Dj I M P R O V I Z E

12/22/2025

If anyone is curious about how skipless vinyl records work, I made this chart a bit over decade ago to show how each skipless speed creates its own geometric shape on the record. Dj Swamp told me in an interview that it took him about 8k of experimenting with his own test pressings to figure out that 100 bpm is the magic skipless speed (he called Skip-Proof). He began releasing his skip-proof battle records, Thud Rumble followed and then boom here we are today where numerous labels are releasing skipless vinyl.

The 100 BPM speed that DJ SWAMP discovered over 2 decades ago creates a Triangle as seen in the diagram. So the skipless loop has one quarter note for each side of the triangle creating a beat with 3 counts per bar. Its only at 133 1/3 BPM, which creates a square, that a full 4/4 time loop is created by the 4 even counts.

Here are the (Symmetric) skipless speeds below. There are Asymmetric speeds too that I'll go over in the future like 83bpm used in the past by Cut and Paste as well as Ritchie Rufftone's Practice Yo Cuts series. ::

1:: Circle =45BPM ()
:::::::::::::::= 33.3 BPM (@33.3RPM)
2:: Crescent = 90 bpm (@45)
::::::::::::::::::::= 66.66 bpm (@33.3)
3:: Triangle = 135 bpm (@45)
:::::::::::::::::::= 100 bpm (@33.3)
4:: Square = 180 bpm (@45)
:::::::::::::::::= 133.33 bpm (@33.3)
5:: Pentagon = 225 bpm (@45)
::::::::::::::::::::= 166.66 bpm (@33.3)
6:: Hexagon = 270 bpm (@45)
::::::::::::::::::::= 200 bpm (@33.3)
7:: Heptagon = 315 bpm (@45)
:::::::::::::::::::::= 233.3 bpm (@33.3)
8:: Octagon = 360 bpm (@45)
:::::::::::::::::::= 266.66 bpm (@33.3)
9:: Nonagon = 405 bpm (@45)
::::::::::::::::::::= 300 bpm (@33.3)
10:: Decagon = 450 bpm (@45)
:::::::::::::::::::::= 333.3 bpm (@33.3)
11:: Hendecagon = 495 bpm(@45)
::::::::::::::::::::::::::::=366.6bpm(@33.3)
12:: Dodecagon = 540 bpm (@45)
::::::::::::::::::::::::::= 400 bpm (@33.3)
13:: Tridecagon = 585 bpm (@45)
::::::::::::::::::::::::::= 433.3 bpm (@33.3)
14:: Tetradecagon = 630 bpm (@45)
::::::::::::::::::::::::::= 466.66 bpm (@33.3)
15:: Pendedecagon = 675 bpm (@45)
:::::::::::::::::::::::::: = 500 bpm (@33.3)
16:: Hexdecagon = 720 bpm (@45)
:::::::::::::::::::::::::: = 533.3 bpm (@33.3
17:: Heptdedecagon = 765 bpm (@45)
:::::::::::::::::::::::::: = 566.66 bpm (@33.3
18:: Octdecagon = 810 bpm (@45)
:::::::::::::::::::::::::: = 600 bpm (@33.3
19:: Enneadecagon = 855 bpm (@45)
:::::::::::::::::::::::::: = 633.3 bpm (@33.3
20:: Icosagondecagon = 900 bpm (@45)
:::::::::::::::::::::::::: = 666.6 bpm (@33.3
21:: Henicosagondecagon = 945 bpm (@45)
:::::::::::::::::::::::::: = 700 bpm (@33.3)

More Info on BPM Geometry ::: Www.ttm.ninja

Our nu Skratch education & production app ::
https://apps.apple.com/us/app/ai-dj-pmos-100/id6754268377

12/22/2025

https://www.facebook.com/share/1EitSEDDyL/?mibextid=wwXIfr

In 1987, a 25-year-old singer walked into interviews and said things that made jaws drop.
"I'm a genius."
"My album is better than Sgt. Pepper's."
"This is the most important debut in a decade."
His name was Terence Trent D'Arby. And for a moment, he wasn't wrong.
When "Introducing the Hardline According to Terence Trent D'Arby" hit shelves in July 1987, it didn't just arrive — it detonated. The album entered the UK charts at number one. Within three days, it had gone platinum. Critics scrambled to find comparisons: Sam Cooke's velvet smoothness, Prince's raw sensuality, Otis Redding's grit.
"Wishing Well" became a number one hit. "Sign Your Name" became an anthem. The album sold over twelve million copies worldwide.
D'Arby was beautiful, talented, and electrifying. He was also unapologetically confident in a way that made people uncomfortable.
Years later, he'd admit the truth: "All I was doing was my Muhammad Ali impression. I knew saying that brought more attention to it, and more sales to it."
But the press didn't want strategy. They wanted humility. And when they didn't get it, they turned.
By the time his second album dropped in 1989, the same magazines that had crowned him were calling him "arrogant," "difficult," and "lost in his own legend." Neither Fish Nor Flesh was an ambitious, psychedelic departure — and it tanked. Critics who once praised him now buried him.
What no one saw was what was happening behind closed doors.
D'Arby was falling apart.
"It felt like I was going to join the 27 Club," he later said — referring to the age when Jimi Hendrix, Janis Joplin, and Kurt Cobain died. The weight of expectation, the backlash, the feeling that the industry had turned against him — it cracked him open.
He moved to Los Angeles. Made more albums. Bounced back briefly in 1993 with "Symphony or Damn," which produced several UK hits. But by the mid-90s, the momentum was gone. His fourth album was practically ignored.
Then, in 2001, Terence Trent D'Arby did something unexpected.
He died.
Not literally. Spiritually.
He legally changed his name to Sananda Maitreya — Sanskrit words meaning "possessed of happiness" and "friendly, kind, loving." He explained it simply: "Terence Trent D'Arby was dead. After intense pain, I meditated for a new spirit, a new will, a new identity."
It wasn't reinvention. It was survival.
He moved to Milan, Italy, married an Italian architect, and started a new life. He kept making music — albums full of tenderness and cosmic heartbreak — but he released them himself, on his own website. No label. No hype. No interviews unless he controlled them.
For twenty years, he existed in quiet exile.
And then something strange happened.
The internet rediscovered him.
Younger artists started sampling his work. Music writers began revisiting that 1987 debut, calling it one of the most underrated albums of the decade. Old performances surfaced on YouTube, and people who'd never heard of Terence Trent D'Arby were stunned by the voice, the moves, the raw magnetism.
The man who once seemed too confident was, in fact, too early.
He said things the world wasn't ready to hear. He refused to be humble when humility was demanded. And when the backlash came, it nearly destroyed him.
But he survived. He rebuilt. He kept creating.
Today, Sananda Maitreya still lives in Milan with his wife and sons. He still releases music for the fans who never forgot him. He doesn't chase fame anymore — but fame, it seems, is slowly circling back to find him.
Maybe he wasn't wrong about that first album after all.
He just said it before the world was ready to believe him.
Sometimes genius arrives too early. And sometimes it takes the world thirty years to catch up.

~Anomalous club

12/20/2025

12/17/2025

https://www.facebook.com/share/17gFJ7bXjV/?mibextid=wwXIfr

IMPORTANT ⚠️ SoundCloud has confirmed their site was breached, and member data (emails, publicly posted stuff) was stolen. Users have reported intermittent outages, which the site now claims came from denial of service attacks after the infiltration was discovered.
Read more: https://5mag.us/soundcloudbreach

12/06/2025

Say no to Spotify..it was bad enough they get rich off artists while screwing artists out of money, they support ICE

10/31/2025

Heyyyy!! NOVA/ DMV peeps…Next Wednesday I (DJ IMPROVIZE) will be coming up from Richmond and setting the vibe for the night (9-10pm). Come out and show us what you got on the dance floor…In these times we need all the good vibes we can get.

10/29/2025

Late posting this 😂

09/10/2025

This was our 3rd in the series last month, our guests were our friends, OMAR FAISON and KAENA 007

Our next IMMERSE is Saturday Oct. 18th w/ our special guest and homie DJ CADENCE. It’s always great to share the decks with him and get together in general. He’s joined me many times for my ROBOT ROK series, notably both times I hosted OUTRAGE (Metalheadz…/ UK) for his US tours) and part of my event production group I founded, Substructure. DJ CADENCE will be coming from Charlottesville, bring his lovely Liquid Drum & Bass selections.

09/10/2025

https://youtu.be/qEGoBTkj6zk?si=ABSzW3M5dXbSdMzA

✅ Get my Ultimate Scratching Course👇🏻https://school.djblakey.com/scratching?video=qEGoBTkj6zk🎛️ Grab 3 FREE lessons from the course & a scratch sample too...

08/08/2025

07/22/2025

A new PhD project based at the University of Liverpool is taking a close look at how underground dance music scenes are still alive and adapting—especially in cities where nightlife collides with gentrification. The researcher is focusing on Liverpool’s current wave of independent parties and non-mainstream club nights, many of which operate outside the commercial core. The study tracks how these scenes form, how they resist assimilation, and what keeps them distinct from the EDM-branded mainstream.

One of the key insights is the role of older participants. The research challenges the idea that dance culture belongs only to the young. Instead, it highlights how longtime promoters, DJs, and dancers are still shaping underground scenes well into their 40s and beyond. This isn’t nostalgia—it’s about how identity, community, and music evolve together over time. The study also explores how different generations navigate subcultural status, influence, and what it means to still be seen as “underground.”

The research combines interviews, fieldwork, and grounded theory to build a detailed map of how underground nightlife operates under pressure. Liverpool serves as a focused case study, but the findings will resonate across any city where nightlife is being squeezed by redevelopment and cultural branding. The full study is titled “The Persistence of the Underground in Dance Music Scenes” and is currently underway as part of a doctoral program at the University of Liverpool.

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