Artist: ROLL the DICE Meets POLE Title: in Dubs Label

Total Page:16

File Type:pdf, Size:1020Kb

Artist: ROLL the DICE Meets POLE Title: in Dubs Label artist: ROLL THE DICE meets POLE title: In Dubs label: The Leaf Label formats: Limited edition 12” coloured vinyl EP (DOCK 59 / UPC 843190055968) Digital (DOCK 59E / UPC 843190055999) release date: Monday 19 November 2012 websites: rollthedicesthlm.com theleaflabel.com/rollthedice pole-music.com facebook: facebook.com/rollthedicesthlm twitter: @RollTheDiceStm Since the release of their second album, In Dust, in August 2011, Stockholm’s Roll The Dice have captivated audiences around the world with their shadowy, pure analogue live performances (including ATP, Mutek, Berghain, and with Portishead). When the time came to commission remixes of tracks from the album, RTD knew exactly where they wanted to go. Stefan Betke first came into contact with Roll The Dice’s Peder Mannerfelt and Malcolm Pardon when they asked him to master their Live In Gothenburg EP in 2011. Betke, who runs his own scapemastering studio in Berlin, is better known by his artist name, Pole, responsible for some of the most distinctive and influential electronic records of the last 15 years, from the sparse, ghostly dub sounds of his early albums (1, 2 and 3 from the late ‘90s) to the more recent Waldgeschichten (“Forest Stories”) EPs, which make a logical connection to the world of dubstep, a genre Pole strongly influenced with his earlier work. Betke is currently producing some of the best work of his career, and Pardon and Mannerfelt were delighted when he agreed to rework three tracks from In Dust for this soundclash EP, entitled In Dubs. Originally titled ‘Calling All Workers’, ‘Idle Hands’ and ‘The Skull Is Built Into The Tool’, these are dramatic and harmonious rerubs worthy of the adopted dub reggae nomenclature. Pole’s work exhibits a similar warmth and analogue physicality as that of Roll The Dice, so it’s a marriage made in heaven. Coinciding with the announcement of In Dubs, Roll The Dice have released another fine video for a track from In Dust – this time the album version of ‘Cause And Effect’. You can watch the video, created by the brilliant Frode & Marcus here: http://www.youtube.com/watch?v=x8X49yTqPM0 Around the same time as the EP release, Leaf will be producing a very limited reissue of ‘In Dust’ on coloured vinyl. Catch it while you can! 12”: digital: A. 1. Calling Dub Workers B1. 2. Echo Hands B2. 3. The Skull Is Built Into The Version High resolution photos: files.theleaflabel.com/images/RTD_pics.zip Cover art: files.theleaflabel.com/images/DOCK59_art.zip For more information please contact The Leaf Label. +44 113 216 1021. [email protected] THE LEAF LABEL LTD PO BOX 272, LEEDS, LS19 9BP, UK REGISTERED OFFICE: 50 LONG ROW, HORSFORTH, WEST YORKSHIRE, LS18 5AA, UK COMPANY: 4402147 VAT: 709 9153 14 WWW.THELEAFLABEL.COM T: +44 113 216 1021 F: +44 700 605 7821 E: [email protected] On In Dust: “Probably one of the best albums of the year” Tom Ravenscroft, BBC 6 Music “In Dust sounds neither antique nor cutting edge, but timeless” BBC Music “Startlingly beautiful… quite brilliant” Drowned in Sound “A lean, pulsating sound that makes no bones of its debt to Conrad Schnitzler, Cluster, Tangerine Dream and Kraftwerk, while also sounding resolutely modern – the dub architecture of Basic Channel and landcruising grooves of Carl Craig are equally pertinent references” FACT “It is a thing of deep beauty, dexterously combining the gravitas of something very old with the excitement of something very new” Dan Snaith (Caribou) “Each track on the album is impeccably composed, their vibrant notes bounding forward with utter finesse” Resident Advisor “Excellent practitioners of analogue alchemy… Ambient washes into remarkably poignant cinematic instrumentals with an unusual level of depth and craft. They’re nimble and articulate sound artisans” Britt Brown, The Wire “Fun, perversely” Uncut For more information please contact The Leaf Label. +44 113 216 1021. [email protected] THE LEAF LABEL LTD PO BOX 272, LEEDS, LS19 9BP, UK REGISTERED OFFICE: 50 LONG ROW, HORSFORTH, WEST YORKSHIRE, LS18 5AA, UK COMPANY: 4402147 VAT: 709 9153 14 WWW.THELEAFLABEL.COM T: +44 113 216 1021 F: +44 700 605 7821 E: [email protected] .
Recommended publications
  • Conrad Schnitzler / Pole Con-Struct
    CONRAD SCHNITZLER / POLE CON-STRUCT CD / LP (+ CD) / Digital March 24th 2017 Who is Conrad Schnitzler? Conrad Schnitzler (1937–2011), composer and concept artist, is one of the most important representatives of Germany’s electronic music avant-garde. A student of Joseph Beuys, he founded Berlin’s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. Who is Pole? The Düsseldorf-native musician, producer, remixer and mastering engineer Stefan Betke looks back on a steady two decade career in abstract electronic club music. Together with Barbara Preisinger he created the label „scape Records” and his own mastering studio „scape-mastering”. What is the concept of the Con-Struct series? Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When Jens Strüver, the producer of the Con-Struct series, was granted access to this audio library at the outset of the 2010 decade, he came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound. A few words from Pole on his con-structions To be honest, in earlier times I never quite warmed to Conrad Schnitzler's work.
    [Show full text]
  • Systems Music on Spiro's Pole Star
    Systems music on Spiro’s Pole Star Balancing musical experiment and tradition in folk revival Gabriel Harmsen 6630030 Thesis BA Musicology MU3V14004 2019-2020, block 4 Utrecht University Supervisor: dr. Rebekah S. Ahrendt Abstract Theoretical frameworks of folk revival applied by folklorists and (ethno-)musicologists have related revival to identity formation of social groups (divided by class or race), local communities and national “imagined” communities. New theoretical models extend this framework with a transnational, post-revival perspective in which the focus lies on what happens after music traditions are revived. Instead of playing arbiter between “authentic” and imagined/reconstructed music practices, artists and scholars now re-explore creative balances between tradition/innovation, national/international, past/future, and even low/high art. Progressive revival genres have abandoned the concern for “authenticity” by merging traditional and modern musical idioms. Nonetheless, modern folk artists remain connected to an initial revival impulse because they depend on its commercial infrastructure and musical source material. In this thesis I investigate the combination of British traditional music and American minimalism through the post-revival lens. A case study of the album Pole Star by English folk band Spiro demonstrates what compositional techniques of systems music play a role in Spiro’s arrangements, and how they interact with historical melodies. The analysis exposes what musical characteristics of these opposite worlds blend together, coexist or clash with one another. The extended length and lyrical characteristic of historical melodies prove to be crucial factors in determining the crossroad between tradition and modernity in Spiro’s approach. 2 Table of Contents Abstract…………………………………………………………………………………… 2 Introduction……………………………………………………………………………….
    [Show full text]
  • Pole Steingarten Mp3, Flac, Wma
    Pole Steingarten mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Steingarten Country: Germany Released: 2007 Style: Minimal, Abstract, Dub, Experimental MP3 version RAR size: 1920 mb FLAC version RAR size: 1205 mb WMA version RAR size: 1155 mb Rating: 4.2 Votes: 626 Other Formats: ADX MOD MP1 AAC MP2 MIDI MP4 Tracklist 1 Warum 4:58 2 Winkelstreben 5:04 3 Sylvenstein 5:08 4 Schöner Land 3:39 5 Mädchen 5:38 6 Achterbahn 4:55 7 Düsseldorf 4:24 8 Jungs 7:15 9 Pferd 4:13 Companies, etc. Distributed By – Indigo – 82439-2 Distributed By – MDM – 1044-2 Manufactured By – Optimal Media Production – A675822 Phonographic Copyright (p) – ~scape Copyright (c) – ~scape Published By – Scape Publishing Published By – BMG Music Publishing Germany Recorded At – Scape Studio, Berlin Recorded At – Scape Rock Garden Mastered At – Scape Mastering Credits Design – Julia Vietense Photography By – Kienberger, Lechbruck* Written-By, Producer – Stefan Betke Notes Recorded at Scape Studio Berlin. Additional Recordings at Scape Rock Garden. Mastered at Scape Mastering Berlin. Published by Scape Publishing / BMG Music Publ. Germany. p c ~scape, 2007. Issued in a slimline jewel case with J-card insert. "For promotional use only" printed on back of insert and CD. Enhancement includes (named "promo cd extras"): info, bio, cover jpg, artist pictures Barcode and Other Identifiers Matrix / Runout: A675822-01 manufactured by optimal media production INDIGO CD 82439-2 Mastering SID Code: ifpi L572 Mould SID Code: IFPI 9713 Label Code: lc10562 Other versions
    [Show full text]
  • 'Musical Pitch Ought to Be One from Pole to Pole': Touring Musicians and the Issue of Performing Pitch in Late Nineteenth
    2011 © Simon Purtell, Context 35/36 (2010/2011): 111–25. ‘Musical Pitch ought to be One from Pole to Pole’: Touring Musicians and the Issue of Performing Pitch in Late Nineteenth- and Early Twentieth-century Melbourne Simon Purtell In 1869, English vocal teacher Charles Bishenden complained that the high performing pitch in use in England was ‘ruinous to the voice.’ The high pitch, he reported, was the very reason why many European singers did not perform in Britain.1 ‘For a Continental larynx,’ French soprano Blanche Marchesi (1863–1940) later explained, ‘it is a real torture to sing to different pitches.’ ‘The muscles of a trained larynx act like fine clockwork,’ she wrote, and ‘a change of tone, up or down, alters the precision of their action.’ For this reason, Marchesi believed that ‘musical pitch ought to be one from pole to pole.’2 A standard of performing pitch comprises three fundamental concepts: sound frequency, note-name, and standard. A sound frequency, expressed in Hertz (Hz) or cycles per second (cps), becomes a pitch when assigned to a note in the musical scale, thus determining the pitch of every other note in a particular system of tuning. If, in equal temperament, the A directly above middle C equals 440 Hz, then the C directly above it equals 523.25 Hz. A pitch that is agreed upon, at a given time and place, as the reference point for building and tuning musical instruments to play together, is a pitch standard. Standards of pitch are usually expressed in relation to the note A directly above middle C.
    [Show full text]
  • The Antarctic Sun, December 24, 2006
    December 24, 2006 HowHow McMurdo Got Its Groove On Local music scene heats up By Peter Rejcek Sun staff OTHER RIFFS t’s possibly the cool- Even Shackleton got the est music scene on the blues, page 10 planet. McMurdo Station Pole, Palmer also jam, is certainly the hub page 11 Iof operations for the U.S. AntarcticI Program (USAP) wise, this is a real hotbed of with an austral summer popu- potential.” lation of a thousand people Fox is a pretty good judge or more. But in the last 10 or of what makes a music scene 15 years, it’s become a cross- pulse. He came of age dur- roads for musicians playing ing punk rock’s angry genesis in just about every genre in the late 1970s and early imaginable in their leisure 1980s, playing bass for the time, from reggae to rock and band United Mutation in the from blues to bluegrass. It’s Washington, D.C., area. (See a scene where a punk rocker the Dec. 18, 2005, issue of can share the night’s billing The Antarctic Sun at antarc- with a folk singer and a blues ticsun.usap.gov for a related guitarist – and the audience is story.) there to see them all. A conversation with Fox is “We have been really itself like listening to a punk lucky down here,” said Jay rock set – briefly intense out- Peter Rejcek / The Antarctic Sun Fox, the retail supervisor for bursts, each riff a variation Barb Propst plays guitar at the McMurdo Station Coffee House.
    [Show full text]
  • The Tim Ferriss Show Transcripts Episode 62: Justin Boreta Show Notes and Links at Tim.Blog/Podcast
    The Tim Ferriss Show Transcripts Episode 62: Justin Boreta Show notes and links at tim.blog/podcast Tim Ferriss: Hello ladies and gents, this is Tim Ferriss, and welcome to another episode. God damn. That’s the usual intro music, but I’d like you to hear a brand new version, reimagined by none other than Justin Boreta of The Glitch Mob. This podcast is brought to you by Mizzen and Main. Don’t worry about the spelling. All you need to know is this. I have organized my entire life around avoiding fancy shirts, because you have to iron them, you sweat through them, they smell really easily, they’re a pain in the ass. Mizzen and Main has given me the only shirt that I need. And what I mean by that, and Kelly Starrett loves these shirts as well, is that you can trick people. They look really fancy, so you can take them out to nice dinners, whatever, but they’re made from athletic, sweat- wicking material. So you can throw this thing into your luggage in a heap or on your kitchen table like I did recently, and then pull it out, throw it on, with no ironing, no steaming, no nothing, walk out, and you could probably wear this thing for a week straight, or make it your only dress shirt, and take it on trips for weeks at a time, never wash it, it will not smell, you will not sweat through it, you’ve got to check these things out. So go to fourhourworkweek.com, all spelled out, fourhouroworkweek.com/shirts, and if you order one of their dress shirts in the next week you will get a Henley shirt for free.
    [Show full text]
  • SN74LVC1G3157 Single-Pole Double-Throw Analog Switch Datasheet
    Product Order Technical Tools & Support & Folder Now Documents Software Community SN74LVC1G3157 SCES424L –JANUARY 2003–REVISED MAY 2017 SN74LVC1G3157 Single-Pole Double-Throw Analog Switch 1 Features 3 Description This single channel single-pole double-throw (SPDT) 1• ESD Protection Exceeds JESD 22 analog switch is designed for 1.65-V to 5.5-V VCC – 2000-V Human Body Model (A114-A) operation. – 1000-V Charged-Device Model (C101) The SN74LVC1G3157 device can handle both analog • 1.65-V to 5.5-V VCC Operation and digital signals. The SN74LVC1G3157 device • Qualified For 125°C operation permits signals with amplitudes of up to VCC (peak) to • Specified Break-Before-Make Switching be transmitted in either direction. • Rail-to-Rail Signal Handling Applications include signal gating, chopping, • Operating Frequency Typically 340 MHz at Room modulation or demodulation (modem), and signal Temperature multiplexing for analog-to-digital and digital-to-analog conversion systems. • High Speed, Typically 0.5 ns (VCC = 3 V, CL = 50 pF) Device Information(1) • Low ON-State Resistance, Typically ≉6 Ω PART NUMBER PACKAGE BODY SIZE (NOM) (VCC = 4.5 V) SOT-23 (DBV) 2.90 mm × 1.60 mm • Latch-Up Performance Exceeds 100 mA Per SC70 (DCK) 2.00 mm × 1.25 mm JESD 78, Class II SOT (DRL) 1.60 mm × 1.20 mm SN74LVC1G3157 SON (DRY) 1.45 mm × 1.00 mm 2 Applications DSBGA (YZP) 1.41 mm × 0.91 mm • Wearables and Mobile Devices SON (DSF) 1.00 mm × 1.00 mm • Portable Computing X2SON (DTB) 0.80 mm × 1.00 mm • Internet of Things (IoT) (1) For all available packages, see the orderable addendum at • Audio Signal Routing the end of the data sheet.
    [Show full text]
  • Techno's Journey from Detroit to Berlin Advisor
    The Day We Lost the Beat: Techno’s Journey From Detroit to Berlin Advisor: Professor Bryan McCann Honors Program Chair: Professor Amy Leonard James Constant Honors Thesis submitted to the Department of History Georgetown University 9 May 2016 2 Table of Contents Acknowledgements 3 Introduction 5 Glossary of terms and individuals 6 The techno sound 8 Listening suggestions for each chapter 11 Chapter One: Proto-Techno in Detroit: They Heard Europe on the Radio 12 The Electrifying Mojo 13 Cultural and economic environment of middle-class young black Detroit 15 Influences on early techno and differences between house and techno 22 The Belleville Three and proto-techno 26 Kraftwerk’s influence 28 Chapter Two: Frankfurt, Berlin, and Rave in the late 1980s 35 Frankfurt 37 Acid House and Rave in Chicago and Europe 43 Berlin, Ufo and the Love Parade 47 Chapter Three: Tresor, Underground Resistance, and the Berlin sound 55 Techno’s departure from the UK 57 A trip to Chicago 58 Underground Resistance 62 The New Geography of Berlin 67 Tresor Club 70 Hard Wax and Basic Channel 73 Chapter Four: Conclusion and techno today 77 Hip-hop and techno 79 Techno today 82 Bibliography 84 3 Acknowledgements Thank you, Mom, Dad, and Mary, for putting up with my incessant music (and me ruining last Christmas with this thesis), and to Professors Leonard and McCann, along with all of those in my thesis cohort. I would have never started this thesis if not for the transformative experiences I had at clubs and afterhours in New York and Washington, so to those at Good Room, Flash, U Street Music Hall, and Midnight Project, keep doing what you’re doing.
    [Show full text]
  • BEAUTIFUL NOISE Directions in Electronic Music
    BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape.
    [Show full text]
  • North Pole Folio Album
    North Pole Folio Album This folio measures 7 1/2 x 9 with a 1 1/2 spine, and uses the Simple Stories Snap pages incorporated in the design of the folio. This folio can hold up to 80 photos, and is decorated with nothing but scraps left over from a collection of papers. 1 | P a g e January 2021 Scrappin It Up By: Vanessa Peter Supplies Used Kraft Cardstock – Hobby Lobby 65lb Vintage North Pole Collection Simple Stories – Just used scraps to decorate this folio Simple Stories Snap Pages – 4 of them Score-pal tape – double sided tape/glue Cutting Guide Spine Hinges 3 – 1 1/2 x 9 score on the 1 1/2 side at 1/2 & 1 Snap Page Hinges 2 – 4 1/2 x 8 1/2 score on the 4 1/2 side at 3/4, 1, 1 1/2, 2, 2 1/4, 2 1/2, 3, 3 1/2, 3 3/4 Covers 2 – 7 1/2 x 9 2 – 7 1/2 x 10 score on the 10 side at 1/2 on each end Cover Flaps 2 – 9 x 12 score on the 12 side at 3/4, 1 1/8, 1 1/2, 8 1/8 Inside Front/Back Cover Flaps 2 – 6 1/2 x 9 score on the 6 1/2 side at 1/2 2 – 6 1/2 x 6 1/2 score on just one 6 1/2 side Backside of Right/Left Pocket Page 4 – 7 x 9 score on the 7 side at 1/2 2 | P a g e January 2021 Scrappin It Up By: Vanessa Peter Inside Pocket Pages 2 – 7 x 9 2 – 5 x 10 score on the 10 side at 1/2 on each end Pocket Page Flap 2 – 6 x 7 1/2 score on the 6 side at 1/2 Slanted Pocket 2 – 5 1/2 x 6 score 1/2 just on 2 sides, depending on which side the pocket is placed on.
    [Show full text]
  • Really Techno
    Really Techno ‘Ich bin einer,’ I say when my turn comes. I am one. I’ve been here before, outside this colossal power station in Fredrichshain, just over the Spree in the old East, very near to where the Berlin wall once stood. On previous occasions I queued with friends, the first time for three hours on a balmy Saturday night, which also happened to be the club’s birthday party. I got in just as the sun was coming up. The second time for forty minutes in midwinter, the temperature a bone throbbing minus eleven. Today I’m acting like a Berliner and doing it solo on an indifferent Sunday in April. I’m not here to take drugs, or get drunk, I’m not really looking to hook up; in fact once I get in, if you dance too close to me I’ll probably move. I’m here as a forty five year old woman, to be on my own, surrounded by techno music played on one of the best sound systems in the world, the harder and louder the better. The building towers over us, monolithic concrete and steel, graffiti covering the bottom floors. It’s getting on for 3pm and there’s about a half an hour queue leading up to the entrance. Most of them are male, one mixed group of hopeful tourists who get refused, two thickly bearded men who have obviously spent last night hooking up with each other. They have the kinetics of recent sex in the way they touch each other and shimmy to the muffled beat, which gets louder as we get closer to the door.
    [Show full text]
  • BEN ASSITER Essay
    Basic Channel and Timelessness: Negotiating Canonisation, Resemblance and Repetition in House and Techno Ben Assiter In the related musical worlds of house and techno, there is rarely a shortage of new sounds to complement and complicate what is already a saturated archive. Across a wide spectrum of scenes, from the adamantly underground to the unabashedly mainstream, tracks seem to appear almost as reliably and consistently as the kick drums that characterise the sound. Of course, much of this material has only fleeting significance. Functional, generic ‘DJ tools’ circulate for a short period, before being replaced by similarly ephemeral tracks. Attali’s notion of ‘repeating’ comes to mind, in which ‘the minor modification of a precedent’ becomes the thinly disguised replacement of innovation (1977: 109). Yet, within this ever-expanding cultural cache, certain tracks have managed to attain a greater longevity, forming what may tentatively be thought of as a canonic repertoire. Here I employ the concept of canon in Katharine Bergeron’s prescriptive sense, to denote a ‘locus of discipline’ that constructs standardised values and behaviours, within prescribed and internalised networks of power (1992: 2-4). This formulation emphasises the nature of canons as on-going, cultural processes of construction, and thus as necessary sites for reflexive critique. With these thoughts in mind, I would like to undertake a comparative close reading of two techno tracks that share apparent similarities, both stylistically and in terms of production practice, despite their temporal separation of seventeen years. The first, ‘M-4’ (1995) by Maurizio has, as I will go on to describe, received a degree of enduring critical acclaim that I would argue affords it a canonic status within the genre.
    [Show full text]