist 2012 is LIVE! We have some good stuff for you this year, as always: Top 50 Artists: We looked at all the blog data we collected this year to generate the Top 50 Artists chart. Then, we reached out to 50 amazing visual artists to make this beautiful chart. Check out the art, hear […]
We’ve been listening to your feedback over the past many months as we’ve been working on the new version of our iPhone app. Today it’s out. Rewritten and redesigned from scratch, faster and more visual than ever, we are very proud to share it with you. It seems that some of you already like it. […]
We’re giving away 2 passes to the CMJ 2012 Music Marathon so you can check out even more artists than the ones playing our parties. How to win? Use our Friend Finder to connect with your friends on the Hype Machine, and leave a comment with your username to enter. We’ll notify winners on Monday, […]
Has anyone made a football-themed boogie mix? I don't have enough songs for a solid mix yet but maybe with help from readers we can put one together. Here is one quality track recorded by five members of the San Diego Chargers in 1981. To me there are two strong tracks on their LP with lyrics that could be about romance or football. If you are down to […]
The Earls are a Doo Wop band from The Bronx, New York. They still play, and their blue eyed soul is still popular on the oldies circuit. Sometimes its overlooked that past decades also had their revival movements, and I suppose The Earls rode a wave of Doo Wop nostalgia in the late nineteen seventies, re-forming and putting out a few releases that included […]
Here is an obscure g-funk gem from Little Rock, AR from an unknown year, presumably early eighties. This track has a classic mellow slower kick-clap groove. Hang on for one of the greatest breakdowns ever with soaring Junie Morrison style synth whine. Big thank you to Eddy Funkster for hooking me up with this rare 45.Future - Girl […]
This was a weird score to make in backwoods Northern California, a rare'ish UK boogie 12" that I would have thought would have been limited to those lucky enough to come across it in an East London charity shop or hanging up on a record store wall in plastic, priced in euros somewhere, but who am I to argue with divine providence, I'll take i […]
Chainsmoking is ill advised in every way, shape and or form. Have you seen those bubbly tounges on the packets these days? Yeesh. (Coughs) On a lighter note NYC’s , The, Chainsmokers provided a remix for to instill a much … Continue reading → […]
I hate cats and am hella allergic to them, but this has nothing to do with real life cats so go ahead and download this clubbed up Kiss Kiss edit from Pat Lok. ___________________________________ Get @ Nick Bike Twitz! √ … Continue reading → […]
Got my grub grabbin hands on a piece of fresh trippy ish. Have a listen, but don’t get too zoney! Posted by :: ◯ ⃝ ⃝ ◯ ⃝ ⃝ ⃝ G. Poplopavich Share this on Facebook Tweet This! Share this … Continue reading → […]
So much fine new disco coming out of town these days. Posted by :: ◯ ⃝ ⃝ ◯ ⃝ ⃝ ⃝ G. Poplopavich Share this on Facebook Tweet This! Share this on Tumblr Digg this! Share this on Reddit Share … Continue reading → […]
Just wanted to second a couple of other comments on your site and say that yours is by far one of the best music resources I've found. A similar but now sadly defunct site called Retro Wonderland came a close second! Keep up the good work. All the best."
And all the best to you too, Elliot, for your lovely feedback you've emailed me :)
From: Yaron Sarel
"...just discovered your site, and I wanted to tell you that you make me one happy Israeli guy. I work as a sound engineer, living in Tel Aviv, and I love the 80's. In fact, two good friends of mine and myself formed an oriented-80's synth band. After years of playing rock, for some reason I have never imagined I would be playing this kind of music. I used to listen to as a kid (before I discovered the electric guitar). Your work brings back to life this music i miss and love so much. Thank you sir!"
And thank you, Yaron, for your lovely feedback.
Mp3's on this site are for sampling and promotional purposes only and will only. Most of the mp3 tracks on this blog/site are remixes, extended and limited versions which are deleted, no longer available for purchase and would not be heard otherwise. However, please support these artists. If you are one of these artists and would like your music removed from this site, please notify me, and I will endeavor to remove them as soon as possible.