Autechre Oversteps Mp3, Flac, Wma

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Autechre Oversteps mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Oversteps Country: UK Released: 2010 Style: Abstract, IDM, Ambient MP3 version RAR size: 1108 mb FLAC version RAR size: 1851 mb WMA version RAR size: 1631 mb Rating: 4.7 Votes: 846 Other Formats: AAC APE AA XM MIDI AU MP2 Tracklist A1 r ess A2 ilanders A3 known B1 pt2ph8 B2 qplay B3 see on see B4 Treale C1 os veix3 C2 O=0 C3 d-sho qub D1 st epreo D2 redfall D3 krYlon D4 Yuop Companies, etc. Copyright (c) – Warp Records Limited Phonographic Copyright (p) – Warp Records Limited Credits Artwork [Art] – The Designers Republic Mastered By – NS* Producer [Ae Production] – Brown*, Booth* Notes The box set (printed and debossed rigid slipcase) consists of double heavyweight 180gram vinyl, each disc packed in its own printed inner and outer card sleeves and a 900mm x 600mm double- sided poster printed on Offenbach ultra fine stock, folded within its own card sleeve. Included free with all orders from Bleep.com is a 320kbps LAME encoded MP3 version of the album and 16bit / 44.1kHz or 24bit / 44.1kHz WAV (selectable) version of the album (available to download from Bleep.com). Copies bought elsewhere contain a download code for the 320kbps MP3 version. ℗ 2010 Warp Records Limited © 2010 Warp Records Limited Made in the EU Barcode and Other Identifiers Matrix / Runout (A Side run-out): 85685 1A WARPLP 210 NS Matrix / Runout (B Side run-out): 85685 1B WARPLP 210 Matrix / Runout (C Side run-out): 85685 1C WARPLP 210 NS Matrix / Runout (D Side run-out): 85685 1D WARPLP 210 Barcode (Text / Sticker): 0801061021016 ASIN: B0036BDQDI Other versions Category Artist Title (Format) Label Category Country Year Oversteps (CD, Warp WARPCD210 Autechre WARPCD210 UK 2010 Album) Records Oversteps (CD, Beat BRC-252 Autechre BRC-252 Japan 2010 Album) Records Oversteps Warp WARPCDD210 Autechre (14xFile, FLAC, WARPCDD210 UK 2010 Records Album) Oversteps (CD, Warp WARPCD210 Autechre Album, WARPCD210 Unknown Records Unofficial) Beat BRC-252, Oversteps (CD, Records, BRC-252, Autechre Japan Unknown WARPCD210 Album, RP) Warp WARPCD210 Records Related Music albums to Oversteps by Autechre Autechre - Confield LFO - Tied Up Shipping News - Carrier Autechre - Amber Autechre - NTS Session 2 Double Ewes - Double Ewes Autechre - Incunabula Autechre - Quaristice.

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Autechre Confield Mp3, Flac, Wma
Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code
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Generative Rhythmic Models
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Student Tickets $79 (+BF) WIN YOURSELF SOME TICKETS! TWO AWESOME CHANCES TO GET YOURSELF TO THE GIG THETHE QUESTQUEST FORFOR. THETHE ULTIMATEULTIMATE AEROGUITARSMITHAEROGUITARSMITH Thursday 18th April 12pm at Market Day RECREATERECREATE ANAN AEROSMITHAEROSMITH ANTHEMANTHEM and win your at tickets to the concert check out OUSA Facebook for details on how to win. STUDENT TICKETS $79(+BF) LIMITED NUMBERS AVAILABLE AT THIS PRICE, BOOK NOW AT FORSYTH BARR 2 | STADIUM, fb.com/critictearohi REGENT THEATRE OR THE EDGAR CENTER WITH STUDENT ID. EDITOR Callum Fredric [email protected] Issue 07 | April 15, 2013 | critic.co.nz DEPUTY EDITOR Zane Pocock [email protected] TECHNICAL EDITOR Sam Clark DESIGNER Dan Blackball 16 FEATURE WRITERS Loulou Callister-Baker, Maddy Phillipps NEWS FEATURES NEWS TEAM Zane Pocock, Claudia Herron, 06 | Anonymous Jerk Knocks 16 | Evidence of a Mid-Life Crisis Bella Macdonald Over Cones Loulou Callister-Baker discovers boxes in the attic containing evidence of a SECTION EDITORS 07 | Lord Monckton man’s mid-life crisis, complete with nude Sam McChesney, Basti Menkes, sketches and low-quality weed. Baz Macdonald, Josef Alton, 08 | Racist Danish Runs Gus Gawn, Tristan Keillor Rampant 20 | Three Fables of Dunedin’s Forgotten Flatters 09 | Driver admits liability in Shamelessly stealing Loulou’s idea, CONTRIBUTORS cycle death Callum Fredric tells three untold stories Thomas Stevenson, Josie Cochrane, from Dunedin’s past based on books and Sarah Bayly, Thomas Raethel, documents found at a friend’s flat. Sara Lamb-Miller, Jamie Breen, Catherine Poon, Nick Jolly, 26 | The Little Foetus in the Lucy Hunter, Gerard Barbalich, Pink Knitted Cap Campbell Ecklein, Jess Cole, A poem by Maddy Phillipps in memory Phoebe Harrop, Elsie Stone, of the little foetus in the pink knitted cap.
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Discographie Pour Site
DISCOGRAPHIE Juin 2011 HOUSE M USIC / A CID H OUSE Née en 1986, la House music est issue des FELIX DA H OUSECAT dancefloors de Chicago. Elle tiendrait son nom Kitten and thee glitz 6 FEL 41 d’un club le « Warehouse » où régnait à l’époque un orfèvre des platines le DJ Frankie Knuckles FAITHLESS désigné comme le pionnier de ce mouvement Sunday 8PM 2 FAI 91 musical. SOUL II S OUL La House est une musique de danse répétitive. Club classics : Vol.one 6 SOU 80 Elle se compose à la base d’un rythme minimal donné par un pied de grosse caisse synthétique MOTORBASS fortement accentué marquant chaque temps, Pansoul 6 MOT 30 d’une ligne de basse et de samples tirés du disco, de la soul et du funk. « 2 Future 4 U » C’est ensuite en 1987 que l’on a pu entendre ARMAND V AN H ELDEN pour la première fois de l’Acid House. Les London Records 1999 inventeurs sont DJ Pierre et Spanky qui ont 6 VAN 30 trouvé le son « Acid » en s’amusant avec les boutons d’une petite boîte Bassline TB 303 de la marque Roland censée remplacer de manière Armand van Helden est considéré comme un des synthétique des sons de basse. L’Acid House est plus grands DJ’s de house des années 90. En introduite peu après en Angleterre et devient 1992, il sort ses premiers albums en remixant des rapidement un élément central de la scène rave, grands noms puis devient celui auquel font appel le « smiley» jaune en étant l’emblème, tandis les artistes pop pour se faire remixer.
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Processes Processes and systems and systems in computer in computer music; from music; from meta to matter meta to matter DR TONY MYATT DR TONY MYATT 05 2 The use of the terms ‘system’ and ‘process’ to generate works of music are often applied to the output of composers such as Steve Reich or Philip Glass, and also to Serial composers [1]2 from Schoenberg to Stockhausen, or to the works of experimentalists like John Cage. This may be where these terms are most clearly expressed, in either the material of the work or in the discourse that surrounds it, but few composers would not claim that systematic processes lie at the root of their work, in the methods they use to generate, manipulate, or control sound. The grand narrative of twentieth century classical music to move away from the tonal system of harmony has prompted experimental composers to push at the boundaries of music to discover approaches that create original musics. With the advent of the computer age and the use of computers to control and generate sound, it appeared to many that it was inevitable this new technology might take forward the concept of music. Computers, as we will see, were initially employed as tools that sustained traditional concepts of music, but as Cage hinted in 1959, and maybe for the same reason, perhaps this is now changing. In this essay, I will discuss how these early approaches to systematic process developed a canon of computer music, and in particular algorithmic systems and processes that reflected an underlying vision of what computer technologies were thought to hold in store, from a utopian and rationalist perspective.
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After Techno and Rave: Status and Validity in Post- Dance Music by Simon Halstead Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording University of Surrey July 2009 © Simon Halstead 2009 ProQuest Number: 27558661 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27558661 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This dissertation explores the idea of electronica as a descendent of electronic dance music, which, although embodying many related aesthetic qualities, operates within a different set of musical values. This needs to be understood in the context of how dance music's character, form and modes of performance relate to its specific cultural function. Repetitive beats (as espoused by house and techno in particular) comprise part of the cultural experience of rave. In combination with drug technologies and an ethos of collectivity, rave encapsulates a set of political phenomena that are entrenched within the formal and textural priorities of dance music. I discuss how modes of reception are affected by changes in these priorities, and to what extent post-dance music neglects the physicality that defines the political dimension of dance music's relationship to the body.
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Nothing but Films and Music (And Frigid)15 Edi…Orial Issue #15 Has Been a Long Time Coming
nothing but films and music (and frigid)15 edi…orial Issue #15 has been a long time coming. It was really supposed to be out in mid-January to remind you all to come to the special Frigid at the Opera House. As it happened you didn’t need reminding, with 700 people showing up to chill with coke-snortin’ North Shore bimbos and several minor celebrities. In the space between #14 and #15 a lot has changed. Lucius, Sydney’s infamous poster terrorist, has hung up the sticky-tape and retired; edited by Degrassi is now assistant editor of 3D World; Luke is now thirty; Monkeyboy dale and yellow peril is about to fly out of the country for several years pillaging the Americas; Dale has developed an unhealthy fetish for crappy vinyl; I’ve become addicted designed by to Pokemon as a result of Luke’s evil spouse Grit; and the rest of us are dale about to move Frigid to the Hopetoun temporarily whilst the Globe is cyclic website refurbished. More on all that somewhere in this issue. richard & richard There have also been several festivals: Big Day Out and Vibes, in particular. I’m not sure but I have the feeling that we’re smack bang in the middle of a written by cultural malaise. You see, the economies of the States, Britain and even yellow peril here are apparently booming. That is supposed to make us all happy. At dale least that’s what that ‘trickle down’ effect thing is about. I reckon it makes neural us lazy and bored.
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Bel O W the Rad Ar
01 AGF 09 Moon Wiring Club “The Wires Are Fragile” “Purred Applause” Previously unreleased Previously unreleased BELOW THE RADAR 06 RADAR THE BELOW 02 Borngräber & Strüver 10 Douglas Quin “Dancing Queen (Edit)” “77º 37' S 165º 48' E (Excerpt)” From Urlaub (m=minimal) From Fathom (Taiga) 03 Mark Bradley 11 Sleeps In Oysters “Spiraling” “The Brambles In Starlight” From Cathedral Sound Ritual (Reverb Worship) From Lo! (Seed) 04 Chandeliers 12 Jo Thomas “Candy Apple” “Butterfly Sweet: Air” From Roulé (Captcha Records) Previously unreleased 05 Dalglish 13 Jo Thomas “3.9.2004” “Butterfly Sweet: Flutter” From Benacah Drann Deachd (Highpoint Lowlife) Previously unreleased 06 Eleven Twenty-Nine 14 Trembling Bells “Leaf In A Whirlwind” “A Boy's Dream” From Eleven Twenty-Nine (Northern-Spy) Previously unreleased 07 Mark Fell 15 John Wall & Alex Rodgers “Manitutshu 1.3 Razorwire Dub” “Three Fragments” Previously unreleased Previously unreleased 08 Ga'an 16 Wet Hair “I Of Intimate Forms Part I” “Echo Lady” From Ga'an (Captcha Records) From In Vogue Spirit (De Stijl) This compilation © 2011 The Wire thewire.co.uk Cover image by Mishka Henner 02 06 R Borngräber & Strüver “Dancing Queen (Edit)” From Urlaub m=minimal “Dancing Queen” is the last part of Borngräber & Strüver’s album Urlaub, the follow up to In G. It has nothing to do with ABBA. The duo have worked together since 1999, and in 2010 BELOW THE RADA THE BELOW they founded the label m=minimal, which aims to “give minimal 01 its true meaning again”. AGF “No other composing technique was as successful as “The Wires Are Fragile” minimalism,” say Borngräber & Strüver.
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