I just couldn’t believe that Kanye had never heard Daft Punk.

A-trak on Kanye West sampling Daft Punk’s stronger:

It sort of happened because Swizz Beats sampled “Technologic” for that Busta Rhymes record, “Touch It.” We were on tour in Europe in 2006, spending a lot of hours on the bus listening to the radio. Kanye heard “Touch It” and thought that beat was cool. I said, “He just swooped up Daft Punk.” And Ye said, “Who?” I just couldn’t believe that Kanye had never heard Daft Punk.

On Daft Punk’s Da Funk

Thomas Bangalter in an interview for some Swedish Pop magazine:

It was at the same time as Warren G’s “Regulate” came out, says Thomas. We wanted to make some kind of gangsta rap too and made the sounds as dirty as possible. Strangely, no one ever compared it to hip hop. We have been told that the drums sound like Queen and The Clash, that the melody is reminiscent of Giorgio Moroder, that the synths sounds like electro and a thousand other things. No one agrees that it’s hip hop.

After reading this story and listening to Da Funk again I can totally hear their reference to the funk infused gangsta rap from that time. But I would have never made that connection myself.

The life and death of the mix cd

Good read about the demise of the mix cd format.

DJ Deeon – Deeon Doez Deeon!

To celebrate his legacy, Glasgow’s Numbers label have selected their favorite DJ Deeon cuts for a greatest hits EP, titled Deeon Doez Deeon!. Sourced and remastered from the original DAT tapes, the EP includes slinky vocal jam “2 B Free”, spastic favorite “House-O-Matic”, the erotically charged “Freak Like Me”, and redline drum workout “The 604″.

This was probably one of the Dance Mania reissues Nina was talking about. The title of the EP seems to be a nod to the Deeon Doez Disco! EP where they got the first track “2 B Free”. Overall a great selection of tracks and a good demonstration that Deeon does more than the raunchy stuff he may be known for.

Nina Kraviz on Dance Mania reissues

Nina Kraviz on Dance Mania reissues:

I enjoyed the struggle searching for the damn record, maybe paid a fortune and then struggled to mix it in, breaking my own and other people’s ears in the process. Those frequencies could be really disturbing at times. But I always liked it in a kind of a Charlie Parker painful way. I love the music, but I also loved the myth. My precious myth of playing rare records from a mysterious label that we almost know nothing about. That all in all felt so very special…

I can relate to what she is saying. I have spent years looking for those records and always felt a little rush when I found one I didn’t have. But on the other hand, I still have a lot of them on my wantlist, so now may be the chance to finally get them without paying ridiculous prices

DJ Skull – The Graveyard Orchestra Remixes

I rediscovered this DJ Skull EP a while ago and since then it’s been getting heavy rotation at the office. The original mix has such a cachy bassloop, I have been humming it everywhere. All the remixes are winners too. My favorite remixes are the Claude Young and the Marko Laine ones. The Claude Young and the remix has some heavy filtering going on that reminds me some of Anthony Shakir’s work. Marko Laine takes it down nice and slow and adds some heavy distortion.

Ceephax Acid Crew

Peter Kirn on Create Digital Music about Ceephax Acid Crew:

Ceephax Acid Crew is not a robot. He’s not a chiseled male model behind a pair of CDJs playing 15-minute techno tracks. He is actually f***ing up a bit with his drum machine because he’s using his hands and fingers to make stuff and they’ve got blood flowing through them, and they’re connected to a brain and that brain is happy to let you know that it’s making decisions and some of them probably aren’t, strictly speaking, “correct,” but that human being is playing for you now and it doesn’t know what will happen, either.

I only saw Ceephax Acid Crew once, but it sure was the best fun I could have at a party.

DJ Godfather – Da Bomb Series

DJ Godfather got his complete Da Bomb series on Spotify. My favorite volume is Volume 3. For me this is the true definition of what Ghetto Tech is. Playing ghetto tech and booty house, mixing it with sped up techno and electro and slowed down drum & bass, scratching and doing battle tricks.

Da Bomb Vol. 1
Da Bomb Vol. 2
Da Bomb Vol. 3
Da Bomb Vol. 4
Da Bomb Vol. 5
Da Bomb Vol. 6

Is it supposed to sound like that?

Surgeon on his own blog:

Those early tracks, recorded 20 years ago, were mastered and cut by people who had no understanding of electronic music. I actually remember cutting a dubplate back then and being asked if my track was “supposed to sound like that?” The engineer was so disgusted at my music that once the cut started he left the room until it was finished.

Daft Punk – Drive Unreleased 1994

Speaking of finding previously unreleased tracks

At the tail end of 2010 we trailed boxes of DATs, pictures and god-only-knows what else to find artefacts of Soma’s early days. Imagine our surprise when we discovered a tape simply entitled ‘Daft Drive’. We hooked up the DAT machine and inserted the tape with the delicacy of a surgeon, pressing play and praying that for one, the tape contained what we hoped, and two, that it didn’t chew it like a dog chewing on a bone. In amongst the hiss and crackle, the most monstrous 909 kick drum thudded. Daft Punk’s Drive track had been rediscovered. Playing through was Live Daft Punk; freaky vocals, pounding Roland drums & synths and that archetypal DP compression. After standing in silence, witnessing this moment, the track faded off and we heard the sound of the French spoken word that the recording had been made over; the remnants of their parents audio collection. The tape had originally been sent with Rollin’ and Scratchin’ to be released as Soma25. But Soma asked these two bright-eyed and Techno-bound Frenchman, to finish and send Da Funk to accompany Rollin’ and Scratchin’ and DRIVE was shelved for a later date…

I can totally see why this was shelved, but it’s awesome to hear something ‘fresh’ from Daft Punk with the rawness they used to have.

Here’s a Spotify / Soundcloud / YouTube link to the track