Denki Groove Niji (The MFS Remixes) Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Denki Groove Niji (The MFS Remixes) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Niji (The MFS Remixes) Country: Germany Released: 1996 Style: Trance, Techno MP3 version RAR size: 1857 mb FLAC version RAR size: 1630 mb WMA version RAR size: 1712 mb Rating: 4.2 Votes: 215 Other Formats: RA XM VOX MIDI DMF ADX MP3 Tracklist Hide Credits 1 Niji (Paul van Dyk's Potted Gold Remix) 4:13 2 Niji (Mijk van Dijk's For Boys Remix) 8:47 3 Niji (Original Album Version) 10:51 Niji (The Positive Thinking Acid Rain Remix) 4 9:18 Remix – Positive ThinkingRemix [Credited To], Producer [Additional] – Hannes Talirz* 5 Niji (Mijk van Dijk's For Girls Remix) 9:10 6 Niji (Paul van Dyk's Pot Of Gold Remix) 8:01 Companies, etc. Phonographic Copyright (p) – Sony Music Entertainment (Japan) Inc. Copyright (c) – MFS Glass Mastered At – DADC Austria Credits Producer – Denki Groove Remix, Producer [Additional] – Mijk Van Dijk (tracks: 2 & 5), Paul Van Dyk (tracks: 1 & 6) Vocals [Female] – Yoshiko Goshima Written-By – Takkyu Ishino Notes Total Time: 50:21 (P) 1995 Sony Music Entertainment (Japan) Inc. (C) 1996 MFS Berlin, Germany. Barcode and Other Identifiers Barcode (Scanned): 4005902708432 Barcode (Printed): 4 005902 708423 Matrix / Runout: [DADC Austria logo] A0100188146-0101 13 A2 Mastering SID Code: IFPI L553 Rights Society: GEMA Label Code: LC 6407 SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year KSD2 1083 電気グルーヴ* 虹 (CD, Mini, Single) Ki/oon KSD2 1083 Japan 1995 Niji (The MFS Rainbow Denki 7146 Remixes) (12", Promo, MFS 7146 Germany 1998 Groove W/Lbl) Denki Niji (The MFS Remixes) MFS 7084-0 MFS MFS 7084-0 Germany 1996 Groove (12") Denki Niji (The MFS Remixes) Silver Planet SILVER 2 SILVER 2 UK 1997 Groove (12") Recordings Denki Niji (The MFS Remixes) Silver Planet SILVER 2CD SILVER 2CD UK 1997 Groove (CD, EP) Recordings Related Music albums to Niji (The MFS Remixes) by Denki Groove G.O'Brien - Superstition Audio Files Denki Groove - 20 A Glow, Mijk Van Dijk, Jette Von Roth, Cosmic Baby - Perfect EP Tom Wax & Mijk Van Dijk - The Highest High Various - Wire 99 Compilation Carl Cox - F.A.C.T. 2 (Future Alliance Of Communication & Tecknology 2) Mijk Van Dijk Presents Microglobe - Afreuropamericasiaustralica - The Album Paul van Dyk - Morning. Noon. Night. (Singles. Remixes. Rarities.) Henning Richter - Ayahuasca EP a glow - Monsters.

Copy Link

Recommended publications

Paul Van Dyk the Green Valley E.P. Mp3, Flac, Wma
Paul van Dyk The Green Valley E.P. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: The Green Valley E.P. Country: Germany Released: 1994 Style: Trance MP3 version RAR size: 1329 mb FLAC version RAR size: 1925 mb WMA version RAR size: 1340 mb Rating: 4.1 Votes: 969 Other Formats: TTA AU MOD MPC VQF AUD AA Tracklist 1 My World (Visual Valley Mix) 4:17 2 My World (Florin Mix) 6:15 3 A Love Letter 5:06 4 My World (Manchester 2004) 7:31 5 The Green Valley Theme (Part 1) 6:05 Companies, etc. Distributed By – Rough Trade Distribution – 123.7052.3 Phonographic Copyright (p) – MFS Copyright (c) – MFS Made By – DADC Austria Credits Artwork By – Marc Schilkowski Co-producer, Engineer – Johnny Klimek Mastered By [Digital] – Wolfgang Ragwitz Photography – Pat Lonagan Written-By, Performer, Producer – Paul van Dyk Notes Co-produced & engineered at Mega Studios Berlin. Text on My World Video written and spoken by Ben Hardyment. Digital Mastering at Artephon Berlin. Thanks to Eberhard Köhler at Powerplay. (P)+(C) MFS. Distributed in G/A/S by RTD. Barcode and Other Identifiers Barcode (Text): 4 005902 705233 Matrix / Runout: RTD123-7052-3 12 A2 [DADC AUSTRIA logo] Rights Society: GEMA Label Code: LC 6407 SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year Paul Van NM 1048 MX My World (12") Max Music NM 1048 MX Spain 1995 Dyk The Green Paul van MFS 7052-0 Valley E.P. (12", MFS MFS 7052-0 Germany 1994 Dyk EP, Ltd, Gre) The Green Paul van MFS 123.7051.0 Valley E.P.
[Show full text]
The MFS Trip Into the History of Trance!
The MFS Trip into the History of Trance! Bittles‘ Magazine | Album Review Before the term Trance became something to be pitied, hated and despised as well as the dominant force in dance music it was seen as a creative revelation that brought the emotion back to House. The adrenaline- fuelled head-rush of rave was coming to an end, hardcore had become just too hard and the club kids were craving something new with which to get their chemical kicks. By JOHN BITTLES Trance came at just the right time to reinvigorate a dance music scene that had somehow managed to crawl up its own K-hole. This new style of music added a much needed melodic flavour to its processed beats. When combined with an almost religious spirituality that was perfect for ecstasy consumption and the hugging of complete strangers everywhere it was no surprise when it exploded the way it did. One of the very first proponents of this new sound was Berlin-based record label MFS! Masterminded For Success was formed in 1990 as a way to tap into the burgeoning electronic scene by East German label Deutsche Schallplatten Berlin. When the parent company folded a mere three years later Mark Reeder and Torsten Jurk didn’t lie down and cry. No, they very wisely took out a loan and did everything possible to ensure that the label they loved didn’t meet a premature end. All of which brings us to the rather fab X-Mix 1: The MFS Trip; a label compilation released in 1993 created to soundtrack the first in a series of computer graphic videos by video label K7.
[Show full text]
SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos Von Beiden Seiten Der Mauer
SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos von beiden Seiten der Mauer Quartett im Bett (Ausschnitt) BRD 1968 Regie: Ulrich Schamoni Interpret: Insterburg & Co. Song: Der müde Cowboy (Django) von Peter Ehlebracht s/w Länge (Ausschnitt) 3 min Ursprungsmaterial: 35mm Film Grenzgebiet-Drehorte: Waldemarstraße/Luckauer Straße, Leuschnerdamm (alle Kreuzberg) An einem Abschnitt der dritten Mauergeneration (gebaut ab der zweiten Hälfte der 1960er Jahre in Plattenbauweise) in Kreuzberg singt die West Berliner Gruppe Insterburg & Co., die Popsongs mit Comedy verbanden und zu deren Mitglieder auch der später als TV-Star bekannte Karl Dall zählte, den Song“ Der müde Cowboy“, zu Pferd und Esel entlang der Mauer reitend. Die Sequenz ist eine von mehreren in sich abgeschlossenen Musiknummern im abendfüllenden Spielfilm Quartett im Bett von Ulrich Schamoni. Der Film ist eine Abfolge von weitestgehend improvisierten Sketchen und Songs mit Insterburg & Co. und der weiblichen Gesangsformation Jacob Sisters, die ursprünglich aus Sachsen stammten, dann 1958 in die BRD übergesiedelt sind. Der an weiteren West Berliner Wahrzeichen wie Rathaus Schöneberg (damals Sitz der West Berliner Landesregierung), Kurfürstendamm, Flughafen Tegel sowie im “alternativen” Kreuzberg, in dem die Hauptfiguren leben, gedrehte Film wurde weitestgehend improvisiert. Das war möglich, weil damals Drehgenehmigungen schnell erteilt wurden. In West Berlin war es kein Problem, an der Mauer zu drehen – in Ost Berlin dagegen wäre das nicht möglich © 2020 filmokratie SCHALLMAUER UND PROJEKTIONSFLÄCHE – Musikvideos von beiden Seiten der Mauer Quartett im Bett (Ausschnitt) gewesen. Die Szene an der Grenze wurde, obwohl der Mauerbau erst sieben Jahre zurücklag und noch für die West Berliner Bevölkerung ein Trauma darstellte, nicht weiter in der zeitgenössischen Berichterstattung über den Film kommentiert.
[Show full text]
Only Can Save Us
ONLY INDEPENDENCE CAN SAVE US NOW We made this magazine because we’re always looking for new ideas. We made this magazine because we love to share the people, places and innovations from around the world which inspire us. We made this magazine because we like to create things that real people want to spend time with. We made this magazine because we thought you’d find it more interesting than an email newsletter. We made this magazine because we like to market ourselves in the way we’d like to market you. We made this magazine because we believe in independence. INDEPENDENCE. Issue Number 1 of an occasional series ISSUE 1 Created, written and designed by Independents United with the help of some of our more independent friends and partners around the world. Four things struck us putting together this first issue of Independence: Speak to us at +44 (0)20 7748 5208 | Find us at iu-hq.com The first is how much independent creatives and business owners seem to enjoy what they do. In all our interviews – Printed on Cyclus Offset (made from 100% post-consumer waste paper) by Principal Colour in Kent [email protected] whether with the founders of Peppersmith or Sipsmith in our Independent People section starting on p.26, the owners of independent coffee bars featured on p.22, or the music people featured from p.42 – no one mentioned the recession © Independents United Ltd 2010 once, even though these are largely small businesses. The point is not that any of these people are unambitious about the financial success of what they do, it’s just that they have other motivations too, which keep you going even when times are tough.
[Show full text]
BERLIN TRILOGY It Was So Different
the fucking roof, everyone wanted it because BERLIN TRILOGY it was so different. Then came the second In this final part of an Visions Of Shiva single, ‘How Much Can You Take?’, which was even bigger for us, and then interview with film-maker and I asked Paul van Dyk to do a remix for Humate’s label supremo Mark Reeder, ‘Love Stimulation’ as I wanted to give Paul the opportunity to try remixing. That single was legend of Berlin, we take it massive too, and it catapulted Paul into the through the ‘90s to now... stratosphere. “As the decade evolved, trance started to ‘IN 1991, Dimitri Hegemann said, ‘I’ve found become more and more unimaginative and this amazing place, Tresor, it’s an old bank very repetitive — it was almost like music vault of a former department store in the by numbers. You had to have that particular middle of the death strip [the no-mans-land sounding bass drum, that certain synth sound between the Berlin Wall]’. I was thinking of and a colossal snare roll, and I got bored. There something like from a James Bond film, a was no innovation, it was cheesy and treading shiny, steely, gleaming bank vault, but when I over the same old ground. By the end of the saw it it was this horrible, musty, stinking old ‘90s, techno had started to go all minimal and vault full of rusty safety deposit boxes.” intellectual and trance had become tedious. What’s more, both trance and techno were You must’ve made some money out of your losing their dancefloor sexuality.
[Show full text]
New York Paul Van Dyk Boosts New Album with Fifth Annual Central Park Show by Kerri Mason
I_IVE FR0 IVI NEW YORK PAUL VAN DYK BOOSTS NEW ALBUM WITH FIFTH ANNUAL CENTRAL PARK SHOW BY KERRI MASON The retail challenge of dance music has always been the same. The live dance music experience is communal and last for hours, mak- ing it nearly impossible to package and sell. When DJs produce al- bums, they rarely match the electricity oftheir gigs. Fans, therefore, forgo the purchase for a cover charge. IN But Paul Van Dyk, the world's No. 1 DJ (according to U.K. magazine DJ's annual poll), bridges the gap between the retail and live experience. The Ger- man trance specialist is promoting the Aug. 14 release of his sixth album, "In Between" (Mute), to fans on the dancefloor and at home, via a two -night stint in Central Park (Aug. 17 -18). Now in its fifth year, the Central Park gig-promoted by Made Events, with professional sound, lights and lasers -has become a PAUL VAN DYK, with ever -growing tradition. "Three years ago it rained cats and dogs the entire show popularity as a live performer, draws a and everybody stayed," Van Dyk's North American manager Kurosh crowd at a show in 2004. Nasseri says. "That reinforced the notion that this was something special." Made added a second date for the first time last year. Both from »p27 management and marketing. he regained the rights to his back catalog after a longstand- sold out, bringing total attendance to around 10,000. And it is touring that makes him so attractive to ad agency ing dispute with his former German label, MFS.
[Show full text]
Techno in Germany: Its Musical Origins and Cultural Relevance
Techno in Germany: Its Musical Origins and Cultural Relevance David Robb, Belfast ISSN 1470 – 9570 Dave Robb 130 Techno in Germany: Its Musical Origins and Cultural Relevance David Robb, Belfast This article documents the musical evolution of German techno from Kraftwerk to West Bam and Sven Väth and examines the reasons behind techno’s phenomenal success in Germany and its high profile in the media. It charts the convergence of international DJs on the newly reunified Berlin in 1990 culminating in the famous Berlin sound. It looks at how this underground subculture (claimed as the first area in social life where German unification took place) was subsumed by the fashion and musical mainstream. With reference to cultural theory, the article examines, both aesthetically and socially, the significance of club culture and mass youth events such as the Love Parade. It examines the dialectic relationship between the manipulations of the culture industry and the ‘creative appropriation of culture’ by the ravers and DJs themselves. It probes behind the claims of the German techno mainstream to be a model of functioning democracy and tolerance and looks at the aesthetic philosophies of techno rebels such as Attari Teenage Riot, the Fuck/Hate Parade and the music of the Mille Plateaux label as guided by the theory of Deleuze and Guattari. It’s Saturday 21st July, 2001, weekend of the Berlin Love Parade, the biggest annual techno festival in the world. The railway station at Alexanderplatz echoes with the piercing shrill of whistles, as youth from all over Europe converge and head off towards the Reichstag.
[Show full text]
Music(Ology) Needs a Context – Reinterpreting Goa Trance
Music(ology) Needs A Context – Reinterpreting Goa Trance by Yellow Peril/Sebastian Chan1998. Also published in PERFECT BEAT Vol3, No4, January 1998. While much recent work in musicology has at least acknowledged som eof the complex extra-textual elements of contempoary music (see for instance, the writings of Susan McClary and Robert Walser), there is still a strong tendency, particularly in the study of certain musical genres, for musiocological analyses to reduce often vibrant musics to lifeless corpses fit for autopsy. This tendency produces analyses whcih are, at best, aprtial and often significantly skewed (and thereby misleading). As this short 'riff' will arguie, Cole and Hannan's study Goa Trance (Perfect Beat vol 3, no 3, July 1997) illustrates precisely these limitations with regard to its notional subject of analysis, the phenomenon of Goa trance music, its associated subcultural milieu, its habitues and its myths of origin. Firstly, Cole And Hannan neglect the contexts in which the music they dissect is produced, circulated, consumed and given meaning to. Second, they fail to critically analyse their primary sources in a study that seems to take the words of local deejays, musicians, Internet sources (and the totally unrelated and subculturally inappropriate ‘glossy’ music magazine J-Mag), at face value1. Thirdly their musicological dissection of ‘Goa trance’, draws on only mass market compilations as source material which is extremely unrepresentative of the music culture as a whole. On the other-hand, their brief discussion of the effects of specific technologies such as particular sequencing software on the musical styles and sounds produced is a highlight of their paper.
[Show full text]
Punk, 'Endzeit' and Gothic in The
From London to Leipzig and Back (Post-)Punk, ‘Endzeit’ and Gothic in the GDR by MARLENE SCHRIJNDERS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham May 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis investigates Goth culture (in the widest sense, including Post-Punk, New Wave, and New Romantic scenes, genres and styles) in the GDR between 1983 and 1989/1990 from state and participants perspectives. Drawing on the major works within Gothic, subculture, and postmodern theory, this thesis explores the ‘subcultural capital’ of the pluriform, multi-scene East German Goth culture in official state documents and in ‘subcultural micro-media’ to answer the key question how Goth scenes were represented by different participants and political actors. Participants are considered as agents whose ‘spectacular style’ brought them in conflict with society and authority, and who performed different politics of representation which varied between self-marginalisation and demystification, and between isolation and ‘liberalisation through negotiation’.
[Show full text]
Unveröffentlichter Remix Von Sweetest Perfection Auf Neuem Mark Reeder-Album | D
Unveröffentlichter Remix von Sweetest Perfection auf neuem Mark Reeder-Album | d... Page 1 of 3 IMPRESSUM | WERBUNG | RSS-FEEDS | TWITTER HOME N EW S TOUR 09/10 ELECTRO-NEWS www.reloopdj.com BAND DISKOGRAFIE Album für Septembe r g eplant DM-SHOP Unveröffentlichter Remix von Sweetest Twitter TEXTE Perfection auf neuem Mark Reeder- PARTYS Album FORUM 18. Juli 2011 von S ve n Plagge meie r 45 Ko mme ntare Go og le -Anzeig en Gefällt mir 14 1 DJ Music Techno Music Im September erscheint ein neues Album von Mark Reeder mit einer Sammlung alter und neuer House DJ Remixes, die er für Künstler wie Pet Shop Boys, Anne Clark, John Foxx, Marsheaux, Tote Hosen, Noblesse Oblige, Blank & Jones, Spartak, Echoes und viele mehr angefertigt hat. Die Compilation ist für Depeche Mode-Fans besonders interessant, denn sie wird auch einen bisher unveröffentlichten www.shop.puma.de Remix von Sweetest Perfection enthalten, wie uns Mark vorab mitteilte. Mark Reeder, der in Berlin lebt und lange Zeit unter seinem Label MFS (Masterminded For Success) elektronische Musik vertrieben hat – u.a. entdeckte er den bekannten Techno-DJ Paul von Dyk -, ist vor allem für seinen Retro-Modern-Synthrock-Sound bekannt. Wer sich darunter nichts vorstellen kann, sollte sich auf Marks Myspace-Seite den Schwarzwald-Mix von The Forest (The Cure) anhören. In die gleiche Richtung wird sich auch der Remix von Sweetest Perfection bewegen, soviel wollte uns Mark schon Unters tütze einmal verraten. Der Song zählt zu seinen Lieblingsstücken von Depeche Unterstütze uns mit einem Einkauf über Mode. unserer Partner hilft uns, die Seite zu betreiben.
[Show full text]
Record Store Day 2014 Komplettliste (Stand: 24.03.)
Record Store Day 2014 Komplettliste (Stand: 24.03.) Indigo A- Art.Nr. Artist Titel Label EAN Information Vertriebs- recht Vinyl Only, 180g, Downloadcode - the debut album from Niger’s Tuareg sensation BOMBINO. This is Tuareg music in its most pure and LP 986541 BOMBINO Agamgam Glitterbeat 4030433601310 Nein unadulterated form. The album has previously only been available as a digital download. White Vinyl, 45rpm, ltd - A1: MOEBIUS / NEUMEIER / ENGLER: Wohlauf (Maxi Version) B1: SCHNEIDER TM: WFMU Stream Test The track “Wohlauf (Maxi Version)” is an unreleased version taken from the project “Other Places” by musicians Dieter Moebius (vital protagonist of the MOEBIUS/NEUMEIER MOEBIUS/NEUMEIER/ENGLER/SCHNEIDER Krautrock / avant-garde scene i.e. Kluster, Cluster, Harmonia since the late MS 987376 /ENGLER/SCHNEIDE Bureau B 4047179873765 Ja TM 1960s), Krautrock stalwart and Guru Guru drummer Mani Neumeier and R TM J rgen Engler (from the epicentre of Germany’s Post Punk scene as a member of Male and later head of steel machine musicians Die Krupps). “WFMÜ Stream Test” is a new track by Dirk Dresselhaus a.k.a. Schneider TM (electronic pioneer involved in countless music, film, radio and various other sound projects) White Vinyl, 45rpm, ltd - A1: KREIDLER: Snowblind, A2: Escaped, B1: AUTOMAT: Berlin Wall (Feat. Genesis Breyer P-Orridge) – MTY – CUL, B2: AUTOMAT: MTY, B3: CUL 2014 sees the 20th anniversary of German electronic pioneers Kreidler. We are celebrating with a tour, a movie by Heinz Emigholz and new album release “ABC” (which has been recorded in Tbilisi, Georgia. Featured here MS 987386 KREIDLER/AUTOMAT KREIDLER/AUTOMAT Bureau B 4047179873864 ja is two unreleased outtakes from the album session.
[Show full text]
Felix Issue 1131, 1999
26 issue April 1999 1142 KEEP THE CAT FREE EST. 1949 The Students' Newspaper at Imperial College Success for IC's Second Ball The summer ball is definitely going ahead the day before IC's, on Thursday 24 June. at Alexandra Palace on Friday 25 June. The By Ed Sexton Wade Gayed, ICSM president, was insistent decision to confirm the event was taken that he did support the IC ball, but was despite the sponsorship problems the ball to the Alumni Office, under the guidance assuming 1500 tickets are sold (generating mindful that there arc "strong feelings for has been facing, leaving the summer ball of Clive Oakley, with £3000 to £5000 now just over £80,000). The Union has under• a separate ball in ICSM". Although sup• committee with the daunting but accom• looking like an achievable amount of written the event, meaning that any short• portive of the idea of a combined ball, he plishable task of acquiring funds for the ball money from old Imperial students. Approx• fall will have to met from the Union's felt that the medical merger was not long this term. David Hellard, ICU President, imately £2000 in sponsorship was also reserve funds, "tickets arc £10 more than enough ago to stage such an event; "one has welcomed the news, assuring stu• obtained over Easter. College, however, last year, costing £55 for students. Nick Grif• year is too soon to expect a single ball... no dents that "anyone who goes will love it." have been less forthcoming. Nick Griffith, fith justified the increase by explaining the medics are going lo IC's ball, except first years".
[Show full text]