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Schneider Kacirek S H a D O W S D O C U M E N T S
SCHNEIDER KACIREK S H A D O W S D O C U M E N T S CD / vinyl (+CD) / download Release date: January 16, 2015 Kenia meets Krautronics Stefan Schneider and Sven Kacirek bring African rhythms into dark electronica Label: Bureau B Under the auspices of the Goethe Institute and Unesco, Stefan Distributor: Indigo Schneider and Sven Kacirek have spent a fair amount of time in Cat. no.: BB175 Kenya in recent years. As they travelled the country, they recorded EAN CD 4047179887625 rare, traditional music in different locations, subsequently releasing LP 4047179887618 two albums of unembellished field recordings to document their findings. Indigo no.: CD 98876-2 LP 98876-1 “Shadows Documents” takes a different approach: Schneider and Kacirek graft their acoustically gleaned impressions of Kenya onto pure electronic templates (with analogue accents). Field recordings Tracklisting: as such cannot be heard. A central role is played by the repetitive, 1 Doubles (4:52) hypnotic element which is so integral to tribal music with its complex rhythms. Both musicians share a fascination with these very rhythms, 2 Hand An Wand (4:15) a recurring theme in their careers to date: clearly audible in Stefan 3 To Microphone (4:27) Schneider’s work with Kreidler and To Rococo Rot, as well as on his 4 Birds, Bell and Sticks (2:31) albums with Hans-Joachim Roedelius. In Kacirek’s case we can look 5 Low Rhythm (5:09) to his solo albums for evidence, in particular on the much lauded 6 Electro Electronics (5:45) “Kenya Sessions”. 7 Talwerk (4:33) 8 We Will Need Each Other The duo’s modus operandi differs from that of renowned Krautrock (2:37) pairings such as Dieter Moebius/Mani Neumeier or Michael Rother/ 9 Spiegelmotiv (6:12) Klaus Dinger (= NEU!), where the drum kit plays a dominant role as the driving force. -
Garage Zine Scionav.Com Vol. 3 Cover Photography: Clayton Hauck
GARAGE ZINE SCIONAV.COM VOL. 3 COVER PHOTOGRAPHY: CLAYTON HAUCK STAFF Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker Creative Direction: Scion Art Director: malbon Production Director: Anton Schlesinger Contributing Editor: David Bevan Assistant Editor: Maud Deitch Graphic Designers: Nicholas Acemoglu, Cameron Charles, Kate Merritt, Gabriella Spartos Sheriff: Stephen Gisondi CONTRIBUTORS Writer: Jeremy CARGILL Photographers: Derek Beals, William Hacker, Jeremy M. Lang, Bryan Sheffield, REBECCA SMEYNE CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Company references, advertisements and/ Mail Stop WC12 or websites listed in this publication are Torrance, CA 90501 not affiliated with Scion, unless otherwise Phone: 866.70.SCION noted through disclosure. Scion does not Fax: 310.381.5932 warrant these companies and is not liable for Email: Email us through the contact page their performances or the content on their located on scion.com advertisements and/or websites. Hours: M-F, 6am-5pm PST Online Chat: M-F, 6am-6pm PST © 2011 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved. Scion GARAGE zine is published by malbon Scion and the Scion logo are trademarks of For more information about MALBON, contact Toyota Motor Corporation. [email protected] 00430-ZIN03-GR SCION A/V SCHEDULE JUNE Scion Garage 7”: Cola Freaks/Digital Leather (June 7) Scion Presents: Black Lips North American Tour The Casbah in San Diego, CA (June 9) Velvet Jones -
Producer Spotlight: Kurt Ballou
Producer Spotlight: Kurt Ballou An analysis of the chosen producer or production style. This will include a discussion of the historical/musical/cultural/technological context of the production style, as evidenced in existing literature; at least three case studies that identify the musical/sonic/aesthetic concerns of specific recorded works through a combination of original analysis/scholarship and reference to existing literature; and a discussion of your findings. Table of Contents Introduction .................................................................................................................................. 3 Literature Review.......................................................................................................................... 3 Methodology ................................................................................................................................ 5 Case Studies .................................................................................................................................. 6 Interview – Kurt Ballou ................................................................................................................. 9 Conclusions ................................................................................................................................... 9 Appendix A – Timelines............................................................................................................... 12 Appendix B................................................................................................................................. -
Black Metal and Brews
Review: Roadburn Friday 20th April 2018 By Daniel Pietersen Day Two at Roadburn ‘18 and already Never wandering off into too-loose the bar is raised pretty high, with sets jam-band territory, the quartet unleash from Black Decades, Kælan Mikla and some of the best heads-down psych- Servants of the Apocalyptic Goat Rave rock I’ve seen and the crowd absolutely being my personal highlights from the lap it up over the set’s two-hour (two day before. We’ve a lot to get through, hours!) duration. though, and these bands won’t watch themselves. The Ruins of Beverast unleash a black metal stormcloud, all martial drums and lightning-strike guitars sweeping scythe-like over the field of nodding heads in a packed Green Room. It’s a ferocious, scathing display made all the more intense by the devastatingly tight musicianship. An immense start to the Panopticon (Paul Verhagen) day and that’s Roadburn in a nutshell; What Jeremy Bentham, the 18th even the first band on one of the century English philosopher who smaller stages are world class. developed the concept of the Panopticon, would think of his creation’s musical namesake is, sadly, impossible to know. I like to think that, even if the music were beyond him, the passionate social reformer would appreciate the politically relevant sentiments of the band, something which is made most obvious on their opening selection of country- influenced tracks. Banjo and mandolin Motorpsycho (Paul Verhagen) blend with mournful voices, singing of Next door, on the Main Stage, lost families and failing factories, into Motorpsycho are working up their songs that wouldn’t be out of place on groove and creating the kind of sounds, a Steve Earle record. -
Nt Venues Association Unites to Save Our Stages by DAN ENGLAND
7.25” x 9.875” 2 album reviews BandWagon VIVIAN PG. 4 Magazine A.M. PleAsure ASsassins PG. 5 andy sydow PG. 6 BandWagMag BandWagMag 802 9th St. Greeley, CO 80631 BANDWAGMAG.COM THE COLORADO PUBLISHER SOUND’S my5 PG. 11 ELY CORLISS EDITOR KEVIN JOHNSTON ART DIRECTOR CARTER KERNS CONTRIBUTORS DAN ENGLAND VALERIE VAMPOLA the fate of festival future music education goes NATE WILDE PG. 12 LAURA GIAGOS onlinePG. 10 PG. 16 ATTN: BANDS AND MUSICIANS Submit your album for review: BandWagon MAgazine 802 9th St. Greeley, CO 80631 or [email protected] CONTACT US Advertising Information: [email protected] Editorial Info/Requests: [email protected] Any other inquiries: [email protected] BandWagon Magazine PG. 20 © 2020 The Crew Presents Inc. NATIONAL INDEPENDENT VENUE ASSOSIATION 3 VIVIAN The Warped Glimmer Laura Giagos and puts the seat back for the BandWagon Magazine listener. It’s a warm envelope to rest in but exciting enough not to put you to sleep. VIVIAN’s Tim Massa and Alana Rolfe came out of big changes leading up to quarantine: Massa went through a divorce and their other band Stella Luce ended after ten years. Suddenly, they began cranking out songs. “There’s a sense of urgency but an overwhelming sense of loss,” says Rolfe, “It’s so confusing it makes your head want to split in half.” Covid-19 has changed much “In the last two years I really of what we love about music – got into home recording and some possibly forever – but the beat production,” Massa says. “I indomitable spirit of musicians was working on some stuff as continues to persevere. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Dena Derose, Vocals and Piano Martin Wind, Bass • Matt Wilson, Drums with Sheila Jordan, Vocal • Jeremy Pelt, Trumpet Houston Person, Tenor Saxophone
19 juin, 2020. June 19, 2020. MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 209 8 7 8 7 1 3 5 0 1 5 CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the with poster insert dust sleeves and etching on side D Includes mp3 coupon Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus NON-RETURNABLE Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. -
JPMS3202 05 Marshall 50..62
WAYNE MARSHALL Berklee College of Music Email: [email protected] Ragtime Country Rhythmically Recovering Country’s Black Heritage ABSTRACT In 1955, Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock ’n ’roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. While seeming by the mid-50s to issue from different cultural universes mapping neatly onto Jim Crow apartheid, their parallel polyrhythms point to a revealing common root: ragtime. Coming to prominence via Maple Leaf Rag (1899) and other ragtime best-sellers, the rhythm in question is exceedingly rare in the Caribbean compared to variations on its triple-duple cousins, such as the Cuban clave. Instead, it offers a distinctive, U.S.-based instantiation of Afrodiasporic aesthetics—one which, for all its remarkable presence across myriad music scenes and eras, has received little attention as an African-American “rhythmic key” that has proven utterly key to the history of American popular music, not least for the sound and story of country. Tracing this particular rhythm reveals how musical figures once clearly heard and marketed as African-American inventions have been absorbed by, foregrounded in, and whitened by country music while they persist in myriad forms of black music in the century since ragtime reigned. KEYWORDS race and ethnic studies, popular music, music history In , Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock ’n’ roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. -
BUREAU B Veröffentlicht Perlen Des SKY-Records-Katalogs Neu
BUREAU B veröffentlicht Perlen des SKY-Records-Katalogs neu Hans-Joachim Roedelius, Dieter Moebius, Conny Plank, Michael Rother – all diese Künstler sind nicht nur bedeutende Protagonisten der deutschen Musik- Avantgarde. Sie haben auch alle mehrere Alben beim Hamburger Label SKY Records veröffentlicht. Die Reissue-Spezialisten von Bureau B haben sich nun über 20 aufregende Alben aus dem umfangreichen SKY-Katalog herausgepickt und veröffentlichen diese neu auf CD und meist auch auf sattem, 180 Gramm schwerem Vinyl. Jedes Release wird begleitet von einem informativen, einordnenden Text des Elektronikpioniers Asmus Tietchens (der ebenfalls bei SKY Records diverse Alben herausbrachte) und von raren Fotos. SKY Records wurde 1975 von Günter Körber und den beiden damaligen Inhabern der GOVI-Plattenläden gegründet und genießt als eines von wenigen deutschen Labels seitdem internationale Hochachtung. Körber hatte seinerzeit seinen Job bei der Plattenfirma Metronome an den Nagel gehängt, nachdem er dort vier Jahre zuvor gemeinsam mit Bruno Wendel für die deutsche Metronome das legendäre BRAIN-Label geformt und gemanagt hatte. Wie bei BRAIN gab Körber zwar auch auf SKY herkömmlicher und progressiver Rockmusik Raum, doch weitaus mehr Aufmerksamkeit brachten ihm die zahlreichen elektronischen, experimentellen Releases. Glücklicherweise konnte er bei seinem Weggang von BRAIN einige Künstler mitnehmen, darunter Michael Rother, der dann bei SKY seine größten Erfolge feierte, sowie Hans-Joachim Roedelius und Dieter Moebius von Cluster, die just zu diesem Zeitpunkt mit dem britischen Musikexzentriker Brian Eno zusammenarbeiteten. Aus dieser Kollaboration gingen zwei Alben hervor, die bis heute als Meilensteine der anspruchsvollen Ambientmusik gelten. Zwischen den Alben der »etablierten« Künstler haben sich in dem Reissue-Paket auch einige weniger bekannte, spannende Kostbarkeiten versteckt, zum Beispiel das »wunderbare« Album von Wolfgang Riechmann, das Ende Juli erscheint. -
Texas A&M University Zine Collection Fully
6/7/2017 Texas A&M University Zine Collection - Fully Processed | Cushing Library University Libraries → Cushing Library → Archon → Texas & Log In lgbt Search Borderlands → Texas A&M Browse: Collections Digital Content Subjects Creators Record Groups University Zine C... → Finding Aid Texas A&M University Zine Texas A&M University Zine Collection Fully Processed Collection Fully Processed | Overview Cushing Library Scope and Contents Administrative Information By Jeremy Brett Detailed Description Collection Overview Printable view of this page lgbt Title: Texas A&M Search Box List University Zine Collection Fully Processed ID: 04/C000127 REQUEST FROM CUSHING Extent: 6.0 Boxes Arrangement: Alphabetical by title. Date Acquired: 10/16/2012 Languages: English Scope and Contents of the Materials Bib#4026124 The Texas A&M University Zine Collection is a generalized, "floating" collection of zines tied to a set of particular collecting criteria Zines created by Texans, Southwesterners or other Southerners and/or concern Texas, the Southwest and the South; zines created by minorities across Texas, the Southwest or the South; zines created by TAMU students or former students; and Artzines concerned with printing and/or designed as print art objects. The collection has "Texas A&M University" in the title to reflect the collecting criterion of zines created by TAMU students or former students. More importantly, however, the inclusion of the TAMU name in the collection title reinforces the collection's connection to the university as well as its major purpose to help make TAMU a center for the preservation of regional alternative voices. http://archon.library.tamu.edu/index.php?p=collections/findingaid&id=1106&q=lgbt 1/23 6/7/2017 Texas A&M University Zine Collection - Fully Processed | Cushing Library Administrative Information Access Restrictions: No restrictions. -
Punk: Music, History, Sub/Culture Indicate If Seminar And/Or Writing II Course
MUSIC HISTORY 13 PAGE 1 of 14 MUSIC HISTORY 13 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 13 Course Title Punk: Music, History, Sub/Culture Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis x Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This course falls into social analysis and visual and performance arts analysis and practice because it shows how punk, as a subculture, has influenced alternative economic practices, led to political mobilization, and challenged social norms. This course situates the activity of listening to punk music in its broader cultural ideologies, such as the DIY (do-it-yourself) ideal, which includes nontraditional musical pedagogy and composition, cooperatively owned performance venues, and underground distribution and circulation practices. Students learn to analyze punk subculture as an alternative social formation and how punk productions confront and are times co-opted by capitalistic logic and normative economic, political and social arrangements. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jessica Schwartz, Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. -
The Music Column That Wouldn't Die: New Album Reviews
The Music Column That Wouldn’t Die: New Album Reviews. I told myself I was over this, that I had retired from the world of music reviews. I had moved onto bigger and better things (mostly staring at the wall and wondering why nobody calls me anymore). Yet here I am, a mere few months after burning my bridges, giving up on new music and making a world of enemies, back in the game. Did I miss the constant abuse, the being paid in soiled pennies and the lack of recognition which writing this unremembered column entailed? Funnily enough, I did! It was listening to the post punk genius of the new Dry Cleaning record that did it. I thought to myself ‘someone has to take it upon themselves to tell the world just how good this album is’. After a moment of quiet reflection where I drank a glass of lukewarm Ribena to calm the nerves, I decided that that person may as well be me. By JOHN BITTLES So, here we are. Bittles’ Magazine, like some particularly bothersome zombie with a bad haircut and worse breath, has been reborn. And what a re-introduction we have! In this month’s reviews there is the art heavy punk funk strut of Squid, the melancholy dream pop of White Flowers, Thomas Fehlmann’s rich ambiance, the return of living legends The Coral, the skewed pop of Dntel, and Dry Cleaning of course. So, tell all your friends, phone the tabloids, and let us begin… New Long Leg by Dry Cleaning.