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Weaving Genres, and Roughing up Beats: New Album Review
Weaving Genres, And Roughing Up Beats: New Album Review Music | Bittles’ Magazine: The music column from the end of the world Is it just me, or was Record Store Day 2017 a tiny bit crap? The last time I was surrounded by that amount of middle-aged, balding men, reeking of sweat, I had walked into a strip-club by mistake. So, rather than relive the horrors of that day, I will dispense with the waffle and dive straight into the reviews. By JOHN BITTLES The electronic musings of Darren Jordan Cunningham’s Actress project have long been a favourite of those who enjoy a bit of cerebral resonance with their beats. While 2014’s Ghettoville disappointed, there was more than enough goodwill left over from the dusty grooves of his R.I.P. album and his excellent DJ Kicks mix to ensure that expectations for a new LP were suitably high Thankfully the futuristic funk and controlled passion of AZD doesn’t let us down! Out now on the always reliable Ninja Tune label the album is a dense listening experience which makes the ideal soundtrack for lonely dance floors and fevered heads. After the short intro of Nimbus, Untitled 7 gets us off to a stunning start with its deep, steady groove. From here Fantasynth’s shuffling beats and solitary melody line recall the twisted genius of Howie B and Dancing In The Smoke deconstructs the ghost of Chicago house and takes it to a gloriously darkened place. Meanwhile Faure In Chrome and There’s An Angel In The Shower’s disquieting ambiance are so good you could wallow in them for days. -
Documentary in the Steps of Trisha Brown, the Touching Before We Go And, in Honour of Festival Artist Rocio Molina, Flamenco, Flamenco
Barbican October highlights Transcender returns with its trademark mix of transcendental and hypnotic music from across the globe including shows by Midori Takada, Kayhan Kalhor with Rembrandt Trio, Susheela Raman with guitarist Sam Mills, and a response to the Indian declaration of Independence 70 years ago featuring Actress and Jack Barnett with Indian music producer Sandunes. Acclaimed American pianist Jeremy Denk starts his Milton Court Artist-in-Residence with a recital of Mozart’s late piano music and a three-part day of music celebrating the infinite variety of the variation form. Other concerts include Academy of Ancient Music performing Purcell’s King Arthur, Kid Creole & The Coconuts and Arto Lindsay, Wolfgang Voigt’s ambient project GAS, Gilberto Gil with Cortejo Afro and a screening of Shiraz: A Romance of India with live musical accompaniment by Anoushka Shankar. The Barbican presents Basquiat: Boom for Real, the first large-scale exhibition in the UK of the work of American artist Jean-Michel Basquiat (1960-1988).The exhibition brings together an outstanding selection of more than 100 works, many never seen before in the UK. The Grime and the Glamour: NYC 1976-90, a major season at Barbican Cinema, complements the exhibition and Too Young for What? - a day celebrating the spirit, energy and creativity of Basquiat - showcases a range of new work by young people from across east London and beyond. Barbican Art Gallery also presents Purple, a new immersive, six-channel video installation by British artist and filmmaker John Akomfrah for the Curve charting incremental shifts in climate change across the planet. -
Warmth: Parallel
Warmth: Parallel spectrumculture.com/2018/05/14/warmth-parallel-review Daniel Bromfield May 14, 2018 As Warmth, Spanish producer Agustín Mena makes ambient music of a fearsome purity. This is not music that seeks to elicit an emotional reaction or stake out a psychedelic space for the listener to explore. This is ambient in the strictest, most workmanlike sense, and though Mena comes from club music (he was a dub techno producer before shedding all aspects of his sound save distant chords), his music is closer to what Brian Eno envisioned when he stipulated a new form of music that could act as “wallpaper.” Eno recently released a box set of music intended to accompany art installations. It sounds like free jazz compared to Warmth. But over Mena’s impressive recent run of albums—2016’s Essay, last year’s Home, and the brand-new Parallel—little wrinkles have appeared in the project that reveal more going on than meets the eye. Though the three records had almost exactly the same sound palate, the mood of each is distinct and obvious. Essay was positive, an album for meditation and deep thought, a happy place; it accomplished this through an expansive presence in the stereo field and subtle frills like electric piano. Home was colder and more insular, occupying the dead center of the stereo field and focusing on heavy bass tones rather than comfortable midrange. Parallel finds a neat middle ground between the two, the midrange allowing the music to 1/2 maintain the illusion of wide-open space while the bass injects a subterranean sense of foreboding. -
Gear Acquisition Syndrome
Jan-Peter Herbst & Jonas Menze Gear Acquisition Syndrome, also known as GAS, is commonly Syndrome Gear Acquistion understood as the musicians’ unrelenting urge to buy and own Gear Acquistion Syndrome instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on Consumption of Instruments and gear perhaps not even needed. The urge is directed by the belief that Technology in Popular Music acquiring another instrument will make one a better player. This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music. Jan-Peter Herbst & Jonas Menze Jan-Peter 10.5920/GearAcquisition.fulltext Jan-Peter Herbst & Jonas Menze Gear Acquisition Syndrome Consumption of Instruments and Technology in Popular Music 10.5920/GearAcquisition.fulltext Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2021 This work is licensed under a Creative Commons Attribution 4.0 International License. -
Carbon Black
CARBON BLACK Carbon black has been considered by previous Working Groups in April 1984, March 1987 and October 1995 (IARC, 1984, 1987, 1996). Since that time, new data have become available, and these have been included in the present monograph and have been taken into consideration in the evaluation. 1. Exposure Data 1.1 Chemical and physical data 1.1.1 Nomenclature The Chemical Abstract Service Registry Number for all carbon blacks is 1333–86–4. Acetylene black Chem. Abstr. Name: Carbon black, acetylene IUPAC Systematic Name: Carbon black, acetylene Synonyms: CI: 77266; CI Pigment Black 7; explosion acetylene black; explosion black Trade names: P68, P1250, Shawinigan Acetylene Black and Ucet Channel black Chem. Abstr. Name: Carbon black, channel IUPAC Systematic Name: Carbon black, channel Synonyms: CI: 77266; CI Pigment Black 7; impingement black Trade names: Aroflow, Arrow, Atlantic, Black Pearls, Carbolac, Carbomet, CK3, Collocarb, Conductex (Continental), Croflex, Crolac, Degussa, Dixie, Dixiecell, Dixiedensed, Elf, Excelsior, Farbruss, Fecto, Huber, Kosmink, Kosmobil, Kosmolak, Kosmos, Kosmovar, Micronex, Mogul, Monarch, Neo-Spectra, Peerless, Printex, Raven, Regent, Royal Spectra, Special Black IV & V, Spheron, Superba, Super-Carbovar, Super-Spectra, Texas, Triangle, United, Witco and Wyex –43– 44 IARC MONOGRAPHS VOLUME 93 Furnace black Chem. Abstr. Name: Carbon black, furnace IUPAC Systematic Name: Carbon black, furnace Synonyms: CI: 77266; CI Pigment Black 7; gas-furnace black; oil-furnace black Trade names: Aro, Arogen, Aromex, Arovel, Arotone, Atlantic, Black Pearls, Carbodis, Collocarb, Conductex (Continex), Corax, Croflex, Dixie, Durex, Elftex, Essex, Furnal, Furnex, Gastex, Huber, Humenegro, Kosmos, Metanex, Modulex, Mogul, Molacco, Monarch, Neotex, Opal, Peerless, Pelletex, Philblack, Printex, Rebonex, Regal, Special Schwarz, Statex, Sterling, Texas, Ukarb, United and Vulcan Lampblack Chem. -
Techno in Germany: Its Musical Origins and Cultural Relevance
Techno in Germany: Its Musical Origins and Cultural Relevance David Robb, Belfast ISSN 1470 – 9570 Dave Robb 130 Techno in Germany: Its Musical Origins and Cultural Relevance David Robb, Belfast This article documents the musical evolution of German techno from Kraftwerk to West Bam and Sven Väth and examines the reasons behind techno’s phenomenal success in Germany and its high profile in the media. It charts the convergence of international DJs on the newly reunified Berlin in 1990 culminating in the famous Berlin sound. It looks at how this underground subculture (claimed as the first area in social life where German unification took place) was subsumed by the fashion and musical mainstream. With reference to cultural theory, the article examines, both aesthetically and socially, the significance of club culture and mass youth events such as the Love Parade. It examines the dialectic relationship between the manipulations of the culture industry and the ‘creative appropriation of culture’ by the ravers and DJs themselves. It probes behind the claims of the German techno mainstream to be a model of functioning democracy and tolerance and looks at the aesthetic philosophies of techno rebels such as Attari Teenage Riot, the Fuck/Hate Parade and the music of the Mille Plateaux label as guided by the theory of Deleuze and Guattari. It’s Saturday 21st July, 2001, weekend of the Berlin Love Parade, the biggest annual techno festival in the world. The railway station at Alexanderplatz echoes with the piercing shrill of whistles, as youth from all over Europe converge and head off towards the Reichstag. -
Der Klang Der Vorstadt Bauwelt 12 | 2009 Stadtbauwelt 181 | 2009 59
58 Thema Der Klang der Vorstadt Bauwelt 12 | 2009 StadtBauwelt 181 | 2009 59 Glaubt man den international agierenden DJs, wird die Tendenz, mit ganz unter- schiedlichen Künstlern an ganz unterschiedlichen Orten, auf Reisen oder auf Reisen im digitalen Raum, zu produzieren, das Musikbusiness und die Musik selbst verän- dern. Die populäre Musik macht von Anfang an das Leben in den Fabriken und auf den Straßen zum Thema. Sie hat sich durch Deindustrialisierung und Globalisierung verändert, hat aber nie aufgehört, von der Realität in den Städten und Vorstädten zu erzählen. Welchen Einfluss hat die Loslösung vom Ort, und wovon erzählt die ort- und wortlose Musik? Der Klang der Vorstadt Eine kurze Genealogie des Suburban Pop: Klaus Walter „Ich bin in Levittown aufgewachsen, einer Wohnsiedlung in Mit diesen Worten würdigte der Popstar Billy Joel („Uptown wird, musste ich meine Füße meistens in Frauenschuhe quet- You can take me out of the suburb, but you can’t take the sub- Mit „Up on the roof“ erreich- New York, draußen in Long Island. Es waren die frühen Sech- girl“) die 1988 gerade in die Rock’n’Roll Hall of Fame aufge- schen. Dazu trug ich weiße Hosen mit einem monströsen urb out of me. Popsuburbia. In seinem Standardwerk England’s ten die Drifters 1963 die Top Five der Charts. Das Dach ziger, damals war roof nur die Spitze eines Hauses und board- nommenen Drifters (und ihre Titel „Up on the roof“, „Under Schlag, Sweatshirt und knallrot gefärbte Haare.“ – Hat er Ärger Dreaming rekonstruiert Jon Savage den britischen Punk als diente ursprünglich in Carol walk bloß ein Holzsteg. -
To Download the Greater Kansas City Music Directory Vol. 1
GREATER KANSAS CITY MUSIC DIRECTORY 1ST EDITION (FEBRUARY 2015) ! Rush, Styx, Kansas, Shooting Star, Iron Maiden, ---- Cadillac Flambe DBA Big sky KC AREA Riot and more. Bill Crain Group ---- Kris Bruders Monzie Brummett Bill Crain Ashes to Immortality http://www.facebook.com/pages/Cadillac- http://monzieleo.co BANDS http://www.billcrain.com Flambe/274257025472 [email protected] Mike Hannah [email protected] [email protected] Country http://www.reverbnation.com/asheslawren 3 Bricks Shy Jazz Americana A four part harmony string band, we'll play for a ce Bill Crain is a jazz saxophonist and multi- Infectious delta boogie stomp, soulful singing, little over two hours. Available for weddings,your Rick Lally [email protected] woodwind musician on the Kansas City music audience rocking sounds made by husband and garden party, your bar, or venue! You'd call us a http://3BricksShyBand.com Bluegrass scene since 1981. He performs original modern wife, Kris and Havilah Bruders, Mike Payne, and bluegrass band,though we are heavily influenced [email protected] A 6 piece progressive bluegrass band with jazz with his long-time quartoet, the Bill Crain Dave Duly. by classic country. We'll drive anywhere Folk/Acoustic dynamic female vocals, original songwriting and Group and is KC's most prolific studio woodwind ---- regionally for a weekend show, if we aren't 3 Bricks Shy is acoustic trio that plays all original innovative musicianship from acoustic guitar, musician. Bill has been honored as a "Kansas Caprice Classic traveling already! music which includes several genres like folk, fiddle, mandolin, bass and drums. -
How Do You Make Music a Body Without Organs? Gilles Deleuze
How Do You Make Music a Body without Organs? Gilles Deleuze and Experimental Electronica Christoph Cox (This article appeared in German translation as “Wie wird Musik zu einem organlosen Körper? Gilles Deleuze und experimentale Elektronika” in Soundcultures: Über digitale und elektronische Musik, ed. Marcus S. Kleiner and Achim Szepanski [Frankfurt: Suhrkamp Verlag], 162–93. A version in Italian was published in Millesuoni: Deleuze, Guattari, e la Musica Elettronica, ed. Roberto Paci Dalo and Emanuele Quinz [Napoli: Edizioni Cronopio, 2006].) Gilles Deleuze wrote about music only in passing. Throughout his philosophical corpus, one finds a scattering of musical examples and references to the classical modernists (Berg, Messiaen, Varèse, Stockhausen, etc.) who were clearly his cultural heroes. Yet Deleuze never wrote about music with the same depth and dedication that he devoted to literature, cinema, and painting. It might seem odd, then, that, in the nine years since his suicide, Deleuze’s philosophy has come to be closely linked with music and, moreover, with a musical milieu very different from the one that he called his own. For Deleuze has become the intellectual hero of experimental “electronica”—electronic music with its roots in hip hop, house, and techno rather than in the tradition of classical modernism. This relationship was initially marked by the release, a year after Deleuze’s death, of two compilations of experimental electronica presented in his honor: Mille Plateaux’s In Memoriam Gilles Deleuze and Sub Rosa’s Folds and Rhizomes for Gilles Deleuze. Since then, the discourse around electronica has referenced Deleuze at every turn. What accounts for the curious connection between this philosophical ontologist and a music scene about which he knew little and wrote nothing? It is that Deleuze helps us to think how music might become a body without organs. -
Family Horrors and Hidden Paradises: New Album Reviews
Family Horrors And Hidden Paradises: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world There are so many excellent new albums around right now that, this week, I hardly know where to begin. We have house magnificence from Demuja and Kann, gorgeously deep ambiance from Gas, the leftfield techno brilliance of Jon Hopkins, Forest Swords, Max Cooper and Aïsha Devi and lots more. By JOHN BITTLES So, tell your piggy bank to make peace with its maker, and let us begin… Jon Hopkins‚ Immunity LP was close to ubiquitous in 2013, rightly appearing in most Best Of lists for that year. While the follow-up was a long time coming the good news is that it is every bit as good. Released at the start of May, Singularity contains the same mixture of techno crunch, ambient interludes and emotional resonance which Jon’s long term fans have come to expect. The title track gets things off to a great start, stuttering beats joined by trance like synths on a song sure to have any self-respecting raver resembling one of Pavlov’s dogs. Next, lead single Emerald Rush begins all soft and tranquil before bursting into life with some mind mangling bass stabs. Other picks include the epic trance groover Neon Pattern Drum which resembles the highlight of a Paul Van Dyk set, the melancholic clanks of Everything Connected, the tranquil piano refrain Echo Dissolve and the light and airy house strains of Luminous Beings. Full of peaks and troughs, Singularity gives the listener a proper journey filled with high drama and a sense of loss when it comes to an end. -
Steinski and the Origins of Mashup
KTRU 91.7 FM THE THRESHER is NOT REspOnsiBLE FOR THE CONTENT OF THE riCE RADIO FOLIO. SPRING 2009 Various Artists Year in Review: African Scream Contest Analog Africa This new compilation of recordings from the 1970s in Benin and Togo present a broad and vibrant blend of traditional rhythms, Cuban and Brazilian drumming Best Albums of 2008 styles, psychedelic flares, and a healthy funk that draws equally from Fela Kuti and James Brown. Benin and its neighbor Togo Rap and folk, soul and post-punk—2008 brought albums for every taste, and with this round- are couched between social and musical powerhouse Nigeria up of our favorites, KTRU presents a musical smorgasbord with an emphasis on the local scene. (home to Fela and his Africa 70, the fountainhead of afrobeat) and Ghana (the home of highlife), two sounds that are very In no particular order, here’s some of the best the year had to offer. influential on the local music. But Benin also houses a large B L A C K I E Studemont Project population descended from the repatriated slaves of liberated Wilderness of North America Warmth of the Midnight Sun Brazil, who brought the musical styles and rhythms from their Self-Released Self-Released erstwhile home. And finally Benin is the place of origin of the B L A C K I E’s live set, framed by his cus- One of the hardest working acts in the Vodoun (or Voodoo) religion, where music holds a special trance- tom multi-kilowatt wall of sound, has quickly local scene, Studemont Project not only of- inducing power. -
Shale Gas: the Promise and the Peril by Vikram Rao
Shale Gas The Promise and the Peril Vikram Rao Shale Gas: The Promise and the Peril by Vikram Rao RTI Press ©2012 Research Triangle Institute. RTI International The RTI Press mission is to disseminate is a registered trademark and a trade name of information about RTI research, analytic Research Triangle Institute. The RTI logo is a tools, and technical expertise to a national registered trademark of Research Triangle Institute. and international audience. RTI Press This work is distributed under the publications are peer-reviewed by at least terms of a Creative Commons two independent substantive experts and Attribution-NonCommercial-NoDerivatives 4.0 one or more Press editors. license (CC BY-NC-ND), a copy of which is available RTI International is an independent, at https://creativecommons.org/licenses/ nonprofit research institute dedicated by-nc-nd/4.0/legalcode. to improving the human condition. We Any views or opinions presented in this book are combine scientific rigor and technical solely those of the author and do not necessarily expertise in social and laboratory represent those of RTI International. The various sciences, engineering, and international excerpts of song lyrics in this book are for development to deliver solutions to the illustration only; no endorsement by the artists is critical needs of clients worldwide. expressed or implied. Library of Congress Control Number: 2012941607 ISBN 978-1-934831-10-6 (refers to printed version) RTI Press publication No. BK-0009-1206 https://doi.org/10.3768/rtipress.2012.bk.0009.1206 www.rti.org/rtipress Cover design: Tayo Jolaoso Pen and ink illustrations: Gordon Allen This publication is part of the RTI Press Book series.