Alain_Patrick  Add Friend
Home Page: http://www.myspace.com/alain_patrick
Member Since: Oct 30, 2003
Rank: 2,247
Average Vote Received: Correct (3.50, 2 votes)
Rated 1222 releases, average: 4.64
Location: São Paulo, Brazil
Profile: A Worldwide agent, journalist, and an enthusiast of the Brazilian electronic scene, Alain_Patrick grew up listening to Classical music, mostly Debussy, Mussorgski, Stravinsky and the Brazilian composer Heitor Villa-Lobos, under his parents influence. His mother was fan of Mozart, his father, a Jazz and Opera expert - that’s where he could listen to Ella Fitzgerald and Billie Holiday for the very first time - and his stepfather a musician devoted to J. S. Bach and Haydn’s oeuvres.

His ears were always eager to find new sounds. The first of them couldn’t be other than the experimentalist György Ligeti, who turned to be one of his primal avant-garde influences, since he was lucky enough to see Stanley Kubrik’s “2001: A Space Odyssey” on the very early eighties, with some of Ligeti’s masterpieces on the soundtrack – “Requiem For Soprano”, “Lux Aeterna” and “Atmospheres”. The minimal composer Philip Glass was another big reference, thanks to his mother, who would listen to his pieces recorded on tape during his way to school.

One day he discovered the streets and the radio. That’s where Funk, R&B, Soul and mostly Electro-Funk ruled back in 1983-1984, during the Break Dance Era. His favorite artists of the genre were Arthur Baker, Break Machine, Chaka Khan, George Clinton, Hot Streak, Jellybean Benitez, Malcolm McLaren, Ollie And Jerry, Quincy Jones, Trevor Horn, ZAPP, among others. At the same time, the charming & soulful music from Barry White, Earth, Wind & Fire, Floaters, The, James Brown, Jocelyn Brown, Kool & The Gang, Marvin Gaye, Rick James, Smokey Robinson and Stevie Wonder infested the radios, influencing a whole generation.

At the end of the eighties, new influences of bands like Depeche Mode and New Order, as well as all the Acid House, New Beat and EBM scenes caught him almost instantaneously. Something seemed to be missing though - a more soulful and sophisticated perspective, with electronic / futuristic approach.

In 1989, his greatest friend Sylvain 'Acidman' Justum (the 'Gazza'), brought him the first album of Inner City, and nothing would be the same again. The rising of Detroit Techno & House would set change his life forever, as well as his old love for Breakbeats.

Since the very beginning of the nineties, the post Acid House scene made him start to look for the clubs, just like his companion Sylvain 'Gazza' Justum (A.K.A. Acidman): at U.S. Beef Rock, they met the young DJ Ricardo 'Mazinho' Almeida, and later the Frenchman Cedric Huet through a friend. His main ‘electronic’ influences are 4 Hero, 808 State, Alex Reece, Altern 8, Bam Bam, Cabaret Voltaire, Carl Craig, Chez Damier, Claro Intelecto, Clock DVA, Coldcut, Derrick May, Eddie Flashin’ Fowlkes, Eric B & Rakim, Fingers Inc., Future Sound Of London, The, Grandmaster Flash, Juan Atkins, Kraftwerk, Kenny Larkin, Kevin Saunderson, Kirk Degiorgio, Klinik, Larry Levan, LFO, Liaisons Dangereuses, LTJ Bukem, Mantronix, Marshall Jefferson, Masters At Work, Maurizio, Nightmares On Wax, Open House & Placid Angles, Orbital, Public Enemy, Rebel MC, Stacey Pullen, Stasis, Wax Doctor and Whodini.

After several years, his passion for music became his daily work. He collaborated for several electronic music sites such as www.rraurl.com, www.technopride.net, www.energybr.com.br, and was invited as a member of the Editorial Council of Beatz Magazine in 2004, one of the most important specialized magazines of Latin America, then directed to the official website management during the same year. www.beatz.com.br.
In 2005, he left Beatz to work with a DJ & Production School and Technology Center DJ Ban for some few months, so that he could use all of his knowledge and skills in the international electronic music scene to offer specialized and personal support to the DJs, producers and supporters in general. From 2005 to 2007, he integrated the SmartBiz For DJs team as an agent and responsible for the news and partnership between SmartBiz and DJ Sound.

Since 2002, he and some friends (DarkAge, DJ Robson, André Bacon & Dragonheart included) created the Aesthetic Nation Crew, and underground collective to support a music essentially conceived as ART.



FORVM Administrator:
. (( ♥VINYL )) ©
. how to avoid fake / bootleg releases
. INTERNATIONAL BOOKINGS - DJS / LIVE ACTS WORLDWIDE
. OLD SKOOL LOVERS '80 - '93



Portfolio:


DJ Manager, Journalist and Public Relations

Radio Sessions:

. The History Of R & S Records

. DJ Pierre (Phuture/Phortune) interview

. Steve Rachmad Interview

. Techno-Soul Sessions By Aesthetic

[b]www.beatz.com.br
– Editor during the year of 2004

Interviews in portuguese: Acácio Moura, Alex S, Altern 8, Billy Nasty, Chris Liberator, Dex, Daniel U.M., Dave Angel, Dave Mothersole, Duet 4 Fun, Ian Pooley, Julião, K-Milla, Karl Bartos, Karsten John, Kevin Saunderson, King Britt, Layo & Bushwacka, Magal, Marcão (Clunk DJs), Marcio Zanzi, Nisek, Osunlade, Pure Science, Richard Bartz, Robson, Roger Rabbit, Ronald, Thomas P. Heckmann, Wagner J & Wander A (Colors).

Interviews in English (some of them are located just below the one in portuguese): Altern 8, Billy Nasty, Chris Liberator, Dex, Dave Angel, Ian Pooley, Karsten John, King Britt, Osunlade, Pure Science, Richard Bartz, Thomas P. Heckmann

Events coverage: Kraftwerk @ TIM Festival

Magazine articles:
Beatz 07: “Belgica: Do Poperô Ao EBM”
Beatz 08: Laurent Garnier Interview
Beatz 09: Layo & Bushwacka Interview
Beatz 10: DJ Murphy Interview

[b]www.discogs.com
– Biggest International Electronic Music Vinyl & CD Database –

Profiles:

Altern 8
Billy Nasty
Dan Caballero aka DJ Dex
Dave Angel
DJ Di'Jital
King Britt
Osunlade
Pure Science
Richard Bartz
Vinyl Vibes
As 'Underground Front':
Exos

www.djban.com – Most important Technology & Cultural Center for DJs & Producers –

Interviews with:
Exos (Iceland)
Dan Physics (USA)
Vince Watson

DJ Sound:

SmartNews (DJ Sound nº130)
SmartNews (DJ Sound nº131)
(look on the 'SmartNews' column on the website).

www.d-edge.com.br
Interviews:
DJ Di'Jital
Steve Rachmad

www.energybr.net – Article Sessions – (go to ‘Artigos’ on the main menu)
De olho na Cena – “Hey, Joe!” por Werner Underground Front

Clássicos 001 - Jam & Spoon – Stella por Werner Underground Front

Clássicos 002 - The Ambush - The Ambush por Werner Underground Front

Clássicos 003 - Choice feat. L. Garnier & Shazz - Acid Eiffel por Werner Underground Front

www.rraurl.com – releases:
Dave Angel – X-Mix 4 (Beyond The Heavens) – K7! (1995)
CJ Bolland – The 4th Sign – R&S (1992)
Inner City [Kevin Saunderson, Paris Grey] – Big Fun – Ten Records (1988)
Interviews:
(as 'Bruno Nettesheim')
Fabrice Lig
(as Alain Patrick)
Arthur Baker (with Jamille Pinheiro)
Special Articles:
Detroit Flavors - The Legacy
* 'Cabuloso' Podcast Radio Sessions *
Hardcore Uproar
Detroit Flavors
Cool Beats
Break The Law

www.technopride.net – Deep Techno column – (Look at ‘Colunas’, then ‘Deep Techno’)
Redhead – The Darkness (Tom Hades rmx) – Mb Electronics (2003)
Resenha
04.12.03
Carl Craig - More songs about food & revolutionnary art - Planet E (1997)
Resenha
19.11.03
Henrik B – Kryoniks – TrueSoul(2003)
Resenha
Drexciya - Hightech Nomads (Grava 4 album) - Clone (2002)

Favorite books:

Baron in the Trees, The (1957) - Italo Calvino
Capital, The - Karl Marx
Discours De La Méthode - Descartes
Golden Book Of The History Of Music, The [From the Middle Age To The XXth Century] - Otto Maria Carpeaux
Grove Dictionnary Of Music, The
Holy Bible, The
L'Esprit Des Lois - Montesquieu
La Fontaine - Fables
Le Rouge Et Le Noir - Stendhal
Les Trois Mousquetaires - Alexandre Dumas
Madame Bovary - Gustave Flaubert
Memórias Póstumas De Brás Cubas - Machado De Assis
Médecin Malgré Lui, Le - Molière
Música Eletroacústica - Flo Menezes
On the origin of species by means of natural selection (1859) - Charles Darwin
On the Principles of Political Economy and Taxation (1817) - David Ricardo
Pasteur, une science, un style, un siècle - Bruno Latour
Quatrevingt Treize - Victor Hugo
Quo Vadis - Henryk Sienkiewicz
Wealth Of Nations, The (1776) - Adam Smith
Seller Rating: 100.0% positive (4 ratings)

Buyer Rating: 100.0% positive (9 ratings)

Alain_Patrick's groups (43)

Reviews & Discussion:

No one questions the importance of the Classic chef d'oeuvre by Jamie Principle with the beautiful vocals of Adrienne Jett: 'Your Love' infested the DJ charts and dancefloors on the House scene of United States on the mid eighties and became a standard of the genre that would dominate the Club scene since then. Released several times later under different labels, it's known to be a production created much before 1986, but what very few people may know is the fact that its classy futuristic bass lines were taken from the Electronic Disco masterpiece 'Feels Good' by Electra feat Tara Butler on Emergency Records, 1982. You can hear them repeatedly from 2'49 to 3'10 on the original Emergency single.
This Classic Electronic Disco masterpiece has very famous bass synthesized lines which made history on the dance floors. If you think they're familiar, you're absolutely right: they were sampled months later by Jamie Principle on 'Your Love' (original version). You can hear them repeatedly from 2'49 to 3'10.
What does it takes to experience a memorable moment in your life? Larry Heard gave the crowds a unique gift through the 1986 released timeless House classic 'Can You Feel It', based on elegant rhythm patterns and deep, futuristic synth hypnosis.
'Can You Feel It' stands for its Aesthetic perspective and also for bringing the intense listener to the years to come, just like an outstanding Future Soul piece would do. As a natural consequence, it would influence hundreds of Electronic Music heads since them from several genres, including House, Techno, Drum n' Bass, among many others.
The first pressing of that gem got a so huge feedback that it crossed the Atlantic Ocean to become a Standard not only for the House Music genre, but for quality Electronic Music Worldwide.
This explendid acclaimance gave 'Can You Feel It' countless other releases, notably the 1988 versions with Martin Luther King's "I Have A Dream" speech and Chuck Roberts "My House" Acappella, on Desire & Jack Trax, both considered timeless too. It was also included a little more than a decade later on the 'WARP 10+1 Influences' compilation, as a testimonial that it stood the test of time.
Fantastic early release of Derrick May's 'Innovator' album full of gems such as "Wiggin" (Juan Atkins Remix), one that really worths to mention, for Juan's remix goes on a ethereal, Soulful mood based on hypnotic dubby pianos & basslines, as well as neurotic hi-hats which makes it by far the greatest vesion of Wiggin (with the hot 'Sinister Mix').
The other treasures to keep (both eyes) on are Ken Ishii's version of "The Beginning", an exclusive of this album; the outstanding aesthetic "Strings Of The Strings Of Life" which appears complete on both LP & CD releases (even if it also came out on Ken Ishii's Mix Up Vol 3 CD, that one is mixed); "Another Relic (From The Relics)", a beautiful variation and sequence to the original Interval V by Derrick May & Carl Craig (1992) and "Some More Spaced Out" which also brings pretty much the same perspective from the Intervals released on Buzz (1992).
Very rare to find colored early pressing of Wiggin, Freestyle & Sinister classics by Derrick May. Kevin Saunderson's very danceable version of Wiggin (so called Reese Mix), added to the fact that it's the first time 'Freestyle' came out make this a very unique gem in the history of Techno and underground electronic music. All these tracks came out years later on other releases, but there will never be one as valuable as this one for those in question. Although I've never heard of colored pirate represses, watch out for pirate pressings of Pheerce Citi - always check the runout grooves).
'B-Cause' brings Marshall Jefferson and Jonathan Mann at the peak of their power. Amazing overlapped synth lines, from beautiful atmospheres to arpeggiated bass lines and peripheric soundscapes, surrounded by nice percussion and most of all those unmistakable piano melodies, in perfect harmony with the bass and synth pad variations.
If you are caught listening this for the first time, the more probable reaction will be you asking yourself 'Where the hell was I when this tune was released, back in 1987'.
Timeless tune, one of the most amazing pieces of House Music ever.
Heavy Funk standard from Ripple that became a main influence to artists such as Kid N'Play, Mary J. Blige, Special Ed, X-Clan, La Bouche, among others. Make no mistake, this seven inch is a Top-Of-The-Notch kind of record, if you have the chance to find it don't miss this precious piece of music history.
'I Don't Know What It Is, But It Sure Is Funky' ended up on important compilations such as 70's Funk 'n' Soul, Stone Cold Funk, Funk Soul Brothers, Jazzie B Presents Soul II Soul At The Africa Centre, The Original Rare Groove Selection, just to mention some.
More than a decade before Kraftwerk, Dick Raaijmakers, also known as Kid Baltan (a pseudonym created by the spelling of his name Dick and Natlab - his working place - backwards) was, together with Tom Dissevelt, behind the early contemporary Electronic Music compositions.

Between 1957 and 1958, the duo composed through the use of primitive synthesizers timeless masterpieces, 'Song Of The Second Moon' and 'Sonik Re-Entry' being the most notorious of them.
Even before the landing of men into the Moon or any Space travels, majestic 'Song Of The Second Moon' captured the essence of the space mood and Science Fiction esthetic. 'Song Of The Second Moon' was the blueprint for a future sound, later recognized as 'Electronic Music'.

On the cover of the seven inch single first pressing on Philips, you could read 'Electronic Popular Music', and there was an astonishing text about the 'new possibilities of expression' concerning the Electronic Music and the independance between the spirit of the composition and the medium of its expression. (Don't miss the chance to read and realize how modern this concepts are).
"Demon's Theme" is not only the Good Looking Records very first release and a Danny Williams' masterpiece that would change the course of the rivers for Breakbeats, Jungle & Drum n' Bass, but a primal mark that is part of the history of electronic music itself.
Making use of amazing samples (the flutes of Marshall Jefferson's "Open Your Eyes", shouts of "Buffalo Gals" by Malcolm McLaren and pianos from 'Rhythmatic - Frequency'), Danny Williams aka LTJ Bukem creates a majestic atmosphere with very elegantly shaped basslines and overlapped classic Breakbeats - the Amen Breaks from 1969 Soul classic "Amen, Brother" by The Winstons with 1974 Funk-Soul marvelous "The Breakthrough" by Isaac Hayes (Bizzy B & Peshay would also use this Bukem's Breaks combination on "Merder Style" and Simon 'Bassline' Smith on "Palamino").
"Demon's Theme" was released when the whole Electronic-Breakbeat scene was changing. It was a blueprint of a new sound. The rest, as we say, is history.
Jens Lissat and Peter Harder, who worked together on several other projects such as Komtur and The Beat Pirate are behind the Sigmund Und Seine Freunde winter 1989 club hit "Der Erdbeermund".
With the help of other studio experts (Harald & Wolfgang), they released in 1989 "Der Erdbeermund"; while the original version had a more House mood, the remixes that came out the same year on this second single were what they used to call Techno-House versions.
'The Original DJ-Version' starts with a small quote of Glenn Miller & His Orchestra classic "In The Mood", suddenly interrupted by a backspin that gives place to the version itself. The lyrics are from "Der Erdbeermund" classic ("Ich bin so wild nach deinen erdbeermund", which means something like "I'm so wild with your stawberry mouth"), were hot & easily chanted by the club audiences; Lissat and Harder also put samples from synths fragments of "Los Niños Del Parque" 1981 classic from Liaisons Dangereuses, and shout samples from 'Lyn Collins - Think (About It) - 1972' as well.
'The Orchestral-Strobelight-Version' on the other side of the single is an instrumental version of the A Side and has no sample from Glenn Miller & His Orchestra at the introduction, but very nice harmonic-melodic arrangements (even if the beats, snares and riffs were pretty common type, the Germans always counted on their best tradition of synth timbres and melodies arrangements).
Affirming that these remixes of "Der Erdbeermund" were a sort of a prenouncement of what Trance Music would become is not wrong at all, for they both reflect the 'German school'.

View all 338 reviews...