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mobility-digest         Friday, March 16 2001         Volume 04 : Number 552



(mobility) Moby in soap
Re: (mobility) new daft punk album
(mobility) new daft punk album
(mobility) RE: new daft punk album
(mobility) previous mobility mixes
(mobility) previous moby mixes
Re: (mobility) moby book
Re: (mobility) Moby in soap
Re: (mobility) RE: new daft punk album
(mobility) moby vs daft punk!

----------------------------------------------------------------------

Date: Thu, 15 Mar 2001 13:03:36 +0100
From: Rob <[e-mail]>
Subject: (mobility) Moby in soap

Si!! I was in Cusco ...

By the way, I was sitting in a bar in Argentina, and as always they had a
TV-set turned on. After a while you get used to ignoring these daytime
soap-operas ('telenovelas'). But this one caught my attention, because
everytime something 'exciting' happened to the lady in the series (for
instance, her lover would ring her up - exciting!! - close-up!! - phone near
mouth!!), they played this special tune.

Guess what ...: "The whispering wind"
It surely added to the atmosphere   ;-)

Rob

Alessandra wrote:

> Nice to hear that....did you visit Cuzco?????
>
> Rob wrote:
>
> > Hi there,
> >
> > I've just come back from a 2 month trip through South America, including
> Peru ... (I'm from Holland). Nice to hear from > someone from down there ...


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Date: Thu, 15 Mar 2001 07:56:21 -0800 (PST)
From: Brad Caviness <[e-mail]>
Subject: Re: (mobility) new daft punk album

- --- martinjames <[e-mail]> wrote:
> Here's a few recommendations though:
>
Ok.... If we're making recommendations, I have a couple.

Thanks to a brilliant appearance of their song "Disconnected
Child" in a recent of Queer as Folk, I've been turned on in
a big way to UK V2 europop artist Tin Star. Their current cd
"The Thrill Seeker" is emotive, layered, and full of great
beats. It's also on it's way to me via mail order as we
speak.

From Cincinatti, Over the Rhine's "Films For Radio" was
released on Tuesday. Like OtR's other releases, F4R is lush,
romantic, sensual, and breathtakingly cinematic. You can get
a good glimpse of the previous output at
www.overtherhine.com. Or catch them on the air with their
latest single, "Give Me Strength" (a foreign film), which is
a song written by Dido (who affects a similar vibe to OtR
chanteuse Karin Bergquist). Sarah McLachlan credits OtR's
1996 cd "Good Dog Bad Dog" (a phenomenal cd!) as inspiring
her to overcome writer's block during the production of
"Surfacing". Member of OtR have for the past few years been
a part of Cowboy Junkie's live and studio band. And an
episode of the XFiles from a few years back entitled "Alpha"
also contains many references to Over the Rhine.

=====
Bradley S. Caviness, Bigwig
Bigwig Enterprises

http://www.bigwigenterprises.com

"We're all writing everyday with our lives, whether or not we ever pick up a pen." û Linford Detweiler, Over the Rhine

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Date: Thu, 15 Mar 2001 10:51:06 -0800 (PST)
From: Elissa Brown <[e-mail]>
Subject: (mobility) new daft punk album

From: martinjames <[e-mail]>
> is it just me, but is that new daft punk album really bad?

from what I heard of it..

no, s'not just you :-)

elissa


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Date: Thu, 15 Mar 2001 23:46:44 +0100
From: "matthieu" <[e-mail]>
Subject: (mobility) RE: new daft punk album

Just about the daft punk album, be careful with Napster because there are
many versions of Discovery tracks, and many are quite bad (some are
abba-trancey style, bart will agree ;)!!) Get a ear on the real Discovery,
not extraordinary but still good

matthieu


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Date: Thu, 15 Mar 2001 15:19:04 -0800 (PST)
From: scott stoddard <[e-mail]>
Subject: (mobility) previous mobility mixes

Does anyone know where I can get a copy of the
mobility moby cdmix that has the dj remix of hymn and
other rare tracks?

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Date: Thu, 15 Mar 2001 15:31:40 -0800 (PST)
From: scott stoddard <[e-mail]>
Subject: (mobility) previous moby mixes

I found these two moby mixes, and I was wonder where I
can get a copy?

 (from discography on moby.org)

NOTE:  This is a tribute album of remixes and covers
of Moby songs.
    Approximately 56 copies were made between November
1997 and
      February 1998.  Produced by Andrew J. Davies,
art by Xaq.

 1  5:15  Unloved Symphony
                  [Ryu]
 2  6:34  Move (Drums on the Move)
                [Ethan]
 3  6:14  Emptiness
         [DJ Chrysalis]
 4  5:40  Everytime You Touch Me (Gingerbread Mix)
      [Gingerbread Man]
 5  5:01  Choose Your Jesus (TC Mix)
       [Darryl Cottier]
 6  4:02  Go (Adrenalyne Mix)
              [Epsilon]
 7  3:54  James Bond Theme (Agent-G Mix)
      [Gingerbread Man]
 8 10:14  God Moving Over the Face of the Waters
(Reborn)              [Telex]
 9  8:08  hymn.not.quiet.version
        [Xero Products]



MOBY: POST UNDERGROUND  [DJ Tripp, 1996]
mixed CD
mixtape

 NOTE:  This CD was recorded from 12" Moby records, in
DJ Tripp's
        livingroom.

 1  _:__  Go (Nighttime Mix)
 2  _:__  Bring Back My Happiness (Underground Mix)
 3  _:__  Feeling So Real (Moby Dub Mix)
 4  _:__  Drop A Beat (Deep Mix)
 5  _:__  Next Is The E (Synthe Mix)
 6  _:__  Mobility
 7  _:__  Hymn (European Mix)
 8  _:__  Go (Woodtick Mix)
 9  _:__  Bring Back My Happiness (Winx Acid Funk)
10  _:__  Everytime You Touch Me (Freestyle Mix)
11  _:__  Thousand
12  _:__  Feeling So Real (Westbam Mix)
13  _:__  Next Is The E (Victory Mix)
14  _:__  All That I Need Is To Be Loved (Speed
Trance)
15  _:__  Hymn (DJ Tripp's Double Dirty Hypo Mix)

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Date: Thu, 15 Mar 2001 20:18:35 EST
From: [e-mail]
Subject: Re: (mobility) moby book

- --part1_45.3aa6401.27e2c3eb_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

I had to special order it from Books-A-Million. It come April 19th.
                                                  Brad

- --part1_45.3aa6401.27e2c3eb_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>I had to special order it from Books-A-Million. It come April 19th.
<BR>                                                  Brad</FONT></HTML>

- --part1_45.3aa6401.27e2c3eb_boundary--

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Date: Thu, 15 Mar 2001 23:47:36 -0800 (PST)
From: Eric <[e-mail]>
Subject: Re: (mobility) Moby in soap

   Wow!  How cool.  I wish I was able to get away and go somewhere exotic
and listen to Moby.  Not gonna happen.  I'm stuck in this hellish winter.
UGH!

Eric The Red


On Thu, 15 Mar 2001 13:03:36 +0100, [e-mail] wrote:

>  Si!! I was in Cusco ...
>
>  By the way, I was sitting in a bar in Argentina, and as always they had a
>  TV-set turned on. After a while you get used to ignoring these daytime
>  soap-operas ('telenovelas'). But this one caught my attention, because
>  everytime something 'exciting' happened to the lady in the series (for
>  instance, her lover would ring her up - exciting!! - close-up!! - phone
near
>  mouth!!), they played this special tune.
>
>  Guess what ...: "The whispering wind"
>  It surely added to the atmosphere   ;-)
>
>  Rob
>
>  Alessandra wrote:
>
>  > Nice to hear that....did you visit Cuzco?????
>  >
>  > Rob wrote:
>  >
>  > > Hi there,
>  > >
>  > > I've just come back from a 2 month trip through South America,
including
>  > Peru ... (I'm from Holland). Nice to hear from > someone from down
there ...
>
>
>  -------------
>  To unsubscribe from this list, send mail to [e-mail]
>  with the line "unsubscribe mobility" in the body.


"It's not easy being green"





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Date: Thu, 15 Mar 2001 12:19:00 +0000
From: martinjames <[e-mail]>
Subject: Re: (mobility) RE: new daft punk album

Remember Buggles' 'Video Killed the Radio Star'? Listen to that and then
listen to 'Discovery'. Aaaargh the 80s are back in the worst possible way.
Now, where did I put my ankle warmers and Spandeau Ballet albums :-)
Mart


on 15/3/01 22:46, matthieu at [e-mail] wrote:

> Just about the daft punk album, be careful with Napster because there are
> many versions of Discovery tracks, and many are quite bad (some are
> abba-trancey style, bart will agree ;)!!) Get a ear on the real Discovery,
> not extraordinary but still good
>
> matthieu
>
>
> -------------
> To unsubscribe from this list, send mail to [e-mail]
> with the line "unsubscribe mobility" in the body.


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------------------------------

Date: Fri, 16 Mar 2001 07:09:52 -0800 (PST)
From: DJ Paul Simpson <[e-mail]>
Subject: (mobility) moby vs daft punk!

from cmj.com and also the new issue of cmj weekly
which is only given out to college radio stations....

ROCK!
DJ PAUL




In the year 2000, no electronic artist - and not too
many from any other genre of music, for that matter -
made more of an impact on pop culture than Moby. His
music was inescapable. You heard it on the radio, at
the movies, in the grocery store... you probably even
heard it in your sleep. And it was just as hard to
escape Moby himself. After the Calvin Klein ads, the
dozens of talk show appearances, award show
performances, flashy music videos and a two-year world
tour, his became the most famous shaved head in rock
'n' roll since Billy Corgan, completely dispelling the
ongoing myth that one-man techno musicians would
remain forever unmarketable and unrecognizable.

Ironic that in 2001, the artists most poised to
capture the attention of America's dancefloors and
clothing stores are two people you wouldn't recognize
if you clocked them in the head with a glowstick.
French duo Daft Punk (Thomas Bangalter and Guy-Manuel
De Homem-Christo) have purposely kept their mugs away
from magazine and television cameras, hiding behind
photo-shopped distortions and, this time around, robot
helmets to keep their identities as mild-mannered
house producers secret. With their latest release,
Discovery (Virgin), Daft Punk will once again prove
that popular artists don't necessarily need to be
recognizable to remain popular.

We couldn't think of two musical entities within the
electronic music genre that have found more acclaim
and adoration by using such diverse and conflicting
artistic ideals than Daft Punk and Moby. We also
couldn't think of any artists who might have more (or
perhaps less) to say to each other, if given the
opportunity. On January 30, 2001, during a New York
City listening party for Discovery, we introduced the
face of techno to the scene's most anonymous
producers, stepped back, and listened as they
discussed their shared love of American hip-hop, their
contrasting views on life in the limelight, and on
life in general, as touchstones to an entire
generation of musicians and DJs.

Moby: So I was listening to your new record, and it
seems like it's a lot less minimal than the first
album.

Thomas: Yes, it's very... maximal. We did minimal
stuff on Homework, and now we really wanted to break
every rule that we made on that record. We explored,
like, 40 ideas in a three-minute track rather than
using one idea over a 10-minute track. But you know
how it is to change from one album to the next. It's
more fun.

M: What were some of the things you were listening to
when you made this record?

Guy-Manuel: We listened to some albums when we were
making the album, but nothing that really influenced
us. I was listening to a lot of Foreigner.

T: I think we were not really listening to house.
House is starting to go... not in a vicious circle,
but it's always disco. That's good from time to time,
but... I was actually listening to a lot of American
hip-hop.

M: Modern hip-hop or old school?

T: Modern...

M: That's pretty much all I listen to.

T: Bands like OutKast show how open-minded musicians
can be, and that's really what we're trying to do in
electronic music; to have an open mind and really push
the limits. I think Timbaland as a producer, and
OutKast as artists, are really breaking the rules of
hip-hop and going further. We really like the sound of
American radio in general, in terms of compression and
dynamics. It's always been a very big influence to us.


M: Hip-hop radio in New York has always been very R&B
influenced, reggae influenced, soul influenced...
Sometimes I'll travel around the world and I'll meet
people who are into hip-hop, but they're only into the
really aggressive stuff. And it's strange because when
you go out to hip-hop clubs, it's supposed to be party
music and it's supposed to be sex music. But if you're
playing "Fuck Tha Police," it's really hard to get
your sexy groove on with someone. But that's why I
like Hot 97, the hip-hop radio station here in New
York, because it's a lot more R&B influenced. (pause)
So, what's the worst thing about living in France?

G: Um...the weather.

T: Yes...especially in the winter. It's very bad.
What's the worst thing about living in New York?

M: Well, it's a double-edged sword. One of the nice
things about living in New York now is that it's
cleaner, it's safer and there's less crime, but I
remember when I first moved here 12 years ago, New
York City was a really scary, but a very sexy place.
Now, it's more like cigar bars and expensive bottles
of wines, and limousines. It's very affluent, but it's
not as interesting as it used to be. I miss the dirty,
dangerous, sexy element of New York.

T: Does it affect your music?

M: Um...

T: Your music is cleaner...safer... (laughs)

M: I don't know, really... But one of the things I
particularly like about the career that you've had is
the fact that you've had the most unlikely hit
singles. I mean, "One More Time" is a great single,
but it's kind of obvious that it would be a hit. But
the singles off of Homework, I never thought they
would become hits.

T: It's always surprising. We make the music for
having fun ourselves, and we never think about whether
it will be popular or not, so it's always surprising.
It still is.
[The recognizable vibration of Daft Punk's "One More
Time" creeps through the wall of the office.]

M: God, I hear this song everywhere. I must have heard
it 50 times during France's NRJ Music Awards alone.
Every time they introduced someone, every time they
went to a commercial....

T: Honestly, watching the TV show was like.... every
time they would say "and the winner is...," they would
play "One More Time." All my friends were phoning me
saying, "Are you there?" Everyone was expecting us to
win an award or something.

M: It always makes me nervous hearing my songs in that
context. If I'm watching TV, or in a nightclub, and I
hear one of my songs, that's when I expect everyone to
suddenly stop liking what I do. Like, this is when
everyone is going to stop dancing, turn on me, tear me
limb from limb and throw me out the window. But one of
the nice things about making records is that when you
put it out into the world, you put it out in so many
myriad contexts. Right now out there, this song is
being played and one person might have just broken up
with their girlfriend, another person might be trying
to pick up that girl, one person might have gotten
fired from their job. The song means something
different to everyone who hears it. Multiply that by a
hundred million... You can't control all the different
contexts, which is kind of exciting.

T: There's no way to imagine it. When you look at the
airplay charts in the U.K., it estimates the number of
people the song reached that week, and I think the
number one song reaches 90 million people, just in the
U.K. alone. When you're making music, it is a very
personal experience, but once you release it, you
can't really control what kind of effect it will have
and what the context will be.

M: Can you explain the idea behind the robots masks?

T: The story is that we were in the studio making
music on the night of September 9, 1999, and there was
the 9-9-99 bug. There was a big explosion, and we
don't remember anything after that, but we woke up and
we were robots. We just like the idea of visually
doing things differently and not doing the same thing
twice. We were wearing different kinds of masks in the
past and not having a definite identity; doing this is
a different approach, but not entirely opposite to
what we have done in the past.

M: When I was growing up, every musician I ever really
liked - people like Miles Davis and Prince and Johnny
Rotten - they all did interviews and they all took
pictures and they all played concerts. I knew what
they all looked like. So when I made a record and the
record company wanted me to do a photo shoot, I said
'yes.' I never really thought about it. I don't think
I was ever smart enough to approach it that way you
did...

G: Maybe at the time when we were younger, we saw the
bad side of managers and record companies using rock
bands like puppets... and we didn't want it that for
ourselves. We didn't ever understand why it should be
systematic that just because you make music, you
should appear on the cover of a magazine...

T: As human.

G: Yes, as human. At the time people wanted us to be
in magazines, I don't think we were making much more
than a baker or a shoe-maker. And they are not on the
cover of magazines.

M: But one of the nice things about culture is the
fact it democratic. The reason that actors and
musicians are on the cover of magazines and not bakers
and shoe-makers is because ultimately, people want to
know more about actors and musicians.

T: Because it makes them dream.

M: For myself...I am more likely to read a book about
Miles Davis than one about a baker.

T: Yes, that's true, but...the question was really
about trying to do things differently. We don't have
anything against people who are trying to be exposed.
For me personally, I was so much more into cinema and
really worshipping filmaking and directors, and I
really liked the fact that there's much less media
emphasis on directors. We like the idea of separating
ourselves physically from what we are doing.

M: I've been criticized for being too public, going to
too many awards shows and doing many photo shoots. But
my feeling is that there are so many different ways to
approach making records and being a public figure,
it's not like one is better or worse than another.
They can all co-exist peacefully.

T: Exactly. It's not like we are saying that everyone
should become robots or never appear in their photos.
We're not saying that should be the rule
because...there are no rules. You can do what you
want. We're not doing something that's so different
from Kiss and the Residents, really. Music can be a
mystery. There was a lot of that in glam-rock, where
you really didn't know the personality of the people
making the music.

M: Right, it was about creating a new personality
altogether.

T: I think Marilyn Manson is a good example of that,
because what he exposes is one truth about who he is,
but you don't really know. Whether you like the music
or not, his approach raises questions. It's a
different form of expression, and it makes it more
interesting.

M: And it's good theater.

T: Yeah, it's just show business.

M: Every interview I have done in France for the last
two years, I've gotten asked what I think of the
French Touch, and the French house scene in general.
It's interesting because for a long time, French music
culture only stayed in France because of the language
barrier. But with the French dance scene, people
outside of France know about it. And that's nice
because I think the French influence is really
healthy.

T: Yes, but...when you look at every artist's
initiative in France, they all go in a very personal
direction. It's not just a pure French thing that's
going on. The influences are much bigger.

G: Maybe it's different from your point of view, but I
think our mindset is that what is happening in France
is no different from what's happening in the rest of
the world. When electronic music was coming out of the
U.S. and England about 10 years or so ago, there was
very little coming from France. But I think it's more
about having French artists and French music coming up
to the level of the rest of the world. Electronic
music is world music. It's more like France is showing
the same kind of feelings towards the music that the
rest of the world has felt.

M: That is one of the nice things about electronic
music - that it's so international. Back when I DJed a
lot, you'd never know where the records were coming
from. Maybe a record was made in Italy, but the
producers are from France, using an American vocalist.


G: I think that electronic music is pretty serious
because it's gathering people. There are people who
never thought that this music could ever be as
important as it is. Every time we get the chance to go
in some far country, like Japan, we see that people
are understanding the vibe and the feeling. It shows
that this music can be much more powerful than anybody
thought.



=====
"Are you a vegetarian?" Moby
"Not really" Space Ghost, right before eating Moby
ROCK!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
DJ PAUL, host of Chester's Blanket Fort, 89.5 FM/wpkn.org

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End of mobility-digest V4 #552
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