LUOMO-TESSIO-THE MOST DEPRESSING SONG EVER?????

without these women...

IN MY LIFE!

damn formatting!

without these women...
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IN MY LIFE!

!!!!!!!!!

baby, it's okay. we'll make it better.

this song makes my heart feel too big for my chest

word

i guess you turn me on. when you're gone.

try to stay alive

Always wanted to blend this and "03 Bonnie and Clyde" on a huge sound system.

it's just that the world ain't enough
and it never was
for the two of us

this song makes my heart feel too big for my chest

― 凸凹凸凹凸凹凸 (c sharp major), Sunday, March 10, 2013 5:03 PM (1 year ago) Bookmark Flag Post Permalink

word

― radric: the guccining (The Reverend), Sunday, March 10, 2013 5:11 PM (1 year ago) Bookmark Flag Post Permalink

looooooooooooooooooooooooove this song so much

<3

agree w d perry, most depressing thing abt this song is how overrated it is

never heard it as depressing. sounds like a nice warm bath.

can't really get past the lyrics on this one

i totally understand that but i kind of love the lyrics

true

I was actually thinking about Tessio yesterday, particularly in terms of how it achieved its status. Having not been anywhere near it in '99/'00 I'm trying to imagine what it was like to experience it. Was it a "what the hell is this!?!?!" moment where it just didn't sound like anything else (it's hard today to hear microhouse aesthetics as anything but dated today, despite their novelty in the days when producing on a computer wasn't seen as given?), or was it more just force of ubiquity (I can see it being used as a set closer all the time). I know that for a lot of people (myself included) it was an important just-getting-into-house track, but did it have the same kind of impact on a wide scale when it came out?

Also, love this sudden discussions of both Alcachofa and Tessio in the same day. Early 00s microhouse I luv U.

rolling wack false dance 2014

The lyrics/vocals are really bad on this. I love the rest of Vocalcity but he did the "proper" vocals thing so so so much better on The Present Lover.

Vahid do you even object to its use on Eskimo Vol III

i should listen to the present lover. i love following this guy on fb. he's all sawed off cymbals, modular synths and black metal camping trip photos. can't say i've ever been that blown away by his music though.

oh yeah ... allow it on eskimo iii

i used to be pretty big on vocalcity thanks to ilx but now comparing it to, say, soul capsule - lady science it's a little, idk, weak delong-y electrosoul.

it's cool though. that eskimo iii mix looks relevant to my interests.

It's all about "Synkro", really

^^^^

"The Right Wing" is good as well.

"Body Speaking" was the last great Luomo production imo, but I just was never into The Present Lover at all.

Overall I don't think Luomo has aged very well though.

I used to play out a lot of microhouse around that time, and it was generally not that popular in almost any context! It was a music nerd thing in my experience, with only a few DJs really following it and almost no punters. Very far from any kind of ubiquity. There were no real "hits" beyond Beau Mot Plage and possibly the odd Perlon thing within the context of a quirky house set. Mayer's Fabric mix was a really turning point, along with a shift to more expansive production aesthetics, in terms of gaining any real interest.

I remember buying Vocalcity on vinyl the same day as Akufen's My Way, for instance, both from a record store in Melbourne called Synaesthesia, which was very much the place covering IDM and the kind of outerzone stuff you would find in The Wire. It wouldn't have even been on the map for most DJs in the city when it would come to buying records. While it was geared to the dancefloor (and I wonder how different the situation was in, for instance, Cologne or Berlin at the time), it wasn't so much like wtf, but grouped together with other "head music."

Also for some DJs I knew it was basically just a cheesy vocal or polite bar house record take on Chain Reaction and Basic Channel stuff.

Yeah, I lost most of my interest in Luomo when the second album came out, having been obsessed with Vocalcity, Diskonize Me/Body Speaking and The Present Lover the track (which I mostly associate with the "Digital Disco" compilation).

I still listen to Vocalcity, but it always sounds flatter and thinner than I remember it used to. Maybe it's just my digital copy, too bad I don't have the vinyl.

The album of that style/era that I go back to most often now is MRI's Rhythmogenesis. "To Be Honest", "Nummern" and "Human Pattern" probably sound more like prime-era Superpitcher remixes than anything Luomo ever did, but I always associate Rhythmogenesis with Vocalcity anyway (no doubt from reading about them both on Skykicking).

I've been listening to Superlongevity 2 a bit recently, which still sounds pretty great imo, especially given the amount of personality on some of the vocal tracks - Pile's Worldrecord Holder or Chitchat On Sunset Cliff - and the relentless bass throughout the rest.

it was basically just a cheesy vocal or polite bar house record take on Chain Reaction and Basic Channel stuff

For a lot of message board posters as well. The discovery that the entire Total series is now on Spotify led to a microhouse re-immersion this week, including Vocalcity and Alcachofa.

I still love Vocalcity but it does sound anachronistic amid a lot of contemporary stuff, but then again current dance music is probably closer to 2000ish dance music (in both sound and spirit) than at any time in the past 12-13 years, so it's still easy to hear how fresh it would have sounded at the time.

Always thought Tessio was reminiscent of Tony Di Bart's 'The Real Thing'. That said I haven't heard the Di Bart song in about 20 years and am not able to check at work.

https://www.youtube.com/watch?v=2rW8dg7drXA

I remember buying Vocalcity on vinyl the same day as Akufen's My Way, for instance, both from a record store in Melbourne called Synaesthesia, which was very much the place covering IDM and the kind of outerzone stuff you would find in The Wire. It wouldn't have even been on the map for most DJs in the city when it would come to buying records. While it was geared to the dancefloor (and I wonder how different the situation was in, for instance, Cologne or Berlin at the time), it wasn't so much like wtf, but grouped together with other "head music."

― MikoMcha, Friday, 1 August 2014 06:29 (4 hours ago) Permalink

I was (am) in the same city and this was true in 2000 but not by 2002. I remember going to Rhythm & Soul (one of the main dance music vinyl stores at the time) and the clerk/DJ was playing Immer and for some reason challenged me on whether i knew what it was or not - I think because he'd asked me if I needed help and i'd politely demurred, it was a "O RLY" kind of test I suppose. I passed the test which pleased me because even though he was a bit arrogant and the upwelling culture in that place was extreme he was also cute, so.

Anyway by that time microhouse/proto-minimal basically ruled all the vinyl stores. It was at this same time that Synaesthesia stopped stocking Kompakt and the like, perhaps in recognition that it had grown too populist/popular.

upselling culture. Kind of upwelling as well tho.

Hmmm... it was a turning point for sure, I also was 'tested' at DMC records when the Villalobos album came out and was told that "I must be into the really good stuff" if knew what it was :)

Nevertheless, my impression was that it was still very much transitional, with certain record store clerks and a handful of DJs certainly promoting that stuff, but this was not necessarily translating to sales or to the records that were actually being played out in the clubs. At least that was my impression, since lots of microhouse and minimal 12"s would always end up in the sale bin - so it was also a bit of a glory era for me in terms of picking up a lot of records that I really wanted cheaply (I wonder whether this also had something to do with Kompakt expanding it's distribution around that time?). Not too get too insular in terms of Melbourne record stores, but Collector's Corner ALWAYS stocked microhouse, especially almost all the Force Tracks, Kompakt, Playhouse and Profan 12"s, but this was also frequently stuff that you could get on discount a few months later as well. I should also point out that these stores stocked loads and loads of other genres and styles, including progressive house, banging techno, breaks and D&B - all of which had more expansive selections than any microhouse related in 2002 in my experience. It would often be likely that a clerk working there had not heard of Luomo or Isolee or Farben or whoever - they had a lot of different material coming in - which certainly wasn't the case at a shop like Synaesthesia which was basically just run by Mark and a couple of his friends, and curated in a really specific way.

Regardless, I almost never heard any minimal or microhouse out at that time beyond the odd thing played late night at Revolver (and of course Troika), until almost two years or so later when many techno and some house DJs had fully transitioned following tunes that were more clubby and less stark and skeletal in their production. Things coming out on Areal, Cadenza, Sender and the relentless output of Kompakt, and then early Get Physical, for example, all made a big difference. I think when a club like Honky Tonks embraced of all this, it was a sign of a clear local shift in the sound towards minimal and was also, I imagine, the main reason for Synaesthesia to quit stocking Kompakt. Not really their audience anymore.

Coming from a Warp Records / IDM background at the time (and stuff like this being very much my introduction to house), I remember people like Luomo coming up in messageboard conversation on an infrequent basis. The idea that this was a bridge for leftfield electronica fans into 'proper' dance music was quite prevalent, prob due to the Vladislav Delay connection.

Come to think of it, a weird label around then was Pokerflat, which sat between the prog house that was often being pushed at shops like Rhythm & Sound, for instance, and other microhouse releases. That said, I think I only ever bought a couple of records from that label...

Rhythm & Sound was actually a really bad shop though, I was always treated as if I should be grateful to be allowed to listen to music there. There was a real sense of entitlement, bound up with a veneration of classic deep house sounds.

Oops, Rhythm & Soul that is!

Pokerflat actually were pretty great a lot of the time, esp. Vols 2 and 4 of their comps (the Martin Landsky and Jeff Samuels mixes respectively).

Honkytonks was such a great club, but I never thought of them as suddenly switching to microhouse, more of an organic Classic Records --> Music For Freaks / Playhouse development.

There was a strong electrohouse influence at HT as well.

Actually, a key shift of course was the retitling of microhouse as minimal. The former being Sherburne's Wire article term and the latter being the populist take up of certain aspects of that production style, the careful treatment of sounds and details, into a more expansive sonic palette.

In fact, I remember going into a record store - maybe even DMC - and talking to the guy there about new minimal records and mentioning the term microhouse, probably around 2003-04 - he was like, "Microhouse? Ha, I never heard that before!" I immediately felt a bit lame afterwards...

in light of this thread i brought some of the kompakt total compilations off my shelf. total 3 is really good and i imagine it's the most loved. but a lot of the others they are not that great? i stopped after total 7 which is kind of boring. total 1 is really grating.

cool they are on spotify, i am missing a few of them

oh plus total 3 has "so weit wie noch nie" which is not as huge as tessio but is similarly grand

Microhouse always felt like a cult/cottage industry thing to me, by the time it became minimal it was this continent-eating sound that dominated for like two years.

i'm not from australia but i'm enjoying hearing memories about early 00s electronic music shops. the only vendor i really dealt much with in buying microhouse/minimal was bent crayon records in cleveland, which i would go to often when visiting home. it's still around. at least then (and i imagine still is) it was definitely a wire-reader kind of shop, though definitely skewed more toward the electronic/dance end and less toward the derek bailey/evan parker kind of shit. sold some indie too.

Total 3 and 4 are my all time favourites but I have a big big soft spot for 8 as well. Bit of a lull leading up to that though.