Its been a while since I uploaded a new pacemaker mix, mainly because I have been so busy and also listening to a bunch of new trance tunes. This was recorded on the way back from York on a train recently.
Children is one of the most iconic tracks in the history of dance music.
It launched a new genre – “dream house” – and although that did not last long, the more melancholy, cerebral sound opened the door for trance music, which would come to dominate clubs in the late 1990s, going fully mainstream into the new millennium.
That sound was a very deliberate choice by Miles, whose real name was Roberto Concina.
Although Children was initially written in response to images of the child victims of the Balkans war as Yugoslavia tore itself apart, the track then took on a different life – and a different motivation. Miles wanted to make it big to help save the lives of clubbers.
Of course, any reason to do a good mix while taking planes and trains over the last month. I did this one while sat in Helsinki Airport but made a bit of a mistake with the crossfader which meant doing it again.
@coldclimate expect one hell of a mix from all this time I'm hanging around Helisinki and Munich airports
The mix is a weird of mix trance and dub steppy type tunes. I kind thought of Oli tearing up the road on a summers day. So theres moments of uplifting trance alongside some of dirty dub step. I’ve been playing it while riding around on the scooter and it great.
Different kind of mix this time… I decided seeing how I enjoy Simon Patterson’s tunes quite a bit, especially Brush Strokes and White of her eyes. Its time for a bit of mega-mix using his tunes. Someone said to me listening to his tunes is like the perfect driving or running music, as it feels very pacey.
I imagined running like zombies run, then stopping to catching my breath with some chilled tunes.
Another mix, this time recorded mid-flight on the way back from Berlin yesterday. It actually lasts about the time of the whole flight. Its a mix of some tech-house with tech-trance. Straight out of the Pacemaker, not even normalised or anything. Its a odd bunch of tunes but mixed up and enjoyable to listen to.
Afro-ride – Leftfield
Flutes (Sasha remix) – Hot Chip
Watch out (deep south remix) – Ferry Corsten
Switch (Oliver Klein & Peter Jurgens remix) – Beckers
Higher state of consciousness – Josh Wink
Answering machine (album version) – Green Velvet
Special K (timo maas mix) – Placebo
Paper Jet – John Tajada
Shoreside – Streetcleaner
Jelly Tracks (Rippin & Drippin mix) – Oliver Klein
Revolving Doors (club mix) – Ronski Speed
Blood Angels (Chris Leibing mix) – John Starlight
Rewind (Mikkas Remix) – Emma Hewitt
Nine ways – JDS
My Beat (Jan Driver mix) – Blaze
Brush Strokes – Simon Patterson
Whites of her eyes – Simon Patterson
Out of the blue (progressive trance mix) – Future Breeze
Who says electronic music and classical don’t mix? Well Dance music was elevated to one of the highest levels at the Proms.
Pete Tong takes charge of the BBC Radio 1 Prom and decides to employ the Heritage Orchestra to play a selection of Ibiza classics. The Royal Albert Hall has never seen anything like it!
Jules Buckley conducts the orchestra through dance masterpieces by Fatboy Slim, Eric Prydz, Shapeshifters, Robert Miles, ATB, Moby, Frankie Knuckles, Orbital, Inner City, Daft Punk, Faithless, Stardust and so many more, with the help of Ella Eyre and John Newman.
I had this playing out over BBC iPlayer with my Philips Hue lights dancing along side the music. My favourite part has to be Orbital’s Belfast which stokes up many memories for me, although I would have love it if they did Chime instead.
Amazing to watch and certainly another chapter in the continuing cultural domination of dance music.
I have no idea what happened in the first 2 mixes. Honestly the mixes were dead on, I was playing it loud out of my amp and if it was that off trust me I would have heard it. Anyway, rather that try and fix it, I’ve left it in because the whole set is a excellent one. There seems to be a bug with the pacemaker or something because after those two mixes everything pans out perfect. Anyway let the mix do the talking, just remember to skip the first two mixes.
Now I understand a little more what could be going on thanks to me playing with the pacemaker beta firmwares. I rolled back my pacemaker firmware to the last known official version and lost some features including the beat aware looping (shame!) but now can record exactly what I hear.
Because of this, I redid the impossible wall of trance which one of the first mixes where I identified the problem/bug. As its a new mix, I threw some old tunes out and replaced them with new stuff. The bulk of the mix is still there however. I did have a better ending but I had to cut it short, as we were landing and things needed to be put away.
I had the pleasure to play the Mozilla Festival again in October. It was meant to be 2 djs but only myself showed up. Here’s a good hour of dance music for you’re lovely ears to take in. Recorded live using the Pacemaker device’s build in recorder (now I’m using the old firmware). I did a longer mix but the Karaoke took over and to be fair I was pretty much messing around by that point.
Enjoy! And blog post about Mozfest is coming soon.
This is a special mix… It was requested by Oli Wood the approachable geek, as he wanted something for his new car which he would be picking up from North Wales somewhere and driving back to Newcastle. I created a mix straight away but wasn’t happy with the overall tune selection, so created another one the night after. This is that mix. Enjoy it Oli, and make sure you have it nice and loud!
Sinister – Airbase
Smack – Simon Patterson
Sister sister – Sister Bliss
Peace – Yves Deruyter
Take me away (into the night) – 4 Strings
Megalodon – Dash Berlin
GamesMaster (matt darey 2003 mix) – Lost Tribe
Time (sean tyas remix) – Paul Webster feat. Angelic Amanda
Those crazy pacemaker guys Jonas, Olof and Willem released a ipad app (one of the worst kept secrets to be honest) but they did some great things to make the whole thing much more simple and usable for the people who just want to play. Those guys have always been excellent at interface design, conveying complexity in quite a unique way. One of the reasons why I love the pacemaker device.
Si Lumb was the first to break it to me on Twitter via The Verge. The interface is different from the Pacemaker app which came on the Blackberry. But the massive difference is the Spotify access. Direct access to mix and screw around with any track on Spotify in real time? Thats almost worth buying a ipad for… Don’t worry I’ll be asking the guys when the Android version is coming. But to be fair I have (well my sister has it but its mine) a blackberry playbook for the sole reason of mixing, so why not a ipad too…?
What got me slightly choked up is the commitment to #mixeverything and ultimately the democratisation of mixing and djing. Yes its not virtualdj or Tracktor but its something you can easily pull out at a party and get people dancing.
It all reminds me of my slide (number 17) from the Dj Hackday presentation… New rules, new blood, new ideas… I want my first born (male or female) to want to be a DJ not some pop idiot.
I remember the arguments about dedicated cameras vs camera phones. The best camera you have is the one in your pocket or even your hand at the time. Is this true of djing too? Yes if I had my records and decks, but you don’t… And with the app you can pull up virtually most songs, even those stupid request songs.
I’d still like to know how they are doing the twin output, I assume its using the audio out and the HDMI/Lightning port? If not I’m expecting it will change soon.
Secondly those crazy guys released a new firmware update for the Pacemaker device. Seems not many of the usual suspects know much about this, so I’ll be one of the first to give it a run. Which is great because I’ve been playing with the pacemaker device again. My next mix is going to be something special… But now I want to run home and get the firmware updated.
I was speaking to a group of students at Salford University earlier this month about the cultural value of parody videos. Even the terrible ones. I made the arguement that the really terrible ones may be more important than the really good ones.
I explained to the students that for every terrible parody video on Youtube there will be hundreds of super talented viewers saying to themselves “I can do better than that”. The terrible parody video is what it took to kickstart their creative career.