I first heard this song while I was listening to Fabric Presents: Amelie Lens. ‘Rave with Me’ was one of the songs I kept going back to so naturally, I started going down a rabbit hole with finding out more about Nur Jaber.
A staple at Berghain and also a resident of ://about blank’s STAUB parties, Nur Jaber definitely has a solid presence in the world of techno.
Born in Lebanon in the capitol of Beirut, Nur Jaber started out with a classical background that later transitioned to playing drums and bass guitar, to DJing house music, before landing in what she’s best known for: heavy techno.
Her upbringing in Beirut was where she was first exposed to the dance music scene but also where she was in a constant mindset of survival mode. It wasn’t until she got out on her own and eventually made her way to Berlin that she realized how much she had unconsciously bottled up from living in a country that was on the brink of destruction. Techno helped her find a freedom that didn’t exist before, and helped release some of that bottled up trauma. From there, she began pouring her own feelings and experiences into her music, most notably seen in Weapons of Mass Destruction.
Nur also uses her own vocals in some of her songs, wanting the
looping of strong, influential words to help the unconscious awaken
On top of DJing and producing, Nur Jaber also runs her own label, OSF, which stands for “On S’en Fout” which roughly translates to “We moved beyond caring”. It’s a reminder that no matter what is going on back in her home country, that it can’t stop her from following her dreams.
Some days, I feel like I’m just talking to myself.
My buddy that I normally send techno/some trance/Rezz-y stuff to lives in another country with a 14 hour time difference.
My on-and-off trance friend has been dealing with other life things (understandably).
I wish I had someone to just jam with and listen to music with all day long but truth is, most people don’t have the same taste as each other.
I think the closest I get to is going to festivals but sometimes that doesn’t work out, especially with a big group.
I started off this blog because me and a friend were talking about music. And I mentioned how I loved reading artist bios and interviews. And how I have a random collective of trivia about artists (Ie: did you know Qrion is pronounced ‘Korean’? Yeah I was definitely pronouncing it wrong for a while lol).
At first I thought I would share news about artists. Cute right? Except there were already tons of sources with teams of people who write better than me and had a closer access to producers and DJ’s beyond what they post on their social media. What could I possibly offer that would be valuable to a reader, when there’s already 10 other articles about it?
So what did I want to share? Despite attending a decent amount of festivals, I don’t really have much to offer in that department either. I’m more in the moment sort of person, turning down opportunities for a selfie in front of an art installation to high rolling into a crowd to dance. I am not going to be able to tell you exactly how the venue was, how security was that day, or remember what the bar situation was like. Plus I feel like your milage may vary was a statement that attributed to festivals as well. Everyone’s music taste is difference. Everyone is going to have a different experience with the crowd. All I can say is you should go and see for yourself. Be respectful of those around you. And don’t be stupid.
Not to mention I did not want to attach my face or personal information due to the sometimes bad-connotations of edm.
For now, I’m attaching memories to songs that I hold dear to me.
Black is the colour, of my true love’s hair Her lips are like, a rose so fair She’s got the sweetest face and the gentlest hands I love the ground, whereon she stands
I cannot get enough of this song. The vocals are absolutely haunting and even with over 7 minutes, I always find myself thinking that the song was ending too soon. There’s quite a few remixes of this song as well, each which were beautifully done.
The Devine Intervention remix came out in 2007 and is still played to this day. From my quick search, it seems like MarLo is still quite a fan of the song, playing it several times a year in his sets, sometimes mashed up with another song.
I can’t remember where I had heard this song live but it’s standalone enough that my memory was instantly triggered when I found it again on Reddit. A bit of a chance encounter but maybe the same will happen again when I’m at the next ABGT.
It’s going to be a fine night tonight It’s going to be a fine day tomorrow It’s going to be a fine night tonight It’s going to be a fine day tomorrow
The first time I heard a mix of the original song was probably ATB’s at Dreamstate several years back. The vocals were catchy and haunting and unforgettable. unbeknownst to me at the time, this song actually has a lot of history going back a few decades.
It was originally recorded as a cappella in 1983 and became an international hit in 1992 via Opus III. Since then, there have been many covers and variations on it. What I did not expect was a technoremix of it by none other than Brennen Grey.
I was out several weekends ago, lamenting to my friend about how there were zero techno events going on, and how we have to travel at least an hour away if there happened to be any. Our best solution was to drink in the car and listen to techno, as we did not feel like paying $50 for a shitty club venue event that was going on nearby. My friend chose Adam Beyer’s Awakenings set from 2017 and about half an hour into the set, “It’s a Fine Day” started playing.
I can easily say that Brennen Grey’s version is my favorite. I just wish he had it on Spotify but luckily, he had provided a free download on SoundCloud (provided in the description of the SoundCloud link I have above).
Some of the cuffs I made for EDC last year. When I first started raving, making kandi was one of my favorite things to do. Connecting with strangers at events and leaving with a trinket that symbolized how life brought you together for that one moment.
It’s been a while since I’ve made any, or traded. I feel like I haven’t seen it happen as much though I’ll be honest, I haven’t been looking for it much nowadays when I’m at events. Hoping the tradition will stay around till the end of time.
Was feeling blue the other day over how out of reach Berlin’s infamously hedonistic KitKat club was to me, being that I am situated all the way in the States so I decided to look up their instagram to relive the memories. To be honest, their IG feed wasn’t quite what I was looking for (probably doesn’t help that I don’t understand a schnitzel of German) but luckily their IG stories for that day/night was intriguing.
“Symbiotikka tonight” was plastered over the screen, accompanied by the typical thumping techno beats that Berlin is so known for, splashed with hazy videography that is not unlike the dungeon-esque rooms of KitKat itself. Curious, I clicked on the tag and was taken to their Symbiotikka page.
Symbiotikka is KitKat’s Wednesday techno and fetish night, which did not seem unlike their Wasteland party that I attended last October. Now I was feeling at home. I clicked on one of the videos that showcased model missirajin dancing in a cage.
Just as her swaying had quickly caught my attention, the music also pulled me into a dizzying “I must find this song NOW” frenzy. Luckily for me, I did not have to look far: the DJ was tagged in the caption.
Off to Soundcloud I went and luckily for me, his New Year’s set for this year at KitKat was posted at the very top. Now I can almost pretend I was there, ringing in the new decade decked in a leather strapped garb, sharing the swings above the pool with another latex encased gal. What happens next will have to be passed on verbally hours after the party, as like most nightclubs in Berlin, the no-camera policy ensures that your undivided attention is only on what’s happening right in front of you. And for me, that’s watching the crowd pulsate collectively to the minimal, pounding beats from DJ Jordan of Berlin.
What am I to do In the end I only want to know you’re safe So precious to lose Impossible to hold when you are worlds away A thousand thoughts of you
Honestly, I’m a bit lost for words right now and at the risk of sounding slightly deranged, this is how I found this song:
One of the first things I do almost every morning is listen to Spotify. I listened to it so much that last year, I racked up over 124,000 of listening time on there. I don’t think I even spend that much time with PEOPLE. Anyways, I found a bunch of amazing music last night so this morning, I started playing from the top of my liked songs and once all the tracks were played, I’d start over at the top. I did this over and over again, throughout the course of a few hours as I wrote my other post about music copyright laws.
I left my room for a little bit, and came back to two things: news that it was time to say goodbye to a friend who had been in ICU for the past two days. As I took in the news, I noticed a melody playing in the background. I had no idea what the song was so I clicked on my Spotify.
Guardian, by trance heavyweights Paul van Dyk and Aly & Fila. The weird thing was, this song wasn’t saved in my Spotify. I have no idea why it started playing. Maybe I had actually been playing off a playlist that had ended and was now playing suggested songs? I did a quick scan of the playlists I had. I wasn’t on any of them. Anyways, I have no idea what happened or didn’t happen. Regardless, the song’s melody embodied a heaviness that mirrored the one that was starting to sink into my head.
A few hours passed. I looked the song up again and found several mixes. I chose the Sunset mix since it felt better suited to what I was feeling.
Woke up today and went down a Google rabbithole this morning (don’t ask what I came across because my brain literally hurts at how much back and forth I was doing while not really getting anywhere) and somehow stumbled upon music copyright laws and the differences between edits, remixes, bootlegs, etc.
I figured I should put together my findings so I don’t feel as bad for all the time that disappeared since I woke up 5 hours ago:
A remix is only considered legal if you buy a copy of the song AND also get permission from the copyright holders.
Generally, remixes are released from the original artist and NOT the remixers
Remixes can be sold and you can get paid for them
Interestingly enough, even if you have permission to create a remix from the copyright holders, you aren’t legally allowed to play the remix in public, online, or on the radio without performance rights
Luckily, performance royalties generally falls on the club owner or venue and not the DJ
Another thing I found interesting is that there is more freedom when it comes to live DJing at a show vs. creating in the studio
DJing is considered a ‘non-fixed medium of expression’ which basically means that a live set is not directly reproducible and distributable, which therefore grants more flexibility to the DJ to be creative with copyright material during a live set
However, if that live set was released online (therefore, no longer a ‘non-fixed medium’), it can still potentially breach copyright laws
A bootleg, or unofficial remix, is when you have not obtained the rights to the song from the copyright holders. Bootlegs are illegal.
Even if you create a bootleg for yourself with no intention of financial gain and you’re the only person who hears it, it’s technically still illegal
If you try to make money off a bootleg, you can get sued (duh)
Edits are changes made to a song that will not be played
ie: Removing a long intro or outro for a song for the radio
Generally, edits are very minor
VIP is a remix done by the song’s original artist, usually taken in a dramatically different direction
It stands for Variation In Production (I totally thought it meant Very Important Person this whole time lol)
They’re usually not officially released to the mass and are generally made to be played as a DJ set
The point of them only being played live is meant to be as a treat to the fans that came out to see the DJ perform
A flip is taking a sample of a song and using it in another way
Samples, just like remixes, require permission from the owner to be used
A rework in a sense is like a remix. Generally, a rework is released several years after the original and is considered a completely new version of the original song. In a way, it ‘overrides’ the original and the rework is now considered the ‘main’ version.
Questions I have:
I’ve seen the word ‘respray’ tagged onto songs (here I’m thinking of ‘No One On Earth’ by Above and Beyond respray of Gabriel and Dresdan’s remix). Is respray another word for rework or edit?
Disclaimer: obviously I’m not an expert at this and am NOT a lawyer of any sort. There are a lot of gray areas regarding music copyright laws and even the terms themselves so please consult with an actual lawyer if needed, blah blah blah. I think it’s dumb I even need to say this but here we are.
In the end, if we meet again Please tell me that you’ll be there Just holding my hand Holding my hand Holding my hand Please tell me that you’ll be there Just holding my hand
First song post! The original was one of my favorite tracks from Gabriel and Dresdan’s Remedy album. Fatum’s remix is so good as well, I have a hard time deciding which I like more. The remix has a darker and more moody feel to me, which I’m always a sucker for.