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The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
Hallucinogen LSD (Live Mix) Mp3, Flac, Wma
Hallucinogen LSD (Live Mix) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: LSD (Live Mix) Country: UK Released: 1995 Style: Goa Trance MP3 version RAR size: 1524 mb FLAC version RAR size: 1155 mb WMA version RAR size: 1510 mb Rating: 4.7 Votes: 731 Other Formats: APE AUD WMA DTS MIDI MOD ASF Tracklist Hide Credits LSD (Live Mix) A 9:05 Producer, Remix – Hallucinogen LSD (L.S. Doof Remix) B1 6:19 Remix – DoofWritten-By – N. Barber* LSD (Original Version) B2 6:46 Producer [Additional] – Ben KemptonProducer, Mixed By – Hallucinogen Companies, etc. Mixed At – Doof Studios Produced At – Hallucinogen Sound Labs Mixed At – Hallucinogen Sound Labs Phonographic Copyright (p) – Dragonfly Records Copyright (c) – Dragonfly Records Credits Written-By – Simon Posford Notes B1: Mixed at Doof Studios, London. B2: Produced & mixed at Hallucinogen Sound Labs, London. ℗ Dragonfly Records 1995 © Dragonfly Records 1995 Comes in three versions - green, orange or purple label on the A side. Durations extracted from vinyl rip Other versions Category Artist Title (Format) Label Category Country Year LSD (Live Mix) (12", BFLT 29 Hallucinogen Dragonfly Records BFLT 29 UK 1995 Pur) LSD Remixes (4xFile, TWXDL01 Hallucinogen Twisted Records TWXDL01 UK 2008 MP3, 320) SUB 4804.1 Hallucinogen LSD (CD, Single, Ora) Substance SUB 4804.1 France 1996 LSD (Live Mix) (12", BFLT 29 Hallucinogen Dragonfly Records BFLT 29 UK 1995 Gre) TWST 13RX Hallucinogen LSD (12", Ltd) Twisted Records TWST 13RX Europe 2001 Comments about LSD (Live Mix) - Hallucinogen Nuliax If you like this then you like Goa/Psy Trance. Tired of people whining about how Goa/Psy all sounds the same. -
A IMAGEM NA INDÚSTRIA FONOGRÁFICA Como O K-Pop Conquistou O Mercado Da Música Ocidental Image in Phonographic Industry
A IMAGEM NA INDÚSTRIA FONOGRÁFICA Como o k-pop conquistou o mercado da música ocidental Image in phonographic industry Adriana de Barros Ferreira Cunha1 Laiza Ferreira Kertscher2 RESUMO Este artigo se propõe a relacionar teorias e conceitos da Comunicação e dos estudos da imagem com a ascensão da música pop da Coreia do Sul, o k-pop, no mercado da indústria fonográfica mundial. Por meio de uma observação espontânea dos efeitos desse fenômeno, pretende- se compreender de que forma esse gênero musical, construído dentro do ideal de uma sociedade espetacularizada, se apoiou na imagem de seus artistas para conquistar destaque para além das fronteiras sul- coreanas. Além disso, busca-se relacionar o impacto das evoluções tecnológicas na indústria da música, em especial do cenário de propagabilidade proporcionado por ferramentas como o YouTube, como um dos principais difusores do k-pop. Palavras-chave: imagem, propagabilidade, celebridade. ABSTRACT This article proposes to relate theories and concepts of Communication and image studies with the rise of South Korean pop music, k-pop, in the world music industry market. Through a spontaneous observation of the effects of this phenomenon, the article intends to understand how this musical genre, built within the ideal of a spectacularized society, based on the image of its artists to gain prominence beyond the South Korean frontiers. In addition, it seeks to relate the impact of technological developments in the music industry, especially the 1 Mestre em Fotografia e Cinema pela Universidade Federal de Minas Gerais. E-mail: [email protected]. 2 Graduada em Jornalismo pela Pontifícia Universidade Católica de Minas Gerais. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Jahresbericht 2020 – Musicboard Berlin Gmbh
Jahresbericht Annual Report Musicboard Berlin GmbH 2020 1 02 Vorwort Preface Inhalt Contents 06 Musicboard Berlin – Über uns About Us 08 Struktur des Musicboards Structure of the Musicboard 10 Übersicht Förderung 2020 Funding overview 2020 16 Stipendien & Residenzen 2020 Scholarships & Residencies 2020 116 Supporttourförderung Support-Tour Funding 118 Labelförderung Label Funding 120 Festivalförderung Festival Funding 140 Karrieresprungbrett Berlin 160 Pop im Kiez 174 Sonderaus schreibung für Popmusikprojekte Special Call for Concepts for Pop Music Projects 202 Kooperationen und Eigenveranstaltungen 2020 Cooperations and Musicboard Events 2020 206 Pop-Kultur 2020 210 Fête de la Musique 2020 2 — Vorwort Katja Lucker Das Festival Pop-Kultur sowie die Fête de la Musique erfanden Musicboard Berlin GmbH is dedicated first and foremost to the The Tag der Clubkultur (»Day of Club Culture«) took place on the Preface Katja Lucker sich in kürzester Zeit und unter immensem Druck als Digital-For- needs and visions of musicians. At the time of our residency 3rd of October, organised by the Clubcommission Berlin in co-op- mate neu, um den Bewohner:innen der Stadt wie auch weit über showcase in February 2020, it was hardly foreseeable what the eration with Musicboard and the Senate Department for Culture — sie hinaus die uneingeschränkte Teilhabe an Popkultur zu ermög- coming months would bring. For many artists, the year meant a and Europe. It highlighted 40 clubs and collectives across the city, Die Musicboard Berlin GmbH widmet sich in erster Linie den lichen – ohne dabei an Qualität nachzulassen. Sie zeigten, wie big step back: with tours and festivals cancelled, a main source of letting them present their utopian visions of collective, cultural Bedürfnissen und Visionen von Musiker:innen. -
Thehard DATA Spring 2015 A.D
Price: FREE! Also free from fakes, fl akes, and snakes. TheHARD DATA Spring 2015 A.D. Watch out EDM, L.A. HARDCORE is back! Track Reviews, Event Calendar, Knowledge Bombs, Bombast and More! Hardstyle, Breakcore, Shamancore, Speedcore, & other HARD EDM Info inside! http://theharddata.com EDITORIAL Contents Editorial...page 2 Welcome to the fi rst issue of Th e Hard Data! Why did we decided to print something Watch Out EDM, this day and age? Well… because it’s hard! You can hold it in your freaking hand for kick drum’s L.A. Hardcore is Back!... page 4 sake! Th ere’s just something about a ‘zine that I always liked, and always will. It captures a point DigiTrack Reviews... page 6 in time. Th is little ‘zine you hold in your hands is a map to our future, and one day will be a record Photo Credits... page 14 of our past. Also, it calls attention to an important question of our age: Should we adapt to tech- Event Calendar... page 15 nology or should technology adapt to us? Here, we’re using technology to achieve a fun little THD Distributors... page 15 ‘zine you can fold back the page, kick back and chill with. Th e Hard Data Volume 1, issue 1 For a myriad of reasons, periodicals about Publisher, Editor, Layout: Joel Bevacqua hardcore techno have been sporadic at best, a.ka. DJ Deadly Buda despite their success (go fi gure that!) Th is has led Copy Editing: Colby X. Newton to a real dearth of info for fans and the loss of a Writers: Joel Bevacqua, Colby X. -
Final Copy 2019 01 31 Charl
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Charles, Christopher Title: Psyculture in Bristol Careers, Projects and Strategies in Digital Music-Making General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Psyculture in Bristol: Careers, Projects, and Strategies in Digital Music-Making Christopher Charles A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Ph. D. -
A History of Hip Hop in Halifax: 1985 - 1998
HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the -
PUMP IT up PRIME FULL SONG LIST (Ver. 1.00.0)
PUMP IT UP PRIME FULL SONG LIST (Ver. 1.00.0) PRIME TYPE BPM ARTIST(KOR) TITLE(KOR) ARTIST(ENG) TITLE(ENG or SPN) SINGLE DOUBLE S-PERFORMANCE D-PERFORMANCE NORMAL 160 엠투유 네메시스 M2U Nemesis 4 7 11 16 18 12 20 NORMAL 170 와락 라티노 바이러스 Warak Latino Virus 3 7 9 17 12 19 ?? NORMAL 200 나토 요그 소토스 Nato Yog-Sothoth 9 18 21 23 23 25 NORMAL 175 맴매 차이니즈 레스토랑 Memme Chinese restaurant 4 7 10 16 18 10 20 ?? NORMAL 160 맥스 레퀴엠 MAX Requiem 4 7 11 16 19 9 19 23 NORMAL 136 폴 바주카 메테오라이즈 Paul Bazooka Meteorize 3 5 10 15 8 16 NORMAL 180 도인 리키지 볼티지 Doin Leakage Voltage 10 15 17 12 19 NORMAL 145 SHK 슈퍼 판타지 SHK Supar Fantasy 4 7 10 16 19 11 21 ?? NORMAL 172 이 얍 레드 스완 Yahpp Red Swan 4 6 8 18 12 20 21 NORMAL 160 DM Ashura 알레그로 피유 모쏘 DM Ashura Allegro Pi? Mosso 4 6 11 16 13 19 NORMAL 175 Matduke 락 더 하우스 Matduke Rock the house 7 10 17 10 18 22 NORMAL 198 CYO 로봇 배틀 CYO Robot battle 8 12 21 12 23 NORMAL 134 크레용팝 빠빠빠 Crayon Pop Bar Bar Bar 3 5 8 14 4 11 15 ?? NORMAL 135 에이오에이 엘비스 AOA ELVIS 2 4 7 15 5 16 NORMAL 131 씨엔블루 아임 쏘리 CNBLUE I'm Sorry 4 6 9 16 8 17 NORMAL 140 카라 판도라 KARA Pandora 2 4 7 16 6 16 NORMAL 123 달샤벳 있기 없기 Dal shabet Hate, Don't Hate! 2 4 6 15 6 16 NORMAL 112 슈프림팀 슈퍼매직 Supreme Team Supermagic 2 4 6 14 5 15 NORMAL 128 티아라 슈가 프리 T-ara Sugar Free 4 6 8 15 5 16 NORMAL 162 블락비 허 Block B HER 4 6 9 16 7 17 NORMAL 106 에이핑크 노노노 Apink NoNoNo 2 3 5 14 5 14 15 15 NORMAL 125 아웃사이더 외톨이 Outsider Loner 3 5 8 15 19 6 17 22 NORMAL 158 체리필터 오리날다 Cherry Filter Flying duck 3 7 10 16 11 18 NORMAL 135 에픽하이 원 Epik High One 1 3 5 15 5 16 NORMAL 128 시드사운드 코스미칼 리듬 SID-SOUND Cosmical Rhythm 3 6 8 15 10 16 NORMAL 168 Cranky 마타도르 Cranky MATADOR 4 7 10 18 7 19 NORMAL 170 SynthWulf 라그나로크 SynthWulf Ragnarok 7 11 16 18 9 13 17 NORMAL 173 Vesuvia x REDSHiFT 꺄랴위사따 Vesuvia x REDSHiFT Karyawisata 4 7 10 17 20 7 16 NORMAL 125 남미전용곡 Daddy Yankee Limbo 2 4 6 15 5 15 NORMAL 135 남미전용곡 Lylloo feat. -
Women and Rock Music1
Atlantis Vol. 10 No. 1 Fall/ Automne 1984 Women and Rock Music1 Deborah Harding New Zealand and Emily Nett The University of Manitoba ABSTRACT Rock music is the most misogynistic and aggressive form of music currently listened to. Women's place in it since the 1950's is described and analyzed in this article. Rock music was originally a working-class male challenge to the established symbolic order. In terms of the revenue generated by the industry thirty years later, it is the most important cultural expression of popular music. The enterprise is almost exclusively male, the majority of listeners are male, and even though women singers contributed in the early 1960's, there have been only a few female performers. An analysis of feminine representations in rock music lyrics and album covers in 1981 reveals a variety of male-identified images of women. In view of the cultural context in which rock music originated and the industry developed, the recent penetration by a few more women into the industry raises questions about whether numbers will continue to increase and, even if they do, whether rock music constitutes an appropriate voice in which women can authentically express themselves. Women's images—especially those we Music, unlike many other forms of media, is a choose ourselves—can both reflect and deter• direct expression of ideas. For this reason it pro• mine the economic and political parts we vides a wealth of information about women play in society. (Flora, 1979) since they most often are the subject of songs. From classical tunes with mermaids luring sai• Although the statement was made in conj unc• lors to their deaths, to country and western tunes tion with an investigation of women's reflec• with wives and their cheating hearts, women tions in magazine fiction, it applies as well to and the roles they play, or are expected to play, in other types of media. -
KROSS Voice Name List
Voice Name List 1 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2. -
THE GLOBALIZATION of K-POP by Gyu Tag
DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program.