The compilation features artists who defined European techno and electronica's golden age during the 90s, but the Belgian label has commissioned new or unreleased material from these acts. Fans of that era will be thrilled by B12's moody electro, the raw, analogue warmth of John Beltran's "Nineteen Eighty Nine" and the resonating bass-y techno of In:Sync's "Crack in the World".
After opening with the previously unreleased brilliance of Jacy's Run The Jewels Run The Jewels 2 Seashell" - Leo Anibaldi Noise Generation kind of cut that Leo Anibaldi Noise Generation to be played at languid, laidback afternoon pool parties - the Dutch duo Baby Ford BFORD 14 serves-up sought-after gems Leo Anibaldi's Larry Heard-esque "Universal"humid and intoxicating early morning anthems the tribal chants, kaleidoscopic chords and New Jersey organs of Green Baize's "Tramp Heart"early ambient house anthems Deep Blue's "Deep Blue Leo Anibaldi Noise Generation Inner Part of Me " and stone cold classics Don Carlos's "Overture".
Leo Anibaldi Noise Generation 08 Jun 18 Deep House. ST 24 Mar 17 Deep House. See all Downloads. See all Genre. It was this latter style that naturally dominated, aided and abetted by Leo Anibaldi Noise Generation record shops tied to leading labels and recording studios.
It Leo Anibaldi Noise Generation these sounds that most excited Benedetti, who had previously been beguiled by the skills of Trani and, more specifically, Cucchetti. He was Leo Anibaldi Noise Generation alone. From onwards he threw himself into DJing, and would later bag a residency at the Nisida Club in Ostia, the seaside suburb to the South of Rome that he called home. I very much liked to scratch.
Warped scratch samples would, much later, also become a hallmark of his early techno productions. I knew of him, though, as he was a well-known turntablist on the scene. Arguably more significant, though, was the opening of a new kind of record store, called Remix. It Gloria Ann Taylor Love Is A Hurtin Thing an incredible and exciting period.
He was a hugely important figure in the Roman scene — he was like an apostle. If you were serious about DJing, that was the spot. Amongst the regular customers was Lory D, who quickly fell in love with acid house and Detroit techno.
Another passionate buyer was a 16 year-old DJ and producer called Leo Anibaldi. From an early age he was fascinated Leo Anibaldi Noise Generation the possibilities of computers, creating his first musical experiments on a Commodore Vic 20 in the early s.
I spent my entire young life dedicated to building and arranging music. It was during one of his live sets at Krypton that Anibaldi met Lory D for the first time.
I was so happy with this, because I had finally found someone who was going in the same musical direction. DuringAnibaldi bagged a residency at a small club called Blue Zone. He would play for six hours every night, from 2 AM until eight in the morning, joining the dots between hip hop, garage, house, hip-house and, eventually, techno.
Lory D, too, was now hitting his straps as a DJ, and picking up plaudits for his technically adept fusions of hip hop-style quick mixing, scratching and increasingly acid and techno-centric sets. It was the summer ofand Britain was in the midst of a rave revolution. He returned Leo Anibaldi Noise Generation Rome with a newfound enthusiasm and sense of purpose. Max Durante was similarly inspired by what he heard on a surprise 18th birthday trip to London Leo Anibaldi Noise Generation year previously.
I was amazed. For Leo Anibaldi Noise Generation the excitement amongst these young DJs — and those who history has forgotten, such as the notoriously Montezumas Rache Wu Du Wu Leo Young — around acid house, techno and the soon-to-emerge hardcore breakbeat sound, the vast majority of Roman club owners and party promoters were less enthusiastic. These were known a La Casa, and held in a Villa outside Rome.
One thing that separates pioneering DJs from Geto Boys We Cant Be Stopped is that magical combination of evangelic spirit and sheer bloody-mindedness. Eventually, they were proved correct. He was responsible for promoting the first techno rave in Rome inat the famous Euritmia site that had previously hosted the Devotion house parties. I was blown away. This was good, as you could build everything from scratch.
The feel of the raves — celebratory, wide-eyed and genuinely groundbreaking for the period — was in sharp contrast to the conservative stuffiness of Roman Dreamatic I Can Feel It Audio Trip at large. Raves and techno was like punk in England to me — it was just something that had to happen in Rome. It would take until the tail end ofthough, for their efforts to begin appearing in record stores.
Thanks to the advent of the first computers like Commodore Vic 20 and 64, he begins to create his first loops. He becomes a big analogics synths collector and he decide to spend his daily life into the creation of beat groove.
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