This piece was given its life from the throwaway nature of most house music. I wanted to make some music for listening to on the plane to France; some basic “Flying Music”; I wanted it to be basic, worthless disco pap, something I would be truly embarrassed for having done by its one-mindedness. I got started as I walked through the streets of Westwood and pictured a continuous 30 minute jam; a dance music scratch pad to listen to. By April 26, the day I left for Europe, I had spent virtually no time packing next to the amount of time I had “wasted” while working upon this little project. I mixed it until 3:30 in the morning. My plane left at 7:00.
The first time I listened to it was on the train from Paris to Calais. I thought it was amazing, given that I had never listened to it all the way through, neither while working upon it, nor when I had made the cassette. I immediately resumed work in early June and was finished by June 19. I was convinced it should be my next release, as it served as a teaser for the songs on Heralding the Death of Baby-Faced Pop. It is a very engaging disco medley of my music and holds together without losing my interest, to this day.
“Technopolitan” was a very good experience for me. When you spend a long time with one project, like I did with “3 mains,” you need something short and self-contained to offbalance some of the repetition.
“Technopolitan” took basically 3 days to do, and a week to mix. I would always work that fast if I could, as it keeps the approach and the morale fresh.
Since then, a couple of people have commented that they thought the “Technopolitan” mix was a bit lengthy at 32 minutes. I feel the piece is exactly the right length — it’s road music– basically a symphony for your car. I requested that it be a double-play cassette with no a- or b-side labeling. This way, combined with the unpredictable nature of some auto-reverse decks, you can get a repeating “Technopolitan” loop… the music will always be playing without letting you anticipate the finish.
I was immersed in house music when I wrote it, initially. That is the goal of rhythm factory… to uphold the standards of the very best dance music… to capture that which is capable of going on ad infinitum, and that which can be completely ephemeral.
1992_1005 : Technopolitan
Description
This piece was given its life from the throwaway nature of most house music. I wanted to make some music for listening to on the plane to France; some basic “Flying Music”; I wanted it to be basic, worthless disco pap, something I would be truly embarrassed for having done by its one-mindedness. I got started as I walked through the streets of Westwood and pictured a continuous 30 minute jam; a dance music scratch pad to listen to. By April 26, the day I left for Europe, I had spent virtually no time packing next to the amount of time I had “wasted” while working upon this little project. I mixed it until 3:30 in the morning. My plane left at 7:00.
The first time I listened to it was on the train from Paris to Calais. I thought it was amazing, given that I had never listened to it all the way through, neither while working upon it, nor when I had made the cassette. I immediately resumed work in early June and was finished by June 19. I was convinced it should be my next release, as it served as a teaser for the songs on Heralding the Death of Baby-Faced Pop. It is a very engaging disco medley of my music and holds together without losing my interest, to this day.
“Technopolitan” was a very good experience for me. When you spend a long time with one project, like I did with “3 mains,” you need something short and self-contained to offbalance some of the repetition.
“Technopolitan” took basically 3 days to do, and a week to mix. I would always work that fast if I could, as it keeps the approach and the morale fresh.
Since then, a couple of people have commented that they thought the “Technopolitan” mix was a bit lengthy at 32 minutes. I feel the piece is exactly the right length — it’s road music– basically a symphony for your car. I requested that it be a double-play cassette with no a- or b-side labeling. This way, combined with the unpredictable nature of some auto-reverse decks, you can get a repeating “Technopolitan” loop… the music will always be playing without letting you anticipate the finish.
I was immersed in house music when I wrote it, initially. That is the goal of rhythm factory… to uphold the standards of the very best dance music… to capture that which is capable of going on ad infinitum, and that which can be completely ephemeral.
Related products
1980_1004 : Folksong GG
Read more1981_0202 : BYSI (Beautiful Yes She Is)
Read more1983_0104 : Jam Piece
Read more1982_1014 : 2 People, Different Places
Read more