有種唱片行∣Species Records

AFX - Analogue Bubblebath
Label: TVT Records
Catalog#: TVT 4810-1
Format: 12"Vinyl
Released: 1994
Style: Techno, Acid, Ambient

驚世的重新發行(US盤)
AFX(Aphex Twin)的初期發表作品中也是最重要系列"Analogue Bubblebath"第1號作品！相當炫麗的synth & drums

It's TECHNO!!! Well, What some people would say -- IDM -- Whatever it's called, it's GOOD! :)


唱片封面


試聽連結



Aphex Twin個人現場表演影片連結

Kanye West vs Daft Punk - Stronger Picture 12" DISC
連續兩次進貨.即刻售鑿完畢!
店裡唱片詢問度最高之ㄧ唱片,本週又重新上架.今年黑膠迷絕對必收 !!





Kanye West vs Daft Punk - Stronger 的影片


Daft Punk - Stronger 的影片

Movement '07.同樣也非常重要的一場Techno盛事!!回顧一下
Detroit Electronic Music Festival 2007


Jeff Mills - Detroit Electronic Music Festival 2007


Jeff Mills DEMF 2007 Detroit

DEMF 2007 - Kenny Larkin in the Detroit Tent


DEMF 2007 - Model 500 f/ Juan Atkins


Jeff Mills @ Liquid Room 1995

from
敦南誠品音樂Blog http://www.wretch.cc/blog/eslitemusic

JORIS VOORN & Edwin Oosterwal 共同所設REJECTED廠牌 , 最新單曲邀請同樣來自荷蘭的SECRET CINEMA.

Tracklisting:
A1 Original Mix
B1 Rejected Rotterdam Remix

耳道的功能是用來對流


我1995年去歐洲18天, 一路上分配到同房的73歲室友, 是 一位重聽的退休將軍.

我問他何時開始重聽, 他說女兒送的MP3戴著聽到睡著了, 第二 天醒來就聽不到聲音了 .

青森分享 (我從來不把耳朵塞起來聽MP3, 耳道的功能是用來對流的.)

耳鼻喉科醫師不聽 MP3


有款有型的 iPod、MP3深受年輕人喜 歡，也引發年輕人耳朵健康危機。


馬偕醫院耳鼻喉科主治醫師呂宜興

聽神經跟脊椎神 經一樣，一旦受損無法修復，所以幾乎所有耳鼻喉科醫師絕不會聽 MP3，以免聽神經受到傷害。

呂宜興表示，連小孩 跟他要求買iPod或MP3，他都不淮，並會告訴小孩，耳鼻喉科醫師都沒有人戴，你敢戴嗎？

他說，這不是恐嚇小孩，而是聽神經一旦受損，真的很麻煩。

他說，許多 青少年 喜歡邊走邊聽 MP3，但大馬路上 的背景噪音差不多有50、60分貝，

為了聽得更清楚，必須開得更大聲，所以經常都在80、 90分貝以上。

他建議，常聽MP3或 iPod的民眾，最好改用全罩式的耳機，儘管看起來有點「矬」，

但它可以有效阻絕外面背景聲音，音樂就不用開太大聲。

振興醫院耳鼻喉科 主任陳光超

最近也才剛買一台iPod 的陳光超覺得，聽力受損很難恢復，所以他聽iPod時都會把音量 降至耳膜可以承受的範圍，

或是外接揚聲器聽也是一種享受。問到是否會讓兒子聽 iPod，?

L馬上斬釘鐵截地說：「我才不會讓他聽，萬一聽力受 損怎麼辨？」

陳光超說，長期使用內塞式的耳機聽音樂 ，將對聽神經帶來不可逆的永久性 傷害，因為耳機幾乎貼在耳膜上，

儘管音量不大，長期下來還是會對聽神經造成傷害，一旦耳神經受損，就無法挽救。

國泰醫院耳鼻喉科主治醫師王仁鵬

王仁鴻表示，耳鼻喉科醫師知道MP3對聽神經造成的傷害，想聽MP3也會選擇全罩式耳機；

他強調，全罩式耳機雖然體積/重量較大,但它比內塞式耳機來得健康。

長期佩戴內塞式耳機，可能造成永久性的聽力損傷，產生噪音性神經傷害；

即使使用全罩式耳機，他每聽兩個小時， 也會休息一下，絕不會讓自己的耳朵一直處於高分貝環境中

哪些聲音影 響聽? O？

聲音 / 分貝數

吹風機 / 60﹣90

除草機 / 65﹣95

擴音設備 / 90

營建 工地 / 100

一般製造工廠 / 110

汽車 喇叭 / 110

交響樂音樂會 / 110

健身 房 / 110﹣120

飛機 引擎聲 / 140

資料來源∕林口長庚耳鼻喉科主任吳哲民、馬偕醫院耳鼻喉科主治醫師呂宜興、振興醫院耳鼻喉科主任陳光超

Sounding off: Vinyl will survive



Following on from Tyler C. Hellard's pro-digital screed last week, this time around record lover Peter Chambers explains why, like Gloria Gaynor, vinyl will survive…

You can’t make a rational case for choosing vinyl, and I wouldn’t – there isn’t a single one that’s compelling. Digital is cheaper, less wasteful, more malleable and far more portable. There’s virtually nothing to store, scratch, warp or shatter. Records meanwhile remain cumbersome, fragile and expensive. And yet, in spite of all this, I will continue buying, collecting, playing with and paying for the damned things, for as long as I’m willing and able to. Why?

Well, there are lots of reasons. First of all, it’s because vinyl has life. Don’t get me wrong, I’m not such a caner – I don’t think that my records are alive in the way my lover or my dog is. They don’t eat, drink, bark or bone. But, like us, they exist in space and through time – they have their own history, they wear their own scars, they need our care. They have a world.

When you dig for vinyl and you find something you’re looking for, you don’t just uncover the music. There’s a sense of connectedness, both of your desire to the sound and the sound’s embodiment in the object. Who knows the circumstances surrounding the original purchase? Maybe the record got sold because of a drug habit, a death, or a disappointment. Or maybe because of indifference. But in every case the piece you hold in your hands is the silent bearer of a story, a mute witness to whatever and wherever it went. It also carries the signal of its producers, embodying their dreams. I think Danny Wang said it once: second-hand record stores are such sad places. That’s because they’re dream graveyards. At one point, a group of people invested all their time and talent in making it. It was going to make them famous…

At the receiving end, the previous owners of a record invested their best hope in it too. So they chose it, they took it and kept it with them, and it slowly mapped itself into the web of their memories. Or they hated it, and flogged it. I don’t recall every intricacy of what I did last week, but I can tell you almost without fail the circumstances surrounding each record I own, and explain the resonance it has, what it evokes. It’s an object of music and of memory, and to me that gives it the true aura of an artefact, and makes it deserving of respect, reverence. I also love the presence of the music in the scratch. The groove is a perfect visual representation of the metaphor of what the thing is and does, and the music is there in a way that digital formats, even in whatever visual/waveform representations they use, aren’t. Functionally, this makes absolutely no difference. ‘Visual mixing’ of the kind now possible with digital obviously has advantages, but it’s always at a distance. Like talking through glass.

A lot of DJs' selections turn to shit after they start using digital.
Somehow - no, because of all those choices,
they’re unable to make a single interesting one.
This is no coincidence.

Records are also incredibly sensual objects, and this has always been their advantage for mixing. Even with the abilities the new technologies have given us to loop, sample and freely choose key and pitch (which is in every way musically superior as an instrument) there’s no substitute for being able to touch, to play by feel. Serato and Final Scratch have overcome this limitation, but even in ‘the best of both worlds’ there’s more than a little of nowhere and nothing at all. Mp3 doesn’t even exist, at least, not in the way we and our records do. It’s a nothing and it exists nowhere but in blips on our portable nonplaces.

Crucially, choosing a track through drag and drop is utterly different to digging through a box with a very limited selection thoroughly and carefully chosen before leaving home, or so you’d hope. In fact, the irony of having a greater number of choices is that it’s invariably harder to choose, or easier to make do with default choices, which are not real choices at all. A lot of DJs’ selections turn to shit after they start using digital. Somehow - no, because of all those choices, they’re unable to make a single interesting one. This is no coincidence.

There’s no sacrifice involved in collecting digital formats either. Any two-bit chump can download a huge body of work in a matter of days, something that would have required a huge expenditure of time, effort and money on the part of a vinyl collector. When you go and see a veteran play her set, she’s carrying with her whole decades of memories whittled down to some eighty selections. Packing a box requires further sacrifice, further selection, further acts of will, respect and love. You have to think, choose, include, reject. Without these repeated sacrifices, it’s all to easy fall prey to the tyranny of ‘any old thing’. ‘Oh shit, I need a track with drums to mix out of this, um… shit, only sixteen bars to go, oh, okay, this’ll do…’ Click, click, drag, drop. You hope the audience won’t feel the difference, and you fool yourself that you feel anything at all. I wouldn’t argue that this is a necessary outcome of digital, but it’s going to happen far more often.

The same is true of Ableton: paradoxically the program’s incredible power, speed and flexibility means you can churn out an average tune, not even in a matter of hours, but on the fly. ‘You can do anything on Ableton’ and you can, but most people do less and less. They don’t make minimal, they make very little of a lot. In fact, in a turn of events that would shock grandpappy, it’s easier to record a track than to write a song. All too often it shows: lazy drum programming, boring melodies with no tension or development, and a screaming, dithering, swarming shitload of plugin effects to cook the tune in, so we don’t have to listen to the half-baked mess. And how good are you as a musician really, Mr DJ? Can you really perform with the same level of musicality that’s contained within a well-made record, something a talented, dedicated person invested everything in for days, weeks, months? Why not let the record play, if it’s a good one. If it’s not, no wonder you’re bored, no wonder you need to fiddle.

Back to the body – the other quiet crime of indifference that this ‘choice’ contains is the death of another related artform: cover art. One of the things that make records so valuable and beautiful is the incredible creativity that goes into a lot of the covers, even if it’s the artful details of the colours and fonts chosen on the plainest of my EPs, or the ‘mastered by X at the Exchange’ scratched into the run off. No doubt the artisans who manufactured gilt frames for heavy oil paintings mourned the passing of their time, and maybe all systems of artistic representation are not only bound to, but should wither and die. It’s still sad.

Like most ‘technological advancements’, digital isn’t an improvement of what went before, it’s a rationalisation. Never forget that. From a consumer point of view, CD wasn’t ‘better’ than vinyl, and at least until the mid-nineties, a well-pressed record played better through a good component system (again, all put together through individual choices) than most CDs, even with, and probably because of the sound artifacts and sub-audible frequencies in the record. We’re losing them, too. But they’re inaudible, right? Never forget, it was the ‘record’ companies, greedy to reduce distribution costs and fit more units on shelves, who pushed for CD, and we paid more for less. Three times the price for something a third of the size and a fraction of the cost to make. Now they’re reaping the whirlwind, and a big and happy fuck you all.

Vinyl dies too, but not all at once.
It goes slowly, just like we do.
Do yourself a favour,
and age gracefully with records.

The technology might end up getting us over the barrel too: it isn’t ‘simply better’ – it’s a new entanglement that solves some problems and embroils us in others. I’m late finishing this article. That’s because, not three days ago, my Powerbook, on which I do, well, almost everything, decided to play Hungry Hungry Hard Drives and eat itself for breakfast. Luckily, all my media and documents are backed up – are yours? Don’t think it won’t happen. Houses burn and vinyl will too, but data loss is a completely new kind of risk. If any of you still have the XT you grew up with, go pull it out of the garage, turn it on and see if it still works. Then, take one of the diskettes with all your old games on ‘em and see if you can load them. Captain Comic, Space Quest, all those daggy old things. Remember them? The only story most of mine can tell me now is one that goes from beginning to end in three words: permanent fatal errors. Vinyl dies too, but not all at once. It goes slowly, just like we do. Do yourself a favour, and age gracefully with records. They’re not dead, they’re elderly, and they need your care and respect.

I suppose this whole thing’s based on a bogus choice ‘vinyl or digital’. We don’t have to choose. I’ll eventually buy myself a digital interface and start using it, in conjunction with my records. But don’t expect me to love the interface. That’s a leap I’ll never make. Can you? Do you really ‘love’ your interface? Can you cherish a hard disk? I can only speak for myself and my records, the only musical objects I keep that capture my imagination, just as they capture something of the magic of music in space and time. And that’s something that no data packet can ever do.

Sounding off is a column for free comment from readers on any aspect of DJ and club culture. If you have a burning issue you'd like to get off your chest, send your submission or proposal to info@residentadvisor.net with the subject line 'Sounding off'.

from. http://www.residentadvisor.net/

WHY?

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