Ize Bernard presents: The (ib)BuGGin Podcast

Rey Santiago - (ib)BuGGin Volume 006

Fri, 06 Feb 2009 23:28:52 GMT

So, as promised here is The (ib)BuGGin Podcast with performaces by other DJs and Live PA acts!

This time we will be featuring a set from:

Rey is currently based in New York, originally from San Juan, Puerto Rico and previously resided in Buenos Aries, where he opened up for several well known acts. Rey also produces, performed in a previous (ib)BuGGin event late in 2008, and is expected to play at the next (ib)BuGGin event at CoCo66 in Brooklyn on February 28.

Now, let's get to the music!

Download Rey Santiago - (ib)BuGGin Volume 006 in mp3

Ize Bernard - (ib)BuGGin Volume 005

Sat, 31 Jan 2009 01:48:34 GMT

The next installment is now ready!

Werd...

3 Important announcements:a

1) You can now go to http://www.izebernard.com as well as http://www.prezike.com

2) I have great news, as promised, following this volume of the (ib)BuGGin podcast (which I recorded a few weeks ago) it will start featuring mixes presented by other DJ's and Live PA performers!

3) Anyone in the NYC area at the end of the month should know, I will be throwing the first edition of a party tentitively called...

(ib)BuGGin [surprise, surprise...haha]

Saturday, February 28th
10pm - late
CoCo66
66 Greenpoint Ave,
Brooklyn, NY

It will be featuring myself, of course, but also guest DJs to TBA!

And now, the link to (ib)BuGGin Volume 005...

- Ize

Download Ize Bernard - (ib)BuGGin Vol. 005 in mp3

Set list:

Canary Fontaine - 'Arizona Creeping' [Mean]
John Roberts - 'Hesitate' [Dial]
Andrea Paganin - 'One More Kiss' [Circle Music]
Mark Farina - 'Fusbol' [OM]
Guillaume & The Coutu Dumonts - 'Le Tigre' [Oslo]
Lowtec - 'Untitled A1' [Workshop]
Audiofly X - '1999' [8Bit]
Robert Dietz - 'Klondike' [Deep Vibes]
Dark Daze - 'Lottie's Vogue' [Fuju]
Theo Parrish - 'Dusty Cabinets' [Sound Signature]
Jesse Rose Alongside Henrik Schwarz - 'Stop Look And Listen (Henrik's Version)' [Front Room]
Daniel Bell aka DBX - 'The Wild Life' [Logistic Recordings]
Reboot - 'Three Rows' [Raum…Muzik]
Damian Schwartz - 'Plastico' [Oslo]
Lee Curtiss - 'Sexy Dancer' [Wolf + Lamb]
Ada & Dee Pulse - 'Himmelunaed' [Areal]
Jeff Mills - 'The Bells' [Purpose Maker]
Kaufmann & Ferdinand feat Evensloped - 'Maden Magda (Alex Kork Remix)' [Kaufe]
Daniel Ceballos - 'Deep X' [3rd Wave]

Ize Bernard - (ib)BuGGin Volume 004

Fri, 19 Dec 2008 18:39:24 GMT

Blaaaooowww! How you like meee...now??

okay...

so...another tasty (ib)BuGGin podcast courtesy your resident mixmiesting wannabe multiple personality disordered DJ, Ize, Prez, whatever my name is these days...is ready to pulverize your ears and faciliate your inner buggin-ness at your local silent discoteque...say word...

"umm...word?"

yeaah!

Peace-ahhhhh---haa...ha!

p.s. - extra peace-ahhh goes out to all Resident Advisor peeps holding down and supporting innovative edm scenes worldwide, and my NYC minimaliztic tekhy house elektronic muzik lovin party people...i feel we've been more blessed with some real goodness as of late...scene wise.

- Ize

Download Ize Bernard - (ib)BuGGin Vol. 004 in mp3

Set list:

Claro Intelecto - 'Gone to the Dogs' [Modern Love]
Matthias Meyer & Patlac - 'Skipper' [Liebe Detail]
Anton Pieete - 'Last Night' [Intacto]
SIS - 'Nesrib' [Cécille]
Andre Crom & Luca Doobie - 'Orange Drive' [Heimatmelodie]
Luciano & Mirko Loco - 'Mousa Big Band' [Desolat]
Big Bully & Rufas - 'Nightflight' [Tic Tac Toe]
Boza - 'My Big Thing (Mastiksoul Remix)' [Rawthentic]
Matt Star - 'Kuhle Fliege (Jonas Kopp Androgeno Remix)' [International Freakshow]
Loco Dice - 'Phat Dope Shit (Saeed's Shit Bass Mix)' [Four:Twenty]
Dapayk Solo - 'Devil's House' [Mo's Ferry]
Motor City Drum Ensemble - 'Raw Cuts 3' [Faces]
Ilario Alicante - 'Living Near Africa' [Cécille]
Klovn - 'I Want You (District One Remix)' [Great Stuff]
Pablo Rez - 'Origami' [Frankie]
D'Julz - 'Fleurette (Tobias Remix)' [Circus Company]
Efdemin - 'The Pulse' [Curle]
Butane - 'Collapse' [alphahouse]

Ize Bernard - (ib)BuGGin Volume 003

Thu, 04 Dec 2008 00:34:54 GMT

Sup all...

So, under my new alias, Ize Bernard, who will be focused on straight up edm mixes and production, versus the more hip-hop, eclectic and space disco-ish mixes and production of Prez Ike please enjoy this new edition of...

(ib)BuGGin...

Restyled (since apparently, I like being a poser..haha), and re-envisioned as a more diverse mix of minimal, deep tech, tech and other forms of edm (as stated earlier), while keeping it to a minimum on the vocal tip.

Hope you enjoy this edition as it also includes a new Ize Bernard track, 'Bail Me Out' (take a guess what that's all about) I've been working on.

I also plan to bring in guest DJs and performers to spin for the podcasts to bring an even more diverse selection of music and styles, and perhaps increase the number of episodes this way.

Peace-ahh!

- Ize

Download Ize Bernard - (ib)BuGGIn Vol. 003 in mp3

Intrusion - 'Intrusion (CV313 Reduction)' [Echospace Detroit]
Andre Gardeja & M. Schatz - 'Love Blabla' [Freizeitglauben]
Minimono - 'Ratman (Hugo Remix)' [Tuning Spork]
The Pitchers - 'Bo Bo' [Quepo]
Sascha Dive - 'Afensis House (Instrumental Mix)' [Deep Vibes]
Johnny D - 'Tramodyssee' [Oslo]
Christian Burkhardt - 'Contemporary Box' [Oslo]
Frank Lorber, Bernd Maus & Erik Besier - 'Tres (Stripped Down Dub Version)' [Nummer-Schallplatten]
Format: B - 'Something Suitable' feat. Jake [Highgrade]
Osborne - 'Bout Ready to Jak (Ryan Elliot Remix)' [Spectral Sound]
Morgan Geist - 'Detroit (c2rmx2 by Carl Craig)' [Environ]
Ize Bernard - 'Bail Me Out (Instrumental Mix)' [Unreleased]
Frankie - 'Fluid' [Faste]
Sierra Sam - 'Crisis (Bloody Mary "Daily Crisis" Remix)' [Nomor]
Lemos & Tonny Lasar - 'Cali In Love (Mri Rework)' [Resopal Red]
Homm & Popuviciu - 'Urban Ballroom' [Highgrade]
Brett Johnson - 'Twiddle Sticks' [Frankie Rec]
Ryan Crosson - 'Confiteria del Molino (Original Mix)' [Wagon Repair]
Seth Troxler - 'Love Never Sleeps' [Crosstown Rebels]
Jus-Ed - 'Bridgeport Chant' [Underground Quality]
Basic Channel - 'Q1.1/IV' [Basic Channel]

DJing's evolvement & creative class problems in the U.S.

Mon, 29 Sep 2008 21:22:20 GMT

The evolvement of DJing, globalization & the problem for the creative class in the U.S.

by Isaac Basker/Prez Ike

So, just the other day I caught this video of Richie Hawtin's Traktor setup, posted on Danny Tenaglia's fan website and read several responses that critiqued the "evolvement" of DJing, particularly with regards to the development of Minimal and live performance "DJing." With some DJ's incorporating so many "gadgets" compared to previous days where all that was needed was basically two turntables, a mixer, a mic, maybe some sound effects and a flashlight (if you're Danny Tenagla, of course), now some are wondering if this is rendering some of the basic skills needed to DJ previously obsolete.

I posted a response on the forum there and wanted to share it as I believe it represents something those who know me well are aware of my deep interest in, and am dedicated to addressing in some way or form now and in the fugure. What I am referring to is, what I see is a growing problems for creative and innovative minded individuals who are not focused primarily on the safest means to reach a high income bracket in the U.S. Here is an edited version of what I wrote:

To me, this "evolvement" and some of the responses here seem to be very similar stances that American factory workers take against "globalization."

In fact, I think this change and clash is a perfect example of how globalization and technology advances are causing significant problems for creativity in the U.S.

We are a culture where innovation in creative field industries of music, fashion, traditional visual arts, photography, and film is in the stone ages compared to other places. I don't necessarily blame us for feeling this way, actually because there are some reasons out of our direct control that lead to backlash.

Electronic music, which used to have some signature American sounds that were popular globally, seems to be facing the same deal as American car producers are as well. I think it is partially related to U.S. work culture, and attitudes we have towards things that aren't familiar, or don't make the most money with the least amount of risk.

This actually relates to my critique of Richard Florida's analysis of New York, LA, SF, as the creative capitals of the U.S. Sure, they are for ESTABLISHED artists, but they are also the most expensive cities to live. Artists who are developing and mostly unknown cannot focus enough of their time and effort on their craft if they live in these cities because they would have to take a job that earns them enough money. To me, this is why there is little wonder that great capitals of electronic music (Detroit, NY, Chicago, SF, etc.) in the U.S. no longer produce the number of big name DJ's and producers that we used to see.

I think electronic music's dominance in societies and nations that believe strongly in their social welfare systems, let young educated people become adults with zero or no student loan debt, and possess work culture value systems that are accepting of bohemian lifestyles are bound to produce or support those that would not be able to really survive or build themselves up in America this way anymore with the same ease.

Those who respond negatively to the changes we see in DJing and producing, especially from the Berlin minimal scene, are even more fair to be upset if they pursue their craft primarily in the U.S. We used to have underground scenes and development of ideas that were outside of the mainstream. Hip-Hop, House, and Techno were at one time distinctively contrary to much of what was popular. People dismissed DJing as not an artform, as well as sampling. Jazz faced the same problem, as did Rhythm and Blues, Funk, Soul, (notice that these are all forms of black music, as well, which I believe is important to note, as African-Americans and Latinos who contributed to this have never been the dominant group in America).

All of these genres were later co-opted by the (white run) mainstream industries, and innovators could not gather any support to make a living...

So...then there was increased pressure to "sell-out" to either survive or continue to succeed. Yet, the paradox of almost all of these art forms is that they all have strong underground traditions, as does DJing. If you become successful the pressure to keep that success in the American music industry, dominated by corporate owed labels and generally pop-music driven, will present significant problems for such artists, if that's where you get most of your money from.

Hawtin, I doubt, earns most of his money now from the U.S. market, yet his success -- which came from local support of the scene in Detroit that at one time facilitated such changes, has significantly diminished on that city now -- and in other U.S. cities. He is privileged enough to have been around in an American city at a time that allowed for the staunchly creative to develop. For the rest of us who didn't get that chance we seem to be fighting for a diminising piece of the pie, so it is quite valid for us to be afraid of these changes as it may render our own skills less valuable. How can it not, when as one responder referred to that promoters here will be more likely to give a care about how "creative" one is, and the hordes of less exposed electronic music curious fans that are American, yet only know who the big European star DJ's are.

In the end it's about the $$$$$, and for Americans we live in a society that generally values this (Protestant work ethic) above all, perhaps only with the same effect and power on its citizens as a few other nations, like England and China. The reality is that we you have to make a living to survive, but we are also caught up in hyper-consumerism that believes more money and stuff that we are sold to remind of us what we make equals more happiness, when well regarded studies show that after a person earns just $10,000, that happiness actually does not increase significantly. Yet, this message is certainly not sent to many who quest wealth and power, that I contend leads to significantly less support of creative and innovative ideas that involve risk, and more likelihood of one to respond with fear of those that engage in this and challenge our worldview.

The irony is that some are also absolutely right to say Hawtin's fame and wealth allows for him to spend the ridiculous amount of money it must take to do what he's doing, as mentioned earlier. Of course, this renders those who aren't as well off, or in areas where an investment that it must take to pay for his equipment or group might actually get immediate returns (like pretty much everyone who tries to make anything close to a living off of their DJing/Producing mostly in America) left out and fearful, and having to probably "sell-out." The problem is that many technological innovations at one time have been so costly that they are out of the reach of most. DJing and producing has long been an artform that used to privilege the more privileged because of the costs. Yet, now that the game has been flattened and changed, and I suspect will more over time, where that equipment may later become less costly, is it wise for us to shun this change?

I know some pretty well known DJs in NYC who I have discussed this with personally, especially the pressure to play styles they don't like because of "market forces." When does DJing for the "crowd" become the crowd DJing for you?

It's a line that I think in America is being increasingly crossed in styles that used to be the total opposite.

I LOVE DJing records, but I would love to have what he has. I currently use Serato as well as vinyl, and I have Traktor, but not the scratch version, so no way to really use it other than for practicing mixes without a mixer.

I want to say that the same criticism of Hawtin and these changes has been made of electronic music production, in that "real" musicians have argued it doesn't count because a lot of folks can produce music without even knowing how to read music, or have been trained play an instrument. The same arguments were made against mp3 technology by established artists and record labels, but look how it's enabled folks to promote and sell themselves as musicians to a much larger audience (albiet in a more competitive market).

I blame our culture for not allowing us to grow, and how we don't support unknown musicians much, except for the hardcore fans. That culture of searching for the unknown is alive and well in places like Germany, I think, and probably England still (it's just the cost of living there is too high, hence one of the reasons for the mass pilgrimage of many to Berlin), as well as elsewhere, but in America we are so engulfed in hyper-consumerist celebrity-dom, that those creative types who are passionate about their craft beacuse they love it, not primarily for money, are on the fringes, struggling to do what they want, or giving up on it, calling it a "hobby" and perhaps getting justifiably upset at those that we see succeeding at a game we can't even get a fair chance to play in.

We need to work on supporting innovation, but also showing the value of and respecting cultural traditions. Remaining fearful and being upset is quite valid, but we must use that constructively to challenge the real forces that are behind this, and facilitate positive change to help improve conditions for creative types.

(ib)dEEpTech Volume 001

Wed, 27 Aug 2008 04:44:25 GMT

Below all of this commentary is the first installment of another new podcast mix series I've started called (ib)dEEpTech.

This series features a style I have loved for years, but as you might have noticed of late, I'm trying to refine my podcasts into specified categories that demonstrate the different styles of music I love to listen to, produce, mix, and want to play for the public. I have always felt DJing is very much about providing musicians with exposure, which I used to constantly state on my old college radio show back when I was more of a straight hop-hop DJ with an infatuation with electronic music I struggled to learn more about.

My hope is to still maintain a wide enough range of diverse sounds within each mix to keep it interesting, but to also keep the more eclectic mixing to Indelible Beats. I could almost critique myself for playing to so many styles as being very "American" in that for reasons I won't get into now (some good, some maybe not so good) as in this country we tend to think of DJs as being required to play every style.

I'd suggest this comes from a perception of DJs here more as people's personal jukeboxes, or a tour guide you expect to take you to the most famous sites of a city, rather than an hiring an artist to paint for you on a blank canvas or a visiting a city where a local you randomly met introduces you to a community and guides you through the daily life its residents experience. I generally find the latter two to be more meaningful, but that's me.

One other thing is that also leads to the reason I like to incorporate scratching and cutting into my electronic music mixes. I know there are some DJs who have done this and still do, but I RARELY hear most utilizing it in these styles, and believe it can work.

Anway, on to the musik!...

Download I.B. Deep Tech Volume 1 in mp3

Shonky & Jennifer Cardini - Tuesday Paranoia (Jamie Jones' Submerged House Mix)

Eric Borgo and Yannick Baudin - 1900 (Original Mix)

Daclip - Vanity (Daclip '08 Remix)

Two Armadillos - Hamlin (Sascha Dive's Secret Dub)

Alex Jones - Humid

Greg Parker - Free

Tovar - Colors

Jonas Bering - Only Mirrors

The Electric Press - Uno (Nic Fanciulli Remix)

Nick Curly - On My Way (Pier Bucci Mucha Salsa Remix)

Skylark - Blocked In (Funk D'Void Remix)

Nekes - Waitin

D'Julz -Yo Mama

Muzzaik - Noise

Manel Tur - Vabanque (Stimming Remix)

(ib)BuGGin Volume 002

Fri, 08 Aug 2008 00:12:45 GMT

Here's my latest I.B. Buggin' mix, fresh and dirrrrty off of dusty turntables...

(Special thanks to Sandrien for a copy of her latest unreleased track!)

Download (ib)BuGGin Vol. 002 in mp3

Ekkohaus - 'Amoeba (Andomat 3000's Ad Hoc Remix)'
2020 Soundsytem - 'Psycho (Audiojack Remix)'
Maetrik - 'Crawl Machine'
Niedflur - 'Typo'
Marco Resmann - 'Sao Paulo Lights'
Sandrien - 'You Might Be Moving'
Piemont - 'Black Smoker'
Martin Donath - 'Akvedukt'
[a]pendics.shuffle - 'Mas Lines feat. Lisa Fabian (Mikael Stavostrand Remix)'
Diego Vega - 'Feedbacklup'
Afrilounge & Der Thal - 'Dice'
Dinamoe - 'Make A Point Point'
Harry Axt - 'Deliberately Selected'
DJ Emerson - 'Cut The Crap'
Room 10 - 'Nada Que Ver'
Two_EM - 'Manjala'
Elbee Bad & Tom Clark - 'Nightgod (Heinrichs & Hirtenfellner Remix)'