Fringe Bar {Rain Cry Recorders | Bankrqbber | Napkin
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Stubborn Blood • Sara Bynoe • 108Eatio • Discqrder
STUBBORN BLOOD • SARA BYNOE • 108EATIO • DISCQRDER'% RECORD STORfBAY SPECTACUW • FIVE SIMPLE STEPS TO HAKIMITAS A MUSICIAN • RUA MINX & AJA ROSE BOND Limited edition! Only 100 copies printed! 1 i UCITR it .-• K>1.9PM/C1TR.CA DISCORDERJHN MAGAZINE FROM CiTR, • LIMITED EDITION 15-MONTH CALENDARS ! VISIT DISCORDER.CA TO BUY YOURS CELEBRATES THIRTY YEARS IN PRINT. \ AVAILABLE FOR ONLY $15. ; AND SUPPORT CiTR & DISCORDER! UPCOMING SHOWS tickets oniine: enterthevault.com i . ISQILWQRK tteketweb-ca | J?? 1 Loomis, Blackguard, The Browning, Wretched instoreiScrape j 7PM DAVID NEWBERRY tickets available at door only j doors Proceeds to WISH Drop-In Centre j 6PM | plus guests 254 East Hastings Street • 604.681.8915 FIELDS OFGREENEP RELEASE PARTY $12t cdSS PAGAHFESLWITHEHSIFERUM $30* tickets onftie: tiCketweb.CS Tyr, Heidevolk, Trolffest, Heisott In store: Scrape tickets onfine: fiveatrickshaw.com GODSOFTHEGRMIteeOAIWHORE s2Q northemtJckets.com in store: doors | TYRANTS BLOOD, EROSION, NYLITHIA and more Scrape, Neptoon, Bully's 7PM MAY HIGHLIGHTS MAY1 KILLING JOKE with Czars CASUALTIES $20+S/Cadv, DOORS 6PM Dayglo Abortions m H23 $ MAY 4 SINNED Zukuss, Excruciating Pain, Entity PICKWICK 14: $9+S/Cadv. DOORS 8:30PM $ 0IR15 ROCK CAMP FEAT. BEND SINISTER 12^ in store: Scrape, Neptoon, Bully's doors MAY 5 KVELETRAK BURNING GHATS, plus guests Gastown Tattoo, Red Cat, Zulu 8PM ___ $16.50+S/C adv. DOORS 8PM M Anchoress, Vicious Cycles & Mete Pills i *|§ fm tickets online: irveatrickshaw.com MAY 10 APOLLO GHOSTS FINAL SHOW LA CHINOA (ALBUM RELEASE) *»3S ticketweb.ca In store: doors m NO SINNER, THREE WOLF MOON & KARMA WHITE $J2 door Scrape, Millennium, Neptoon 8PM plus guests $8+S/Cadv. -
Cooked in the Lab Dark, Techy D&B Trio Ivy Lab Break Bad on LP P.108
MUSIC DECEMBER ON THE DANCEFLOOR This month’s tracks played out p. 92 GO LONG! The long-players listened to p. 108 WILD COMBINATION The most crucial compilations p. 113 Cooked In The Lab Dark, techy d&b trio Ivy Lab break bad on LP p.108 djmag.com 091 HOUSE REVIEWS BEN ARNOLD [email protected] melancholy pianos, ‘A Fading Glance’ is a lovely, swelling thing, QUICKIES gorgeously understated. ‘Mayflies’ is brimming with moody, building La Fleur Fred P atmospherics, minor chord pads Make A Move Modern Architect and Burial-esque snatches of vo- Watergate Energy Of Sound cal. ‘Whenever I Try To Leave’ winds 9.0 8.5 it up, a wash of echoing percus- The first lady of Berlin’s A most generous six sion, deep, unctuous vibrations Watergate unleashes tracks from the superb and gently soothing pianos chords. three tracks of Fred Peterkin. It’s all This could lead Sawyer somewhere unrivalled firmness. If great, but ‘Tokyo To special. ‘Make A Move’’s hoover Chiba’, ‘Don’t Be Afraid’, bass doesn’t get you, with Minako on vocals, Hexxy/Andy Butler ‘Result’’s emotive vibes and ‘Memory P’ stand Edging/Bewm Chawqk will. Lovely. out. Get involved. Mr. Intl 7. 5 Various Shift Work A statuesque release from Andy Hudd Traxx Now & Document II ‘Hercules & Love Affair’ Butler’s Mr. Then Houndstooth Intl label. Hexxy is his new project Hudd Traxx 7. 5 with DJ Nark, founder of the excel- 7. 5 Fine work in the lent ‘aural gallery’ site Bottom Part four of four in this hinterland between Forty and Nark magazine. -
Apollo Ghosts Caribou / Babe Rainbow / Ryan Walter Wagner / the New Pornographers / Sxsw / Bison B.C
FREE! MAY 2010 // THAT EAZY-DUZ-IT MAGAZINE FROM CiTR 101.9 FM // SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNITY FOR OVER 25 YEARS APOLLO GHOSTS CARIBOU / BABE RAINBOW / RYAN WALTER WAGNER / THE NEW PORNOGRAPHERS / SXSW / BISON B.C. / HOW TO BE A DJ PT. 2 EDITOR EDITOR'S NOTE Jordie Yow ART DIRECTOR Dear Discorder: Lindsey Hampton With spring just around the corner, this is time to Now, getting back to this issue: We've got some of make plans for summer. This is the time of year when Vancouver's heaviest hitters talking to us: Carl Newman PRODUCTION MANAGER all the planning for local festivals and concerts are hap- from the New Pornographers dropped Dan Fumano a line Debby Reis pening and I have a challenge for them. Over the last few to chat about his new album on page 14, James Farwell COPY EDITORS years members of Discorder and CiTR have been playing from Bison B.C., who's music is heavy in a different sense Alison Atkinson, Liz Brant, Debby a number of friendly softball games against groups like of the word, discusses the maturation of their music with Reis, Miné Salkin Megaphone, Adbusters and CBC Radio 3. This year we Scott Lyon on page 18, Polaris award winner Dan Snaith would like to extend the challenge to the entire Vancouver of Caribou talked with our Jackie Wong about his newest AD MANAGER music community. This is a personal challenge, but it is on endeavour on page 12, Sancho McCann met with some David Stansfield behalf of Discorder and CiTR. -
2005 / 2006 Annual Report
RADIO STARMAKER FUND ANNUAL REPORT 2005#–2006 ANNUAL REPORT RADIO TABLE OF CONTENTS STARMAKER #FUND 02. Message from the Chair 03. Board of Directors and Staff | Mandate 04. Application Evaluation | Applications Submitted vs. Applications Approved 05. Tracking Success | Grant Allocation by Type of Record Label 06. Radio Starmaker Funded Artists 07. Sales Certifications 08. Grant Allocation by Province | Grant Allocation by Genre 09. Grant Allocation by Music Industry Association 10. Awards Won by Radio Starmaker Funded Artists 11. Allocation of Funding by Category 12. – 16. Condensed Financial Statements 17. Appendix: Criteria for Qualifying 25 Adelaide Street East, Suite 1300, Toronto, Ontario M5C 3A1 PHONE.416.597.6622 FAX.416.597.2760 TOLL FREE.1.888.256.2211 www.radiostarmakerfund.com RADIO STARMAKER FUND ANNUAL REPORT 2005-2006 .01 ANNUAL REPORT RADIO MESSAGE FROM THE CHAIR STARMAKER #FUND This year has been one of reflection for • 77% of the total funding requested was approved We continue to maintain the highest standards of the Radio Starmaker Fund. We had the accountability to our stakeholders and the industry at opportunity to review our history from • The “funding per record” breakdown (based on the top large. Our audit process once again shows complete the inception of the fund and present an 22 funded RSF artists) is approximately $2 per record. compliance with our funding rules and regulations and overview to the CRTC during its radio With average marketing costs per album hovering in we appreciate the efforts made by our applicants to review proceedings in May 2006. the range of $3 per record this means we are making maintain this track record. -
A&R Update December 1-2-3-4 GO! RECORDS 423
A&R Update December 1-2-3-4 GO! RECORDS 423 40th St. Ste. 5 Oakland, CA 94609 510-985-0325 E-mail: [email protected] Web: www.1234gorecords.com 4AD RECORDS 17-19 Alma Rd. London, SW 18, 1AA, UK E-mail: [email protected] Web: www.4ad.com Roster: Blonde Redhead, Anni Rossi, St. Vincent, Camera Obscura Additional locations: 304 Hudson St., 7th Fl. New York, NY 10013 2035 Hyperion Ave. Los Angeles, CA 90027 825 RECORDS, INC. Brooklyn, N.Y. 917-520-6855 E-mail: [email protected] Web: www.825Records.com Styles/Specialties: Artist development, solo artists, singer-songwriters, pop, rock, R&B 10TH PLANET RECORDS P.O. Box 10114 Fairbanks, AK 99710 E-mail: [email protected] Web: www.10thplanet.com 21ST CENTURY RECORDS Silver Lake, CA 323-661-3130 E-mail: [email protected] Web: www.21stcenturystudio.com Contact: Burt Levine 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480, 800-288-2007 Website: www.allegro-music.com Genres: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 Email Address: [email protected] Website: www.21stcenturystudio.com Genres: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 Website: www.259records.com Email Address: [email protected] 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 Email Address: [email protected] Website: www.4ad.com Clients: The National, Blonde Redhead, Deerhunter, Efterklang, St. -
Download Document
the vox number 94 November 1994 WTUL 91.5 FM FREE Bfb~OO\l®rJ~~~ In this issue: Cub, On the Road with Jackie Flip, Rev .. AI Green, Dj Profile with Paul Babcock, Notes from the G.M., Flip's Music dept, Art's Thai Diary, Drunk OJ of the Month, Recipes, and Dressing In the 90's by Brice. ~OTES FROM THE G.M. TUL's Competitive Strategy Part 2 of 5 Developing W - ' Asian Connection A) The Restoration of WT UL s B) Fists of Fury C) Assignment Pipebomb ' If the reader recalls my last published writing explaining the current troubled state of "the essence" of WTUL our Asian Connection I can now insure you that they are reaDy to pounce on the rock institutions. Like Assasins with a collective vision the Asian Connection a.k.a. "Glock 5" will wreck kke rock like MENUDO did with the song "Motorcycle Dreamer." A new modus operandi has been formed and by direct a«tion action ACTION - a swift kick to the belly of those soon to be extinct cyclopean program directors ~kat will lead us undaunted to take over the Sound*Anti-sound* of New Orleans. The PAKistani TWINS though strange in thei~ ways should ma~e it throuah the year guided by Muslim doctr~nes and armed w~th snubnose in hand. To fuck with one is instant death. Anthony DelRosario, the MockingBird of WTUL is finding his health more stable now since his sojourn in NYC and recent attendance at a BIG STAR concert. Though his eyesight is not improving it is not diminishing. -
DOWNLOAD Full Liner Notes (PDF)
page 1 ©® Nardwuar the Human Serviette, Inc. 2009 I, Andrew W.K., love this music! There’s a baby way to go and a grown way, time. This really fascinated me, and I ended up becoming a huge fan of his main and I didn’t know which way to choose, so I grew. I grew this music! But the band at the time, Couch. It was truly exciting to be able and go see the front man seeds were already planted by The Leather Uppers and The Subhumans. I of your favorite band up close, simply by walking into a record store. first heard about The Leather Uppers in high school, through my friend, Jaime I usually felt shy and awkward trying to hang out and talk to him, and for Morales. We played in a band together called Lab Lobotomy. We also played in some reason I dealt with that by asking lots of questions, which he handled beau- the school jazz band together. He started out playing trombone, but switched to tifully. He took me under his wing and encouraged my curiosity in music and art. guitar when he got into punk music. The high school we attended was located in As a result, I gladly purchased all the records he recommended. One of those was downtown Ann Arbor, Michigan, and it was within walking distance of all the a an album by the band The Leather Uppers. The name really struck me at first - amazing record stores that Ann Arbor had, and pretty much still does have. -
Assessing the Future Ip Landscape of Music’S Cash Cow: What Happens When the Live Concert Goes Virtual
\\jciprod01\productn\N\NYU\91-2\NYU205.txt unknown Seq: 1 11-MAY-16 12:42 ASSESSING THE FUTURE IP LANDSCAPE OF MUSIC’S CASH COW: WHAT HAPPENS WHEN THE LIVE CONCERT GOES VIRTUAL CHARLES H. LOW* If piracy has been the bane of the music industry, and live performances are a financial buoy, what happens when live performances are ported to a virtual medium that all of a sudden may be subject to piracy again? This Note examines the various intellectual property frameworks through which one can look at the protectable elements of a live show or concert and what happens to the pro- tectability of those elements once the show is ported to virtual reality. Given that technology to date has had a much larger impact on recorded music than on live performances, the introduction of virtual reality technology has serious disruptive potential. This Note argues that one can use existing intellectual property law to weave a complex web of protected elements around less traditional targets of IP like stage, set, and lighting design, background visuals, live performers, and props. This web of intellectual property protection will encourage strong contracting and yield more avenues for resisting piracy in the virtual reality world. INTRODUCTION ................................................. 426 R I. AN INTRODUCTION TO THE ECONOMIC STATE OF THE MUSIC INDUSTRY, THE NUANCES OF VIRTUAL REALITY, AND TWO VERY MARKETABLE LIVE SHOWS WITH VR POTENTIAL .............................................. 430 R A. “Don’t Let Me Down”: The Current Economic State of the Music Industry ............................... 430 R B. “In Some Ways, the Biggest Competitor . Might Be a Bottle of Wine”: An Introduction to Virtual Reality ............................................. -
Mixing It up Bent and Twisted
The sociality of dance events and health implications Kate Ireland A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Interdisciplinary studies in sexuality, health and culture University of New South Wales Sydney, NSW 2050, Australia August, 2002 Abstract This thesis is concerned with the sociality – shared rituals and rules - of dance events and implications for health. I consider how forms of belongings, selves and practices of music, dance and drug use are produced, regulated and understood in the space of local dance events with ‗mixed‘ crowds and the everyday lives of participants. Social networks approaches, while offering an understanding of drug use as a social practice, focus on belonging as a basis for risk-reduction, to the exclusion of the role played by pleasure in producing and maintaining belonging. Contemporary cultural studies literature features an understanding of dance through the power of the ecstatic moment to produce new forms of embodied selves and belongings, but does not offer a means to think through how dance is regulated via techniques of self-care – except in the work of Pini (1993, 1997a, b, c), where pleasure, belonging and self-care are brought together. Using Pini‘s (1993, 1997a, b, c) work as a point of departure, I provide an interdisciplinary account of local ‗mixed‘ dance events, via analysis of qualitative data from ethnographic fieldwork, review of media texts and interviews with partygoers. I situate the local spaces, everyday practices and stories of events in the context of broader social processes, through setting them in relation to Foucault‘s (1986/1990b) work on self-care as a social practice and Maffesoli‘s (1988/1996) work on collective rituals of neo-tribal sociality, in a wider context of restrictive regulation of self- formation. -
Aliens, Afropsychedelia and Psyculture
The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals. -
Sound & Parameter List
MC-808_Slist_e.book 1 ページ 2007年9月7日 金曜日 午前11時11分 Sound & Parameter List Thank you, and congratulations on your choice of the Roland MC-808 Sampling Groovebox. Waveform list .............................................................2 Patch list.....................................................................3 Rhythm Set list ..........................................................7 Pattern list (for US)..................................................15 Pattern list (for International) .................................17 RPS Pattern list........................................................19 RPS Set list ..............................................................21 Pattern Set list (for US) ...........................................23 Pattern Set list (for International)...........................24 Song list ...................................................................25 Arpeggio Style list ...................................................26 Chord Form list........................................................27 Effects editing parameters .....................................28 Patch editing parameters........................................44 Rhythm editing parameters ....................................57 Sample editing parameters.....................................62 MIDI Implementation chart......................................64 Profiles of the pattern creators ..............................66 202 Copyright © 2006 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in -
PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights
PPCA Licensors Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights 88dB Bowles Production *ABC Music Brian Lord Entertainment ACMEC Bridge, Billy Adams, Clelia Broad Music AGR Television Records Buckley, Russell Aitken, Gregory A. Budimir, Mary Michelle AITP Records Bullbar P/L aJaymusic Bulletproof Records t/a Fighterpilot AJO Services Bulmer, Grant Matthew Allan, Jane Bunza Entertainment International Pty Ltd Aloha Management Pty Ltd Butler Brown P/L t/a The John Butler Trio Alter Ego Promotions Byrne, Craig Alston, Chris Byrne, Janine Alston, Mark *CAAMA Music Amber Records Aust. Pty Ltd. Cameron Bracken Concepts Amphibian *Care Factor Zero Recordz Anamoe Productions Celtic Records Anderson, James Gordon SA 5006 Angelik Central Station Pty Ltd Angell, Matt Charlie Chan Music Pty Ltd Anthem Pty Ltd Chart Records and Publishing Anvil Records Chase Corporation P/L Anvil Lane Records Chatterbox Records P/L Appleseed Cheshire, Kim Armchair Circus Music Chester, John Armchair Productions t/a Artworks Recorded Circle Records Music CJJM Australian Music Promotions Artistocrat P/L Clarke, Denise Pamela Arvidson, Daniel Clifton, Jane Ascension World Music Productions House Coggan, Darren Attar, Lior Col Millington Prodcutions *Australian Music Centre Collins, Andrew James B.E. Cooper Pty Ltd *Colossal Records of Australia Pty Ltd B(if)tek Conlaw (No. 16) Pty Ltd t/a Sundown Records Backtrack Music Coo-ee Music Band Camp Cooper, Jacki Bellbird Music Pty Ltd Coulson, Greg Below Par Records