Yan Wagner Turmoil Remix

A few months back I attended one of the many lofty get togethers organized by fellow like-minds the Vietcong Disco. Strictly lofty in the sense they are usually in lofts ( Otherwise there is always an extremely comfortable amount of flanel apparel and PBR)  Mr. Uno was on the decks and spinning something especially fresh and heavy, so I had to ask what I was hearing… Turns out it was the yet to be released by himself (Uno Records) version of Yan Wagner’s Turmoil. Lucky enough for me, Mr. Uno came back some time later with a an invite for a Pink Stallone remix of the same track.

I was psyched to get the opportunity to turn in an interpretation of this, and even more psyched it made the grade for the UNO 12” of Turmoil. If you don’t know of UNO yet, nows a good time to start checking them out. Mr Uno’s quickly on his 10th released and has already released killer cuts from young cohorts like Eddie Mars, Jacques Greene, CFCF, etc.

http://soundcloud.com/unouno

http://www.unonyc.com/

Pink Stallone CCC Podcast

Although I’ve never truly met William Rauscher, I’ve probably been in the same room as him at least over 20 times and quite possibly in 3 different countries. What I know of William is that he not only does a fantastic job of covering releases and parties for Resident Advisor, but also manages to produce under Night Plane, AND now partakes in a multifaceted outfit called CCC. I recommend checking all of these things out.

CCC asked me to submit a podcast a while back, and now that it’s out and about, here’s the link: http://ccceditions.com/blog/2012/01/04/ccc-podcast-02-pink-stallone/

Apart from the thoughts I shared with William that are cited, I’d add this… The way I like to approach a request for a podcast or a mix or even a live dj set has everything to do with what I’m experiencing and of course, what I’m listening to. Other than that, It’s hard to be super preemptive about much, for one, because I only use my own vinyl selection and because I record these sets live&uncut on hi fi speakers in my dining room. But naturally, I prefer the limitations. Grab a record from the shelf on some intuition, mix it in. Make it happen.

In the case of this CCC podcast, it was a nice opportunity to explore some of the more minimal percussive house stuff in my collection. Alot of one note bass stabs and shaker burns. In the end, I realized where a lot of those records had come from, and wildly enough it shares strong relevance with vocals from one of the mix tracks (see the CCC link for that story). That’s just a nice’n deep spiritual added bonus, and that’s what makes just letting it happen raw totally worth it.

The internet

I am not an internet socialite. I prefer to remain nicely tucked in the shadows of dive bars made of 0’s and 1’s in this wild’n'wacky world of everybody-holding-eachothers-johnsons-24/7ism. No thanks. But, i DO get google alerts, it’s like my internet 90’s beeper. Which means, I WILL see when you decide to blurt something like this out:

Let’s start from the top.  First of all, who the f is Pepito. I don’t know Pepito. I don’t know ANYONE named Pepito, and even if I did, it sounds like a 4 year-old Mexican nephew who shouldn’t be at a computer without supervision. Pepito is not the responsible vendor of the music I just spent forever making. Thanks but no thanks Pepito, stick to the chiclets.

As for nononodog, I had to call this out. I mean, come on. When you can get grandma’s manicotti fresh from the oven [VINYL], don’t complain about it 2 weeks later after its been frozen & unfrozen amidst 3 to 4 severe power outtages [STOLEN TORRENT MP3s]. Yuck, that ricotta has gone bad.

More IMPORTANTLY, PLEASE DON’T DIAGNOSE THE PROBLEM AS “BAD MIXING” [grandma, I don't like your cheese].  This will warrant this type of private message from my newly created global noises account:

Hey sorry buddy,

Do me a favor? Next time you download one of my records in yoinked-shite mp3 form on a forum , don’t wonder much more whether the bad sound quality comes from that or the ” bad mixing”.

Mixed by one of the slyest young mothafuckas in all of Brooklyn on pure analog tubes and tape baby. Straight up rude. Tis Tis.

PINK STALLONE

——————-

Now, Nononodog was super proper enough to take it like a real internet man and go out and buy the digital release. That is way way cool and he’s granted himself any entitlement to dissing, criticism, and pure dismay with our product which, will be handled and responded to accordingly by Pink Stallone customer service*

*This phone call may be monitored so that we can make sure that our exotic call center is worth ruining the employment rate here in New Jersey.

The moral of this story isn’t don’t steal my music. It’s not even buy my music. A man’s financial investments, however large or small, are of no concern to me. BUT, if you are gonna steal the Chinatown version of the music, at least think about buying the real Rolex before questioning the technical aptitude of myself and my fellow clock makers.

Mine climbing the charts

Woh, mine is climbing the Juno single charts! Thanks for the support, we love making the tunes.

Mine out on Vinyl today

Our single Mine on Under the Shade is now available on vinyl! It’s an especially dynamic release ,featuring guaranteed floor mover  remixes from the Eddie Mars, SAS, & The Revenge.

http://www.juno.co.uk/products/438910-01.htm

*****

There’s been so much work put into this it’s only appropriate to give credit where it’s due.

The original recording sessions took place well over a year ago in the studio of Bushwick Wizard, Eddie Mars, slightly after meeting the Vietcong Disco crew and exchanging emails over excitement for Mr. Mars live sound quality control (the guy manages to blend records, eq the main mixer and make weird sounds on a monophonic pocket synth all at once). I’m not quite sure any of us knew what exactly we were getting into, but a steady dose of  low-slung love funk found its way onto the tubes of one of the many mysteriously donated pieces of equipment in Mars’ studio. At the time, we were in the process of jumping ship from our abandoned house studio (all of our gear had experienced just the right amount of water damage), so even all of our shit was there. We ended up doing a live show  of the material we were toying around with at Mars’ studio, opening up for Rub&Tug at a suspicious Biker Bar. I think one person yelled “we came here to see DJs!” during our set, but considering I was yelling nonsensical harmonies for Joey through a vocoder at the time, i couldn’t really be bothered besides.

Joey Washington eventually joined the party in the studio, laying down what in the early stages already felt like some classic vocal hooks. Months later, endless session swaps between myself and Mr. Mars, parts sounding like they had run the prep school bus gauntlet back and forth through all sorts of filters, and the original mix of Mine started to take form.

More months later, after a bit of hoo-ha and unmentionable confusion, we finally confirmed a release of the track with Under the Shade. Mars started to conjure up his own production (s)** of the original session takes at that time. ** There were probably closer to 25 of these productions, all of them equally impressive. Mars eventually settled on a mix and the SAS & Revenge remixes followed per fine curation of David Griffith.

In conclusion of the long experience of working on this, it’s not only a sentimental single for us, but objectively a collection of tracks that serve any funky vinyl junky well. While the original can certainly serve the “DJ”, it’s intention is to be a humble and genuine reflection of the energy we recorded way back in those wintery Bushwick nights. It is what it is, and it should never be anything else. Dude, it’s a song, don’t give me any blah-dee-blah about adding 32 bars of drums between every section. Besides, we like making songs, and like listening to them on vinyl in our living room while we eat slow-cooked pulled pork. Again, thank you to David Griffith for supporting the notion of letting the original do it’s thing, and letting it live on vinyl to do it.

As for the remixes, the Mars interpretation is, as he’s put it to me, how he’d produced Pink Stallone. It’s a spot on attempt at doing this, it embodies our youthful grunge funk swag in a diamond crusted Eddie Mars box (and no DJ can pass it up). The arrangement seems to grow and spiral endlessly in a way that all of our tracks ever have attempted to.  In any case, he did produce Pink Stallone, its the A1 on this single, you can hear it first thing. You’ll love it.

SAS manages to ride a similar line. They make it dancey as hell but not the point where I’m embarrassed to play it for my punky friends. It lets the percussion fly true and fires off a serious stabby  dirty bass line, thank you gents for that. The fact that I can hear myself playing out of tune bongos with sticks in Eddie Mars’ room on such a slamming mix is exciting. It’s got the “b*tch I’m telling you how it is” romantic approach. I can’t fight that.

Finishing up, the Revenge comes through with what I’d describe as a sort of Master at Works-like dub of the track. I’m not going to try to over analyze what Masters at Work did, and in the same vein, I’m not going to try to over analyze what The Revenge does. The guys body of work is out of control and to think he spent thought on a Pink Stallone track is awesome. Seriously, did I ever think the Revenge would ever touch one of my tracks, absolutely not. But here he did, and you can tell this is a guy who doesn’t need to impress anyone, that’s a a great place to be for making seasoned tracks. It stay’s course, its pretty, and any girl that’s heard me playing it around has started shaking, so there you go.  It’s mature like those late-aged guys who can body surf waves for 200 yards without choking or getting scared by the jellyfish running up their swimsuit. Smooth.

Dance folks can be a little hypocritical when they jump on tracks for not “standing out” or “not punching hard enough” but also for being “too much like 90’s house” or something. They’ll be the first to hate on Loveshack when it comes on at their cousins wedding party too, even if every person in the room is dancing like crazy. Dance music is , in fairness, somewhat of a functional genre. But much like in architecture, or even in airplanes, function will constantly be challenged and consequently reconsidered by pointless acts of expression, often later called art.

Ciao.

ps: center sticker is killer, thank you Anna for that.

NYC Pink Stallone DJ set

Pink Stallone @ The Wurst Compilation Ever Release Party

Le Bain // The Standard Hotel NYC

Friday, October 14th

Mine 12” on Under the Shade coming soon

“The catalog of Pink Stallone & Joey Washington singles continues with the arguable gem of their collaborative sessions, Mine. The second Daniele B & Eddie Mars co-production, Mine exhibits the steady progression of the Stallone sludge-funk thump, again fueled by gushing maturity and composure from Washington vocals. Eddie Mars even delivers his own stunningly-authentic production of the Stallone/Washington sound, marking the first official Mars rendition of Pink Stallone since his inception as a producer and member of the live group.

With this comes two workouts by master of the deep The Revenge who provides a stripped back timeless dub. One of those tracks that will still sound great in twenty years time. Simple and effective with a hint of grandeur.

Finally wrapping things up are S.A.S (Subb-an & Adam Shelton). Following the bumping Foot & Mouth release earlier this summer we had to ask the boys to give there twist and they sure delivered. Acid base and full throttle beats transform ‘Mine‘ into a jacking dancefloor destroyer, be warned!”

Clams from Neptune

Daniele B - Clams from Neptune Mix

Finally got a chance to get back behind the wheels and throw this mix together, in celebration of being able to wear my friggen’ awesome plaid jacket again (it’s FALL!). We also have a track called “Help Yourself” coming out on the Wurst Music Ever Compilation, AND we’re quickly following up our single Dancing in Time with another UTS single, Mine. Nice to chalk-up two more grimy jams to the entire Pink Stallone gang. There’s a lot of ‘tude going on here, we play and track every f-in’ thing, very happily unmistakable personalities involved…unlike the footclan playing software bongos?







Eddie Mars gets all acid-y on his Mine rendition too (highly recommended), not to mention the 12” features remixes from UK stompers The Revenge & S.A.S.

Dancing in Time on Juno Records

http://www.juno.co.uk/products/dancing-in-time/430589-01/

Juno Review:

“Across a multiplicity of releases and remixes on labels such as ThisIsNotAnExit, RVNG INTL and Lo there’s always been a unique quality to the music of Pink Stallone that’s been hard to pin down and slap an easily digestible label on. A deft combination of classic song writing and eminently danceable rhythms that stay close to the 4/4 axis yet contain a distinctly liquid feel is the best way to describe the New Jersey musicians’ latest production in tow with singer Joey Washington - the elastic, twilight delight that is “Dancing In Time”. Another gold star in the Under The Shade release schedule, the slow burn of the original is complemented by a stack of fine remixes. Mugwump call shotgun with a decidedly low slung revision that places the emphasis squarely on how deep the bassline can grab your guts - a pleasantly reserved effort from the Belgian duo. Wolf + Lamb duo No Regular Play opt for the more percussive approach, with stuttering patterns augmented by some dizzifying subaqueous chord patterns in the early moments, though the vocals signal a shift into something wholly more satisfying.”

Resident Advisor review of Dancing in Time

Resident Advisor’s William Rauscher offers some well-put ciritcal insight into our latest 12” Dancing in Time ft/ Joey Washington on the Under the Shade label.

http://www.residentadvisor.net/review-view.aspx?id=9455