Babe Rainbow – Shaved EP (Warp)

Ohne Namensangabe kommt dieser Kanadier daher und verstört mit wunderschönen Basskaskaden und düsterem Flair die Hörnerven. Wie aus einem frühen Film von Aronofsky, in dem die Paranoia irre Blüten treibt, fühlt sich dieser Sound an. Weniger weich als Burial, aber ähnlich filigran und tiefgehend. Mit gleich sieben Tunes sein Geld definitiv wert. Für die Bilder im Kopf sind Substanzen hier überflüssig. Damit wär dann auch alles gesagt in dem Fall.
tobi

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The Dark Side of the Meat – s/t (Spontan Musik / SMV014)

The Dark Side of the Meat ist ein weiteres Projekt des Mainzers Tim Keiling aka Erdbeerschnitzel, bei dem er seine glitchy/wonky HipHop-Seite auslebt. Im Unterschied zum Sound eines Hudson Mohawkes beispielsweise, ist dies mit viel weniger 80er-Kitsch und Japanüberdrehtheit verbunden, auch wenn das Coverfoto so schön nach Grundschule 1987 aussieht. Aber wer das Spontan-Universum kennt, weiß, dass es dort neben aller Perfektion auch ziemlich spaßig zugeht und das vor allem Abgedrehtheit im Sounddesign bedeutet, was sich allein an Titeln wie “Lactose Massacre” oder “Chesthair Panorama” verdeutlicht. Und ja, bei der Klangbeschreibung bin ich überfordert. Hört es oft an. Immer wieder überraschend alles. Das klingt super.

BTH
http://spontan-musik.de/

The Black Dog: Music For Real Airports

Flughäfen sind mehr als CO2-Abschussrampen. Sie sind autarke Mikrokosmen, Überbleibsel strenger Utopien einer besseren Welt, die letzten Fenster hinein in einen Futurismus, den es nur noch in der Science-Fiction-Literatur gibt. Brian Eno wollte 1978 mit “Music For Airports” der straffen, zukunftsgewandten Architektur und dem hektischen Treiben der Stadt vor der Stadt ein menschliches Antlitz geben, um die Utopie der schönen neuen Welt vor dem dystopischen Chaos zu bewahren. 32 Jahre später entwerfen The Black Dog mit “Music For Real Airports” einen düsteren Nachfolger. Enos Wohlklang wird mit zeitgenössischer elektronischer Musik konterkariert, dem aktuell gültigen Soundtrack der Zukunft. Damit stellen die Musiker einiges klar und richtig. Der Futurismus hat seinen Glanz verloren und der moloch-artige Kern unserer Transit-Hubs wird an die Oberfläche der Wahrnehmung gespült. Zwischen Romantik und Terror, Aufbruchsstimmung und gelebter Angst reihen wir uns ein in die Warteschlangen.

“Music For Real Airports” ist auf Soma/Rough Trade erschienen.
www.theblackdogma.com

Tres feat. Frank Lorber – Uno Dos (Cocoon Recordings / 071)

Hitzig und plockernd, aber irgendwie auf seine Art dann doch mit einem Hauch zuwenig Ideen tuckert “Uno” sehr gut los, lässt den Dancefloor aber mit sich alleine und das etwas latinmässigere “Dos” hat zumindest in den Vocals überzeugend süssliche Momente, die ihm den Sommerhitstatus auf Ibiza sichern werden.
bleed

Cocoon

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Basic Soul Unit – Jak’d Freq (A Made Up Sound Remixes) (Creme / 1247-R)

Einmal hakelig technoid, einmal klar und deutlich versteppt, remixt Dave Huismans hier den großen Track von Basic Soul Unit, ein Stück Vinyl, das man unbedingt zu Hause braucht. Schwer verbollert, irritierend leergeräumt und immer wieder auf den Donk der Zeit. Im zweiten Remix schlägt dann alles in oldschooliges Acid-Gebolze um: Das könnte jeden Tag so sein.
thaddi
http://www.clone.nl

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A Better Tomorrow 142

Wenn die schiefe Bahn zum Teufelskreis gerät, springt früher oder später auch die Nachhaltigkeitsampel auf Rot und dann haben wir den Salat. Eingefleischte Veganer mögen das witzig finden, der normale Mensch aber bestimmt nicht, jedenfalls solange er noch einen Funken Anstand im verkommenen Leib hat. Der normale, anständige Mensch kennt nämlich seine Pappenheimer und deshalb weiß er auch ganz genau, dass sogar der normalste und anständigste Mensch ohne sein Currywurst-Sorbet ganz schnell zum Prügelbischof wird. Wie das ausgeht, möchte man sich als normaler, anständiger Mensch ja eigentlich gar nicht vorstellen. Ist sowieso immer die selbe Leier. Erst wird ein bisschen rumgebrüllt, dann kriegt Feinstaubdieter eine reingesemmelt und am Ende lässt die schweigende Mehrheit die Fäuste sprechen.

Am nächsten Tag steht dann in der Zeitung: “Merkel bedauert tote Afghanen”, der Prügelbischof rudert peinlich berührt zurück und der normale, anständige Mensch schiebt Ausländern die Schuld in die Schuhe, was ja immer hervorragend klappt, weil Ausländer dauernd ihre Schuhe ausziehen, um ihren Terror anzubeten, und derweil stehen ihre Schuhe unbeobachtet vor der Moschee. Der Muselmann ist abgelenkt, der Pöbel macht sich an den verwaisten Schuhen zu schaffen und das Fernsehen ist auch da: Was haben sie eigentlich gegen Ausländer? Blöde Frage: “Sie machen sich unbeliebt. Sie sind kriminell. Sie nehmen uns die Jobs weg. Ich mag sie nicht.” Terrorpupsi auf großer Fahrt und das alles nur wegen ein bisschen lausigem Salat. Wie bitte? Lausig? Schön wär‘s! Dann hätte der Fraß ja wenigstens ein paar Proteine!

So oder so, die Sache mit dem Salat ist eine unappetitliche Angelegenheit und es wird immer schlimmer: Wissenschaftler haben nämlich erst neulich rausgefunden, dass auch größere Mengen Obst und Gemüse gegen Krebs nichts nützen. Im besten Fall können zwei zusätzliche Portionen Obst und Gemüse 2,6 Prozent der Krebserkrankungen bei Männern und 2,3 Prozent bei Frauen verhindern. Da kommt auch der eingefleischteste Veganer ins Schwitzen, jetzt herrscht Stress pur im Stau vor der roten Nachhaltigkeitsampel und weit und breit kein Delfintherapieangebot, um die Mütchen der Prügelbischöfe zu kühlen, wofür wir uns dann schon wieder bei den Wissenschaftlern bedanken können, die ihre Nase aber auch wirklich überall reinstecken müssen. Dabei haben sie jetzt zu allem Überfluss auch noch entdeckt, dass der planschende Mensch den Delfinen ordentlich Stress bereitet: Sobald Erholung suchende Menschen ins Becken steigen, ändern die Delfine nämlich ihr Verhalten radikal und sie verfallen in eine Art Diskomodus: Die Ruhezeit der Tiere sinkt von 38 auf 10 Prozent, Nahrungssuche und Nachwuchspflege werden vernachlässigt, dafür wird das Herumschwimmen zur dominanten Aktivität, für die nun 77 statt 33 Prozent der Meeressäugerzeit drauf geht.

Von der Bar auf die Tanzfläche zu den Toiletten und zurück. Auschecken, was geht. Da kommt der normale Mensch natürlich gar nicht mehr mit. Als ob es nicht schon genug Junkies gäbe, heutzutage, sogar in der Arbeitswelt vermehren sie sich wie die Karnickel. Die Arbeitswelt ist nämlich auch keine heile mehr, sondern vielmehr ein besonders gefährliches Pflaster, auf dem auch der frommste Prügelbischof ruckzuck ausrutscht und mit wehender Soutane lang hinschlägt. Denn in der Arbeitswelt steigt die Gefahr, zum Workaholic zu werden, fast täglich, und sie nimmt auch noch immer schlimmere Formen an: “Manche Arbeitssüchtige können vor lauter Stress kaum noch arbeiten und versuchen ständig, sich von etwas zu erholen, das sie noch nicht getan haben”, erläutert der Arbeitsweltexperte.

Um Müdigkeit und Schlafbedürfnis des Körpers zu überwinden, putschen sich Arbeitssüchtige mit ihrer Arbeit auf, die wie eine Droge wirken kann, womit dann – und jetzt kommt wirklich der perfide Tiefpunkt – Unternehmer zum Dealer für Arbeitssüchtige werden. Statt einem Gehalt gibt es nur noch Verdienstersatzsirup, der leider nicht konvertierbar ist, weshalb die Arbeitssüchtigen ihn selbst weglecken dürfen. In der Praxis wird der Verdienstersatzsirup aber dann meistens doch ans Sofa geschmiert, schmeckt nämlich echt scheiße. Für ein besseres Morgen: Kein Update für Hitlers willige Smartphones! Ansonsten: Ohrfeigensteuer abdrücken, Maul halten und weiter shoppen.

Stickroth / Zittrich – Backtalk / Tournesol (Meerestief / 027)

Der Track von Daniela Stickroth hat einen solchen Dubtechnofundamentalhammeraspekt, dass man wirklich von der ersten Sekunde an in Ehrfurcht erstarrt. Tiefe aus dem melodischen Nichts und einer so reduzierten Soundwelt zu zaubern, hat immer was. Der Wacker-Und-Zittrich-Track führt die Stimmung auf dem pulsierenderen Track der EP dann fort, und damit gehört die Platte definitiv zu den Highlights der diesjährigen Dubproduktion. Oldschool, aber mit einer extrem resoluten Klarheit.
bleed
http://www.meerestief.com

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Savas Pascalidis & Joel Alter – Siren (Sweatshop / 005)

Die beiden passen wirklich gut zusammen. “Siren” ist einer dieser locker swingenden New-York-House-Tracks mit magischem Grundthema, über das sich immer mehr die sirenenhaften Vocals ausbreiten und die Sounds langsam immer breiter moduliert werden. Ein Hit, der sich ganz ruhig anschleicht und irgendwann mit seiner von innen glühenden Energie in Zeitlupe explodiert. “Moirae” ist noch swingender, offener im Sound und flirrt mit einer ebenso sicheren Harmonie in die Weite des Raums, in der sich die Sounds immer mehr auffächern. Dazu kommt noch ein Edit von Joel Alter, der den Floor etwas direkter angeht und ganz von den für ihn typischen langsamen Verschiebungen der Tonalitäten lebt. Sehr schönes, extrem lockeres und ruhiges, aber intensives Release.
bleed
http://www.sweatshop-records.com

BP-Öldesaster: Blue Screen of Death schuld?

Foto: Refracted Moments

Ist am Ende Microsoft schuld an der BP-Ölkatastrophe im Golf von Mexiko?

Im Rahmen der Untersuchung (…) kam nun heraus, dass ein solcher Totalabsturz möglicherweise eine Rolle beim Untergang der Bohrstation “Deepwater Horizon” spielte. Wie Michael Williams, Chefelektroniker der Station Ende (..) aussagte, kam es bei einer der Maschinen, die das Bohrequipment kontrollierte, schon seit Monaten regelmäßig zu BSODs (Blue Screen of Death). “Die Maschine wurde einfach blau. Man bekam keine Daten mehr durch.”

Wirklich schockierend an dieser Aussage ist ja, dass es offensichtlich gang und gäbe ist, Bohrtechnik mittels Windows-Rechner zu steuern. Jessas.

[via]

Oleg Poliakov – Rescue Me (Splendid Lofi / 005)

Schnippisch funkige kleine Grooves, warme kurze hallige Orgeln, fluffig durch den Raum perlende Bässe, ein perfektes Gefühl für den Soul der Tracks an genau den richtigen Stellen, unerwartete Breaks, ein Fest für all die, die lockere, aber durchdachte und extrem präzise vielseitige Housemusik lieben. Sommerplatte durch und durch.
bleed

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Die Prepp-Serie

All-Time-Favourite: Phineas, A Separate Peace

Die Reporter von der New York Times stolzieren mal wieder die von der De:Bug mühsam angelegten Trampelpfade breit. Es werden stolze Alleen, was wunderschöne Boulevards waren. Keine Ahnung, jedenfalls, wo wir längst rufen: Preppy muss weg! konstatieren die New Yorker gerade mal: Preppy is back!

Die Kollegen von Flavorwire haben direkt reagiert und eine Top-40-Liste der kulturell relevantesten Preppies des Universums erstellt. Auf der 1 ist Zack Morris, werauchimmer. Auf der 2 Vampire Weekend. Platz 3 bekommt The Heathers, eine Komödie aus Ende der 80er mit Winona Ryder und Brenda. Man merkt vor allem, die Listenhersteller haben in den 80ern gerne Privatfernsehen geschaut.

Tolles Beispiel etwa auf der 5: Carlton Banks (Alfonso Ribeiro), The Fresh Prince of Bel-Air

Die üblichen Verdächtigen: The Dead Poets Society kids und auf der 16: Gordon Gekko in Wall Street

Wer neben Don Draper aus Mad Men und Patrick Bateman aus American Psycho noch das Prädikat kulturell wertvoller Prepp umgehängt bekommen hat, seht ihr hier.

Djebali – Sorry I Missed The Sky (Freak’n'Chic / FNC50)

“Sorry I missed the sky” ist die mittlerweile dritte Veröffentlichung von Djebali bei Freak’n'Chic. Die Ironie im Titel weist die Richtung. Deep-House soll es sein, leicht, beschwingt, mit der Sonne im Herzen. “Elastik Hour” macht sehr schön vor, wie ein Housetrack klingen soll, der auf Melodie wert legt, ohne dabei ins Kitschige abzudriften. Brechstangen-Happiness klingt anders. Trotzdem ist mir das doch zuviel Strings und Vogelgezwitscher im Hintergrund. Ein guter Track sicher, aber ernsthaft Erinnerungen wecken ist nicht wirklich drin – gerade auch, wenn beide Tracks ausschließlich an Hardware-Geräten entstanden sind. Die B-Seite mit “Comes Again” ist vom selben Schlag und reißt deswegen auch nichts mehr raus. Schön, aber nicht herausragend.
giant steps

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Vernon and Burns – The Light at the End of the Dial (Gagarin Records / GR 2023)

Die beiden Klangkünstler Vernon & Burns hören vielleicht nicht das Gras wachsen, ihre Ohren sind aber fein genug, um das Absurde im Beiläufigen punktgenau zu registrieren. Wirklich viel passiert in diesen kurzen Stücken nicht, doch reichen die paar Klänge, mit denen sie operieren, locker aus, um Szenen zu hinzutupfen, in denen das Komische nicht weit vom Unheimlichen liegt. Mit ihren diskret absurden Collagen sind sie auf Felix Kubins Label Gagarin Records daher bestens aufgehoben. Wenn’s gerade passt, haben sie auch vor echten Melodien keine Angst und schaffen es sogar, eine fast hundert Jahre alte Music-Hall-Nummer beunruhigend aktuell klingen zu lassen (“Naughty Boy“). Ein sehr schöner Beweis dafür, dass sich Field Recordings und Samples überzeugend mit Humor paaren lassen, ohne albern werden zu müssen.
tcb
http://gagarinrecords.com

Robert Babicz – Immortal Changes (Systematic)

“Come Closer” ist hier das einzige Original mit seinen warmen brummigen Chords und der Harmoniesucht, die sich immer anbietet, wenn man eine Sommerhymne für den Floor braucht. Babicz in housigster Stimmung und mit so offenem Herzen wie schon ewig nicht. Das Kollektiv Turmstrasse macht einen etwas zu knuffigen Minimalremix, in dem es zwar sanft glüht, der aber doch an das Original bei weitem nicht ranreicht, während Gorge “Chordy” einen extrem klassischen Housegroove mit etwas viel jazzigem Saxophon verpasst, und Maetrik sich ein wenig in der Schönheit der eigenen Dubs verliert.
bleed
http://www.systematic-recordings.com

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Mark Broom, Edit Select – Squigg/Obstat (Beard Man / 04)

Eher was für für den Keller, klar. Mark Brooms Track stampft völlig unbeirrbar, mit ganz massiver Basseline und ein paar Synthies, in denen noch die Erinnerung an Trance mitklingt. Dann kommen die Obertöne, und auf einmal beginnt dieser dunkle Koloss von Track zu schweben: Totale Techno-Magie, wie manchmal bei PomPom. Edit_Selects Beitrag auf der B-Seite hat etwas weniger Strahlkraft, dafür noch mehr Hypnosepotential. Keine klare Produktion, lieber überall ein bisschen Nebelschleier drüber. Ganz weit hinten ein melodisches Loop in den Raum hängen und abwarten. Früher hätte das “Deep Space Mix” geheißen. Wahnsinn: Wie der Track gegen Ende fast stehen bleibt.

blumberg

Vernon and DaCosta – Whispers EP (Readymade / 003)

Der Titeltrack hat einen dieser zitternd schummrigen Akkorde als Basis und zieht mit seinem souligen Vocal perfekte Kreise rings um das Thema, das sich langsam immer mehr in ein vertrackt souliges Housemonster verwandelt. Der Vernon Mix setzt mehr auf Percussion und Talkingdrums im Groove und versucht den Titel des Tracks auch musikalisch zum Thema zu machen, was vermutlich in den frühen Morgenstunden am besten kommen dürfte. Der zweite Track wirkt duch ähnlich verfiltert verschliffene Sounds und den etwas discoideren Ansatz direkter, bleibt aber dennoch verdammt smooth und Kreans Waxoffsky-Mix bringt dem etwas zarte Funkflausen bei. Sympathische Platte.
bleed

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V.A. – Kitsuné X Ponystep Compilation

Dario Zenker – Insider (Time To Express)

Bollernd, dunkel, schwergewichtig, mit vertrackten Sequenzen, die einen wirklich auf einen Dancefloor entführen, in dem Detroit noch von einer ganz rohen Seite wiederentdeckt werden kann. Extrem analoges Gefühl in jedem Sound und jeder langsamen Modulation, dem Schliddern der Grooves und dem abenteuerlichen Break sowie der überbordenen Basssequenzen. Locker, aber auf seine Weise auch aus einer Tiefe hervorpushend, die selten ist. Der PVH-Remix ist ein ziemlich abenteuerliches Dubmeisterwerk ganz eigener Klasse.
bleed

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Silizium auf Perser-RipOff

Vorbauen für schlechte Zeiten. Dieser junge Mann sammelt CPUs. Und zwar sehr gewissenhaft. Hier eine Liste seines Inventars

Intel

4004

P4004, 5136W, PHILIPPINES, PDIP-16.

8085

D8085AH, PHILIPPINES, 1982, CDIP-40.
P8085AH, MALAYSIA, 1985, PDIP-40.
P8085AH-2, MALAYSIA, 1976, PDIP-40.

8086

D8086-1, MALAY, 1978, CDIP-40.
D8086-2, MALAYSIA, 1978-1979, CDIP-40.

8087

D8087, MALAY, CET 19, 1980-1984, CDIP-40.
C8087, MALAYSIA, ADN, 1980-1984, (Gold Cap), CDIP-40.
D8087-2, MALAY, QEO 939, 1980, CDIP-40.
C8087-2, MALAY, CEP 17, 1980-1984, (Gold Cap), CDIP-40.
C8087-6, USA, S40302, 1980-1981, (Gold Cap), CDIP-40.

8088

P8088, PHILIPPINES, 1978-1981, PDIP-40.

80186

R80186, MALAY, 1978-1982, (white print), CLCC-68.
N80C186XL12, MALAY, 1978-1982, PLCC-68.

80188

N80188, MALAY, 1978-1982, PLCC-68.

80286

CG80286-6 B-2, MALAYSIA, S54012, 1983, CPGA-68.
CG80286-8, MALAY, S54103, 1986, CPGA-68.
R80286-8, MALAY, 1980–1982, CLCC-68.
R80286-10, MALAY, 1980–1982, CLCC-68.
N80286-10, MALAY, E66, 1982–1985, PLCC-68.
N80286-12, MALAY, B49, 1982–1985, PLCC-68.

80287

C80287-3, MALAY, 1985, (Gold Cap), CDIP-40.
C80287XL, MALAY, 1980-1986, (Gold Cap), CDIP-40.
C80287XL, i287XL, intel logo, MALAY, 1980-1986, (Gold Cap), CDIP-40.
D80287-6, MALAY, 1990, CDIP-40.
D80287-8, MALAY, AEA, 1983-1984, CDIP-40.
D80287-10, MALAY, QEM 008, 1980-1982, CDIP-40.
D80287-10, MALAY, QEM 005, 1980-1982, (white print), CDIP-40.

80386

A80386-16, MALAY, S40344, L8150556, Sigma Sigma, 1985-1986, CPGA-132.
A80386DX-20, MALAY, L8410472, Sigma Sigma, 1985-1986, CPGA-132.
A80386DX-20 IV, MALAY, SX217, Sigma Sigma, 1985, CPGA-132.
A80386DX-20 IV, MALAY, SX217, 1985, CPGA-132.
A80386DX-25 IV, MALAY, SX218, 1985, CPGA-132.
A80386DX-33 IV, MALAY, SX211, Sigma Sigma, 1985, CPGA-132.
A80386DX-33 IV, KOREA, SX366, 1985, CPGA-132.
A80386DX-33 IV, MALAY, SX544, 1985–1987, CPGA-132.
NG80386SX-16, SX711, 1985–1987, PQFP-100.
NG80386SX-20, 1985–1987, PQFP-100.
NG80386SX-20, SX317, 1985–1987, PQFP-100.
NG80386SX-20, C STEP, 1985–1987, PQFP-100.
NG80386SX-33, SX702, 1985–1987, PQFP-100.
KD80386SX40, MALAY, SA, 1985-1991, PQFP-100.
NG80386DX-33, SX692, 1985-1987, PQFP-132.

80387

N80387SX (16-25MHZ), A4, 1986, PLCC-68.
N80387SX–20, A4, SZ369, 1986, PLCC-68.
N80387SX–33, A4, 1986, PLCC-68.
A80387DX-20, MALAY, SX105, 1986, CPGA-68.
A80387DX-16-33, KOREA, D0 1986–1988, CPGA-68.

RapidCAD

RAPIDCAD-1, USA, SZ624, 1989-1991, CPGA-132.
RAPIDCAD-2, MALAY, SZ625, 1999, CPGA-68.

80486

A80486SX-25, SX411, 1989, CPGA-168.
A80486SX-25, MALAY, SX679, 1989, CPGA-168.
A80486SX-25, MALAY, SX930, 1989-1992, CPGA-168.
A80486SX-25, MALAY, SX798, 1989-1992, CPGA-168.
A80486SX-33, MALAY, SX797, 1989-1992, CPGA-168.
A80486SX-33, MALAY, SX789, 1989-1992, CPGA-168.
A80486DX-25, USA, SX328, 1989, CPGA-168.
A80486DX-33, USA, SX419, 1989, CPGA-168.
A80486DX-33, MALAY, SX729, 1989, CPGA-168.
A80486DX-33, A4, SX810, 1989-1992, CPGA-168.
A80486DX-50, A4, SX546, 1989, CPGA-168.
A80486DX-50, A4, SX710, 1989, CPGA-168.
A80486DX2-50, A4, SX641, 1989, CPGA-168.
A80486DX2-50, A4, SX808, 1989-1992, CPGA-168.
A80486DX2-66, A4, SX645, 1989, CPGA-168.
A80486DX2-66, A4, SX762, 1989, CPGA-168.
A80486DX2-66, MALAY, SX955, i66, 1989-1993, CPGA-168.
A80486DX2-66, A4, SX911, i66, 1989-1992, CPGA-168.
A80486DX2-66, A4, SX807, 1989-1992, CPGA-168.
A80486DX4-75, A4, SK047, 1989–1993, CPGA-168.
A80486DX4-100, A4, SX900, 1989–1993, CPGA-168.
A80486DX4-100, MALAY, SK051, 1989–1993, CPGA-168.
A80486DX4-100, MALAY, SK096, 1989–1994, CPGA-168.
FC80486DX4-75, SK052, 3 VOLT, 1989-1993, QFP-208.
FC80486DX4-100, SX876, 3 VOLT, 1989-1993, QFP-208.
KU80486SX-25, SX673, 1989, PQFP-196.
KU80486SX-25, SX683, 1989, PQFP-196.
SB80486DX2-50, SX825, 1989-1992, PQFP-208.

OverDrive

DX2ODP50, L5131838, MALAY, SZ932, V4.0, 1989–1992, CPGA-168.
DX2ODPR66, C5039641, A4, SZ935, V4.0, 1989–1992, CPGA-168.
DX4ODPR75, C6150919, A4, SU003, V1.1, 1989-1993, CPGA-168.
DX4ODPR100, C5300733, A4, SZ959, V1.1, 1989-1993, CPGA-168.
PODP5V63, C5251061, A4, SZ990, V1.1, 1992-1994, (without heatsink), CPGA-237.
PODP5V83, C537245W-0970, A4, SU014, V2.1, 1992-1994, CPGA-237.
PODPMT60X150, L7234084-0973, W/ MMX TECH, MALAY, SL24V, V1.1, 1992-1995, CPGA-320.
PODPMT66X166, L8172275-0887, W/ MMX TECH, MALAY, SL2KB, V2.1, 1992-1995, CPGA-320.

Pentium

A80501-60, MALAY, SX835, 1992, (Gold Cap), CPGA-273.
A80501-60, MALAY, SX948, 1992, (Gold Cap), CPGA-273.
A80502-75, MALAY, SX961, 1992-1993, (Gold Cap), CPGA-296.
A80502-75, MALAY, SX969, 1992-1993, CPGA-296.
A8050275, (mobile), A4, SK122, iPP, 1992–1993, CPGA-296.
A8050275, PHILIPPINES, SX969/SSS, i75, 1992–1993, CPGA-296.
A80502-90, A4, SX879, 1992–1993, (Gold Cap), CPGA-296.
A80502-90, A4, SX968, iPP, 1992–1993, CPGA-296.
A80502-90, MALAY, ES, SX968, iPP, 1992–1993, CPGA-296.
A80502-100, MALAY, SX886, 1992–1993, (Gold Cap), CPGA-296.
A80502-100, SX963, 1992–1993, CPGA-296.
A80502100, PHILIPPINES, SY007, iPP, 1992–1993, CPGA-296.
BP80502100, MALAY, SU099, iPP, 1992–1993, CPGA-296.
A80502120, MALAY, SY062/SSS, iPP, 1992–1993, CPGA-296.
A80502120, (mobile), A4, SY027, iMPP, 1992–1993, CPGA-296.
A80502-120, MALAY, SX994/VMU, iPP, 1992–1993, CPGA-296.
A80502-120, SY033, iPP, 1992–1993, CPGA-296.
A80502133, A4, SY022/SSS, iPP, 1992–1993, CPGA-296.
BP80502133, MALAY, SL25L, iPP, 1992–1993, CPGA-296.
BP80502133, MALAY, SU073/SSS, i133, 1992–1993, CPGA-296.
BP80502-133, MALAY, SU038/SSS, iPP, 1992–1993, CPGA-296.
BP80502150, MALAY, SU071/SSS, iPP, 1992–1993, CPGA-296.
A80502150, A4, SY015, iPP, 1992–1993, CPGA-296.
BP80502166, MALAY, iPP, SU072, 1992-1993, CPGA-296.
A80502166, SY016, iPP, 1992–1993, CPGA-296.
FV80502166, A4, SY037/VSU, i166, 1992–1993, CPGA-296.
FV80502200, A4, SL24Q/VSU, i200, 1992-1993, CPGA-296.
FV80502200, A4, SY045/VSU, i200, 1992-1993, CPGA-296.
TT80502-75, SX975, 1992-1993, TCP-320.
PP120, (mobile), Y021, 1992 -1993, on cpu board.

Pentium MMX

BP80503166, MALAY, SL23X, iPP, 1992–1995.
BP80503166, MALAY, SL2HU, iPP, 1992–1995.
FV80503166, MALAY, SL27H, 1992–1995.
FV80503166, A4, SY059, 1992–1995.
A80503166, PHILIPPINES, SL27K, iPP, 1992–1995.
A80503166, PHILIPPINES, SL239, iPP, 1992–1995.
BP80503200, MALAY, SL2S9, iPP, 1992–1995.
BP80503200, MALAY, SL23W, 1992–1995.
BP80503200, MALAY, SL25N, 1992–1995.
A80503200, PHILIPPINES, SL2RY, iPP, 1992–1995.
FV80503200, MALAY, SY060, 1992–1995.
FV80503200, A4, SL27J, 1992–1995.
FV80503233, MALAY, SL27S, 1992–1995.
BP80503233, MALAY, SL293, 1992–1995.
TT80503166, Intel Mobile Pentium MMX, SL26T, 1992-1995.
TT233, Intel Mobile Pentium MMX, SL28Q, 1992-1995.

Pentium PRO

KB80521EX180 256K, MALAY, SL22U, 1994–1996, CPGA-387.
KB80521EX180 256K, MALAY, SL22S, 1994–1996, CPGA-387.
KB80521EX200 256K, MALAY, SL22V, 1994–1996, CPGA-387.
KB80521EX200 256K, MALAY, SL254, 1994–1996, CPGA-387 (on IBM server).
KB80521EX200 256K, MALAY, SY032, 1994–1995, CPGA-387.
KB80521EX200 512K, MALAY, SL22Z, 1994–1996, CPGA-387.

Pentium II

80522PX233512, MALAY, SL2HD, 1997, Klamath, Slot 1.
80522PX266512, IRELAND, SL2HC, 1996, Klamath, Slot 1.
80522PX300512EC, IRELAND, SL2HA, 1996, Klamath, Slot 1.
80523PY350512, PHILIPPINES, SL2S6, 1996, Klamath, Slot 1.

B80523P266512E, MALAY, SL33D, 1998, Deschutes, Slot 1.
B80523P333512E, MALAY, SL2WY, 1998, Deschutes, Slot 1.
350/512/100/2.0V, S1, L9084167-1300, PHILIPPINES, SL356, 1997, Deschutes, Slot 1.
400/512/100/2.0V, S1, MALAY, SL37G, 1997, Deschutes, Slot 1.
400/512/100/2.0V, S1, COSTA RICA, SL357, 1997, Deschutes, Slot 1.
400/512/100/2.0V, S1, IRELAND, SL3D5, 1997, Deschutes, Slot 1.
B80523P450512E, MALAY, SL2WB, 1998, Deschutes, Slot 1.

Mobile Pentium II 300 MHz, 512 Kb, MMC-1, SL2UL.
Mobile Pentium II 400 MHz, 400/256, SL3BW, 1999, Micro-PGA.

Pentium III

450/512/100/2.0V, S1, MALAY, SL364, 1998, Katmai, Slot 1.
450/512/100/2.0V, S1, PHILIPPINES, SL35D, 1998, Katmai, Slot 1.
500/512/100/2.0V, S1, MALAY, SL365, 1998, Katmai, Slot 1.
550/512/100/2.0V, S1, PHILIPPINES, SL3FJ, 1998, Katmai, Slot 1.
600/512/100/2.05V, S1, PHILIPPINES, SL3JT, 1998, Katmai, Slot 1.
600B/512/133/2.05V, S1, COSTA RICA, SL3JU, 1998, Katmai, Slot 1.
733/256/133/1.7V, S1, PHILIPPINES, SL4KD, 2000, Coppermine, Slot 1.

RB80526PZ600256, MALAY, SL3VB, 1999, Coppermine, FCPGA-370.
RB80526PZ667256, MALAY, SL3VK, 1999, Coppermine, FCPGA-370.
600/256/133/1.7V, MALAY, SL4CL, 2000, Coppermine, FCPGA-370.
667/256/133/1.65V, MALAY, SL3XW, 2000, Coppermine, FCPGA-370..
733/256/133/1.7V, MALAY, SL4CG, 2000, Coppermine, FCPGA-370.
800/256/133/1.75V, PHILIPPINES, SL52P, 2001, Coppermine, FCPGA-370.
933/256/133/1.7V, MALAY, SL4C9, 2000, Coppermine, FCPGA-370.
1000/256/133/1.75V, MALAY, SL5DV, 2001, Coppermine, FCPGA-370..
1000/256/133/1.75V, COSTA RICA, SL5FQ, 2001, Coppermine, FCPGA-370.
1100/256/100/1.75V, MALAY, SL5QW, 2001, Coppermine, FCPGA-370.

Celeron

266/66, COSTA RICA, SL2YN, 1998, Covington, Slot 1.
300A/66, COSTA RICA, SL2WM, 1998, Mendocino, Slot 1.
300A/66, MALAY, SL32A, 1998, Mendocino, Slot 1.
333/66, COSTA RICA, SL2WN, 1998, Mendocino, Slot 1.
333/66, COSTA RICA, SL32B, 1998, Mendocino, Slot 1.
366/66, MALAY, SL376, 1998, Mendocino, Slot 1.

B80524P333, MALAY, SL35R, 1998, Mendocino, PPGA-370..
B80524P366, MALAY, SL35S, 1998, Mendocino, PPGA-370.
B80524P400, MALAY, SL37X, 1998, Mendocino, PPGA-370.
FV524RX400, MALAY, SL3A2, 1998, Mendocino, PPGA-370.
FV524RX433, MALAY, SL3BA, 1998, Mendocino, PPGA-370.
FV524RX433, MALAY, SL3BS, 1998, Mendocino, PPGA-370.
FV524RX466, MALAY, SL3FL, 1998, Mendocino, PPGA-370.
FV524RX466, MALAY, SL3EH, 1998, Mendocino, PPGA-370.
FV524RX500, MALAY, SL3LQ, 1998, Mendocino, PPGA-370.
FV524RX500, MALAY, SL3FY, 1998, Mendocino, PPGA-370.
FV524RX533, MALAY, SL3FZ, 1998, Mendocino, PPGA-370..

566/128/66/1.5V, MALAY, SL46T, 2000, Coppermine, FCPGA-370.
566/128/66/1.75V, MALAY, SL5L5, 2000, Coppermine, FCPGA-370..
600/128/66/1.5V, MALAY, SL3W8, 2000, Coppermine, FCPGA-370.
600/128/66/1.5V, MALAY, SL46U, 2000, Coppermine, FCPGA-370.
633/128/66/1.7V, MALAY, SL4NY, 2000, Coppermine, FCPGA-370.
633/128/66/1.65V, MALAY, SL3W9, 2000, Coppermine, FCPGA-370.
667/128/66/1.7V, MALAY, SL4NZ, 2000, Coppermine, FCPGA-370.
667/128/66/1.65V, MALAY, SL4AB, 2000, Coppermine, FCPGA-370.
667/128/66/1.65V, MALAY, SL48E, 2000, Coppermine, FCPGA-370.
Mobile Celeron 700 MHz, 700/128, SL53D, 2000, Micro-PGA2.
700/128/66/1.7V, MALAY, SL4P8, 2000, Coppermine, FCPGA-370.
733/128/66/1.75V, MALAY, SL52Y, 2000, Coppermine, FCPGA-370.
733/128/66/1.7V, MALAY, SL4P7, 2000, Coppermine, FCPGA-370.
766/128/100/1.7V, MALAY, SL4QF, 2000, Coppermine, FCPGA-370.
800/128/100/1.75V, MALAY, SL54P, 2000, Coppermine, FCPGA-370.
850/128/100/1.7V, MALAY, SL5GB, 2000, Coppermine, FCPGA-370.
850/128/100/1.75V, MALAY, SL5WX, 2001, Coppermine, FCPGA-370.
850/128/100/1.75V, MALAY, SL54Q, 2001, Coppermine, FCPGA-370.
900/128/100/1.75V, MALAY, SL5MQ, 2000, Coppermine, FCPGA-370.
950/128/100/1.75V, PHILIPPINES, SL634, 2001, Coppermine, FCPGA-370.

1000A/256/100/1.475, PHILIPPINES, SL5ZF, 2001, Tualatin, FCPGA2-370.
1200/256/100/1.5V, MALAY, SL68P, 2001, Tualatin, FCPGA2-370.
1400/256/100/1.5V, PHILIPPINES, SL6C6, 2001, Tualatin, FCPGA2-370.

Pentium IV

1.5GHZ/256/400/1.75V, Willamette, MALAY, SL5N8, 2001, 478-pin FC-PGA2.
2.60GHZ/512/800, Northwood, MALAY, SL6WH, 2001, 478-pin FC-PGA2.
2.40GHZ/1M/533, Prescott, COSTA RICA, SL7E8, 2003, 478-pin FC-mPGA4.

—————————————————————————————————

AMD

8085

D8085A, AM8085ADC, © AMD 1981, CDIP-40.
D8085A-2/LF, © AMD 1981, CDIP-40.

8086

D8086, © AMD 1982, CDIP-40.
P8086-1, PHILIPPINES, © INTEL 1978, PDIP-40.
P8086-2, PHILIPPINES, © INTEL 1978, PDIP-40.

8088

P8088-1, PHILIPPINES, © INTEL 1978, PDIP-40.
P8088-2, MALAYSIA, © INTEL 1978, PDIP-40.

80188

N80C188, MALAYSIA, (m) AMD © INTEL ’78 ’82, PLCC-68.
N80188, MALAYSIA, (m) AMD © INTEL ’78, PLCC-68.

80286

R80286-10/S, MALAYSIA, © INTEL 1982, CLCC-68.
R80286-10/S, MALAYSIA, © INTEL 1982, (diff print, small logo), CLCC-68.
R80286-12/S, MALAYSIA, © INTEL 1982, CLCC-68.
R80286-16/S, MALAYSIA, © INTEL 1982, CLCC-68.
N80L286-10/S, MALAYSIA, © INTEL 1982, PLCC-68.
N80L286-12/S, MALAYSIA, © INTEL 1982, PLCC-68.
N80L286-16/S, MALAYSIA, © INTEL 1982, PLCC-68.

80287

P80C287-10, PHILIPPINES, White text, PDIP-40.
P80C287-10, PHILIPPINES, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), PDIP-40.
P80C287-12, PHILIPPINES, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), PDIP-40.
DS39358.A, PHILIPPINES, PDIP-40.

80386

Am386 SX/SXL–25, NG80386SX/SXL-25, PQFP-100.
Am386 SX/SXL–33, NG80386SX/SXL-33, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), PQFP-100.
Am386 SX/SXL–33, NG80386SX/SXL-33, (white text), PQFP-100.
Am386 SX–40, NG80386SX-40, Windows logo (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), PQFP-100.
Am386 SX–40, NG80386SX-40, Windows logo (white text), PQFP-100.
Am386 DX/DXL–33, NG80386DX/DXL-33, (white text), PQFP-132.
Am386 DX–40, NG80386DX-40, Windows logo, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), PQFP-132.
Am386 DX–40, NG80386DX-40, on a PGA board, (white text), PQFP-132.
Am386 DX–40, NG80386DX-40, Windows logo, on a PGA board, (white text), PQFP-132.
Am386 DX–40, NG80386DX-40, Windows logo, on a PGA board, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), PQFP-132.
Am386 DX/DXL–25, D2, DS39451.A, 1993, MALAYSIA, (white text), CPGA-132.
Am386 DX/DXL–25, B, A80386DX-25, A80386DXL-25, 1991, MALAYSIA, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), CPGA-132.
Am386 DX/DXL–33, D, A80386DX-33, A80386DXL-33, 1992, MALAYSIA, (white text), CPGA-132.
Am386 DX/DXL–33, C, A80386DX-33, A80386DXL-33, 1991, MALAYSIA, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), CPGA-132.
Am386 DX/DXL–40, D, A80386DX-40, A80386DXL-40, 1993, MALAYSIA, (white text), CPGA-132.
Am386 DX/DXL–40, C, A80386DX-40, A80386DXL-40, 1991, MALAYSIA, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), CPGA-132.

80486

Am486 DX–40, E6, A80486DX-40, 1994, MALAYSIA, Win logo, CPGA-168.
Am486 DX–40, E, A80486DX-40, 1994, MALAYSIA, Win logo, CPGA-168.
Am486 DX–40, D, A80486DX-40, 1994, MALAY, Win logo, CPGA-168.
Am486 DX2–50, E6, A80486DX2-50, 1994, MALAYSIA, Win logo, CPGA-168.
Am486 DX2–66, A, A80486DX2-66NV8T, 1995, PHILIPPINES, Win logo, CPGA-168.
Am486 DX2–66, AY, A80486DX2-66NV8T, 1995, MALAYSIA, Win logo, CPGA-168.
Am486 DX2–66, C, A80486DX2-66SV8B, 1995, MALAYSIA, Win95 logo, CPGA-168.
Am486 DX2–80, A, A80486DX2-80NV8T, 1995, MALAYSIA, Win logo, CPGA-168.
Am486 DX4–100, B, A80486DX4-100NV8T, 1996, MALAYSIA, Win logo, CPGA-168.
Am486 DX4–100, CV, A80486DX4-100SV8B, 1996, MALAYSIA, Win95 logo, CPGA-168.
Am486 DX4–100, C, A80486DX4-100SV8B, 1996, MALAYSIA, Win95 logo, CPGA-168.
Am486 DX4–120, C, A80486DX4-120SV8B, 1995, MALAYSIA, Win95 logo, CPGA-168.

80586

Am5x86–P75, AMD-X5–133ADW, 1996, MALAYSIA, Win95 logo, CPGA-168.
Am5x86–P75, AMD-X5–133ADZ, 1996, MALAYSIA, Win95 logo, CPGA-168.
Am5x86–P75, AMD-X5–133SDZ, JAPAN, 3.45 volt, (Kingston TurboChip, TC5X86/133), QFP-208 on PGA-168.
Am5x86–P75, DS91465, JAPAN, (Evergreen Technologies, inc., Model G 1 REV 1, MADE IN USA), QFP-208 on PGA-168.

K5

AMD5k86-P75, E, AMD-SSA/5-75ABR, MALAYSIA, 1996, (Big Font), CPGA-296.
AMD5k86-P90, E, AMD-SSA/5-90ABQ, MALAYSIA, 1996, (Big Font), CPGA-296.
AMD-K5-PR75ABR, E, MALAYSIA, 1996, CPGA-296.
AMD-K5-PR75ABR, MALAYSIA, 1996, (Gold Cap), CPGA-296.
AMD-K5-PR90ABQ, F, MALAYSIA, 1996, CPGA-296.
AMD-K5-PR100ABQ, F, MALAYSIA, 1996, CPGA-296.
AMD-K5-PR100ABR, F, MALAYSIA, 1996, CPGA-296.
AMD-K5-PR120ABQ, B, MALAYSIA, 1996, (Gold Cap), CPGA-296.
AMD-K5-PR133ABR, MALAYSIA, 1998, (Gold Cap), CPGA-296.
AMD-K5-PR150ABR, MALAYSIA, 1997, (Gold Cap), CPGA-296.
AMD-K5-PR166ABR, MALAYSIA, 1997, (Gold Cap), CPGA-296.

K6

AMD-K6-166ALR, MALAY, 1997, (Black Font), CPGA-321.
AMD-K6/PR2-166ALR, 1997, (Black Font), CPGA-321.
AMD-K6-200ALR, 1997, (Black Font), CPGA-321.
AMD-K6-200ALYD, MALAY, 1998, (Black Font), CPGA-321.
AMD-K6-233ANR, 1997, (Black Font), CPGA-321.
AMD-K6/266AFR, MALAY, 1997, CPGA-321.
AMD-K6/300AFR, MALAY, 1998, CPGA-321.

K6-II

AMD-K6-II/200AFR, MALAY, 1998, CPGA-321.
AMD-K6-II/233AFR, MALAY, 1998, CPGA-321.
AMD-K6-II/300AFR, MALAY, 1998, CPGA-321.
AMD-K6-II/300AFR-66, MALAY, 1998, CPGA-321.
AMD-K6-II/333AFR, MALAY, 1999, CPGA-321.
AMD-K6-II/350AFR, MALAY, 1998, CPGA-321.
AMD-K6-II/380AFR, MALAY, 1998, CPGA-321.
AMD-K6-II/400AFR, MALAY, 1997, CPGA-321.
AMD-K6-II/450AFX, MALAY, 1998, CPGA-321.
AMD-K6-II/475AFX, MALAY, 1999, CPGA-321.
AMD-K6-II/500AFX, MALAY, 1998, CPGA-321.
AMD-K6-II+/500ACZ, MALAY, 1998, CPGA-321.

K6-III

AMD-K6-III/400AHX, MALAY, 1999, CPGA-321.

K7 Athlon (slot A)

AMD-K7650MTR51B A, Assembled in the USA, 1999, Slot A.
AMD-K7750MTR52B A, Assembled in the USA, 1999, Slot A.

Duron

D700AUT1B, Spitfire, AKCA, 1999, CPGA-453.
DHD1100AMT1B, Morgan (Model 7), AHHAA, 1999, CPGA-453.

Athlon

A0650APT3B, Thunderbird, AFEA, 1999, CPGA-453.
A0800AMT3B, Thunderbird, ADFA, 1999, CPGA-453.
A0850AMT3B, Thunderbird, AFFA, 1999, CPGA-453.
A0900AMT3B, Thunderbird, ASHHA, 1999, CPGA-453.

—————————————————————————————————

IIT

2C87–6, AAZ3, USA, 1990, (big logo), CDIP-40.
2C87–6, ABI1, USA, 1990, CDIP-40.
2C87–8, AAC1, USA, 1990, CDIP-40.
2C87–10, AFR1, USA, 1990, CDIP-40.
2C87–10, AER2, KOREA, 1990, PDIP-40.
2C87–20, AGO, USA, 1992, CDIP-40.

3C87SX–16, AWY, KOREA, 1992, PLCC-68.
3C87SX–25, BFR, TAIWAN, 1992, PLCC-68.
3C87–33, BDM, USA, 1992, (Gold Cap), CPGA-68.
3C87–33, AH33AA, EABA, PHILIPPINES, 1993, Metal PGA-68.
3C87–40, CFVB, PHILIPPINES, 1994, Metal PGA-68.
3C87–40, AH40AA, BYI, PHILIPPINES, 1993, Metal PGA-68.
3C87–40, CKK, USA, 1995, PLCC-68 on PPGA-68.

XC87SLC-33, AE33AA, BUR, 1993, PLCC-68.
4C87DLC–33, AH33AA, BMQA, PHILIPPINES, 1993, Metal PGA-68.
4C87DLC–40, EAJK, PHILIPPINES, 1994, Metal PGA-68.
4C87DLC–40, AH40AA, CEC, PHILIPPINES, 1994, Metal PGA-68.
4C87DLC–40, EAJB, USA, 1994, PLCC-68 on PPGA-68.

—————————————————————————————————

ULSI

Math Co DX, Advanced Math Coprocessor, 33MHz, USA, 1003, 1992, CPGA-68.
Math Co DX, Advanced Math Coprocessor, 33, USA, 1003, 1993, CPGA-68.
Math Co DX, Advanced Math Coprocessor, 40, PHILIPPINES, 10501, 1993, CPGA-68.
Math Co DX, Advanced Math Coprocessor, 40, USA, 1003, 1993, CPGA-68.
ULSI, Advanced Math Coprocessor, DX/DLC, 40, PHILIPPINES, 10501, 1994, CPGA-68.
ULSI, Advanced Math Coprocessor, DX/DLC, 40MHz, PHILIPPINES, US83C37, 10501, 1994, CPGA-68.

—————————————————————————————————

UMC

U5SX 486-33F, N32531G1, 1993, PQFP-208.
U5SX 486-E40, N42538524A, 1993, PQFP-208.
GREEN CPU, U5S-SUPER25 -33, N52891G3, 1994, CPGA-168.
GREEN CPU™, U5S-SUPER25 /33, N52891G3, 1994, (Diff print), CPGA-168.
GREEN CPU, U5S-SUPER33, N52979G3, 1994, CPGA-168.
GREEN CPU, U5SX 486-33, S62921G1, 1994, (Windows logo), CPGA-168.
GREEN CPU, U5SX 486-40, NB0834G1, 1995, (Windows logo), CPGA-168.

—————————————————————————————————

Cyrix

FPU:

FasMath, CX 83D87-16-GP, USA, 1989, CPGA-68.
FasMath, CX 83D87-33-GP, USA, 1989, CPGA-68.
FasMath, CX 83S87-16-JP, USA, 1989, PLCC-68.
FasMath, CX 83S87-20-JP, USA, 1989, PLCC-68.
FasMath, CX 83S87-33-JP, USA, 1989, PLCC-68.
87DLC, Cx87DLC-33QP, PQFP-80 on PGA-68.
CX487S, Cx487S40QP, PQFP-80 on PGA-68.

CPU:

Cx486SLC2, Cx486SLC2-50MP, FF5408B, PQFP-100.
Cx486DLC, Cx486DLC-33GP, 1992, USA, JAPAN, FOR OEM USE ONLY, (Gold font), CPGA-132.
Cx486DLC, Cx486DLC-40GP, 1993, USA, JAPAN, FOR OEM USE ONLY, (Gold font), CPGA-132.
Cx486DLC, Cx486DLC-40, Ã�±Ã�µÃ�· Ã�¼Ã�°Ñ€Ã�ºÃ�¸Ñ€Ã�¾Ã�²Ã�ºÃ�¸, (Gold font: “Cyrix”), CPGA-132.

Cx486 DX-33, Cx486DX-33GP, USA, 1993, CPGA-168.
Cx486 DX-40, Cx486DX-40GP, USA, 1993, CPGA-168.
Cx486 DX-40, USA, 1993, (Green Heatsink), CPGA-168.
Cx486 S40, FasCache, Cx486S-40GP, 1993, USA, JAPAN, CPGA-168.
DX2 66, Cx486 DX2-66GP, USA, 1993, CPGA-168.
DX2 v66, Cx486 DX2-66GP, 3.45V/3.6V/3.4V, USA, 1993, CPGA-168.
5×86-100QP, (Plastic QFP).

6x86MX-PR200, 66MHz Bus 2.5x, USA, 1995-1997.
M II-233GP, 66MHZ BUS 3X, 1995–1997.
M II-266GP, 83MHZ BUS 2.5X, 1995–1997.
M IIv-300GP, 75MHZ BUS 3X, 1995–1998.
M II-300GP, 66MHZ BUS 3.5X, 1995–1998.
M II-300GP, 66MHZ BUS 3.5X, 1995–1997, (small logo).
M II-333GP, 66MHZ BUS 4.0X, 1995–1998, (silver cap).
M II-366GP, 100MHZ BUS 2.5X, 1995–1997.

—————————————————————————————————

VIA

VIA CYRIX III – 667Mhz, TAIWAN, 2.0v, 133mHz BUS 5.0X, CPGA-370.
VIA C3–733AMHz, TAIWAN, 1.6V (133×5.5), CPGA-370.
VIA C3–800AMHz, TAIWAN, 1.35V (133×6.0), CPGA-370.
VIA C3–866AMHz, TAIWAN, 1.35V (133×6.5), CPGA-370.
VIA C3–1.0AGHz, TAIWAN, 1.45V (133×7.5), CPGA-370.

—————————————————————————————————

Chips&Tech

SUPER MATH, J38700DX B 33, JAPAN, 1992, CPGA-68.

——— ——————————————————————————————

ST

Z80ACPU, Z8400AB1, PDIP-40.

486DX-40, USA, CPGA-168.
486DX2-66, ST486DX2-66GS, CANADA, CPGA-168.

P166+, ST6x86P166+, 3.52V – 133Mhz, CANADA, CPGA-296.

—————————————————————————————————

IBM

63F7615ESD (80386), 20Mhz (?), IBM 14, © INTEL 1985, MPGA-132.

50G6950 (80486SLC-50), 50Mhz, © INTEL 1985, © IBM 1992, PQFP-100.
BLUE LIGHTNING DX2, IBM26, 486-V266GA, CPGA-168.
BLUE LIGHTNING DX2, IBM26BL, 486-V66GP, CPGA-168.
486 DX2, IBM26, 486-V466GA, CPGA-168.
486 DX2, IBM26, 486-V380GB, CPGA-168.
486 DX4, IBM26, 486-4V3100GC, CPGA-168.
5x86C, IBM26 5×86-3V3100GB, USA, CPGA-168.

6×86 PR166+, IBM26 6×86-2V7P166GE, 133MHZ, 3.5V, COPR. CYRYX 1995, USA, CPGA-296.
6×86 P166+, IBM26 6×86-2V2P166GE, 133MHZ-3.3V CORE, COPR. CYRYX 1995, USA, CPGA-296.
6x86L P150+, IBM26 6x86L-2VAP150GB, 120MHZ, 2.8V, COPR. CYRYX 1996, USA, CPGA-296.
6x86L PR166+, IBM26 6x86L-2VAP166GB, 133MHZ, 2.8V, COPR. CYRYX 1995, USA, CPGA-296.
6x86MX PR166, IBM26x86MX-AVAPR166GA, 2.0x 66MHZ-2.9V CORE, COPR. CYRYX 1995-97, USA, CPGA-296.
6x86MX PR166, IBM26x86MX-AVAPR166GB, 2.0x 66MHZ-2.9V CORE, COPR. CYRYX 1995-97, USA, CPGA-296.
6x86MX PR200, IBM26x86MX-BVAPR200GB, 2.5x 66MHZ-2.9V CORE, COPR. CYRYX 1995-97, USA, CPGA-296.
6x86MX PR233, IBM26x86MX-CVAPR233GF, 3.0x 66MHZ-2.9V CORE, COPR. CYRYX 1995-98, USA, CPGA-296.
6x86MX PR233, IBM26x86MX-BVAPR233GE, 2.5x 75MHZ-2.9V CORE, COPR. CYRYX 1995-98, USA, CPGA-296.
6x86MX PR266, IBM26x86MX-BVAPR266GE, 2.5x 75MHZ-2.9V CORE, COPR. CYRYX 1995-97, USA, CPGA-296.
6x86MX PR300, IBM26x86MX-DVAPR300HF, 3.5x 66MHZ-2.9V CORE, COPR. CYRYX 1995-98, USA, (Black Cap), FCPGA-296.

—————————————————————————————————

NexGen

Nx586-P110, nx586-xxxx-4.0-cpc-202, 1994-1995, CPGA-463.

—————————————————————————————————

IDT

C6-180Mhz, WinChip C6-PSME180GA, MALAY, 3.52V, 3X60Mhz, 1998, CPGA-296.
C6-200Mhz, WinChip C6-PSME200GA, MALAY, 3.52V, 3X66Mhz, 1998, CPGA-296.
WinChip 2-200, W2A – 3DEE200GTA, MALAY, 3.52V, 3X66Mhz, 1999, CPGA-296.
WinChip 2-200, W2A – 3DFF200GTA, MALAY, 3.3V, 3X66Mhz, 1999, CPGA-296.

—————————————————————————————————

Texas Instruments

TX486SLC/E 33MAB, 1993, CQFP-100.
TX486DLC -33GA, TAIWAN, 9250FA5, 1992, CPGA-132.
TX486DLC/E-40GA, TAIWAN, 9350FTB6, SVE, 1993, CPGA-132.
TX486DLC/E -40GA, TAIWAN, 48AXCRT, BFD, (diff print), CPGA-132.
486SXL2-50, TAIWAN, CPGA-168.
486DX2-80, TAIWAN, TI486DX2-G80-GA, Win logo, CPGA-168.
486DX2-80, TAIWAN, TI486DX2-G80-GA, Win95 logo, CPGA-168.

—————————————————————————————————

Tesla

8080APC, T 852207, PDIP-40.

—————————————————————————————————

HARRIS

CS80C286R1787, N9214, © INTEL 1982–1985, PLCC-68.
CS80C286-12, military, NR, N9028, © INTEL 1982, PLCC-68.
CS80C286-16, military, N9013, © INTEL 1982, PLCC-68.
CS80C286-20, military, N9044, © INTEL 1982, PLCC-68.
CS80C286-20, N9223, © INTEL 1982–1985, PLCC-68.
CS80C286-25, N9223, © INTEL 1982–1985, PLCC-68.

—————————————————————————————————

Toshiba

TMP8085AP, JAPAN 8446A, PDIP-40.
TMP8085AP-2, JAPAN 8738EB1, PDIP-40.

—————————————————————————————————

Pravetz

CM601, (Motorola 6800 clone), BULGARIA, 1988, (Gold Cap), CDIP-40.
CM601P, (Motorola 6800 clone), BULGARIA, 1989, PDIP-40.
CM630P, (6502 clone), BULGARIA, 1986, PDIP-40.

—————————————————————————————————

SIEMENS

SAB8086-P, SINGAPORE, © INTEL 1978, PDIP-40.
SAB8086-2-P, SINGAPORE, © INTEL 1978, PDIP-40.
SAB8086-1-P, © INTEL 1986, PDIP-40.

SAB8088-1-P, SINGAPORE, © INTEL 1990, PDIP-40.
SAB8088-1-P, © SIEMENS’86, © INTEL 1987, PDIP-40.
SAB8088-2-P, © SIEMENS’86, © INTEL 1987, PDIP-40.

SAB80286-1-N, AUSTRIA, © INTEL 1982, PLCC-68.
SAB80286-12-N, AUSTRIA, © INTEL 1982, PLCC-68.
SAB80286-16-N, AUSTRIA, © INTEL 1982, PLCC-68.
SAB80286-1-R, (M) © INTEL 1987, CLCC-68.

—————————————————————————————————

NEC

D8085AHC, JAPAN, 8512E5, PDIP-40.

V20, D70108C-8, © NEC, 1984, PDIP-40.

D8088D, JAPAN, 8349K9, CDIP-40.
D8088D-2, JAPAN, 8645LX, © NEC, 1981, CDIP-40.

D30412LRJ 200, VR4400MC, JAPAN, 1995, CPGA-447.
D30500RJ 200, VR5000, JAPAN, 1997, CPGA-223.

—————————————————————————————————

Matra-Harris Semiconductors (MHS)

D -8088, FRANCE, M-2255-H, © INTEL 1981, CDIP-40.

—————————————————————————————————

SGS

Z80ACPU, ITALY, PDIP-40.

—————————————————————————————————

Eastern Bloc

80A-CPU, MME, PDIP-40.

UB880D, MME, V6, 1987, PDIP-40.
UA880D, AD, 1990, PDIP-40.

—————————————————————————————————

Zilog

Z80A, Z8400APS, PHILIPPINES, 1986, PDIP-40.
Z80, Z0840004PSC, PHILIPPINES, 1988, PDIP-40.
Z80, (zilog logo), Z0840004PSC, PHILIPPINES, BJ, 1990, PDIP-40.
Z80, (zilog logo), Z0840004PSC, INDONESIA, R2, 1993, PDIP-40.
Z80, (zilog logo), Z0840006PSC, PHILIPPINES, GZ, 1997, PDIP-40.
Z80, (zilog logo), Z84C0008VEC, INDONESIA, 1993, PLCC-44.

Z180, (zilog logo), Z8018006VSC, INDONESIA, 1997, PLCC-68.

—————————————————————————————————

Motorola

MC68B09S, MALAYSIA, CDIP-40.

MC68HC000FN8, MALAYSIA, 1993, PLCC-68.
MC68HC000FN16, MALAYSIA, PLCC-68.

MC68000P8, MALAYSIA, PDIP-64.
MC68000P10, MALAYSIA, PDIP-64.

XC68040RC25B, USA, CPGA-179.
XC68LC040RC25B, MALAYSIA, CPGA-179.

MC68020RP20E, JAPAN, PPGA-114.

—————————————————————————————————

Mitsubishi

8080A, 6-80021A, M58710S, 1977, CDIP-40.

—————————————————————————————————

Fujitsu

MBL8086-1, © Fujitsu ’81, (M) © Intel ’78, E00, 1986, white ceramic, gold pins, CDIP-40.
MBL8086-2, E02, 1983, white ceramic, gold pins, CDIP-40.
MBL8086-2, © Fujitsu ’81, (M) © Intel ’78, 1986, PDIP-40.

—————————————————————————————————

USSR

8080 clones

580�’�œ80 (580VM80), Kvazar, Ukraine, military, white ceramic, gold pins, 1986, CDIP-40.
�š� 580�’�œ80�� (KR580VM80A), Dnepr, Ukraine, Kherson, 1989, PDIP-40.
�š� 580�’�œ80�� (KR580VM80A), Kvantor Plant. Zbaraj, Ukraine, 1988, PDIP-40.
�š� 580�’�œ80�� (KR580VM80A), � �¾�´�¾�½, �£�ºÑ€�°�¸�½�°, �˜�²�°�½�¾-�¤Ñ€�°�½�º�¾�²Ñ��º, 1992, PDIP-40.
�š� 580�˜�š80�� (KR580IK80A), � �¾�´�¾�½, �£�ºÑ€�°�¸�½�°, �˜�²�°�½�¾-�¤Ñ€�°�½�º�¾�²Ñ��º, 1986, PDIP-40.
�š� 580�˜�š80�� (KR580IK80A), Kvazar, Ukraine, 1982, PDIP-40.
�š� 580�˜�š80�� (KR580IK80A), �¡�”�•�›�����ž �’ �¡�¡�¡� , � �¾�´�¾�½, �£�ºÑ€�°�¸�½�°, �˜�²�°�½�¾-�¤Ñ€�°�½�º�¾�²Ñ��º, 1985, PDIP-40.
�š� 580�’�œ80�� (KR580VM80A), �¡�”�•�›�����ž �’ �¡�¡�¡� , � �¾�´�¾�½, �£�ºÑ€�°�¸�½�°, �˜�²�°�½�¾-�¤Ñ€�°�½�º�¾�²Ñ��º, 1986, PDIP-40.

8085 clones

Ã�˜Ã�Âœ1821Ã�Â’Ã�Âœ85Ã�Â� (IM1821VM85A), Novosibirsk’s Plant of Semiconductor devices, white ceramic, gold pins, CDIP-40.

8086 clones

�š�œ1810�’�œ86 (KM1810VM86), �¡�”�•�›�����ž �’ �¡�¡�¡� , 1987, white ceramic, gold pins, CDIP-40.
�š� 1810�’�œ86 (KR1810VM86), Kvantor Plant. Zbaraj, Ukraine, 1991, PDIP-40.
Ã�šÃ� 1810Ã�Â’Ã�Âœ86 (KR1810VM86), Ã�¡Ã�”Ã�•Ã�›Ã�Â�Ã�Â�Ã�ž Ã�Â’ Ã�¡Ã�¡Ã�¡Ã� , Kvazar – OEM, 1990, PDIP-40.
�š� 1810�’�œ86 (KR1810VM86), Kvazar plant, with visible traces, 1992, PDIP-40.

8087 clones

�š�œ1810�’�œ87�� (KM1810VM87A), Kvazar, Ukraine, 1989, white ceramic, gold pins, CDIP-40.

8088

�š�œ1810�’�œ88 (KM1810VM88), Kvazar, Ukraine, white ceramic, gold pins, 1991, CDIP-40.

Z80

Z80, �š���˜�˜�œ�Ÿ (KNIIMP), �£�ºÑ€�°�¸�½�°, �š�¸�µ�², Ukraine, Kiev, 1993, white ceramic, gold pins, CDIP-40.

Other…

�š�œ1801�’�œ2 (KM1801VM2), ���½�³Ñ�тр�µ�¼ (Angstrem), � �¾Ñ�Ñ��¸Ñ�, �—�µ�»�µ�½�¾�³Ñ€�°�´, white ceramic, gold pins, 1987, CDIP-40.
�š�œ1801�’�œ3 (KM1801VM3), ���½�³Ñ�тр�µ�¼ (Angstrem), � �¾Ñ�Ñ��¸Ñ�, �—�µ�»�µ�½�¾�³Ñ€�°�´, white ceramic, gold pins, 1989, CDIP-64.
�š��1811�’�œ1 (KN1811VM1), �š��1811�’�£1 (KN1811VU1), �š��1811�’�£2 (KN1811VU2), �š��1811�’�£3 (KN1811VU3): DEC F-11 USSR Ceramic Clone 46-pin, �­�»�µ�ºÑ‚Ñ€�¾�½�¸�º�° (Electronika), �’�¾Ñ€�¾�½�µ�¶, � �¾Ñ�Ñ��¸Ñ�, Voronezh, Russia, CDIP-46.
�š� 589�˜�š01 (589IK01), �œ�¸�ºÑ€�¾�½ (Micron), � �¾Ñ�Ñ��¸Ñ�, �—�µ�»�µ�½�¾�³Ñ€�°�´, 1981.
�š�œ1818�’�œ01�� (KM1818VM01A): USSR Signetics Gold Clone 50-pin RISC CPU, �­�»�µ�ºÑ‚Ñ€�¾�½�¸�º�° (Electronika), �’�¾Ñ€�¾�½�µ�¶, � �¾Ñ�Ñ��¸Ñ�, Voronezh, Russia, white ceramic, gold pins, 1990, CDIP-50.

—————————————————————————————————

Fakes (�¿�¾�´�´�µ�»�º�¸):

Intel

A80386DX-20(16?) (Fake): A80386DX-25 IV, MALAY, SX218, (remarked), Sigma Sigma, 1985, CPGA-132.
A80502150, A4, SY015, iPP, 1992–1993, (Fake): A80502166, SY007, (remarked), CPGA-296.

AMD

Am486 DX2–80, A80486DX2-80NV8T, (Fake): Am486 DX4–100, A80486DX4-100NV8T, 1995, MALAYSIA, Win logo, (big white font), CPGA-168.

—————————————————————————————————

�ž�‘�œ�•�����«�™ �¤�ž���”
�¿Ñ€�¾Ñ†�µÑ�Ñ��¾Ñ€Ñ‹ �½�° �¾�±�¼�µ�½

AMD P8086-2, PHILIPPINES, © INTEL 1978, PDIP-40.
AMD P8088-1, PHILIPPINES, © INTEL 1978, PDIP-40.
AMD N80L286-10/S, MALAYSIA, © INTEL 1982, PLCC-68.
AMD N80L286-12/S, MALAYSIA, © INTEL 1982, PLCC-68.
AMD Am386 DX/DXL–33, C, A80386DX-33, A80386DXL-33, 1991, MALAYSIA, (�³Ñ€�°�²�¸Ñ€�¾�²�º�°), CPGA-132.
AMD Am486 DX2–50, A80486DX2-50, 1994, MALAYSIA, Win logo, CPGA-168.
AMD Am486 DX2–66, B, A80486DX2-66NV8T, 1995, MALAYSIA, Win logo, CPGA-168.
AMD Am486 DX2–66, C, A80486DX2-66SV8B, 1995, MALAYSIA, Win95 logo, CPGA-168.
AMD Am486 DX2–80, A80486DX2-80NV8T, 1995, MALAYSIA, Win logo.
AMD Am486 DX4–100, A80486DX4-100NV8T, 1996, MALAYSIA, Win logo.
AMD Am486 DX4–100, A80486DX4-100SV8B, 1996, MALAYSIA, Win95 logo.
AMD Am5x86–P75, AMD-X5–133ADZ, 1996, MALAYSIA, Win95 logo + ���¢ �¼�°�¼�º�° (�½�¾ �¼�¾�¶�½�¾ �¸ �±�µ�· �½�µ�µ).
AMD Am5x86–P75, AMD-X5–133ADW, 1996, MALAYSIA, Win95 logo.
AMD-K5-PR100ABR, MALAYSIA, 1996, CPGA-296.
AMD-K5-PR100ABQ, F, MALAYSIA, 1996, CPGA-296.
AMD-K5-PR133ABR, (gold cap), MALAYSIA, 1998.
AMD-K5-PR150ABR, MALAYSIA, 1997, (Gold Cap), CPGA-296.
AMD-K5-PR166ABR, (gold cap), MALAYSIA, 1996.
AMD-K6-166ALR, MALAY, 1997, (Black Font), CPGA-321.
AMD-K6-200ALR, 1997, (Black Font), CPGA-321.
AMD-K6-233ANR, 1997, (Black Font), CPGA-321.
AMD-K6-II/233AFR, MALAY, 1998.
AMD-K6-II/300AFR-66, MALAY, 1998.
AMD-K6-II/333AFR, MALAY, 1999, CPGA-321.
AMD-K6-II/400AFR, MALAYSIA, 1998.
AMD-K6-II/500AFX, MALAY, 1998, CPGA-321.

Intel 8087, D8087, MALAY, CDIP-40.
Intel 286, N80286-12, MALAY, B49, 1982–1985.
Intel 286, R80286-10, MALAY, 1980–1982. (gold).
Intel A80386DX-25 IV, MALAY, SX218, 1985, CPGA-132.
Intel A80486SX-25, MALAY, SX679, 1989.
Intel A80486SX-25, MALAY, SX930, 1989-1992.
Intel A80486SX-25, MALAY, SX798, 1989-1992.
Intel A80486DX-33, MALAY, SX419, 1989.
Intel A80486DX2-50, A4, SX641, 1989, CPGA-168.
Intel A80486DX2-66, A4, SX807, 1989-1992.
Intel A80486DX2-66, A4, SX911, i66, 1989-1992.
Intel A80486DX2-66, MALAY, SX955, 1989-1993.
Intel A80486DX4-100, A4, SK051, 1989–1993.
Intel OverDrive DX4ODPR100, C5300733, A4, SZ959, V1.1, 1989-1993, CPGA-168.
Intel Pentium I, 60 mhz A80501-60 (Gold Cap) MALAY, SX948, 1992.
Intel Pentium Pro, KB80521EX200 256K, MALAY, SY032, 1994–1995, CPGA-387. (with MB – Chaintech 6IDM M101, 64Mb ram edo, cooler).
Intel Pentium I, A80502-75, MALAY, SX961, 1992-1993, (Gold Cap). CPGA-296.
Intel Pentium I, A8050275, MALAY, SX969, i75, 1992–1993.
Intel Pentium I, A80502100 MALAY ES, SY007, iPP, 1992-1993.
Intel Pentium I, BP80502100, MALAY, SU099, iPP, 1992–1993. CPGA-296.
Intel Pentium I, A80502120, PHILIPPINES, SY062/SSS, iPP, 1992–1993, CPGA-296.
Intel Pentium I, A80502133, A4, SY022/SSS, i133, 1992–1993, CPGA-296.
Intel Pentium I, A80502150, A4, SY015, iPP, 1992–1993. CPGA-296.
Intel Pentium I, BP80502150, MALAY, SU071/SSS, iPP, 1992–1993, CPGA-296.
Intel Pentium I, BP80502166, MALAY, iPP, SU072/VSS, 1992-1993, CPGA-296.
Intel Pentium I, FV80502200, A4, SL24Q/VSU, i200, 1992-1993. CPGA-296.
Intel Pentium I, FV80503166, MALAY, SL27H, 1992–1995.
Intel Pentium I, BP80503166, MALAY, SL23X, iPP, 1992–1995.
Intel Pentium I, A80503200, PHILIPPINES, SL2RY, iPP, 1992–1995.
Intel Pentium I, FV80503200, A4, SL27J, 1992–1995.
Intel Pentium I, BP80503200, MALAY, SL23W, 1992–1995.
Intel Pentium I, FV80503233, MALAY, SL27S, 1992–1995.
Intel Pentium I, BP80503233, MALAY, SL293, 1992–1995.
Intel Celeron, 300A/66, COSTA RICA, SL2WM, 1998, Slot 1.
Intel Celeron, 300A/66, MALAY, SL32A, 1998, Slot 1.
Intel Celeron, 333/66, MALAY, SL2WN, 1998, Slot 1.
Intel Celeron, 333/66, MALAY, SL32B, 1998, Slot 1.
Intel Celeron, B80524P400, MALAY, SL37X, 1998.
Intel Celeron, FV524RX400, MALAY, SL3A2, 1998.
Intel Celeron, FV524RX466, MALAY, SL3FL, 1998.
Intel Celeron, FV524RX500, MALAY, SL3FY, 1998.
Intel Celeron, 566/128/66/1.75V, MALAY, SL5L5, 2000.
Intel Celeron, 700/128/66/1.7V, MALAY, SL4P8, 2000.
Intel Celeron, 1000A/256/100/1.475, PHILIPPINES, SL5VP, 2001.
Intel Pentium II, 233 (slot 1) 80522PX233512 MALAY SL2HD 1997.
Intel Pentium II, 80522PX300512EC, IRELAND, SL2HA, 1996, Klamath, Slot 1.
Intel Pentium III, RB80526PZ600256, MALAY, SL3VB, 1999, Coppermine, FCPGA-370.
Intel Pentium III, 800/256/133/1.75V, PHILIPPINES, SL52P, 2001, Coppermine, FCPGA-370.

UMC. GREEN CPU, U5S-SUPER33, 1993. (�º�µÑ€�°�¼�¸�º�°, slot 3), CPGA-168.
UMC. GREEN CPU, U5SX 486-40, 1993, (Windows logo), CPGA-168.
UMC. GREEN CPU, U5SX 486-33F, 1993, (Windows logo), on AT motherboard, PQFP-208.

IIT 3C87–33, BDM, USA, 1992, (Gold Cap), CPGA-68.
IIT 3C87SX–25, BPO, TAIWAN, 1993, PLCC-68.

Chips&Tech SUPER MATH, J38700DX B 33, JAPAN, 1992, CPGA-68.

IDT WinChip, C6-200Mhz, WinChip C6-PSME200GA, MALAY, 3.52V, 3X66Mhz, (Windows 95 logo), 1998.

SIEMENS SAB80286-16-N, AUSTRIA © INTEL 1982.

IBM, 6x86MX PR166, IBM26x86MX-AVAPR166GA, 2.0x 66MHZ-2.9V CORE, COPR. CYRYX 1995, 96, 97, USA.
IBM, 6x86MX PR200, IBM26x86MX-BVAPR200GB, 2.5x 66MHZ-2.9V CORE, COPR. CYRYX 1995, 96, 97, USA.
IBM, 6x86MX PR300, IBM26x86MX-DVAPR300HF, 3.5x 66MHZ-2.9V CORE, COPR. CYRYX 1995-98, USA, (Black Cap), FCPGA-296.

Cyrix, M IIv-300GP, 75MHZ BUS 3X, 1995–1998.
Cyrix, Cx486 DX2-66GP, USA, 1993.
Cyrix FPU: FasMath, CX 83D87-16-GP, USA, 1989, CPGA-68.

ST, Z80ACPU, Z8400AB1.
ST 486DX2-66, ST486DX2-66GS, CANADA, CPGA-168.
ST, P166+, ST6x86P166+, 3.52V – 133Mhz, CANADA, CPGA-296.

MOTOROLA, MC68HC000FN8, 1993, PLCC-68.

USSR, �š� 580�˜�š80�� (KR580IK80A), Kvazar plant, 1982, PDIP-40.
USSR, �š� 580�’�œ80�� (KR580VM80A), Kvantor Plant. Zbaraj, Ukraine, 1988, PDIP-40.
USSR, Ã�˜Ã�Âœ1821Ã�Â’Ã�Âœ85Ã�Â� (IM1821VM85A), Novosibirsk’s Plant of Semiconductor devices, CDIP-40.
USSR, Ã�šÃ� 1810Ã�Â’Ã�Âœ86 (KR1810VM86), Ã�¡Ã�”Ã�•Ã�›Ã�Â�Ã�Â�Ã�ž Ã�Â’ Ã�¡Ã�¡Ã�¡Ã� , Kvazar plant – OEM, 1988, PDIP-40.
USSR, Ã�šÃ� 1810Ã�Â’Ã�Âœ86 (KR1810VM86), Ã�¡Ã�”Ã�•Ã�›Ã�Â�Ã�Â�Ã�ž Ã�Â’ Ã�¡Ã�¡Ã�¡Ã� , трÃ�¸ Ã�ºÑƒÃ�±Ã�¸Ã�ºÃ�° – OEM, 1990, PDIP-40.
————————

AMD Athlon:
A0750APT3B, 1999, CPGA-453.
A0800AMT3B, 1999, CPGA-453.
A1000AMT3C, 1999, CPGA-453.
AXDA1800DLT3C, 1999, PGA-453.
AXDA2200DUV3C, 1999, PGA-453.
AX1600DMT3C, 1999, PGA-453.
AX1900DMT3C, 1999, PGA-453.

AMD Duron:
D600AST1B, 1999, CPGA-453.
D850AUT18, 1999, CPGA-453.
DHD1200AMT1B, 1999, CPGA-453.
DHD1600DLV1C, 1999, PGA-453.

AMD Sempron:
SDA2200DUT3D, 1999, PGA-453.

Compost starten Disco-Schwesterlabel

Disco, Disco, überall Disco. Compost Records, so oder so schon immer äußerst discoaffin, launchen mit Compost Disco jetzt nach Compost Black Label und Drumpoet Community ein weiteres Sub-Label. Wie der Name schon verrät, dreht sich bei dem neuen Zugang in Michael Reinboths Label-Konglomerat alles um die diversen Disco-Spielarten. Balearic, Cosmic, Italo, Boogie, you name it. Neben der Musik gab es aber noch einen anderen Grund für den neuerlichen Label-Launch:

One other reason for launching Compost Disco is: Compost’s long term freelance graphic designer Benjamin Roeder, who designed lot of covers, CDs, 12inches, flyers for Compost and Black Label, came up with an definitely fantastic artwork concept for a disco label. Each Compost Disco release will coming with fully printed 12â€� covers, designed by Benjamin Roeder. His collages of disco related images and styles are predestined for and as a piece of art, some of them already be shown in galleries, at exhibitions or clubs.

Die erste Maxi kommt von den Italienern Stefano e Bene feat. Hard Ton, die mit “Why Your Love” den Geist sonnig-poppiger Italo-Augenzwinkereien beschwören. Das ziemlich großartige Video haben wir auch für euch:

Stefano e Bene feat. Hard Ton – “Why Your Love” from Compost Records on Vimeo.

I Need That Record!

Der Wert des Plattenladens als sozialer Ort dürfte unbestritten sein. Brendan Tollers Doku “I Need That Record!” ist ein weiterer Abgesang auf die langsam aber sicher verschwindende Kultur der unabhängigen Plattenläden in den USA, der sich, wie der Untertitel und der Trailer “The Death (Or Possible Survival) Of The Independent Record Store” vermuten lassen, aber nicht vollständig dem humorlosen Fatalismus hingibt. Interviewt werden mit Thurston Moore von Sonic Youth, Ian Mackaye von Minor Threat/Fugazi, Mike Watt von The Minutemen und Glenn Branca diverse alte Indie-Recken, aber auch Legs McNeil, der Autor der Punk-Oral-History “Please Kill Me” und Noam Chomsky. Die Doku gibt es ab jetzt auf DVD zu kaufen.

Auch Terror Danjah verschenkt ein komplettes Album via Twitter

Was ist nur mit den Grime-Produzenten in good ol’ Britain los? Nach Wiley verschenkt jetzt auch Terror Danjah ein komplettes Album. Via Twitter natürlich. Und das, kurz nachdem Hyperdub bekannt gegeben haben, dass sie im Laufe des Jahres auch einen Terror-Danjah-Longplayer veröffentlichen werden. Ob der Titel des bassschweren Give-Aways, “Shock To The System”, ein Meta-Kommentar zu dieser Promo-Aktion sein soll, lassen wir mal offen. Und wer dann für heute immer noch nicht genug Terror-Danjah-Beats hat, der kann sich einen Track seiner “Power Grid EP” auf Planet Mu bei The Wire herunterladen. Kostenlos natürlich.

Chatroulette-Zensur: Penisse mit IP-Adressen

Foto: x-ray delta one

Das russische Start-up Chatroulette will die Exhibitionisten loswerden und sammelt dazu eifrig Penis-Screenshots samt dazugehöriger IP-Adressen.

Wie der 17-jährige Gründer und CEO Andrey Ternovskiy in einem Blogeintrag mitteilte, habe man bereits Tausende von IP-Adressen und Screenshots gesammelt, die man an die entsprechenden Autoritäten weiterleiten werde.

Das wirft dann natürlich Fragen auf. Zum Beispiel wer “die entsprechenden Autoritäten” sind und vor allem: für was. Jessas.

[via]

Bilderkritiken: Das Sein und die Mücke

Dass Mücken große Probleme bereiten können, während große philosophische Probleme sich einfach erledigen lassen, soll hier und heute anhand dieser beiden Diagramme bewiesen werden.

Alain Badiou, seines Zeichens nach dem Tod aller anderen Lichtfiguren – Lacan, Barthes, Foucault, Deleuze, Derrida und so weiter – der unbestritten größte Stern am französischen Denkerhimmel – und das will hier ausdrücklich als eine relative und nicht absolute Wertung verstanden sein – malt zu seinen Vorträgen gerne Diagramme. Dieses hier datiert aus dem Jahr 2006, man findet es aber auch auf der Umschlag-Rückseite seines jüngsten Buches, des 2. Manifestes für die Philosophie. Warum ein zweites Manifest? Ganz einfach, weil das erste bereits 1989 erschien.

Beider Ziel war es, so Badiou, ein “großes Werk” in einfacher Form zu mobilisieren. Damals ging es um “Sein und Ereignis” und die Frage der Wahrheiten. In Teil zwei dagegen um seinen nächsten Schinken “Die Logik der Welten” und die Frage ihres Erscheinens. Wir wissen das sehr zu schätzen, dass der Philosoph sich bemüht, seine Gedanken von einem Umfang von 500 auf 150 Seiten zu schrumpfen. Mit Hilfe das Diagramms lässt er noch einmal einen radikalen Schritt folgen und geht herunter auf eine Seite.

Es sei kurz wiedergegeben. Im Gebiet des Sein von den indifferenten Vielheiten her läuft die Reihe wie folgt ab: Dasein & Erscheinung > Logische Konsistenz > Transzendenz > Inexistenz > Punkt -> Ereignis. Klar? Und von der anderen Seite, in der Region des Subjekts, geht das so: Kreative Gegenwart > Neuer Körper > Existenzbedingung > Spur > Organe > Ereignis. Alles sehr einfach, sehr gradlinig, keine Schnörkel.

Wir finden das außerdem sehr elegant und subtil, wie er Widersacher und verstorbene Konkurrenten in der Liste auf den hinteren Plätzen mit unterbringt: Negris Vielheiten, Heideggers Dasein, Sartres Existenz, Derridas Spur, Deleuzes Organe. Alle führen zum großen König Ereignis, Alain himself. Bravo!! Bravo!! Natürlich muss im Detail noch manches ein wenig erklärt werden. Aber dazu gibt es ja die genannten Bücher. Keine größeren Schwierigkeiten.

Dagegen die Mücke. Ein verschlungenes Problem. Keine logische Konsistenz. Sinnestäuschungen. Schmerz. Abrupte Änderung des Existenzmodus (Schlaf -> Wach). Verwirrung. Hass, Zweifel. Warten. Sinnlosigkeit der Existenz. Die Wahl mehrerer Möglichkeiten. Inkonsistenz des topologischen Bezugsraumes. Körperliche Aktivität. Destruktion. Vernichtung. TOD!!! Blutspuren. Und erneuter Wechsel des Existenz-Zustandes.
Q.E.D.

Fotos:

Alain Badiou
http://students.washington.edu/schenold/badiou/index.html
auch in: Alain Badiou – Second Manifeste pour la Philosophie, Fayard 2009, Back Cover

Christoph Niemann
http://niemann.blogs.nytimes.com/2009/09/14/good-night-and-tough-luck/
auch in: Dataflow 2, Gestalten 2010, S. 32

StarCraft II – Wings of Liberty

Vor 12 Jahren erschien StarCraft und verkaufte bis heute 11 Millionen Einheiten. Nach sieben Jahren Entwicklungszeit hat Blizzard Entertainment endlich den Nachfolger fertig gestellt: Mit viel Tamtam und echtem Space-Marine ging der Mitternachtsverkauf von Starcraft II – Wings of Liberty am späten Montagabend über die Alexa-Bühne, seitdem steht das ultimate competitive real-time strategy game als Standard- und Collector’s-Edition im Laden.

Sowas hat man übrigens 1998 gemacht, wenn auf der LAN-Party die Sicherung durchbrannte:

[via]

www.blizzard.com
www.starcraft2.com/

Älteste Twitter-Userin der Welt ist gestorben

Social Media kennt keine Altersgrenzen, anders als viele behaupten wollen. Die aus Bradford, England stammende Ivy Bean entdeckte Twitter vor zwei Jahren, im Alter von 102 Jahren, und konnte bis zum Ende fast 57.000 Follower verbuchen. Auch auf Facebook war sie aktiv. Gestern nacht ist sie im Alter von 104 Jahren verstorben. Das wurde auf ihrem Twitter-Account heute mitgeteilt. Nicht nur dass sich die älteste Twitter/Social Media-Userin der Welt verabschiedet hat, auch hat Frau Bean bewiesen, dass soziale Netzwerke für jeden zugänglich und nutzbar sind. Mann muss nur wollen.

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DIY: Schiffshorn mit MIDI

Da braucht man echt nicht viele Worte zu verlieren: The Great American Horn Machine ist einfach mal ein korrekt größenwahnsinniges, total irres Ding. Die MIDI-fähige Schiffssirene ist aber nur eines von diversen Trötenprojekten, die AirOfChaos so auf Tasche hat, mal sehen, was als nächstes kommt

AirOfChaos

A Guy Called Gerald im Interview

Gerald Simpson aka A Guy Called Gerald doesn’t need much of an introduction. He’s been an integral part of dance music since the acid house explosion in the late 80s. As one of the founding members of 808 State and as an solo artist he catapulted acid house into the global charts before leaving pop stardom behind him and embracing the rough and futuristic sounds of hardcore and jungle in the early 90s, which led to a few groundbreaking 12″s and one of the best jungle albums ever recorded, “Black Secret Technology”. Never one to get too comfortable within one sound and scene, Gerald moved to New York in the late 90s and recorded two more downbeat albums for K7. A few years ago he relocated to Berlin, where he returned to his roots in techno and house and recorded for labels like Sender, Perlon and Beatstreet. “Tronic Jazz: The Berlin Sessions”, his newest album came out two months ago on Laboratory Instincts. We visited Gerald in his expansive Loft in Prenzlauer Berg and talked about his formative years in Manchester, technology and his new-found freedom as an artist.

Debug: Do you visit your hometown Manchester frequently?

Gerald Simpson: No, I usually go once or twice a year, maximum. When I left I said to myself that I wasn’t ever going back. But I have been back, playing gigs and stuff. I like the place, it’s my home, but I don’t feel complete there. I guess I’ve got do a few more things and then one day I can go back there. It changed though. I don’t know if for the better or for the worse. There is a lot of stuff happening there and a lot more people getting involved in new projects and music and stuff like that. There are a lot of kids who seem to be very excited. That’s always a good energy. But there is also a lot of nervousness about getting stuff done, waiting for the results and not getting on with the actual action. 

Debug: These days there are business plans involved, career plans.

Gerald Simpson: Yeah. in the 80s it was a little more adventurous. More underground is maybe a better description. We did it for the enjoyment of the moment. We wasn’t trying to follow a plan. Not like ‘Okay, first I get this record done and then ..’. It was more like ‘wow, I am releasing a record’. The excitement of actually getting it to vinyl was the achievement. That was the goal, the success. Getting it that far. To get there you really had to work. You knew, once it was pressed on vinyl it was frozen, it was always gonna be that way. Today everything is so easy, sometimes it seems to me that the actual process of making music isn’t even an important part of it anymore. Just throwing a few loops together, you know. All the elements are already there. There is a path pre-laid already. You only have to find the right promotion and the right name to then push whatever it is through. There are some tracks that are really cool, though, but you have to search for them. But I feel there aren’t many tunes that come to a certain conclusion. What are these tracks about? What were you thinking, while you did them? I don’t say that there should be a concept. But there should be something about the music, some kind of story. Even if it’s abstract.

Debug: There is this documentary about the emergence of acid house in the UK called “We Call it Acid”. One thing it shows, is the impact that this new movement had on british culture. You are also interviewed in it. Seeing it you really remember, that there was a time, when you had to fight to party, where it wasn’t normal that you would have all these different people together on the dancefloor. Do you sometimes think that the kids today are taking the dance culture for granted? For all they know it has always been there. It’s an industry now, it shaped the face of western culture.

Gerald Simpson: It was interesting. In the really early days it was very segregated. There wasn’t so many black people mixing with white people. The Hacienda was one of the first clubs where people really mixed. It was a melting pot. The music was mixed as well. And then you stood there and watched people dancing and there were all these football and hooligan types. Even though they weren’t really involved with that, they had a strange energy about them. Manchester has two football-teams and every saturday something would happen there. So the football thing was very present in the city. With acid house and pills these football lads slowly started to cross over. After the match they would go out and party. The attitude changed. It was mad to see, how the scene changed within a few years. You had these football guys, and these pop guys and all these dance crews, and within four years, from the mid 80s to the late 80s it became rave. By the 90s the political side became involved and started to hunt people down. I didn’t understand it, I always thought somebody should get a nobel peace prize. (laughs). Suddenly people who were doing these raves became criminals. I couldn’t believe it. The whole hooligan thing wasn’t an issue anymore. Everybody just went to these parties. And the promoter’s telephones started to get tapped, and they got really high sentences. It was crazy. I guess, apart from the drugs and the noise, one of the things that troubled the government was that it got too big. They couldn’t control it. And then they started to pass all these strange laws. When all these football hooligans were roaming the streets putting cars over beating people up, there weren’t any new laws filed to change that. But when that stopped and everybody started to go to these raves, it was suddenly supposed to be really dangerous. (laughs). 

Debug: Pretty much from the get-go house was a pop thing in the UK. Why do you think that is, this instant chart success?

Gerald Simpson: There was always a party culture in the UK. And radio played an important part. Pirate radio. A lot of people would tune into the pirates and listen to all these imports and then buy them somewhere. And before you knew it, you could find the record at HMV because it got so popular. If it wasn’t for the pirates, we wouldn’t have this culture today. People were really interested in alternative music as well. New music. America for instance was always different. Back in the day I did parties in Los Angeles and it was like I was showing them rave. I played records from Detroit and Chicago and New York, but they didn’t get it that all this music was from down the street. For them it was this foreign thing. It was weird. I realized that the UK was a melting pot. There was always a strong american influence. And if you went to an import records shop you would get it all. east coast, west coast, Chicago, Detroit. The culture that build around the parties and the pirates was completely outside any commercial system. Hunting down new records at the radio stations, swapping dubplates and all. I knew how unique this new community was, this new system. I had already been to America and had seen how things were done there, and I thought what was going on in Britain was just amazing. At the time I was signed to Sony and I tried to tell them that I had this new way of promoting my music. I told them that if I would give my upcoming records to a few key djs in the scene half their job would be done. But they didn’t understand it and told me that according to my contract I was not allowed to give away masters of my music because they own them, blah blah blah. I was like ‘okay fair enough, but you are going to complain, when the records won’t sell. Trying to sell my music in your system doesn’t make sense, because your system is too slow and too big. If you let me use my system within your system I can make things work’. There was so much potential, they even had their own cutting plants. I could have cut my own plates for christ sake. Bu they didn’t get it. They thought I was about to do something that was illegal. In the end I started my own label Juice Box. 

Debug: You signed to Sony after “Voodoo Ray” hit the charts.

Gerald Simpson: At the time I had problems with 808 State. I got involved with my management because they had legal people who were able to help me out with the whole 808 State case. They told me that to finance that I had to sign to a major label. Tony Wilson, the head of Factory Records, was about to start his own dance label back then, where I initially wanted to sign, because it would have been more independent. But in the end I went with Sony, where I had my own imprint “Subscape” within their system. But I still had no control over how they would promote my music. In them days it was still really oldschool. Basically, they said: ‘you do the music and we do the promotion, and you do not tell us what to do.’ They signed me on the basis of “Voodoo Ray”, but I think they were really confused how I could have entered the chart system around their system. My management at the time said to me that they are a global organization and that I would have that machine behind me. In any country. It’s a funny system. They are basically only looking at numbers. They wanted to make me the next big thing, comparing me to Michael jackson, and I was like, my music will never be successful in that realm. It’s not about the next big thing, but about all these next little things. They didn’t see it. I was really young back then but I knew there was a lot of bullshit in the system. To have to deal with that was a sacrifice for me to get a studio and to able to go on a tour. 

Debug: The other day I listened to “Black Secret Technology”, your seminal jungle album. You kinda left the scene right before it peaked between 95 and 98. Why was that?

Gerald Simpson: Jungle started out as an artform. I really understood what a sampler was for. Creating the music. But it got really stale. People using the same loops. And slowly but surely all these rules were established. I always just did my own thing, so I knew I wasn’t going to fit in. I’d rather slip underneath the radar. By 1997 or 1998 I decided to move to New York, where I experimented with other types of music, different vibes. K7 liked it and so I got involved with them. By 2000 I really had it with musical genres. I just wanted to make electronic music. The progress of technology changed so much. Everything became so easy and accessible. So why should I hold myself back? It seems to me, that the more freedom there is, the more rules pop up. The other day I thought about making an instructional video on how to cope with the situation if the dj switches musical genres in his set. (laughs) ‘Emergency! Genre change! You can now change your dancing style or run for the bar!’ 

Debug: It’s weird, because the technology can make it so easy these days to move from one genre to the next.

Gerald Simpson: The tools are there and they become more and more advanced. The stuff you can do with Ableton is just unbelievable, it’s mental. But people still behave like caveman. It’s like having an amazing palette of colours and then, on top of that, someone creates all these new types of brushes, that you can paint with, and then you just get a pencil and stick it into the painting, because it’s easier like this. We didn’t get wrapped up so much in issues like different tempos. There was another way of looking at dance music back then. People felt cool, while they were dancing. That’s what I am trying to do at the moment, make music that makes people look cool when they dance to it. (laughs) For me personally there needs to be a new genre – for tech-heads. People who appreciate the technical ability of programming of certain people like you can hear pianists who take something like Beethoven to another level. I think there needs to be some people that can actually hear the ability that goes into making music so that it becomes a challenge and an artform

Debug: Your new album is the second “Berlin Session”. On the first one you went back to your acid roots and the new one, “Tronic Jazz” is very influenced by the classic techno sound from Detroit. Is that your way of reminiscing about your roots and an attempt to update these sounds?

Gerald Simpson: More and more I feel like I am becoming my own little microcosm. I mean I am conscious of the fact that I am here (in Berlin) for a long time now. Back in the early 90s I wanted to some stuff like the “Tronic Jazz” album. But at the time I was with Sony and they wanted me to produce vocal tracks. I think Black Box were number 1 back then and they wanted something similar. I kinda escaped and did some things in Detroit under different names, which was a really good experience because there was no pressure. It has opened me up to having freedom. With my new album and also the one before I realized that I have the freedom to just create a little concept, record a session and build an album from the material. 

Debug: So you feel more free artistically?

Gerald Simpson: Yeah, I do. There is a lot more freedom. It’s a lot easier. I try to only enjoy it now. I dreamt that it would come to a point where everyone would create their own style of music, and we are kind of there in a way. The only thing that bothers me, is that I have this breakbeat problem I have to solve. (laughs) I wanna do a next level breaky type thing but make it in a way that people still look cool when they are dancing to it. (laughs)

Kenneth Anger für Missoni

Das italienische Familienunternehmen mit dem Carlo-Coluccihaften-Twist und den farbenfrohen Strickstoffen mit Zickzack-Muster ist richtig crazy drauf. Für ihre letzte Kampagne haben sie sich auf dem heimischen Sofa von Juergen Teller ablichten lassen, was komplett super aussah. Dass sie jetzt den Aleister-Crowley-beeinflussten Avantgardefilmer und Okkultisten Kenneth Anger für das Kampagnen-Video ihrer Fall/Winter 2010/11 Kollektion engagiert haben und darin selbst die Darsteller mimen, muss als noch genialerer Schachzug gewertet werden.

Der 83-jährige Pionier des amerikanischen Underground-Films ging früher in Paris gerne mit Jean Cocteau und Colette einen trinken, seinen ersten Durchbruch brachte der Kurzfilm Fireworks. Das war 1949. Anger war Mitglied des Ordo Templi Orientis, einem magischen Orden der die Crowleysche Religion namens Thelema zelebriert. Sein größter Fan ist naturgemäß der deutsche Schriftsteller Christian Kracht, dessen 500 seitiger Briefwechsel mit dem Komponisten David Woodard noch in diesem Jahr erscheinen soll.

Na ja, die 11 Missoni-Familienmitglieder jedenfalls vollführen in dem Clip eine Art trashiger Teufelsanbetung, in denen sie und die Kleider hinter Überblendungen und überkratzten Farbschemen kaum zu sehen, eher angedeutet sind. Das ist alles miteinander ganz ganz ganz großes Kino. Auch die Musik von Koudlam, die bereits häufig die aufregenden Videos des Künstlers und Frauenverstehers Cyprien Gaillard untermalt haben, überzeugt mit Geigen. Zwischen dem Werk Kenneth Angers und dem sonnigen Label Missoni gibt es keinen weiteren Zusammenhang.

Workshop-Tour mit Reason 5 und Record 1.5

Am 25. August bringt Propellerhead mit Reason 5 und Record 1.5 lang erwartete Updates ihrer Software-Schlachtschiffe in den Handel und damit ihr nicht Stunden lang einwurschteln müsst, steht eine Workshop-Tour an, wo euch alles en Detail erklärt wird. Jonas Löfvenmark, das ist der Rasta-Symphat im unteren Bild, ist Produkspezialist bei der schwedischen Firma und sollte sich angemessen auskennen. Die Termine könnt ihr kostenlos wahrnehmen, einzig um Anmeldung direkt in den Shops vor Ort wird gebeten.
Die Termine:

Mo 6.9. 19.00 Uhr Music Store, Veranstaltungsort : HardRock Cafe, Gürzenichstr. 8, 50667 Köln
Di 7.9. 19.15 Uhr Just Studio, Feldstr. 66, Bunker Heiligengeistfeld 20359 Hamburg
Mi 8.9. 18.45 Uhr Just Studio, Knaackstr. 97, Kulturbrauerei, 10435 Berlin
Do 9.9. 18.00 Uhr Musikhaus Korn, Hermannstr. 2, 04277 Leipzig
Fr. 10.9 18.00 Uhr, Musik Schmidt, Hanauer Landstraße 338, 60314 Frankfurt
Sa. 11.9. 14.00 Uhr & 17.00 Uhr (Hausmesse!) Rock Shop, Am Sandfeld 21, 76149 Karlsruhe
Mo 13.9. 18.00 Uhr Just Studio – München, Hanauer Str. 91a, 80993 München

Infos zur Software bei Propellerhead, oder natürlich auch bei uns.

Pictures from Chicago Photography

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Chicago Photography is a group that I started and now run at Flickr, that is already a daily source of delight for me. What follows is a sampling of some of the images that have been submitted to the pool, along with credits and links back to the profiles of the photographers, where you can see more of their work.These are reductions of photos that, over on Flickr, were set to allow for the blogging of images, which is what you see me doing here. Click on them, and you’ll get to the larger and more interesting full sized photos in their original locations. This is, I think, as it should be – the point of a page like this is to get you interested enough in some of these artists to go visit their pages, not to give you the feeling that you had already done so.

I believe that this was the first image submitted to the pool of the new group, by somebody also known as “Broken Bottle Betty”, according to her Myspace profile. If we go to her photostream, we find more black and white (and some color), club scenes, and a few pictures that show that sometimes less is more.

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mliw1 by T_Bex

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mliwlast10 by T_Bex

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You’re totally there, right? And maybe in the case of the first photo, a little concerned for your safety? By underexposing the film and limiting what we can see, she channels our attention to where movement is happening in the photo. These last three photos weren’t in the group pool, but this next one was.

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hot weiner by T_Bex

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Mad Science: Another Stonehenge Discovered Under Lake Michigan?

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I have difficulty taking this one seriously, which might not be an utter surprise, given the fact that we’re talking about a post about an alleged research project posted to a science fiction site. An unnamed “researcher” (identified elsewhere as Mark Holley of Northwestern Michigan College) claims to have found a Stonehenge like arrangement of boulders at the bottom of Lake Michigan. Looking at the picture included in the article, the only thing circular in it seems to be the field of view.

A thumbnail of what is said to be a sonar image of this supposed find can be seen below. How would you describe the distribution of the rocks you see in this image – as being a circular arrangement, or as something more linear, with a little random scattering – as one would expect to see if the river of ice that carved out the canyon that became Lake Michigan had melted, and dropped the rocks?

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How would a stone circle – were one present – end up at the bottom of a Lake that every child growing up near its shores knows was carved by glaciers? The article states “These submerged stones could have been raised by local populations at a time when part of the lake bed was dry, in the late Ice Age.” Except that the Lake, again as we all grow up knowing, was initially filled with the water from the glacial melt, so there was no such time – the Lake has been retreating, not advancing, over the millenia.

Another user (lprnal) tries to make the blog writer’s suggestion sound more reasonable than it is, saying “lake michigan has been shifting and evolving for quite a while now, and sometimes it’s not slow at all. For example in the door peninsula, there are bluffs which are quite high you can stand on, that used to be right on the edge of the water.”, but again, this is not due to the ground around the lake moving, but to the level of the lake dropping.

So I found this all quite strange. … read

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#134 - Beat Happening

Just when you thought Detroit's roots couldn't spread any further, the master of the Minimal Nation, Robert Hood, returns to the fray from his home in Alabama. We dig in deep with the former Motown resident before surveying LA's still-burgeoning beat scene (Shlohmo, Alex B, Baths, Take et al), heading east to Toronto to sit down with new disco-house dons Azari & III, and even further east to chat up London dubstep iconoclasts Mount Kimbie.

read more

#133 - Q+A: The Interview Issue

This month, nearly every feature within the issue takes the shape of an interview. Whether it's our scribes getting the scoop from the likes of Trailer Trash Tracys and DaVinci or Warpaint sitting down with cover star Ariel Pink, the Q+A Issue gets up close and personal with a slew of the summer's most blogged-about artists.

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#132 - Back to the Future: Delorean

Still a little chilly in your part of the world? No Anthony "Shake" Shakir or Kyle Hall or Todd Edwards or Mosca to keep the dancefloor hot and sweaty?

read more

#131 - Revolutions Per Minute: Matias Aguayo

As we head into 2010, the continuum of great music streaming from the tail end of last year just don't stop. Latin playboy Matías Aguayo takes house in all sorts of new (vocal-driven) directions, while L-Vis 1990 and Bok Bok hold it down with their London club and label Night Slugs. Then over on this side of the pond, Washed Out, Pictureplane, Toro Y Moi, and Neon Indian take electronic music back to the garage, while Beach House blesses Sub Pop with a new seaside stunner.

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#130 - XLR8R's Favorites of 2009

While we where pretty burnt on definitive best-of lists, we couldn't resist crowning Bristol cover star Joker the 2009 king of bass music. On top of that, in this year-end issue we survey a host of our favorite artists of 2009, including Martyn, Hudson Mohawke, The Field, Holy Ghost!, Nite Jewel, Schlachthofbronx, DJ Koze and tons more. As well, we look at the year's best technology and videogames, just in time for the holidays. View online at Issuu.

#129 - Funkstep?

In our latest issue, Cooly G, Geeneus, and Roskathe trifecta of London artists leading the charge for UK funkyare already onto the next thing... Funkstep? Dubbage? Who cares what you call their newest mutation of beats and rhythms?

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#128 - Labels We Love!

The wonderful Modular Records graces the cover of this year's Labels We Love special, an issue in which we feature all of our favorite young (and some old) labels as they make breaking news or hit their creative strides. Among that fabulous list are the likes of Type, DIRTY, Mothership, and tons more indie companies doing amazing things with the most limited of resources.

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#127 - Hot Tropic!

For June/July, we take a summery trip down to the Tropics. First up, we hit the gully with Kingston dancehall don Mavado. Next, for our Party Out of Bounds feature, we head south to Buenos Aires, where Zizek's Villa Diamante gives us the scoop on his fair city's hottest spots (we also take a detour through Toronto with Thunderheist, New York with DJ Derek Plaslaiko, and Helsinki with the Top Billin' crew).

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#126 - Spring Loaded

For our April/May issue, editor Vivian Host goes worldwide. She gets down to business with breakbeat-punk statesmen The Prodigy on their new record and what it took to get them back in the studio together, and then shoots over to Oslo to check out Scandinavia's hottest new bands at the By:Larm festival. Meanwhile, her XLR8R comrades check in with Omar S, Rye Rye, Tim Exile, Dam-Funk, and Terre Thaemlitz. It's a music obsessive's dream come true.

#125 - Mixed Up

This issue we take you around the globe in search of the perfect mixtape. Electro-pop princes Junior Boys tell all about their new record before lacing us with a 10-song tribute to those who most impacted Begone Dull Care. Pop Levi does up a quick half-side of Sparks hits for your listening pleasure. Over in Baltimore, Dan Deacon gets crazy with his new record, Bromst, before delivering "10 Poorly Juxtaposed Pieces." Also: Pan/Tone, Butch, Circlesquare, and Black Milk.

#124 - Flipping the Bird

We talk Dada cinema and cheesy saxophones with French electro-house master Mr. Oizo, trade icy stares with Finland's Luomo, and survey the future bass boys Lazer Sword, Megasoid, Rustie, and Nosaj Thing. We head into the studio with Señor Coconut and Anthony Rother, check out Moscow's electro-rock scene, visit with London breakbeat-hardcore revivalist Zomby, tell the future with Telepathe, and review the new Animal Collective album.

#123 - Best of 2008

Luca "Drop the Lime" Venezia tops our list for best artist of 2008, but there's much more where he came from. We dig up the latest music coming out of Gothenburg, Sweden, chat with shoegaze bands of yesterday and today, go into the studio with Hot Chip and Matthew Herbert, and get the year-ending praise and jabs from Kid Sister, Telepathe, The Death Set, Vivian Girls, Cut Copy, Beach House, Matthew Dear, Santogold, and many more for our Best of 2008 feature.

#122 - Make Noise

For this years very special Make Noise! issue (a.k.a. the Music Technology issue), The Bug leads the pack (with MCs Flow Dan and Warrior Queen in tow), then we get techy with Gang Gang Dance and crown princes of the house scene The Martinez Brothers, dip into the studios of four of indie rocks finest engineer-producers, tackle the usual videogames and music-making gear in our Machines section, and also get some great tips from Tittsworth and Jake One. Its a noisemaker, for sure!

#121 - PDXLR8R!

For this years special City Issue, Portland's weirdest and finest tell us about their music, their art, and their uniquely Pacific Northwestern lives. We catch up with Panther, Valet, video artist Matt McCormick, Decemberist/designer Carson Ellis, Glass Candy mastermind Johnny Jewel, and tour the town with Strategy, Reverend Shines, and a host of others. We do our best to keep it real, and the weirdness just flows.

#120 - Annual Style Issue

XLR8R checks in with neo-Victorian Daedelus at home in L.A., while peeking into scenes all over the country: We get nasty with New Orleans sissy bounce queens, get beautifully lost with Aaron Rose, and rewrite the history of Athens, Georgias freak-beat scene of the 70s and 80s. We also gather the goods on Wu-Tangs RZA, The Faint, and Jay Reatard, then swing way east for the lowdown from Philly artists Adam Wallacavage and Andrew Jeffrey Wright.

#119 - Labels We Love

For our annual Labels We Love issue, we pulled out all the newest labels you're sure to love in months to come. We flew down to L.A. to get the scoop on cover star Flying Lotus and checked in with mash-up pioneer Steinski, VP Records maven "Miss" Pat Chin, Sweden's Lykke Li, and DJ Godfather. All that while going bang with Bang Gang DJs, negotiating a chat between Sub Pop headmaster Jonathan Poneman and RCRD LBL auteur Peter Rojas, and keeping up to speed with the month's tech gear.

#118 - Heat Wave

For our summer double-issue, we check in with cover stars Hercules and Love Affair to get the scoop on disco's newest generation. We find out just what makes Doseone and his Subtle outfit tick, profile the newest crew of U.S. ragga MCs, and talk to revolutionary hip-hop MC Immortal Technique. We join The Grouch on this tour of the Southwest, get Quiet Village's favorite films, round up the best dancefloor beats Italy has to offer, go into the studio with Booka Shade, and much more.

#117 - XLR8Rs 15-Year Anniversary Issue

For our May issue, we pull out all the stops, revisiting XLR8Rs storied 15-year history while never stopping to look forward. A brilliant piece by painter Maya Hayuk adorns our cover, and behind it we get the skinny on some of our favorites over the years, from Moby to Portishead to The Prodigy and more. We also bring you the latest on the dance-rock scene with Cut Copy, Late of the Pier, and The Teenagers, and get in the studio with 9th Wonder and Eliot Lipp.

#116 - Dont Mess With Texas

XLR8R goes down to Texas and gets the skinny from the mayor of the dirty south, Bun B. We also hit the streets of Minnesota with Atmosphere and the shoe shops of S.F. with Lyrics Born. We check in with M83s Anthony Gonzales and fellow Francophone Miss Kittin, then speak with photographer extraordinaire Paul Hartnett, Kelpe, Jamie Lidell, Jeremy Jay, Bird Peterson, Ghostland Observatory, and more. It's a trip!

#115 - Dubstep Special

Poster boys Skream and Benga, Caspa & Rusko, and Cluekid and Cotti are just a few of the many names we feature in this definitive look at the scene. We also check in with Glass Candy, Valet, Dennis Ferrer, and Karizma, and then head across the world to get the lowdown on Brazils Sany Pitbull and Israels Kutiman. Pedestrian expounds on the genius of N.W.A., and we try to figure out what the hell is up with powerviolence.

#114 - Tea and Sympathy

To kick off 2008, Oaklands imitable indie rockers Xiu Xiu grace our Jan/Feb cover. We also get the real deal from Deerhunters Bradford Cox and his Atlas Sound side-gig. Then, we interview dancehalls hottest young star, Munga, before chatting it up with Heralds of Change, Boy 8-Bit, Yeasayer, James Pants, The Pack, and Jay Haze. Plus, some fine pics of stylish indie movers and shakers like Telepathe, Crunc Tesla, Soft Circle, and more.

#113 - Best of 2007 Issue

Producer Dave Switch Taylor tops our list for 2007s best artist, but theres a lot more where he came from. We chat with Claude VonStroke, White Williams, Boys Noize, David Shrigley, DJ Food, Kid Acne, and Matt Furie, and get top-tens from Black Moth Super Rainbow, Pissed Jeans, selekta Max Glaser, and tons more. Plus your year-ending praise and jabs in our Best of 2007 feature.

#112 - Under Control: The Music Technology Issue

For our annual Music Tech issue, we talk shop with some of the scenes most interesting characters, including Ricardo Villalobos, Bjørn Torske, Cobblestone Jazz, Megasoid, and cover boys Modeselektor. Other features include: Gang Gang Dance, Caribou, Ethan Rose, Sally Shapiro, Mike Giant, and more.

#111 - Paris, Je Taime

This month we shine a little, um, light on the City of Lights, with special features on Chloé, Chateau Flight, Busy P, Teenage Bad Girl, Ekleroshock, Kitsuné, Poni Hoax, Institubes, Turzi, the Colette shop, and more. We go underground with graff writer Psyckoze, into the studio with Para One, and through the city with Fafi, Teki Latex, and Blek Le Rat.

#110 - Look Sharp

This September, we get inside the hip minds of some of the indie worlds most stylish acts, like Dudley Perkins, Georgia Anne Muldrow, Tiombe Lockhart, Waajeed, Alice Russell, The Politik, and Rita J. Then we chat with Wiley, Quio, Prinzhorn Dance School, artist Mike Paré, and Calvin Harris. Z-trip stops in to talk videogames, and Tim Harrington of Les Savy Fav provides thrift-shopping tips. Other features include No Age, Shawn Brackbill, and Turf Talk. Style for miles.

#109 - Labels We Love

In addition to our Top 25 Labels We Love feature, XLR8R ventures into the world of MP3 labels, oddball dance imprints, Frances Kitsuné, and 10 young labels to watch in the coming year. Mutes Daniel Miller and Adult.s Adam Lee Miller discuss the world of independent labels, and Aesop Rock fills us in on his new album. Other features include Bonjay, Samiyam, Architecture in Helsinki, Kathy Diamond, Motor, and more.

#108 - Future Perfect

This month we shot cover boys Digitalism on location at the Palm Springs home of CSIs Eric Szmanda. We kept it hot down in Houston with Devin the Dude, got icy-cool with Arnaud Rebotini of Black Strobe, strategized with Portlands Paul Strategy Dickow, and mapped out Feists career trajectory. Other features include Escort, Tomboy, New Young Pony Club, Zombi, Efdemin, Milanese, The Field, Mice Parade, DJ Kentaro, and C-Mon & Kypski.

#107 - Hands Up For Detroit

XLR8R gets up-close and personal with techno cover boy Matthew Dear. We also check in with Brighton rock powerhouse Electrelane, get the lowdown on the beef between dancehall gangstas Mavado and Aidonia, and quiz Of Montreals Kevin Barnes. Other features include Khan, Lifesavas, a cast of remix specialists (K-Salaam, D-I-R-T-Y Edits, A Touch of Class, DJ Day) Cadence Weapon, Clipd Beaks, and more.

#106 - Ready For Battles

For this issue we've got post-everything instrumentalists Battles on our cover. Equally as perplexing as Battles rhythms are those of London jagged jazzists Soil & Pimp and Brah! Records. We meet Justin Broadrick of Jesu, and nu-disco experimenters Joakim and Michoacan. Other features include the new school of Detroit hip-hop, Explosions in the Sky, Tracey Thorn, a Vis-Ed feature by Friendswithyou, and we go around the world to discover Brazilian tecno brega.

#105 - Fire Starter

Dancehall giant Sizzla graces our cover this month. Also featured: El-P, Paul Epworth, Greensleeves celebrates 30 years, TTC, Baltimore's buck wild warehouse party scene, Burlesque Design, forgotten heroes of the Wu-Tang clique, an Ito style shoot, Einsturzende Neubauten, Crystal Castles, Wowch, RJD2, LCD Soundsystem, and Henrik Schwarz.

Jacques Palminger: Hier reitet jeder auf einem weißen Elefanten

hier klicken, um Video zu sehen

Gil Scott-Heron - Me And The Devil

hier klicken, um Video zu sehen

Verstärker bei byteFM - Heute 21 Uhr

Ulkige Musikernamen wie Sugar, Pharoahe, Muddy und, äh, Kode prägen einmal mehr das Gesamtbild von ByteFMs musikalischem Sprachrohr des schneidigen Bundesverteidigungsministers Graf Lothar zu Matthäus und seiner Gattin, die dem Moderator D. Böhme gerne und häufig die vertraulichsten Informationen aus höchsten CDU/CSU-Kreisen ins Ohr säuselt (Keinohrhasen ist der Lieblingsfilm von Christian Wulff: Großartige Schauspieler! Kult!).

Mit dem üblichen Brimborium aus tiefen Bässen und leiernden Gitarren werden wieder einmal die Steuergelder verblasen, es ist eine wahre Freude: Mount Kimbie, L-Vis 1990, Best Coast, Milk White White Teeth, Film School, Kode9 & Spaceape, School Of Seven Bells…ja, ist denn schon Weihnachten an der Front?

Zu hören bei byteFM oder bei uns rechts auf der Seite via byteFM-Player.

Rusko feat. Amber Coffman - Hold On

hier klicken, um Video zu sehen

Lloyd Miller & the Heliocentrics

Auf das Kollaborationsalbum der Heliocentrics mit Mulatu Astatke folgt nun eine Zusammenarbeit mit LLoyd Miller auf dem Strut Label. Der Multiinstrumentalist Miller verknüpft seit den 1960ern traditionelle persische Musik mit Jazz, im Iran hatte er in den 1970ern gar eine eigene Jazz-Fernsehshow.
hier klicken, um Video zu sehen
Info bei Stones Throw

Lloyd Miller & the Heliocentrics - Fantasia Pt 1
[See post to listen to audio]
Download

Lloyd Miller & the Heliocentrics - Electricone
Lloyd Miller & The Heliocentrics- Electricone by Strut

Kreidler - Impressions dAfrique

hier klicken, um Video zu sehen

Katze - Du bist meine Freunde

Klaus Cornfield ist einer der nachhaltigsten Typen westdeutscher Indie-Putzigkeit. Bestimmt hört er wie viele andere putzige Leute jenes Attribut gar nicht gern. Aber hey, wie tough kann man denn schon rüberkommen, wenn die eigene Band Katze heißt und einige der schönsten Songtitel Bei mir wird immer alles schmutzig und Franzi, wir wollen, dass du bei uns in der Band mitmachst lauten? Die zweite Katze-Platte hat lange gebraucht, lohnt sich dafür allerdings auch wirklich. Das kleine Universum Katze (Cornfield zeichnet auch Comics unter diesem Logo) hat seinen Schrammelbubblegumpop erweitert. Die Platte wirkt insgesamt abwechslungsreicher und hält immer wieder Perlen bereit. Melancholisch süß, nur süß und kokett frech sind die angewählten Stimmungen; wer will, kann Cornfields 90er-Jahre-Überband Throw That Beat In The Garbagecan immer noch gut erkennen. Hello-Kitty-Ramones auf Alcopop und mit (herzens-) gebildetem Background.

“Du bist meine Freunde” ist bereits bei ZickZack/Broken Silence erschienen.

Erstveröffentlichung des Artikels bei Intro.

Converse - All Summer

hier klicken, um Video zu sehen

Mr Scruff - DJ-Mix@Garden Festival, Croatia, 10/7/2010

Mr Scruff live DJ mix from the Garden Festival, Croatia, Saturday July 10th 2010 by Mr Scruff

The Morning Benders - Stitches

hier klicken, um Video zu sehen

necrotic socks guest curating hearing test blog(!!!!)

prepare to be inundated with posts, as san francisco experimental artists 666 gangstaz and heartworm, known collectively as necrotic socks, guest curate the hearing test blog… you’ll see new opinons, articles, reveiws and news about music, music, music…

more soon. for now check out the brief bios and sample some music from these guys…

http://www.soundcloud.com/heartworm

http://www.soundcloud.com/666gangstaz

Dizzee Rascal + Shy FX Cant Tek No More [Audio]

Love this roots reggae refix produced by Shy FX with Dizzee pon di mic. From Dizzee Rascal’s Tongue N Cheek LP, here’s “Can’t Tek No More” of this, No No No…

  

  

Listen: MRK1 April 2010 Mix [Audio]

The latest mix from ( our longtime <3 ) MRK1 is pure EEEEEEVIL! Absolutely nasty bass, head-bangin beats and skull-crushin synths. Reminds me of the set he played @ the Bordello in Oakland last summer…. MRK1 is a MONSTER live!

MRK1 April 2010 Mix

  

  

At dawn, as the party was winding down, I went for a walk around the block and found this Niche tribute:

  

(Click to see larger version)

  

Photos of MRK1 and 6Blocc live in Oakland 2009

I don’t know if I ever posted the pix from that party, so here ya go – eye candy to enjoy while listening to this April mix…

  

  

  

Mochipet vs The Polish Ambassador ft. Deceptikon In SF

Artist info:

The Polish Ambassador

The Polish Ambassador (also known as Ample Mammal) has been rocking shows up and down the West Coast with an electrifying blend of glitch hop, breaks, and dance music sure to make that booty shake. Not pigeon holed to one specific genre, the ambassador rips up and down the tempo range, building all of his sets live from a monstrous stash of 100% original beats, bass, synth, and vox lines. Think the party atmosphere of Girl Talk combined with the skill and dexterity of Pretty lIghts and you have some idea of what he's throwing down.

“Taking music as you know it and feeding it through a human being dosed with only the most complex computer algorithms.”

www.facebook.com/thepolishambassador

www.facebook.com/amplemammal

Mochipet (Daly City Records)

Born in Taiwan R.O.C. to Rocket Scientist father and Kindergarten Teacher mother, David Wang (a.k.a. Mochipet) has been tinkering with electronics since he was a child. However, not until he added music to the equation, did something special begin to take shape. Having grown up listening to metal guitar, avant-garde jazz, and mainstream hip-hop, Davids eclectic taste can now be seen in his music ever changing, and always evolving.

www.facebook.com/mochipet

Deceptikon (Daly City Records, Merck Records)

Deceptikon recently relocated to San Francisco via Tokyo via Seattle. He spends his time making music for the future, a soundtrack for future-minded space travelers and skiff-jumpers from the 23rd dimension. "Mythology of the Metropolis" is the highly anticipated just-released third Deceptikon album, and is easily his most ambitions work to date. The record is a genre-hopping, bass-heavy, mind-bending album of epic proportions, one that is equally suited for the home stereo as well as the dance floor. Heavy analog bass lines, vocals mangled just beyond recognition, vocoded samples, and thumping drums play like a soundtrack to genres that haven't yet been invented.

www.facebook.com/dkonmusic

KALX 90.7FM Berkeley

KALX 90.7 FM broadcasts freeform radio 24 hours a day to a large portion of the San Francisco Bay Area. You can catch all stripes of underground music accented with news and alternative informational programming.

http://kalx.berkeley.edu/

Bikes N Beats

Bikes N Beats is a brand new Bay Area promotional group, focused on bringing bike friendly electronic music events to San Francisco and beyond. Look for a promotional booth at this party with newsletter signup, stickers, and a representative to answer any of your questions. Add us on facebook to stay up to speed on all of our events!!

www.facebook.com/bikes.n.beats

$10 with facebook RSVP, or SFBC membership. $12 at the door without.

Doors at 10 p.m. 21+

Simon Reynolds Eldritchtronica and Wyrd Bliss Mixtape

Pontone & Simon Reynolds compiled this eclectic eelectronica mixtape for the latest Pontone podcast. Reynolds says the only thing that ties these selections together is a genre he made-up to fit the occasion – “eldritchtronic” music:

“eldritchtronic”, a non-existent genre that cuts across a bunch of zones (hauntology, the trippier end of microhouse, hypnagogic/glo-fi, the Brooklyn school of “ecstatic experimental”, etc). Mostly electronic but rarely intersecting with the dancefloor, this music merges blissy and eerie, the wired and the wyrd. And because the 2000s was when the linear temporality of music definitively dissolved, theres leakage from the remote past, musique concrete and text-sound by artists I encountered for the first time during the Noughties.

Listen to the mix and read more @ Pontone’s Special Guest: Simon Reynolds – Eldritchtronica and Wyrd Bliss Mixtape.

Eldritchtronica and Wyrd Bliss Mixtape Playlist:

1. Black Moth Super Rainbow Rollerdisco (Dandelion Gum Graveface, 2007)
2. Belbury Poly The Willows (The Willows Ghost Box, 2005)
3. Ricardo Villalobos Fizheuer Zieheuer (Fizheuer Zieheuer Playhouse, 2007)
4. AFX PWSteal.Ldpinch.D (Analord 8 Rephlex, 2005)
5. Isolee Text (Rest Playhouse, 2000)
6. Mordant Music The Black Crush (Dead Air Mordant Music, 2006)
7. Ducktails Neptune City, NJ (Landscapes Olde English Spelling Bee, 2009)
8. Dolphins Into The Future B9 (Mountain Saturnus Dreamtime Taped Sounds, 2007)
9. Oneohtrix Point Never Physical Memories (Rifts No Fun, 2009)
10. High Places From Stardust To Sentience (high Places Thrill Jockey, 2008)
11. Henry Sauguet Aspect Sentimental (Archives GRM Ina-GRM, 2004)
12. Harrison Birtwistle Chronometer (Creelsploitation 1 Creel Pone, 2006)
13. Lily Greenham Experience (Lingual Music Paradigm, 2007)
14. Animal Collective Panic (Here Comes The Indian Paw Tracks, 2003)
15. Moon Wiring Club Rogers Ghost (An Audience Of Art Deco Eyes Gecophonic, 2007)
16. The Advisory Circle Sundial (Other Channels Ghost Box, 2008)
17. Sean McCann Look Out (Phylum Sigh DNT Records, 2009)
18. The Focus Group Modern Harp (Hey Let Loose Your Love Ghost Box, 2005)
19. Gang Gang Dance Dust (Saint Dymphna Warp, 2008)
20. J Dilla Wont Do (Instrumental) (The Shining (Instrumentals) BBE, 2006)
21. Blectum From Blechdom Bastard Child (Desnaunted Haus Tigerbeat6, 2001)
22. Ariel Pink Life In L.A. (Worn Copy Paw Tracks, 2005)

R.I.P. Guru Gang Starr Pioneer Of Hip Hop Jazz Fusion

Just learned the news from DJ Premier’s blog. Definitely go there for the true tribute. Here’s an excerpt:

While in hospital with terminal cancer, Guru wrote a letter, which was provided by Solar, to his fans addressing his illness, his shining music career, his family and loved ones.

“I, Guru, am writing this letter to my fans, friends and loved ones around the world. I have had a long battle with cancer and have succumbed to the disease. I have suffered with this illness for over a year. I have exhausted all medical options. I have a non-profit organization called Each One Counts dedicated to carrying on my charitable work on behalf of abused and disadvantaged children from around the world and also to educate and research a cure for this terrible disease that took my life. I write this with tears in my eyes, not of sorrow but of joy for what a wonderful life I have enjoyed and how many great people I have had the pleasure of meeting,” read the official Guru statement.

“My loyal best friend, partner and brother, Solar, has been at my side through it all and has been made my health proxy by myself on all matters relating to myself. He has been with me by my side on my many hospital stays, operations, doctors visits and stayed with me at my home and cared for me when I could not care for myself. Solar and his family is my family and I love them dearly and I expect my family, friends, and fans to respect that, regardless to anybodys feelings on the matter. It is my wish that counts. This being said I am survived by the love of my life, my sun KC, who I trust will be looked after by Solar and his family as their own. Any awards or tributes should be accepted, organized approved by Solar on behalf myself and my son until he is of age to except on his own.”

More @ Guru Passed Away After Hard Battle R.I.P. on DJ Premier Blog | The Only Fansite Approved by DJ Premier.

Naturally, “Guru” and “RIP Guru” are already a trending topic on twitter. An article on MTV.com shares tributes and reactions from different friends & peers of Guru, including this tweet by ?uestlove:

The Roots’ ?uestlove tweeted, “In my 10 greatest voices in hip hop, Guru was easily top 5 … Smooth. velvet. will be missed. RIP Guru … Back when we first took getting into the industry seriously, Gang Starr’s Daily Operation LP got us thru 1992.”

Read more @ Gang Starr’s Guru Remembered By Snoop Dogg, Nicki Minaj, More – Q-Tip, ?uestlove, Tony Yayo also pay tribute to late MC on MTV.com

In addition to his pioneering work blending hip hop with live jazz music, Guru was also a successful solo artist since 1993 and has worked with loads of talented peeps, including Herbie Hancock, Isaac Hayes, Chaka Kahn, Erykah Badu, The Roots, Common, Jamiroquai, Macy Gray and Damian Marley.

More info @ The official report from The Associated Press

New Stereotyp!! Drop It ft Arabyrd [Audio]

Love this sultry booty bass track from longtime fave Stereotyp (<3 <3 ) and newcomer-to-us Arabyrd. Whoever she is, we’re in love – girl crush all.the.way. Keep this up, love!

<a rel="nofollow" target="_blank" href="http://crunchtime.bandcamp.com/track/drop-it-feat-arabyrd">DROP it / feat.: ARABYRD by Stereotyp</a>

DROP it / feat.: ARABYRD | Stereotyp.

Buju Banton Trial Postponed Until June [Audio, Video]

Buju was originally scheduled to go to trial in Florida next week, but a judge has postponed the trial another 2 months without explanation. Banton is still imprisoned and has been since December 2009. Here is audio of a brief phone call between Buju Banton and IrieFM recorded last month (before finding out the trial would be delayed):

And here’s his lawyer speaking on the case:

And finally, some new-ish music:

Buju Banton – Dem Sell Out (2010)

Buju Banton live in Berkeley – Rasta Got Soul Tour 2009

New! Vexd Disposition Ft. Jest [Audio]

It’s been a minute since i posted anything from dashing dubstep duo Vex’d… I’ve been wearing out Jamie’s solo release In System Travel in the meantime (on vinyl & I drop it every time I play out). But now we get a fresh track off their new/lost album Cloud Seed which comes out next month on Planet Mu. The tune is called “Disposition” featuring Jest pon di mic:

Listen to Vex’d – “Disposition” from Cloud Seed:

  

  

Vex’d at Underground SF in San Francisco, photo by Molli Fire

  

Vex’d Links

Jump to XLR8R for the free download!

Vex’d space

Jamie Vex’d space

Planet Mu page

Kode 9 Mix Next In The DJ Kicks Series [Tracklist, Artwork]

Kode 9 just announced a new DJ Kicks mix and posted this album art:

The album is due to drop on June 21, 2010

UPDATE: TRACKLIST ANNOUNCED!!

Kode9 – DJ KiCKS

1. Lone – Once In A While
2. Aardvarck – Revo
3. Kode9 – Blood Orange
4. Kode9 – You Don’t Wash (Dub) [DJ-Kicks exclusive]
5. Cooly G – Phat Si
6. Ill Blu – Bellion
7. Ikonika – Heston
8. Scratcha DVA – Jelly Roll
9. Mr Mageeka – Different Lekstrix
10. Grievous Angel – Move Down Low
11. Sticky feat. Natalie Storm – Look Pon Me
12. Sticky – Jumeirah Riddim Sequel
13. Mujava – Pleaze Mugwanti
14. DVA – Natty
15. Aardvaarck – Re Spoken (Nubian Mindz Released Mix)
16. Morgan Zarate feat. Sarah Ann Webb – M.A.B.
17. Rozzi Daime – Dirty Illusions
18. Zomby – Spiralz
19. Kode9 – It
20. J*DaVeY – Mr. Mister
21. Digital Mystikz – 2 Much Chat
22. Terror Danjah – Stiff
23. Digital Mystikz – Mountain Dread March
24. Zomby – Godzilla
25. Digital Mystikz – Mountain Dread March (Reprise)
26. Addison Groove – Footcrab
27. Kode9 vs. LD – Bad
28. Maddslinky – Cargo
29. Ramadanman – Work Them
30. Terror Danjah – Bruzin (VIP)
31. The Bug – Run (feat. Flo Dan)

Kode 9 – “You Don’t Wash (Dub)” is only available on this comp…