Atmosphere Magazine
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Best Drum and Bass Songs
The best drum and bass songs Listen to the UK legend's unranked list of the 41 best drum'n'bass songs ever below, and be sure to also check out his latest release "What. When it comes to drum and bass, it doesn't get more iconic than Andy C. Listen to the UK DnB legend's unranked list of the 41 best drum'n'bass. By the end of the noughties Drum & Bass was one of the UK's biggest music scenes, Capital Xtra has complied some of the biggest D&B tracks of all time. feast that not only complimented the massively popular original, but bettered it. Download and listen to new, exclusive, electronic dance music and house tracks. Available on mp3 and wav at the world's largest store for DJs. The legendary producer, DJ, artist, actor and more schools us on some of the best drum and bass has to offer. Read a 10 best list of drum and bass tracks from longstanding DJ, producer, and label- head Doc Scott. Out now, it's the first ever fully drum & bass remix EP Moby has had Ten of the best drum & bass tracks of all time according to Moby himself. Simply the best Drum & Bass tunes of all time as voted and added by Ranker users.I've started us off with 40 of my favorite tracks from across old and new (now. The top 10 Drum and Bass tracks on the website. Best Drum & Bass Mix | Best Party, Dance & DnB Charts Remixes Of Popular Songs by Monkey. -
Rap Music in the Wake of the Los Angeles Riots
Recognizing the Enemy: Rap M�sic in the Wake of the Los Angeles Riots Theresa A. Martinez University of Utah The May 1992 riots in Los Angeles demonstrated more than anything in recent history that the inner cities are filled with despair, hopelessness, and anger. Some feel that rap music is responsible for both gangs and the lawlessness unleashed by the riots. This paper will seek to address this notion by looking at the rap lyrics of artists who have been considered the most radical and the most angry. By examining rap lyrics we can detect anger and frustration in the ghetto. Rap music did not cause rioting in Los Angeles but it effectively heralded measures taken by inner-city residents who are tired of governmental and societal ne glect of their community, their homes, and their lives. The Watts riots of 1965 shocked the nation and the world in their devastation and their intensity. And Watts was only the beginning: major riots broke ou t in Cleveland, Newark, andDe troit) Today we are reeling from the aftershocks of yet another series of riots in Los Angeles and other major cities across the nation in May of 1992. The riots seem to be unnerving reruns of the early violence in Watts,2 motivated by the same disillusionment with oppression and racism) Many sought causes for the rioting among the rioters-the poor area residents of South Central Los Angeles,4 citing a so-called "poverty of values"s among the rioters. This is a disquieting echo of "riff-raff" theories that emerged after the '60s rioting. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
2021 Hard to Find the HTFR Weekly Wanted List
© 2021 Hard To Find The HTFR Weekly Wanted List - Prices valid from 28 Sep 2021 to 5 Oct 2021 If you have any of the records in this list for sale, we will pay at minimum the price specified email: [email protected] - Tel: 0121 622 3269 - Visit our website for details on how to sell to us - http://www.htfr.com/secondhand/ MR26666 100Hz EP3 Pacific FIC020 1999 British 12" £4.00 MR75274 16B Trail Of Dreams Stonehouse STR12008 1995 British 12" £2.00 MR18837 2 Funky 2 Brothers And Sisters Logic FUNKY2 1994 British Promo 12" £2.00 MR759025 3rd Core Mindless And Broken WEA International Inc. SAM00291 2000 British 12" £2.00 MR12656 4 Hero Cooking Up Ya Brain Reinforced RIVET1216 1992 British Promo 12" £2.00 MR14089 A Guy Called Gerald 28 Gun Badboy / Paranoia Columbia XPR1684 1992 British Promo 12" £8.00 MR169958 A Sides Punks Strictly Underground STUR74 1996 British 12" £4.00 MR353153 Aaron Carl Down (Resurrected) Wallshaker WMAC30 2009 American Import 12" £2.00 MR759966 Academy Of St. Martin-in-the-F Amadeus (Original Soundtrack Recording) Metronome 8251261ME 1984 Double Album £2.00 MR4926 Acen Close Your Eyes Production House PNT034 1992 British 12" £3.00 MR12863 Acen Trip Ii The Moon Part 3 Production House PNT042RX 1992 British 12" £3.00 MR16291 Age Of Love Age Of Love (Jam & Spoon) React 12REACT9 1992 British 12" £7.00 MR44954 Agent Orange Sounds Flakey To Me Agent Orange AO001 1992 British 12" £8.00 MR764680 Akasha Cinematique Wall Of Sound WALLLP016 1998 Vinyl Album £1.00 MR42023 Alan Braxe & Fred Falke Running Vulture VULT001 2000 French -
17 Cut and Run EP- by ECMO (Ozone Records)
19 Nicolette “Ohsay,NaNa” 18 Depth Charge “Depth Charge vs Silver Fox” 17 Cut and Run EP- by ECMO (Ozone records) 16 Badman MDX “Come with me” 15 Orbital “Midnight or choice” 14 Rebel MC “Black meaning good” 13 Nightmares on Wax “A case of Funk” 11 Eon “Fear mind killer” 10 Blapps Posse “Don't hold back” 9 State of Mind “Is that it?” 7 Cookie Watkins “I'm attracted to you” 6 Oceanic “Insanity” 5 Outlander “Vamp” 4 Bugcann “Plastic Jam” 3 Utah Saints “What can you do?” 2 DSK “What would we do?” 1 Prodigy “Charlie says” THE HOUSE THAT JACK BUILT:-____________________________ -Witch Doctor “Sunday afternoon” (Remix) -DCBA “Acid bitch” (Colin Dale dtd 26.08) -Mellow House “The Flower” TONYMONSON;- THE “SWEET RHYTHYMS CHART”:-31.08.1991 25 Reach “Sooner or later” 23 Sable Jeffries “Open your heart” 21 Boyzn'Hood (Force one network) “Spirit” 20 (CD) Le Genre 19 Cheryl Pepsi Riley “Ain't no way” 12 Pride and Politic “Hold on” 11 Phyllis Hyman “Prime of my life” 10 De Bora “Dream about you” 9 Frankie Knuckles “Rain falls” 8 Your's Truly “Come and get it” 7 Mica Parris “Young Soul Rebels” 6 Jean Rice Your'e a victim” (remix) 5 Pinkie “Looking for love” 4 Young Disciples “Talking what I feel” COLIN DALE;- THE “ABSTRACT DANCE SHOW”:-02.09.1991 1 Bizarre,Inc (Brand new) “Raise me” 2 12” on white label from deejay Trance “Let there be house” 3 IE Records - Reel-to-Real “We are EE” 4 Underground Music movement “ Voice of the rave” (from Italy) Electronic- from PTL 5 Exclusive on Acetate 12” from Virtual Reality “Here” 6 12” called Aah - Really hardcore -
Drum and Bass
HOW TO MAKE DRUM AND BASS __Dozent Johann Köhnen Darkstep Jump Up Dozent Johann Köhnen Dozent __ DIE ENTWICKLUNG Techstep Drumstep Drum & Bass Jungle Hardstep Ragga DnB Breakbeat Hardcore Atmospheric DnB Halftime Neurofunk Liquid Funk Happy How to make Drumand Bass to make How Hardcore __ Jazzstep Sambass DER REESE/REECE BASS Dozent Johann Köhnen Dozent __ __Verstimmter Casio CZ __Phase Distortion (einfache Konkurrenz zu FM) How to make Drumand Bass to make How __ CASIO CZ Dozent Johann Köhnen Dozent __ How to make Drumand Bass to make How __ ERSTE MAL GESAMPLET Dozent Johann Köhnen Dozent __ __Ray Keith OG Junglist __Breaks von alten Hip Hop Records How to make Drumand Bass to make How __ LTJ BUKEM UND DIE GEBURT VON „LIQUID“ Dozent Johann Köhnen Dozent __ __Jazz/Klassik Piano Training __Einflüsse aus diesen Genres __DnB DJ im „Speed“ - Rave Club in London (zs. mit DJ Fabio) How to make Drumand Bass to make How __ __Gegenbewegung von Jungle DAS SCHWEBEN Dozent Johann Köhnen Dozent __ __Triolen oder ungerade Notenanzahl bringt den „Flow“ 3 gegen 4 How to make Drumand Bass to make How __ 5 gegen 4 HEUTIGER SOUND Dozent Johann Köhnen Dozent __ __Grundrhythmus minimalisiert __Halftime immer beliebter How to make Drumand Bass to make How __ HEUTIGER SOUND Dozent Johann Köhnen Dozent __ __Drums allgemein sehr kurz (Transient + Pitch Env) __Phasen Versatz: Extra Transient !! (Nik Noisia / Feed Me) __ How to make Drumand Bass to make How __ Quelle: ARTFX Facebook WORKFLOW IN DRUM AND BASS Dozent Johann Köhnen Dozent __ How to make Drumand Bass -
Rave-Culture-And-Thatcherism-Sam
Altered Perspectives: UK Rave Culture, Thatcherite Hegemony and the BBC Sam Bradpiece, University of Bristol Image 1: Boys Own Magazine (London), Spring 1988 1 Contents Introduction……………………………………………………………………………………………………...……… 7 Chapter 1. The Rave as a Counter-Hegemonic Force: The Spatial Element…….…………….13 Chapter 2. The Rave as a Counter Hegemonic Force: Confirmation and Critique..…..…… 20 Chapter 3. The BBC and the Rave: An Agent of Moral Panic……………………………………..… 29 Conclusion…………………………………………………………………………………………………………….... 37 Appendices…………………………………………………………………………………………………………...... 39 Bibliography………………………………………………………………………………………………………...... 50 2 ‘You cannot break it! The bonding between the ravers is too strong! The police and councils will never tear us apart.’ In-ter-dance Magazine1 1 ‘Letters’, In-Ter-Dance (Worthing), Jul. 1993. 3 Introduction Rave culture arrived in Britain in the late 1980s, almost a decade into the premiership of Margaret Thatcher, and reached its zenith in the mid 1990s. Although academics contest the definition of the term 'rave’, Sheila Henderson’s characterization encapsulates the basic formula. She describes raves as having ‘larger than average venues’, ‘music with 120 beats per minute or more’, ‘ubiquitous drug use’, ‘distinctive dress codes’ and ‘extensive special effects’.2 Another significant ‘defining’ feature of the rave subculture was widespread consumption of the drug methylenedioxyphenethylamine (MDMA), otherwise known as Ecstasy.3 In 1996, the government suggested that over one million Ecstasy tablets were consumed every week.4 Nicholas Saunders claims that at the peak of the drug’s popularity, 10% of 16-25 year olds regularly consumed Ecstasy.5 The mass media has been instrumental in shaping popular understanding of this recent phenomenon. The ideological dominance of Thatcherism, in the 1980s and early 1990s, was reflected in the one-sided discourse presented by the British mass media. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Casablanca Jungle Music and Positive Youth Development in Morocco
Casablanca Jungle Music and Positive Youth Development in Morocco Figure 1. Audience of L'Boulevard 2018 (i.e. music festival in Casablanca) A master thesis in International Development Written by Maha Rhannam ID: 11598891 Under the supervision of Dr. Oliver Seibt Second reader: Dr. Olga Nieuwenhuijs Graduate School of Social Sciences University of Amsterdam 2 Abstract This thesis will be discussing the impact of music engagement on urban youth in Morocco, and more particularly the ways in which music contributes to the empowerment of this population. It will also explore its implications on development strategies in the country. Multiple studies have discussed the evolution of hip-hop in Morocco, however they have failed to encompass the impact of this genre (and other genres as well) on the urban youth of the country. For these purposes, this research aims at uncovering the imprints of music in this day and age on the Moroccan urban youth, both musicians and music aficionados, in the current political and social climates of Morocco. This research is based on an ethnographic study of music-related events (concerts, workshops and open mics) in Casablanca. In order to understand this population segment, qualitative interviews were conducted; all of which demonstrate to some extent the ways in which music empowered, individually or collectively, the aforementioned participants. It seems that music acts more as a “bandaid” for the Moroccan urban youth, as shall be presented throughout this research. Considering the inexistence of a functioning music industry in the country as well as a brittle educational system, this thesis calls for governmental strategies to re-evaluate the importance of arts within education, setting them at the forefront of development strategies in light of the development pathways this could open up for Morocco. -
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. -
Dub's Dark Legacy in Drum 'N' Bass Culture Christodoulou, C
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Darkcore: Dub’s Dark Legacy in Drum ‘n’ Bass Culture Christodoulou, C. This is a copy of an article published in the Dancecult: Journal of Electronic Dance Music Culture, 7 (2), 2015. The final definitive version is available online at: https://dx.doi.org/10.12801/1947-5403.2015.07.02.12 © 2015 The Author(s). This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Darkcore: dub’s dark legacy in drum ‘n’ bass culture Chris Christodoulou, London South Bank University, London The popular use of the terms “dark” and “darkness” in bass-oriented electronic dance music (EDM) styles, such as grime, dubstep and jungle/drum ‘n’ bass, points to the recontextualisation of the racial category of blackness on the one hand and the dark uncanniness of post-industrial urban space on the other. Acknowledging the influence of dub on a continuum of bass-oriented EDM styles in the UK, I focus on drum ‘n’ bass to show how “dark” discourses within the dub diaspora can be defined as a critical response, firstly, to the ethnocentric demonisation of blackness as the post-colonial Other of modernity, and secondly, to the destructive conditions created by the political economy of the contemporary city where rapidly changing relationships between class, gender and technology determine access to wealth and social prosperity1. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture.