Don’t Limit Yourself Basically there are no rules when it comes to choosing a song to edit. I could go for a Lebanese pop track or a joint from Greece. I go for the bizarre or leftfield stuff more than things like disco tracks. I love the intensity of Arabic music as much as the deepness of a soul track, and I wouldn’t necessarily go for beat-oriented tracks, as I usually re-do the rhythms and basslines, trying to stay close to the original production. To me the whole process comes out of curiosity; I gotta keep it playful, and it’s often very childish. Be Scratch Happy When I have found a good track to edit, I’ll go down to the basement and record it from the original source, either from vinyl or tape.
![Rar Rar](http://www.d-i-r-t-y.com/wordpress/wp-content/uploads/2011/12/ididntknow_150.jpg)
![Rar Rar](/uploads/1/2/5/3/125364104/321173456.jpg)
Shop for Vinyl, CDs and more from Pilooski at the Discogs Marketplace. Together they released music compilation (the Dirty edits serie) & The Dirty Space. Download VA - Dirty Edits Vol. 1 & 2 - A Collection Of Dirty Classics. Home of discodeine, dirty sound system, pilooski edits, tristesse contemporaine and many more. Online Mixes Guest Mixes from The. 1 - A Collection of Dirty Classics Selected by Dirty Sound System Edited by Pilooski, a Various Artists Compilation.
Generally, I prefer the original source to be as dirty as possible; I have a real problem with clean and over-produced music in general—it doesn’t sound natural to me. When it comes to equipment, if it’s vinyl, I’ll use a very basic Ortophon cartridge—as long as it sounds crispy. In the Mix I usually use this software a friend developed for me called Waffleton. It’s a mix of Vega (PC-based video software) and Acid.
The setting is very basic, with no real possibility of plug-ins (which doesn’t really matter as I don’t usually use them anyway) or anything. I just use it to cut and lengthen parts.
I like things hypnotic, but it’s always a case of lengthening in the right measure—it can be a rhythmic part but it also could be just a few words from the original lyrics. Keep the Structure Snappy Ten-minute edits rarely work for me, as I like to keep the intensity of the original track. (Having said that i just did a nine-minute-long one for RVNG of the Nerds in New York.) Most of the songs I love are two and a half minutes long, but I still try to make things a bit more psychedelic, so I’ll usually use a Maestro Echoplex tape delay or some bending effects pedals. I’ll play or jam with the bits I took from the original and record them on tape, then put them through FX again or valve compression and so on until I start to structure the whole thing. Added Effect I usually add some extra synths (analogs like Korgs and Rolands or live percussion parts) to take it into another direction and make it more personal. Once the structure is finished, I’ll put the final track on tape again. The whole process might take from two hours to a week, depending on how inspired I get.
Sometimes it sounds like shit, and it’ll never leave the tape. I’d rather not release something I’m not 100% satisfied with. Dirty French Psychedelics is out now on Dirty. Pictured Pilooski.
On November 5 1997, Epic Soundtracks (Kevin Godfrey on his real name) was found dead without any kind of explication inside his appartement in London West Hampstead. Early 70′s,he was this punky adolescent behind the drums inside The Swell Maps, with his brother Nikki Sudden, and future TVP’s Jowe Head – the Swell Maps understanded anarchie as a chaotic mix between Can & T. Rex Hmmm Best punk band ever. Then, Kevin was working for the Rough Trade Shop while drumming for Pere Ubu, Red Crayola, Roland S. Howard,or the Jacobites. He made a kraut ep with Jowe Head you better search, one instrumental single for Rough Trade with Robert Wyatt in 1981.
He only released his first album on his own in 1992 with the compagnie of Sonic Youth and Dinosaur Jr, a deep elegant and fragile pop music strongly inspired by Brian Wilson and Alex Chilton. In september 1992, the promo of this Rise Above album brings him to the Radio France studio for an interview with Bernard Lenoir and Arnaud Viviant. Epic was so shy that the interview has been soon transforming in a piano solo acoustic set. I’m so a fan of his all work ( a total of 5 lp, all emotives) that it was non possible for me extracting one song among my long as an harm list of fave. So, i decide to post, in memory of his art, this radio archive never ever been published since, even in the several post mortem anthologies released this last forteen years (a new one is to come soon). Are you ready to be heartbroken?
Are you ready for these marvelous 32 minutes of pure melancholia? Epic Soundtracks –.