256kbps, 44.1kHz stereo

Preview

I picked this CD up from Numb on Queen West in Toronto a few years back. I recall asking for some “good techno” and this was pretty much the only disc they had. The store used to have a pretty voluminous collection of mix sets for sale but it’s been in decline these past few years (probably since DJs are turning to the Internet for marketing). Regardless, I’d heard some Adam Beyer tracks and I dug his psychedelic techno style so I was curious to see what his turntables had to say.

Truthfully, I find this mix to be kind of a snore. It’s a solid minimal techno affair with little variation and only subtle progressions. Transitions are competent and often transparent which is a plus with minimal techno but a minus in variety. Were I there in Brussels watching him mix I’d be anxious to hear what track he had planned next, waiting to explode into dance, but upon hearing it would remain impatiently shuffling.

This mix is labelled Part 1, of parts unknown, but I had little motivation to seek out the next volume. Fans of Beyer’s productions will likely be disappointed by this very sobering performance. In the bakery of Beyer this mix is stale Melba Toast.

Download Side B – 45:45, 104 MB

320kbps, 44.1kHz stereo, normalized

Preview

An overdue read-through of the Fantazia Rave Archive tells me what I’ve always inferred from this tape – that the Vibealite parties are by-ravers-for-ravers affairs with only the most accommodating and positive ingredients stirred into the mix.  Between the relentless tempo of the music and the frequency of shoutouts by the clever MCs the chemistry between the DJ, MCs, and crowd is palpable.

Credit where credit’s due, now.  I’m ripping my rave tapes slowly because the majority of them feature such obnoxious, parroty MCs that I can’t bear to listen through them anymore.  Not so, here.  This is one of very few mixtapes where the MCing is every bit as impactful as the DJing.  The names “Peta Pan” and “MC Ice” are bigged up a few times but I can’t tell whether those are the MCs present – their humbleness is unprecedented. (update – DJ Brisk himself confirmed by email that the man the with the most airtime is MC Destruction)  Rhymes are rarely repeated and are many verses long, and voices are clear as a bell thanks to ideal recording at the event.  Press play on the player above to hear an excerpt of some top-notch freestyle lyricism.

The music in this mix is so ideal for MCing that I don’t know whether to call it the focus or the backdrop of this tape.  The tunes are nearly all vocal-free but not-overly-cheery celebrations of chord progressions; melodies that feel meaningful.  It’s a lovely fusion of English and Dutch fundamentals where strategic pauses between sounds imply complexity.  The beatmatching is outstanding and the mixes are concise, often cutting over early during percussive intros to leave the MCs more room to flourish.  This is progressive happycore tuned precisely to my favourite bandwidth – that grey area between hardcore and gabber.

Now, I created the Demodulated Mixtapes blog for the dual purpose of sharing my old rave mixtapes and relaying my personal stories about them, and I do have a story about this tape.  A long story that covers a jubilant yet difficult span of my life.  It’s probably the best rave story I could tell.  I’m not telling it here.  It’s too personal.

Hold tight Pukka Dawn Steve for my favourite happycore tape of all time.

Oh yeah, and it’s Brisk on side A and Stu Allen on the flip.

256kbps, 44.1kHz stereo

Preview

This is the one that started it all for me. My buddy Naushad gave me a cassette copy of this CD in grade 8 elementary school and I literally wore it thin. I lucked out by finding the CD used in perfect condition at my corner CD shop, LA Music, and over the years I used and abused it to oblivion as well. I’ve since bought it once again and am happy to share it with you all now that it’s long out of print.

This CD is laden with classic house anthems by some of the best-respected producers. Tracks scale back from the early 90′s all the way to the mid-80′s. The mixing is very studio – quite obviously a made-for-stores compilation, but uncompromising in track selections. This is more than can be said for Chris Sheppard’s later compilations, but many of his early ones were a window into Toronto’s kicking club and rave scene of the day. London, Manchester, Detroit, Chicago, Toronto featured microcosms of each of those scenes, a few city blocks apart, every weekend.

So who is Chris Sheppard? Truth be told, he’s kind of a weenie. He’s a great Canadian hoser who practised a sultry British accent just long enough to be opaque to e-tards. His actual mixing skills are dubious if present at all (I’ve not seen him live but have heard stories of breaking needles on the first mix and pulling the wrong record off a turntable) but the man’s got an ear, and that’s what’s most important. He turned me on, I tuned in, and I’ve never turned back. For me, Chris Sheppard was rock’s executioner.

I’m thrilled to share this mix with you. I think it stands the test of time just as well as the songs that make it up. Even if you’re not interested in house music I encourage you to at least press play on the sample above. It’s the song I consider my anthem, “Living My Life Underground” by Mind Readers featuring Malik Hart. I always adored this song and I ended up growing into it. It was about me before I fit the mold.

See discogs.com for track listing and more info.

320kbps, 44.1kHz stereo

Preview

I own this one.. somewhere.. but haven’t been able to dig it up out of my many boxes of CDs.  Lost in the ether, I suppose, like so many fondly remembered but never again found albums.  I can’t thank “Kevin” enough for so generously supplying me with this top-notch quality rip for the purpose of sharing publicly.

Volume 2 had the very toughest of acts to follow.  Whereas Chris Sheppard’s Pirate Radio Sessions Volume 1 was such an ambitious microcosm encapsulating a diverse decade of house music, this album was much more tightly focused with a narrower and more cohesive spectrum.  I think this represented too great of a shift for me, as I had very high hopes that this series would continue exhibiting this diversity.  As such, I never got into this CD.

Listening to it again a decade later I have a lot more appreciation for it.  Although the release dates of the songs are consistently current, there’s still an assorted but samey mix of house, club anthems, and trance.  The mixing is unquestionably a lot tighter and a bit more like a DJ set than the first album (though with some obvious studio edits), and this was a concept completely lost on me at the tender age of 16 when this CD came out.  Whereas the first album was a history lesson, this one is firmly improsoned in 1994.  Fluxland.. nuff said, right?

I share this with you all in the hopes that the nostalgia will be meaningful to you.  Me, I didn’t start attending clubs and raves for another couple of years so my memories are of being a goody two-shoes in high school, still only familiarizing myself with electronic music and soaking up as much as I could like an insatiable sponge.  Although this period made an enormous impression on me and on my musical tastes for the rest of my life, even back then I still had an opinion of songs that were harmonically and technically impressive versus simplistic and derivative ones, and much of this album falls into the latter description. (though the production quality of The Real Thing by Tony Dibart is very impressive)

I know I’m missing a piece of the puzzle, though.  Had I been there in person watching Shep spin at RPM perhaps I might have found some hidden significance, an underlying theme or charm, or otherwise fond memories of crowd reactions or of having heard some of these songs in context, perhaps then I would be singing a different tune here today.  Alas, in a year where I was opening my mind to the likes of Acen, L.A. Style, 808 State, Moby, Bassheads, and Nine Inch Nails, these vapid club anthems were everpresent but soon forgotten.

Anyway, that’s enough sour grapes for now.  What are your memories of this era?  What was it like basking in the glory of Chris Sheppard, Toronto superstar and poster child for Canadian dance culture?  What did I miss?

P.s., that Junior Vasquez track at the end is a real slammer!!

1       Hope   -        Tree Frog      4:34
2     Maxx  –      Get-A-Way (Original Mix)     3:34
3     Quench  –      Dreams     3:04
4     XL  –      Fluxland     3:09
5     Ramp  –      Rock The Discotek     3:52
6     2 Minds  –      We’ve Got Ya     2:25
7     Mellow Mellow  –      One 4 Love     6:17
8     Sonic Surfers  –      Don’t Give It Up     3:48
9     R.M. Project  –      Rock To The Beat     3:39
10     Tony Di Bart  –      The Real Thing (If I Can’t Have You)     4:25
11     Reel 2 Real  –      Go On Move (Judge Jules & Michael Scream Up Remix)     4:58
Remix – Jules & Skins
12     Liberty City  –      If You Really Love Somebody (Original Mix)     2:37
13     Funky Green Dogs  –      High Up     2:39
14     Legion Of Boom  –      Reach For Me     2:45
Featuring – Sonja
15     Direct 2 Disc  –      Back Stab     3:40
Vocals – Crystal Waters
16     Junior Vasquez  –      X (Sound Factory Mix)     5:41

Download Side B – 30:14, 55.3 MB

256kbps, 44.1kHz stereo

Stereo rebalanced, normalized, treble boosted

Preview

This is a white label tape simply labelled “Clarkee”. The case lists “1996″ on the spine of the J-card.

It’s primarily chugging hardcore with percussive progressive minimalist techno-style arrangements, with some acidcore and bleepy little melodies thrown in for good measure. The 4/4 is pretty dependable throughout, punctuated by distorted 909s. If the audio range weren’t so full I’d suspect nearly the entire mix was comprised of hard techno tracks pitched up to 45.

There is a certain je-ne-sais-quois about this mix that really makes it stand out. It’s not just any hardcore mix. The regularity and monotony of the beats and patterns might be a turn-off for some, but I find myself really losing myself in the rhythm as I listen. The sound is really unconventional and relentless, almost like the caffeinated love child of Hardfloor and Robert Hood.

This is one of very few Clarkee mixes I’ve heard, but it’s enough for me to call him one of my favourite hardcore DJs of all time. I just love the direction he takes. It has a great mood and doesn’t fear to stomp all over uncharted territory. Definitely one of my favourite mixes.

Please leave a comment to tell me whether you enjoy this mix!

Download Side B – 32:09, 73.6 MB

320kbps, 44.1kHz stereo

Preview

I taped this off the radio one night (CHIN 100.7FM Toronto) during the peak of exposure of electronic music, back when you were guaranteed some sort of reputable techno or cousin thereof on the airwaves at any time of day.  No fun story to share about this tape.  DJ Dominik was one of the members of the Canadian Hardcore Collective;  a group of Torontonian DJs who hosted hardcore techno radio shows.  I’d always figured Toronto Hardcore Collective would have had a more impactful acronym but what do I know.

Dominik is unquestionably a well-respected DJ due to his music, his abrupt juggles and cuts, and especially his musical tastes, specializing in Dutch-style hardcore and gabber.  His style has always been very well defined – very Dominik – and no one else in the city had the records this guy had. This mix is a perfect example of what one could expect from the man at a party or club. That is, if he showed up.

I swear, I went out of my way to score tickets to perhaps 6 parties Dominik was booked at, and he showed up for the gig maybe once.  I’ve also got a 4-tape continuous recording of a flustered DJ Frisky who was supposed to do a tag-team show with Dominik but he never showed up, leaving the poor chap with 6 hours of airtime and 3 hours of records.  Other times I’ve been pleasantly surprised to find him spinning to an empty room, unannounced, at some club or event, leaving plenty of space for me to hop around to his bouncy basslines.

Dominik has played for crowds all over the world so perhaps his fairweather reputation doesn’t leave the city, but it’s the second trait that comes to mind after his outstanding skills.  Regardless, don’t let my jaded, fuzzy recollection of trifling nightlife politics muddy your opinion of this mix.  His transitions and beatmatching are terrific, he plays many gems most hardcore heads have never heard, and what you hear here is consistent with what you can expect when you see the man live.  Dominik is one of Toronto’s most admired and accomplished DJs and one of the true founders of our rave scene.

Download Side B – 51:15, 117.0 MB

320kbps, 44.1kHz stereo, normalized

Preview

This is a wicked melodic acid trance mix by the legendary Dr. Trance.  I bought a proper legit copy of this tape so the sound is top notch.  These tracks have nice gritty analog synths with a lot of depth and character, plus some great ravey chords and vocal samples.  This is acid trance in a nutshell.

I can’t remember where I bought this thing.  I’ve got no anecdotes nor anything much else worth saying about this one.  How about you?  Please come back and leave a comment about where you were and what you were doing while listening to this mix.

Download Side B – 32:44, 59.9 MB

256kbps, 44.1kHz stereo

Normalized

Preview

Acid lovers rejoice!!

This tape is a recording of Dr. Trance’s show “Technopolis” from Global Groove Radio, 100.7 FM, Toronto. This mix is a real testament to mixtape culture since it’s really just an ordinary night from a weekly radio show, indiscriminately recorded, yet it features some utterly remarkable music.

The good Doctor is joined by well established Toronto rave pioneer DJ James St. Bass, opening up a time warp to the mid-80′s with some unbelievably amazing old skool acid techno. Dr. Trance precedes the Teebee treats with some techno, opening with an awesome speed garage track. Despite the candidness of the show the mixing is surprisingly top-calibre.

Be forewarned that there’s a bit of radio banter, but no more than 5 minutes worth. There’s mention of the very popular, now extinct, Effective rave company which was founded by Dr. Trance.

For those who don’t know, Dr. Trance, aka Don Berns, is an institution of the Toronto rave scene. He’s been in the radio and broadcasting biz for about 40 years and knows his way around the decks and the industry. Looking at this overweight, middle-aged man, one could never guess he was right at home coaxing 3000 kids to dance to the world’s most underground tunes at 4:00am. Like all good things, seeing is believing. The Doctor could always be found at raves either down in the trenches chatting with party-goers, or up in the VIP areas yucking it up with the world’s finest electronica talent.

Canadians should pay close attention to this man’s voice as it should sound familiar. Berns does a lot of TV and radio voiceover work (his vocal timbre reveals that he was born to work in radio) and can be heard in many commercials and TV station identification clips.

Here’s a great interview with Dr. Trance about his then upcoming performance at Toronto’s Idance festival – a public daylight rave event held in 2 consecutive years to bring public awareness to the then media-shunned rave scene.

If the sound of the Roland TB303 makes your heart skip a beat as it does mine you’ll go topsy turvy over this wonderful collection of very early acid tracks. Enjoy, and leave a comment if you’d like to share your thoughts on this mix.

Download Side B – 46:09, 84.5 MB

256kbps, 44.1kHz stereo

Perceived peak normalized, treble boosted

Preview

This tape is extra special because it’s the first one I ever bought! I picked this mix up from the second rave I ever attended – a Citrus party if memory serves. I remember taking exception to paying $10 or $15 for what looked like an obvious dub job in a black and white photocopied case, but at the time and for many years afterward Josh Wink was my favourite DJ and my hero, really, so it was a lucky find.

This mix is a bit unconventional as it is a very minimal and groovy arrangement as opposed to a series of songs. Wink starts out with some driving, growly tracks that set a 4:00am-bass-shaking-an-old-warehouse kind of mood, showcasing some really dark and brooding themes. He then opens up a little, introducing some brighter, poppier grooves that lighten the mood but keep up the pace. He closes out with more melodic and tribal sounds which seem to be introduced to take advantage of your fatigue from the unrelenting moods and rhythms, intoxicating you with head-swimming chord progressions, hip-shaking congas, and bubbly acid lines. It’s a real journey that carries you through in barely perceptible steps which is a sign of a very focused and well-practised DJ with a story to tell.

Fans of Josh Wink will recognize his style permeating every song here; so much so that I suspect many of the tracks are his own white labels. Wink is known as quite a tactician of percussion and rhythm and his characteristic open hi-hats, off-beat snares, punchy kicks, and mod wheel tomfoolery are on full display.

You can almost picture Josh straddling the border between house and techno, dangling his dreadlocks on either side. The elements of repetition and monotony of techno are interposed with the melodies and swing of house. I’d heard his singles like Higher State of Consciousness and I Am Ready and his Left Above The Clouds album, but this mixtape revealed to me what I felt was the REAL Josh Wink – something he accomplished in an hour and a half instead of over months. I respected him all the more for it.

This mix is so great that I have to curb myself from yammering on about it. I’ll close with a heads-up to listen out for his great mixing (minimal techno has few reference points so it takes a steady mind to keep the 4/4 straight) and for the two very different and well-implemented remixes of Don’t Laugh. Enjoy, and please leave a comment to tell me how you like this mix!

Download Side B – 48:08, 44.0 MB

128kbps, 44.1kHz mono

Stereo channels consolidated, normalized, treble boosted

Preview

I scrounged through my old bedroom the other day and found about two dozen tapes by world famous DJs that I’ll be very excited to share, but I refused to leave until I dug up this treasure. Even though I’ve got mixes by Terry Mullen, Josh Wink, Thee-o, and more in the pile, I was sure to rip this one first.

This is a mix by Toronto’s DJ LeFreak who I’ve met on many occasions. Though we don’t speak often she’s said some things about old skool techno that really rang true and stuck with me. For instance, as is very apparent in old mixes like R.A.W. – Turntable Psycho, old techno is a sort of musical Pangaea before subgenres split off and compartmentalised. Also, she once confessed that there’s something about old skool chord progressions that affect her so deeply it makes her want to cry – something I’ll admit to experiencing on many occasions, and more than once with the songs in this mix.

So then, about the mix! Not only are we treated to many very classic tracks from the likes of Moby and Josh Wink, but LeFreak has selected some of the best remixes of these tracks that I’ve never heard anywhere else. Though the blanket term for this mix would certainly be trance there are inklings of techno, psy, and even hardcore lurking in the undercurrents.

One thing I admire about LeFreak’s sets is that she’s not afraid to fiddle with the pitch control. Side A is quite content at its slow and deliberate tempo, but side B dares to get a little faster every few songs. I like that she’s done this as it gradually introduces a little extra energy without compromising the overall tone and mood. This effectively defines the album as a 90-minute wake-up which helps it succeed so effectively as a summery chill mix.

Pack up some sandwiches and a blanket, find a nice shady spot under a tree (I recommend Grange Park), throw on this tape, and enjoy the summer breeze.