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12-09 Traffic
Torino Cinema Massimo Mouse on Mars Venerdì 12.IX.08 ore 22 SPAZIO 211 Bonnie “Prince” Billy Venerdì 19.IX.08 ore 23 Hiroshima mon Amour Liars Giovedì 25.IX.08 ore 23 venerdì 12 settembre 2008 ore 22 Cinema Massimo – Sala 1 Mouse On Mars vs Schatten Proiezione del film Schatten di Arthur Robinson Germania, 1923, 84’ Mouse On Mars Jan St. Werner, elettronica Andi Toma, elettronica e percussioni n suono elettronico raffinato e complesso, risultante dalla convergenza fra diver- Usi vettori stilistici. Se infatti Jan St. Werner e Andi Toma, nel 1993 fondatori dei Mouse On Mars sull’asse Düsseldorf/Colonia, appartengono in senso anagrafico e bio- grafico alla generazione cresciuta con la techno da rave, d’altra parte li si può anno- verare fra gli epigoni della scuola tedesca – Kraftwerk, Can, Neu!, Cluster – afferma- tasi negli anni Settanta e inscritta per convenzione nell’alveo del cosiddetto Krau- trock. A quei due elementi di base via via ne sono stati addizionati altri che hanno contribuito a definirne l’identità: dalle sonorità ambient tipiche dei primi lavori (Vul- valand e Iaora Tahiti, datati rispettivamente 1994 e 1995) all’incorporazione di stru- mentazioni “rock” – chitarra e batteria – in Niun Niggung (2000), fino all’adesione ai canoni della forma canzone – con l’introduzione del canto, affidato al batterista Dodo Nkishi – testimoniata da Idiology (2001) e Radical Connector (2004). Un percorso discografico zigzagante, segnato nondimeno da un denominatore comune riconduci- bile alla rigorosa coerenza espressiva di Toma e St. Werner, ribadita dalle ultime prove sostenute: l’angoloso album realizzato per la Ipecac di Mike Patton, Varcharz (2006), e l’estemporanea partnership con il guru del post punk britannico Mark E. -
Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
VAGRANT RECORDS the Lndie to Watch
VAGRANT RECORDS The lndie To Watch ,Get Up Kids Rocket From The Crypt Alkaline Trio Face To Face RPM The Detroit Music Fest Report 130.0******ALL FOR ADC 90198 LOUD ROCK Frederick Gier KUOR -REDLANDS Talkin' Dirty With Matt Zane No Motiv 5319 Honda Ave. Unit G Atascadero, CA 93422 HIP-HOP Two Decades of Tommy Boy WEEZER HOLDS DOWN el, RADIOHEAD DOMINATES TOP ADDS AIR TAKES CORE "Tommy's one of the most creative and versatile multi-instrumentalists of our generation." _BEN HARPER HINTO THE "Geggy Tah has a sleek, pointy groove, hitching the melody to one's psyche with the keen handiness of a hat pin." _BILLBOARD AT RADIO NOW RADIO: TYSON HALLER RETAIL: ON FEDDOR BILLY ZARRO 212-253-3154 310-288-2711 201-801-9267 www.virginrecords.com [email protected] [email protected] [email protected] 2001 VIrg. Records Amence. Inc. FEATURING "LAPDFINCE" PARENTAL ADVISORY IN SEARCH OF... EXPLICIT CONTENT %sr* Jeitetyr Co owe Eve« uuwEL. oles 6/18/2001 Issue 719 • Vol 68 • No 1 FEATURES 8 Vagrant Records: become one of the preeminent punk labels The Little Inclie That Could of the new decade. But thanks to a new dis- Boasting a roster that includes the likes of tribution deal with TVT, the label's sales are the Get Up Kids, Alkaline Trio and Rocket proving it to be the indie, punk or otherwise, From The Crypt, Vagrant Records has to watch in 2001. DEPARTMENTS 4 Essential 24 New World Our picks for the best new music of the week: An obit on Cameroonian music legend Mystic, Clem Snide, Destroyer, and Even Francis Bebay, the return of the Free Reed Johansen. -
Post-Rock, Chicago School, Jim O'rourke. Über Materialbehandlung in Der Avantgarde Der Populären Musik
Post-Rock, Chicago School, Jim O'Rourke. Über Materialbehandlung in der Avantgarde der populären Musik Magisterarbeit Universität Lüneburg, Juni 2006 Fakultät I – Bildungs-, Kultur- und Sozialwissenschaften (ehem. Fachbereich III – Angewandte Kulturwissenschaften) vorgelegt von: Tobias Ruderer (Matrikelnummer: 111517) Fasanenweg 5 21337 Lüneburg Tel. 04131-767561 [email protected] Erstgutachter: Dr. Rolf Großmann, Universität Lüneburg Zweitgutachter: Dr. Christian Bielefeldt, Universität Lüneburg Inhaltsverzeichnis Einleitung......................................................................................................................4 1. Theorie des musikalischen Materials.......................................................................8 1.1 Phänomenologische Besonderheiten der Vorstellung eines künstlerischen Materials.....8 1.2 Grundzüge von Adornos Materialtheorie.......................................................................11 1.2.a Materialveränderung als musikimmanenter Prozess...............................................11 1.2.b Der Zwang des Materials........................................................................................13 1.2.c Material und Gesellschaft.......................................................................................15 1.3 Kritik und Probleme des Materialbegriffs......................................................................18 1.4 Stil, Konstruktion, Technik.............................................................................................21 2. Material -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Harper, A. (2016). "Backwoods": Rural Distance and Authenticity in Twentieth- Century American Independent Folk and Rock Discourse. Samples : Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung(14), This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15578/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Online-Publikationen der Gesellschaft für Popularmusikforschung / German Society for Popular Music Studies e. V. Hg. v. Ralf von Appen, André Doehring u. Thomas Phleps www.g f pm- samples.de/Samples1 4 / harper.pdf Jahrgang 14 (2015) – Version vom 5.10.2015 »BACKWOODS«: RURAL DISTANCE AND AUTHENTICITY IN TWENTIETH-CENTURY AMERICAN INDEPENDENT FOLK AND ROCK DISCOURSE Adam Harper My recently completed PhD research (Harper 2014) has been an effort to trace a genealogy of an aesthetic within popular music discourse often known as »lo-fi.« This term, suggesting the opposite of hi-fi or high fidelity, became widely used in the late 1980s and early 1990s to describe a move- ment within indie (or alternative) popular music that was celebrated for its being recorded outside of the commercial studio system, typically at home on less than optimal or top-of-the-range equipment. -
Music Guide Germany at Sxsw 2018 Barracuda 611 E 7Th Street Contents Wunderbar Music Guide 2018
Lali Puna GERMANY AT SXSW 2018 GERMANY AT MUSIC GUIDE Ace Tee Sea Moya BARRACUDA 611 E 7TH STREET CONTENTS WUNDERBAR MUSIC GUIDE 2018 AUSTIN GERMAN PAVI BOOTHLION WELCOME 4 #909 ON THE MOVE 5 WUNDERBAR 8 NEXT GENERATION KRAUTROCK & CONNY PLANK TIMETABLE 15 BRIDGE CONGRESS GERMAN BANDS 20 INITIATIVE MUSIK 31 C O L O R A D O R I V E R GERMANY AT SXSW 2018 — WUNDERBAR 3 ON THE MOVE GERMANY'S MUSIC SCENE CONTINUES TO EMANCIPATE ITSELF Author: NORMAN FLEISCHER IT ALL COMES DOWN TO KRAFTWERK IN THE END, DOESN’T IT? THE FACT THAT THE ICONIC GERMAN ELECTRONIC PIONEERS JUST WON A GRAMMY FOR THEIR COMPILATION '3D KATALOG' ONLY FOUR YEARS AFTER RECEIVING A LIFETIME ACHIEVEMENT AWARD CAN BE SEEN AS A SYNONYM FOR THE GERMAN MUSIC SCENE. The Initiative Musik extends a very warm ing them with their international activities in and enthusiastic welcome to the SXSW 2018 the world’s largest music market. Come hear Music Festival. One of the main goals of Ger- for yourself how exciting and diverse music many’s export office Initiative Musik is to created in Germany can be at the GERMAN promote emerging German talents. Included HAUS and other clubs during the SXSW Music in this brochure are some of the highlights Festival. at the SXSW Music Festival 2018 as well as information about the German music scene. Furthermore, we would especially like to invite you to the WUNDERBAR DAY at the Over six days, the stages at GERMAN HAUS GERMAN HAUS on Wednesday, March 14 for will host a lineup of inspiring keynotes, pitch- exciting showcases by the “Next Generation es, and talks on a wide array of topics in the Krautrock.“ German digital, startup, film, and music in- dustries. -
07Dossier De Presse Brian Wilson
CAPC musée d'art contemporain de Bordeaux 7 rue Ferrère, F-33000 Bordeaux T. +33-0-556 00 8165 - F. +33-0-556 44 1207 Dossier de presse If Everybody had an Ocean. Brian Wilson, une exposition 17 novembre 2007 – 9 mars 2008 Vernissage: 16 novembre 2007, 19 heures Commissaire : Alex Farquharson Trevor Bell, Billy Al Bengston, Peter Blake, Mel Bochner, John Cage, Brian Calvin, Vija Celmins, Russell Crotty, Thomas Demand, Kaye Donachie, Isa Genzken, Liam Gillick, Jeremy Glogan, Joe Goode, George Greenough, Rodney Graham, Richard Hawkins, Roger Hiorns, Jim Isermann, Sister Corita Kent, Roy Lichtenstein, John McCracken, Lee Mullican, Kaz Oshiro, Bruno Peinado, Raymond Pettibon, Richard Pettibone, Ken Price, Martial Raysse, Bridget Riley, Allen Ruppersberg, Ed Ruscha, Jim Shaw, Fred Tomaselli, Jennifer West, Pae White, Isaac Witkin. Grande Nef du CAPC L’exposition If Everybody had an Ocean a pour fil conducteur la fascination qu’a exercé Brian Wilson, le mythique compositeur des Beach Boys, sur plusieurs générations d’artistes. Dans cette exposition, sa vie et sa musique sont un prisme à partir duquel on peut relire les développements de l’art depuis les années 60, en particulier dans sa relation à la culture populaire et au contexte social et urbain de la Californie. L’art devient aussi le moyen de reconsidérer les contradictions qu’il y a entre l’image populaire et lisse des Beach Boys et l’ambition musicale complexe et géniale de Brian Wilson. En se concentrant sur des oeuvres qui mélangent Pop Art, peinture abstraite, Minimalisme et Art Conceptuel– un phénomène récurrent dans l’art de la Côte Ouest – l’exposition questionne implicitement la pertinence de ces catégories historiques. -
B Ndry, Lombard Lit Title Role Greek Play Tense Moment in Electra
s f l n T f t B A R B A R A COLLGGG JOINT RALLY, PARADE TO b PRECEDE ’BIG GAME' WITH SAN DIEGO STATE COLLEGE L. XXV III SANTA BARBARA, CALIFORNIA, NOVEMBER 23, 1948 No. 20 'Scalp the Aztecs' Cry O f Saturday's Events ndry, Lombard Tense Moment In Electra Rehearsal Preceeding the long-awaited Gaucho-Aztec game that evening, a joint parade and rally will be held Saturday, No «»» vember 27, in which both Santa Barbara and San Diego stu lit Title Role dents will participate. This game will be the highlight of the season, and spirit should reach a high point before the game. With “Scalp the Aztecs” as the motto of the day’s events, Greek Play the parade will start at 4:30 pm. at Micheltorena and State Strets. By Gilbert C. Horne FrCfm there it will proceed down TOYNBEE VALUE hose who read the article in State to De la Guerra Plaza where Sunday’s Santa Barbara News- AESTHETIC, NOT the big rally will be held. Stu ss doubtless noticed that only dents, who are going to drive Electra was presented in pic- SCIENTIFIC HL mm cars in the parade, are asked to e form. Although it was prom- mmwf- decorate their cars with blue and “A value of Toynbee’s vol in the last issue-of the Gau- gold streamers. No students should umes lies in the realm of the that both Landry and Lom- wear red, because they are the d would be so featured, the ■ ¡ I aesthetic, not in that of sci Aztec colors. -
Lumi Two Tears in Water Biography
Lumi Two Tears in Water Biography “Art is derived from our Living existence but it's in fast forward mode” Lumi Engage with the sounds of Lumi. They ooze talent, shout out meaning, acoustically they personify perfection and visually they could have been taken from the catwalk in Milan. A divine combination served to you on a metaphorical plate so chic you will fall in love at first sound. Lumi originates from the French word Lumiére which means light. It projects enlightenment and the significance of brightness into lives which can sometimes seem gloomy and dull, predominantly dictated by the situation in Lebanon. “We wanted a name which had strength and not pretentious, something positive and bright for Lebanon” Marc Codsi and Mayaline Hage are Lumi. Marc (1979) a degree in Finance and Mayalene (1982) a Masters in Clinical Psychology were both born in Beirut, Lebanon and this is their home until today. Marc started playing the guitar when he was 17 and has also been the lead guitarist of a Lebanese post punk band ‘Scrambled Eggs” since 2001. In addition to this he produces and performs more experimental projects under the name “Happy Melody”. Marc is not shy of an instrument or two! In fact he has mastered the talent for anything he can touch and make a sound with. Most notably the Bass, Piano, Drums, Trumpet and the keyboards. All of which can be heard throughout the album “Two Tears in Water”. Mayalene was bought her first electric guitar when she was just 11 years old, although she never took it as far as singing, she still demonstrates her musical diversity with her guitar skills in the song “Lilly”. -
THE PASSION of PET SOUNDS Cuuinucd ¡R()Hi Pugc 4:5 by CHRIS MORRIS
Here Today FOR YOUNG MUSICIANS AND PRODUCERS IN ¡HE MI11-10S, THE RELEASE Of "PET SOUNDS" WAS [IKE HAYING THE ODOR 10 A PITCH -BLACK ROOM SUDDENLY THROWN OPEN; LIGHT POURED IN THIRTY YEARS LATER, IT'S SIRE SHINING BRIGHI11 THE PASSION OF PET SOUNDS Cuuinucd ¡r()Hi pugc 4:5 BY CHRIS MORRIS Studios and immortalize his memories of the pom -pom girl who got away. In so doing, he preserved in popular song the qualities of regret n his provocative book "Ocean Of Sound" (Serpent's Tail, Speaking of such contemporaries and collaborators as Van Dyke that only post -adolescence can summon. encapsulating one of the 0 U.K.), English musician -musicologist David Toop writes, Parks and Randy Newman, Waronker adds, "Brian affected us most reluctant realizations of adulthood: all the youthful time in the "Ask musicians of a certain age a question: Who revolution- all...Brian was such a master of melody, and he got sounds that were world is somehow never enough. ized the recording studio? Invariably, the response will unprecedented. The Beatles did it, but not like he did it." "My father [Murry] used to go to pieces when he heard stuff like include the following names: Phil Spector, Joe Meek, Brian In 1995, former pupil Waronker worked with the master, Wilson, "'Caroline No,'" explained Brian's brother Dennis to this writer in the Wilson, Lee Perry." and Parks on the duo's Reprise collaboration "Orange Crate Art." spring of 1976. "See, a lot of people don't know it, but that song was Spector and Wilson, the Americans on this short list of sonic inno- Another aspiring young producer of the '60s, Russ Titelman, had about a girl that Brian was really in love with in high school. -
Issue 184.Pmd
email: [email protected] website: nightshift.oxfordmusic.net Free every month. NIGHTSHIFT Issue 184 November Oxford’s Music Magazine 2010 Oxford’s Greatest Metal Bands Ever Revealed! photos: rphimagies The METAL!issue featuring Desert Storm Sextodecimo JOR Sevenchurch Dedlok Taste My Eyes and many more NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net COMMON ROOM is a two-day mini-festival taking place at the Jericho Tavern over the weekend of 4th-5th December. Organised by Back & To The Left, the event features sets from a host of local bands, including Dead Jerichos, The Epstein, Borderville, Alphabet Backwards, Huck & the Handsome MOTOWN LEGENDS MARTHA REEVES & THE VANDELLAS play Fee, The Yarns, Band of Hope, at the O2 Academy on Sunday 12th December. Reeves initially retired Spring Offensive, Our Lost Infantry, from performing in 1972 due to illness and had until recently been a Damn Vandals, Minor Coles, The member of Detroit’s city council. In nine years between 1963-72 the trio Scholars, Samuel Zasada, The had 26 chart hits, including the classic `Dancing In The Streets’, `Jimmy Deputees, Message To Bears, Above Mack’ and `Heatwave’. Tickets for the show are on sale now, priced £20, Us The Waves, The Gullivers, The from the Academy box office an online at www.o2academyoxford.co.uk. DIVE DIVE have signed a deal with Moulettes, Toliesel, Sonny Liston, Xtra Mile Records, home to Frank Cat Matador and Treecreeper. Early Turner, with whom they are bird tickets, priced £8 for both days, on Friday 19th November, with be released and the campaign bandmates, and fellow Oxford stars A are on sale now from support from Empty Vessels plus culminates with the release of ‘Fine Silent Film. -
A&R Update December 1-2-3-4 GO! RECORDS 423
A&R Update December 1-2-3-4 GO! RECORDS 423 40th St. Ste. 5 Oakland, CA 94609 510-985-0325 E-mail: [email protected] Web: www.1234gorecords.com 4AD RECORDS 17-19 Alma Rd. London, SW 18, 1AA, UK E-mail: [email protected] Web: www.4ad.com Roster: Blonde Redhead, Anni Rossi, St. Vincent, Camera Obscura Additional locations: 304 Hudson St., 7th Fl. New York, NY 10013 2035 Hyperion Ave. Los Angeles, CA 90027 825 RECORDS, INC. Brooklyn, N.Y. 917-520-6855 E-mail: [email protected] Web: www.825Records.com Styles/Specialties: Artist development, solo artists, singer-songwriters, pop, rock, R&B 10TH PLANET RECORDS P.O. Box 10114 Fairbanks, AK 99710 E-mail: [email protected] Web: www.10thplanet.com 21ST CENTURY RECORDS Silver Lake, CA 323-661-3130 E-mail: [email protected] Web: www.21stcenturystudio.com Contact: Burt Levine 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480, 800-288-2007 Website: www.allegro-music.com Genres: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 Email Address: [email protected] Website: www.21stcenturystudio.com Genres: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 Website: www.259records.com Email Address: [email protected] 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 Email Address: [email protected] Website: www.4ad.com Clients: The National, Blonde Redhead, Deerhunter, Efterklang, St.