Digital Music Distribution

Total Page:16

File Type:pdf, Size:1020Kb

Digital Music Distribution #149 Feb/Mar 08 www.mushroom-online.com Digital Music Distribution Skazi • Space Buddha • SCM • Materia • Doof psychedelic trance guide Universo Paralello • World Psychedelic Forum mushroom2008-02.indd 1 01.02.2008 15:13:33 Uhr mushroom2008-02.indd 2 01.02.2008 15:13:36 Uhr WELCOME 3 Impressum New Model Army to the Galaxy ... Verlagsanschrift / Address Willkommen im neuen Jahr zu unse- Welcome to the new year, and our Feb- FORMAT Promotion GmbH rer Februar/März-Doppelausgabe und ruary/March double issue. First off a big Arnoldstraße 47 ein ganz großes SORRY, dass wir die- apology for the magazine appearing so 22763 Hamburg sen Monat erst so spät erschienen sind. late this month. The reason for this was Germany Grund dafür war der Trancers Guide To that due to a few delays the Trancers HRB 98417 Hamburg The Galaxy 2008, der aufgrund einiger Guide To The Galaxy 2008 had to be pro- fon: +49 40 398417-0 Verspätungen letztendlich gleichzeitig duced at the same time as mushroom fax: +49 40 398417-50 mit dem mushroom produziert werden magazine. An interesting fact: the TTG [email protected] musste. Der wird übrigens im Laufe des will be translated into Portuguese in www.mushroom-media.com Monats ins Portugiesische übersetzt und the coming month, and 20.000 of it will Herausgeber / Publisher im Frühjahr in einer Zusatzauflage von be distributed n spring in Brazil as an Matthias van den Nieuwendijk (V.i.S.d.P.) 20.000 Heften in Brasilien verteilt. extra edition. Redaktionsleitung / Chief Editor Liese Neue Projekte schießen sowieso wie Lately new projects have been popping Redaktion / Editorial Team Pilze aus dem Boden. Neben dem Start out of the ground like mushrooms. Besi- Steffi Hoyer, Sonic, Kris Holst, Matthias des mushroom news networks (siehe des the start of the mushroom news net- van den Nieuwendijk (Mat Mushroom) Seite 46) helfen wir ab sofort Künst- work (see page 46), starting immedia- Redaktionelle Mitarbeit / Editors lern und Labels ihre Tracks weltweit tely we will be helping artists and labels Kai Mathesdorf, Christiane, Tom Rom, digital zu vermarkten. Diesem Thema to distribute their tracks digitally world Tulla, Fred, Prahlad, Luna, Jan Staiger, haben wir auch unser diesmaliges Spe- wide. You can find more on this topic in Nori, baq, Omananda, Uwe Scholz, cial ab Seite 4 gewidmet. this issue‘s special starting on page 4. Divyan Salotra, IceElfe, Caiptn Caipi Design Den Musikschaffenden zuliebe veran- For those who love to produce music, we Setffi H., Step, Liese, Mat Mushroom stalteten wir ja auch den mushroom are hosting the mushroom Trance Pro- Titelbild / Cover Artwork Trance Producer Contest, für den wir ducer Contest, for which we are in the Luke Brown - www.spectraleyes.com gerade dabei sind die Tracks bis Mitte process of making the tracks available at Anzeigen / Adverts Februar auf mushroom-online.com für mushroom-online.com, ready for your FORMAT Promotion +49 40 398417-32 Dein Voting zur Verfügung zu stellen. voting. Be part of it and cast you vote! www.mushroom-media.com Sei dabei und gib Deine Stimme ab! Redaktionsschluss / Deadline To make sure you do not miss any of 15. des Vormonats / 15th of previous month Und damit Du unsere Aktionen our actions or specials, why don‘t Buchhaltung / Accountancy und Specials in Zukunft nicht you join us at mushroom-online. Steffi Hoyer 040 398417-70 verpasst, melde Dich doch com? You will then receive our Vertrieb / Distribution einfach auf mushroom-onli- mushroom newsletter twice a mushroom-media.com/distribution ne.com an. Dann erhälst Du month for free, featuring new World/Post: mushroom magazine etwa zweimal im Monat unse- releases, all sorts of interesting Meck Pomm: FX Prod. 0385 7778820 ren mushroom newsletter mit info, party tips and more… Hamburg: Cartel X 040 39902771 neuen Releases, Partytipps NRW: Vibez Prod. 0172 9243222 und mehr... We will meet again in April, Europe: Psyshop .com when we will be presenting an Wir sehen uns im April wie- overview of all the festivals hap- Abo / Subscription der, wo wir bereits ganz som- pening this summer. And since from 15 Euro +49 40 398417-79 merlich eine große Über- this will be our 150th issue, we www.mushroom-online.com/subscribe sicht der Festivals bringen. would like to celebrate with Und da dies unsere 150. you! You can find out more Ausgabe sein wird, wollen Druck & Lithos / Printer about our “birthday party” Druckerei Hartung, Hamburg wir das gerne mit Dir fei- on page 30 ern. Mehr über unse- Für unverlangt eingesandtes Material re „Geburtstagspar- See you on the dance floor! übernehmen wir keine Haftung. Nam ent- ty“ erfährst Du auf lich gekennzeichnete Artikel geben die Seite 30. Meinung des jeweiligen Verfassers wieder, nicht unbedingt die des Herausgebers Inhalt / Content oder der Redaktion. Ein Nachdruck, auch auszugsweise, ist nur mit schriftlicher Future of music distribution 4 Parties Previews & Details 24 Genehmigung des Verlages möglich. Musiclaw / Musikrecht 8 Goabase Pictures 44 Wir rufen mit den im mushroom New Releases 10 mushroom @ myspace 46 magazine abgedruckten Informationen Space Buddha, Materia, SCM, Skazi, Doof Visions Dance & Featureman Story 48 und Meinungen ausdrücklich nicht zum Equalizer Vestax 18 Drugstore Basel & Drug Politics 52 Missbrauch von illegalen oder legalen Kaleidoscope Luke Brown 20 Shopguide 56 Drogen auf! Universo Paralello Review 22 Freakplanet 62 mushroom2008-02.indd 3 01.02.2008 15:13:43 Uhr SPECIAL 4 www.mushroom-online.com/edit The Future Of Music Distribution THE FUTURE IS DIGITAL Viele Labels vertreiben bereits digital. Alle anderen sollten schnell auf diesen Zug aufspringen. In diesem Special bekommst Du einen Ein- blick in das Labelbusiness und Informationen, wie Du als Künstler Deine Musik auch ohne Label weltweit vertreiben kannst. Many labels are already distributing their music digitally. The others should get aboard as soon as possible. In this special we will give you insight into the label business, and info on how you can get your music into all important online shops worldwide, even if you do not have a label. Schon mit Erfindung der CD und duktionskosten eine gewisse CD distribution by a label der auch für den Hausgebrauch Sicherheit. Somit konnte das Bei der klassische Distribution immer erschwinglicheren verlust- Labelsterben nicht nur ein- einer CD fallen Herstellungs- kosten an. Außerdem muss freien Kopierbarkeit war bereits das gedämmt werden, sondern mit eventuell unkalkulierba- Ende des althergebralthergebrachtenachten Musik- es erstanden auch viele neue ren Retourenraten gerechnet vertriebes besiegelt. Immer schnel- Labels. werden.werden Dies ist potentieller lere DatenübertrDatenübertragungsratenagungsraten taten Gewinn, welcher dem Label so entgeht. Die Einkünfte des Artists Ihr Übriges, um P2P Tauschbör- Mit dem 22003003 gestarteten iTunes berechnen sich aus dem Artist anteil und sen immer mehr Aufwind zu geben. zeigte Apple indes, dass es als Voll- der GEMA-Abgabe. Dummerweise hatte die Musikin- sortimenter möglich ist Musik digital Production costs are a part of the classical dustrie diese Entwicklung verschla- zu vertreiben, während die großen CD distribution model of a label. Additio- fen und bastelte an immer neuen Labels immer noch dabei waren nally, labels have to account for unknown Kopierschutzmechanismen herum, hauseigene Labelshops zu hypen. numbers of returned CDs. This is potential statt sich um globale digitale Ver- In dieser Pionierphase startete auch profit which is lost for the labels. triebswege zu kümmern. Die Zeit Beatport als Spezialist für jedwel- GEMA promo artist 1,25 € 0,40 € arbeitete gegen die Labels, denn die che Art von elektronischer Clubmu- 1,40 € CD-Verkäufe waren mittlerweile auf sik. Anfangs noch von den meis- manufacturing einen kleinen Bruchteil der damali- ten Labels skeptisch beäugt gab es 1,20 € gen Absätze gefallen. Bei PsyTrance- aber schnell den großen Run auf Standardauflagen von gerade mal die neue Cashcow der Download- label return cds 1000 CDs war und ist aber die Pro- shops, so dass mittlerweile eine 1,53 € cd album 0,59 € retail price duktion pro CD bei gleichzeitig sin- Richtlinie erlasst werden musste, 12,50 € kenden Verkaufspreisen viel zu die bei Labels einen gewissen distributor tax teuer. Vertriebe wie Arabesque und Mindestumsatz voraussetzt, um 1,13 € 2,00 € der Psyshop reagierten glücklicher- sich vor Eintagsfliegen zu schüt- weise darauf und bieten den Labels zen und den administrativen Auf- shop mit einer Vorfinanzierung der Pro- wand im Rahmen zu halten. 3,00 € artist label ( cd manufacturer ) mushroom2008-02.indd 4 01.02.2008 15:13:54 Uhr 5 digital distribution by a label Die digitale Distribution über ein Label bringt Künstlern sowie Labels Zusatzeinnahmen, da durch den Onlineverkauf zusätzusätzlichezliche Märkte erschlos- sen werden. Digital distribution creates extrextraa revenue for both THE FUTURE IS DIGITAL artists and labels, as new markets are opened up by online sales. GEMA promo artist 1,25 € 0,40 € Da bekommen nun aber nicht nur 1,34 € die kleinen Labels Torschlusspanik, tax sondern auch viele Künstler, die nach Agentur kümmert sich 2,39 € dem erfolgreichen Versuch Ihre Musik um all die lästigen Jobs wie META- in Social Music Communities zu ver- Daten-Aufbereitung, Konvertierun- label 3,07 € 10 tracks kaufen, jetzt ein Label oder ein Ver- gen, Distribution der Tracks an über retail price triebsinstrument suchen. Aber das zu 200 weltweite Online Shops, aber 15,00 € finden ist gar nicht so einfach. Dabei auch Mastering, GEMA-Hand- distributor bietet doch gerade der Onlineverkauf ling, Presse- und Promotionarbeit 1,51 € shop die Möglichkeit fernab von jeglichem in enger Kooperation mit dem 5,04 € Albumdenken Tracks schnell und mushroom magazine. Die letztend- direkt zu veröffentlichen und weltweit lich wichtigste Aufgabe wird aus des ständig verfügbar zu machen. Durch Künstlers Sicht aber wohl die Abrech- direct distribution by artist den trackweisen Verkauf ist jedoch nung sein, die ihm, ohne Inves- auch das Füllmaterial schnell enttarnt, titionen und egal, ob er die Künstler die Ihre Verkäufe selber managen bekommen welches dann zum digitalen Laden- Musik schon auf CD vertreibt am meisten vom Kuchen ab, hüter verkommt.
Recommended publications
  • 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.
    [Show full text]
  • Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/408 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] archive.today Saved from http://www.dancecult.net/bibliography.php search 3 Sep 2013 05:47:40 UTC webpage capture history All snapshots from host www.dancecult.net Linked from en.wikipedia.org » Talk:Trance (music genre)/Archive 1 Webpage Screenshot share download .zip report error or abuse Electronic dance music cultures bibliography Help expand this bibliography by submitting new references to dancecult! Complete list [sort by document type] [printable] [new entries] Abreu, Carolina. 2005. Raves: encontros e disputas. M.A. Thesis (Anthropology), University of São Paulo. [view online] Albiez, Sean and Pattie, David (eds.). 2010. Kraftwerk: Music Non Stop. New York / London: Continuum. [view online] Albiez, Sean. 2003. "'Strands of the Future: France and the birth of electronica'." Volume! 2003(2), 99-114. Albiez, Sean. 2003. "Sounds of Future Past: from Neu! to Numan." In Pop Sounds: Klangtexturen in der Pop- und Rockmusik, edited by Phleps, Thomas & von Appen, Ralf. Bielefeld: Transcript Verlag, 129-152. Albiez, Sean. 2005. "Post Soul Futurama: African American cultural politics and early Detroit Techno." European Journal of American Culture 24(2), 131-152.
    [Show full text]
  • MINIMAL VIOLENCE Killer Tunes
    573 DJMAG.COM LIVING & BREATHING DANCE MUSIC! DJMAG.COM EVERYBODY IN THE PLACE! HOLD TIGHT WITH THE OLD SKOOL ORIGINALS CREDIT TO THE EDIT 50 YEARS OF CUT & PASTE RUNNING * MUSIC BACK WITH TONY HUMPHRIES * CLUBS MIDLAND’S PERFECT MIX * TECHNOLOGY TECHNOLOGY tINI & HER GANG TAKE IBIZA * SHARAM BACK TO THE UNDERGROUND BATTLE OF THE DECKS! INDUSTRY-STANDARD PLAYERS GO HEAD-TO-HEAD Charlotte ALL THE NOMINEES PROFILED! No. 573 de Witte September 2017 techno’s next-gen superstar VOTE NOW! No.573 September 2017 £4.95 £4.95 JULIA GOVOR, MARTIN SOLVEIG, JAY CLARKE, WALKER & ROYCE, DOC DANEEKA, BLONDES PLUS: HOUSEKEEPING, ART OF NOISE, GERD JANSON, HAUSCHKA, NOSAJ THING & MORE cover_1.indd 1 18/08/2017 14:02 THANKS FOR YOUR SUPPORT WWW.AFROJACK.COM Untitled-1 1 16/06/2017 12:40 DJMag2017_UK-1_v1.indd 1 16-06-17 10:17 CONTENTS 026 BORN IDENTITY Since adopting her real name, Charlotte de Witte has become the new face of techno. We head to Brussels to fi nd out what makes her tick... Cover shot: MARIE WYNANTS FEATURES 120 ELECTRIC CASTLE 119 FARR FESTIVAL 032 PART OF THE GANG! We catch up with tINI to get the low- down on all things Ibiza... 036 COOL RUNNINGS Legendary DJ, Tony Humphries, chats about his new Running Back comp... 042 CLOSE TO THE EDIT 50 years deep and the edit scene is bigger than ever, DJ Mag investigates... 049 PITCH PERFECT 036 TONY HUMPHRIES Graded boss Midland chats self- acceptance and living up to the hype... 055 BACK TO THE ROOTS Sharam discusses the ever-changing industry and his own career moves..
    [Show full text]
  • Sound System Nation: Jamaica GRAHAM ST JOHN
    Sound System Nation: Jamaica GRAHAM ST JOHN from UNIVERSITY OF QUEENSLAND the floor 1. Photo by author Several years ago, I started gathering interest in mobile initiatives committed to social and political causes in Australia called “sound systems”. The likes of Labrats and other vehicles for the performance of postcolonial desires had been rallying the disaffected to wild and weird frontlines, pursuing, as techno-activist mover and shaker Pete Strong (aka Mashy P) once said, “a sound system for all”. Back then, I’d become excited by these proactive and convivial mobilisations. Responding to local ecological and humanitarian issues, and fed by developments in electronic music culture, a groovement was afoot. Becoming interested in the roots of these developments, one path took me in the direction of the original spinners, the UK’s Spiral Tribe, whose anarchist antics ap- pealed to thousands of tekno-travelers and sonic squatters, attracting the law in the form of a four month and £4 million trial in 1994 that eventually saw Spiral Tribe participants acquitted of the charge of “conspiracy to cause a public nuisance”. The Spirals then kicked off the European and worldwide freetekno movement – whose chief cultural expression is the teknival. Dancecult: Journal of Electronic Dance Music Culture 1(2) 2010, 94-104 ISSN 1947-5403 ©2010 Dancecult http://www.dancecult.net/ DOI 10.12801/1947-5403.2010.01.02.07 St John • Sound System Nation: Jamaica 95 2. Simon Spiral with 303. Photo by Stefan Debatsalier, from New Music Express, 9 January 1993 3. Out of System free party, Italy, July 2008.
    [Show full text]
  • University of Amsterdam Faculty of Business and Economics Msc Business Administration Entrepreneurship and Management in The
    University of Amsterdam Faculty of Business and Economics MSc Business Administration Entrepreneurship and Management in the Creative Industries track Genre Spanning and Audience Appeal as Antecedents of Genre Consensus: The Case of Electronic Dance Music DJs Master Thesis June 29, 2015 Student: Valerie Bollen 10837949 First Supervisor: Bram Kuijken Statement of Originality This document is written by student Valerie Bollen who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document is original and that no sources other than those mentioned in the text and its references have been used in creating it. The Faculty of Economics and Business is responsible solely for the supervision of completion of the work, not for the contents. 1 Table of Contents I. Abstract 4 II. Acknowledgements 5 III. List of Tables and Figures 6 1. Introduction 7, 8 2. Literature Review 9 2.1 An Introduction to Genre/Category Theory 9 – 11 2.2 Genre Consensus 11 – 13 2.3 Genre Spanning and Audience Appeal 14 – 16 2.4 Word-of-Mouth Theory: Creating the ‘Buzz’ 16 – 18 2.5 Hypotheses 18 – 20 3. Method 21 3.1 Sample 21 3.2 Data Collection 22 3.2.1 DJ Databases 22 – 24 3.2.2 Social Media & Ranking Lists 24 – 26 3.3 Genre Classification System Development 27 – 30 3.4 Variables and Measures 31 – 34 4. Results 35 4.1 Descriptive Statistics 35 – 42 4.2 Regression Analyses 43 4.2.1 Genre Spanning and Genre Consensus 43, 44 4.2.2 Audience Appeal and Genre Consensus 44 4.3 Robustness Checks 45 2 5.
    [Show full text]
  • Underground Club Spaces and Interactive Performance
    Underground Club Spaces and Interactive Performance: How might underground club spaces be read and developed as new environments for democratic/participatory/interactive performance and how are these performative spaces of play created, navigated and utilised by those who inhabit them? Kathleen Alice O‟Grady Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries December 2009 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Acknowledgements This thesis is dedicated to my parents who have always believed in me and to my daughter, Maisie, who is my source of inspiration and joy. Gratitude goes to my PhD supervisors Professor Mick Wallis and Dr Martin Crick, both of whom have given me continued support and guidance throughout this research. Thanks also to my colleagues and my students at the School of Performance and Cultural Industries who have encouraged me and kept me going with their sense of humour, wise words and loyalty. Thank you to all the club and festival organizers that have allowed me access to their events, particularly those involved with Planet Angel, Synergy, Duckie, Riff Raff, Planet Zogg, Speedqueen, Manumission, Shamania, Beatherder, Nozstock and Solfest. Special gratitude to Fatmoon Psychedelic Playgrounds for allowing me the room to move creatively and to develop this practice in a supportive environment.
    [Show full text]
  • From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2010 From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs. Ambrose Colombo Claremont McKenna College Recommended Citation Colombo, Ambrose, "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." (2010). CMC Senior Theses. Paper 83. http://scholarship.claremont.edu/cmc_theses/83 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Table of Contents I. Introduction 1 II. Disco: New York, Philadelphia, Chicago, and Detroit in the 1970s 3 III. Sound and Technology 13 IV. Chicago House 17 V. Drugs and the UK Acid House Scene 24 VI. Acid house parties: the precursor to raves 32 VII. New genres and exportation to the US 44 VIII. Middle America and Large Festivals 52 IX. Conclusion 57 I. Introduction There are many beginnings to the history of Electronic Dance Music (EDM). It would be a mistake to exclude the impact that disco had upon house, techno, acid house, and dance music in general. While disco evolved mostly in the dance capital of America (New York), it proposed the idea that danceable songs could be mixed smoothly together, allowing for long term dancing to previously recorded music. Prior to the disco era, nightlife dancing was restricted to bands or jukeboxes, which limited variety and options of songs and genres. The selections of the DJs mattered more than their technical excellence at mixing.
    [Show full text]
  • 1200 Micrograms 1200 Micrograms 2002 Ibiza Heroes of the Imagination 2003 Active Magic Numbers 2007 the Time Machine 2004
    #'s 1200 Micrograms 1200 Micrograms 2002 Ibiza Heroes of the Imagination 2003 Active Magic Numbers 2007 The Time Machine 2004 1349 Beyond the Apocalypse 2004 Norway Hellfire 2005 Active Liberation 2003 Revelations of the Black Flame 2009 36 Crazyfists A Snow Capped Romance 2004 Alaska Bitterness the Star 2002 Active Collisions and Castaways 27/07/2010 Rest Inside the Flames 2006 The Tide and It's Takers 2008 65DaysofStati The Destruction of Small 2007 c Ideals England The Fall of Man 2004 Active One Time for All Time 2008 We Were Exploding Anyway 04/2010 8-bit Operators The Music of Kraftwerk 2007 Collaborative Inactive Music Page 1 A A Forest of Stars The Corpse of Rebirth 2008 United Kingdom Opportunistic Thieves of Spring 2010 Active A Life Once Lost A Great Artist 2003 U.S.A Hunter 2005 Active Iron Gag 2007 Open Your Mouth For the Speechless...In Case of Those 2000 Appointed to Die A Perfect Circle eMOTIVe 2004 U.S.A Mer De Noms 2000 Active Thirteenth Step 2003 Abigail Williams In the Absence of Light 28/09/2010 U.S.A In the Shadow of A Thousand Suns 2008 Active Abigor Channeling the Quintessence of Satan 1999 Austria Fractal Possession 2007 Active Nachthymnen (From the Twilight Kingdom) 1995 Opus IV 1996 Satanized 2001 Supreme Immortal Art 1998 Time Is the Sulphur in the Veins of the Saint... Jan 2010 Verwüstung/Invoke the Dark Age 1994 Aborted The Archaic Abattoir 2005 Belgium Engineering the Dead 2001 Active Goremageddon 2003 The Purity of Perversion 1999 Slaughter & Apparatus: A Methodical Overture 2007 Strychnine.213 2008 Aborym
    [Show full text]
  • Making a Difference: Techno-Punk and Terra-Ism
    Making a Noise – Making a Difference: Techno-Punk and Terra-ism GRAHAM ST JOHN UNIVERSITY OF QUEENSLAND Abstract This article charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia. Exploring how punk would become implicated in the cultural politics of a settler society struggling for legitimacy, it maps the ground out of which Labrats sound system (and their hybrid outfit Combat Wombat) arose. It provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape. To achieve this, the article traces the contours and investigates the implications of Sydney’s techno-punk emergence (as seen in The Jellyheads, Non Bossy Posse, Vibe Tribe and Ohms not Bombs), tracking the mobile and media savvy exploits of 1990s DIY sound systems and techno terra-ists, aesthetes and activists adopting intimate and tactical media technologies, committing to independent and decentralised EDM creativity, and implicated in a movement for legitimate presence. Keywords techno, anarcho-punk, hardcore, sound systems, postcolonialism, Sydney techno-punk scene Figure 1: Outback Stack. Photo by Pete Strong Dancecult: Journal of Electronic Dance Music Culture 1(2) 2010, 1-28 ISSN 1947-5403 ©2010 Dancecult http://www.dancecult.net/ DOI 10.12801/1947-5403.2010.01.02.01 2 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2 Making a Difference “Why do they keep calling our generation, generation x, when actually we’re genera- tion y?..
    [Show full text]
  • Reflections on the Creative and Technological Development of the Audiovisual Duo—The Rebel Scum
    Rogue Two Reflections on the Creative and Technological Development of the Audiovisual Duo—The Rebel Scum Feature Article Ryan Ross Smith and Shawn Lawson Monash University (Australia) / Rensselaer Polytechnic Institute (US) Abstract This paper examines the development of the audiovisual duo Obi-Wan Codenobi and The Wookie (authors Shawn Lawson and Ryan Ross Smith respectively). The authors trace a now four-year trajectory of technological and artistic development, while highlighting the impact that a more recent physical displacement has had on the creative and collaborative aspects of the project. We seek to reflect upon the creative and technological journey through our collaboration, including Lawson’s development of The Force, an OpenGL shader-based live-coding environment for generative visuals, while illuminating our experiences with, and takeaways from, live coding in practice and performance, EDM in general and algorave culture specifically. Keywords: live coding; collaboration; EDM; audiovisual; Star Wars Ryan Ross Smith is a composer, performer and educator based in Melbourne, Australia. Smith has performed and had his music performed in North America, Iceland, Denmark, Australia and the UK, and has presented his work and research at conferences including NIME, ISEA, ICLI, ICLC, SMF and TENOR. Smith is also known for his work with Animated Notation, and his Ph.D. research website is archived at animatednotation.com. He is a Lecturer in composition and creative music technology at Monash University in Melbourne, Australia. Email: ryanrosssmith [@] gmail [.] com . Web: <http://www.ryanrosssmith.com/> Shawn Lawson is a visual media artist creating the computational sublime. As Obi-Wan Codenobi, he live-codes, real-time computer graphics with his software: The Force & The Dark Side.
    [Show full text]
  • From Live Coding to Virtual Being
    Live Coding and Machine Listening Nick Collins Durham University, Department of Music [email protected] ABSTRACT Live coding control of machine listening processes, or more radically, machine listening control of live coding, provides an exciting area of crossover between two research frontiers in computer music. is article surveys the state of the art, and reports a number of experimental projects that point to potentially productive further directions. 1. Introduction Live coding has established itself as a viable and productive method of computer music performance and prototyping, embracing the immedicacy of modern computer programming languages (Collins et al. 2003; Ward et al. 2004; Blackwell and Collins 2005; Brown and Sorensen 2009; Collins 2011; McLean 2011; Magnusson 2014). New avenues in interfacing for programming are being embraced, including tangible computing of unit generator graphs and musical sequences (see for example Mónica Rikić’s buildacode), natural language processing (e.g., Craig Laa’s oth) and computer vision (e.g., Nik Hanselmann’s bodyfuck (2009) brainfuck interface). Performance ventures range from the current vogue for algoraves, showcasing generative and interactive creation of electronic dance music (Collins and McLean 2014) to contemporary dance and live arts. Complementing existing work, this paper explores the interaction of live coding with machine listening, from listening functionality within existing performance systems towards the use of live audio analysis as programming interface itself.
    [Show full text]
  • Trance Action Map 2005 2
    44253_TTG_2005 22.03.2005 12:09 Uhr Seite 1 44253_TTG_2005 22.03.2005 12:09 Uhr Seite 2 TRANCE ACTION MAP 2005 www.trancersguide.com/tranceaction 2 World Trance Center Heavily Tranced Intermediate Trance-action Transeed Unrecognized 6 • AUSTRALIA 32 • ISRAEL 8 • AUSTRIA 34 • ITALY 10 • BELGIUM 36 • JAPAN 12 • BRAZIL 40 • MEXICO 14 • CANADA 42 • NETHERLANDS 15 • CHILE 43 • POLAND 16 • CZECH REPUBLIC 44 • PORTUGAL 17 • DENMARK 46 • SERBIA / MONTENEGRO 18 • FINLAND 48 • SOUTH AFRICA 20 • FRANCE 50 • SPAIN 22 • GERMANY 54 • SWEDEN 26 • GREECE 56 • SWITZERLAND 27 •GUATEMALA 57 • THAILAND 28 • HUNGARY 58 • USA 30 • INDIA 60 • U.K. 44253_TTG_2005 22.03.2005 12:09 Uhr Seite 3 The Trancers Guide To The GALAXY www.trancersguide.com 3 You hold it in your hands – the second edition to support development, cultural exchange PUBLISHING COMPANIES of your trance travel guide! It contains articles and travel of the worldwide trance communi- mushroom media e.k. by 38 authors from 30 countries telling you ty! Arnoldstrasse 47 about trance history, parties, shops, artists, Parallel to the Trancers Guide magazine we 22763 Hamburg labels and connections. It shows sightseeing are releasing the first Trancers Guide Compi- Germany highlights, meeting points and gives some lation in cooperation with Millennium Records fon: +49 40 398417-73 insights into national politics. It is spiced up in April 2005. It comes as a double CD in a box [email protected] with amazing photos as well as short artist together with the magazine and contains 20 www.mushroom-online.com interviews. And it comes this time in a new killer tracks from 20 different countries.
    [Show full text]