The Orb U.F.Orb Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

The Orb U.F.Orb Mp3, Flac, Wma The Orb U.F.Orb mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: U.F.Orb Country: Europe Released: 2007 Style: Ambient, Dub, Experimental, House MP3 version RAR size: 1291 mb FLAC version RAR size: 1147 mb WMA version RAR size: 1578 mb Rating: 4.8 Votes: 292 Other Formats: MOD WMA MIDI AA VQF AHX RA Tracklist Hide Credits Orbit One: U.F.Orb Remastered O.O.B.E. 1-1 Flute – Tom GreenWritten-By – Alex Paterson, Kristian Anthony Weston*, 12:54 Thomas Fehlmann U.F.Orb 1-2 6:09 Bass – Guy PrattWritten-By – Alex Paterson, Kristian Anthony Weston* Blue Room Bass – Jah WobbleGuitar – Steve HillageWritten-By – Alex Paterson, Jah 1-3 17:34 Wobble, Kristian Anthony Weston*, Mad Professor, Miquette Giraudy, Pamela Ross, Steve Hillage Towers Of Dub 1-4 Harmonica – Marney PaxVoice [Intro] – Victor Lewis-SmithWritten-By – Alex 15:00 Paterson, Kristian Anthony Weston*, Thomas Fehlmann Close Encounters 1-5 Written-By – Alex Paterson, Kristian Anthony Weston*, Orde Meikle, Stuart 10:27 McMillan Majestic 1-6 11:06 Written-By – Alex Paterson, Kristian Anthony Weston*, Martin Glover 1-7 Sticky End 0:49 Orbit Two: Remixes O.O.B.E. (Andy Hughes Mix) 2-1 Remix – Andy Hughes Written-By – Alex Paterson, Kristian Anthony 11:58 Weston*, Thomas Fehlmann Towers Of Dub (Ambient Mix) 2-2 10:14 Written-By – Alex Paterson, Kristian Anthony Weston*, Thomas Fehlmann Blue Room (Ambient At Mark Angelo's Mix) Bass – Jah WobbleMixed By – Alex Paterson, ThrashWritten-By – Alex 2-3 8:57 Paterson, Jah Wobble, Kristian Anthony Weston*, Mad Professor, Miquette Giraudy, Pamela Ross, Steve Hillage Close Encounters (Ambient Mix 1) 2-4 Written-By – Alex Paterson, Kristian Anthony Weston*, Orde Meikle, Stuart 12:49 McMillan Majestic (Mix 1) 2-5 11:52 Written-By – Alex Paterson, Kristian Anthony Weston*, Martin Glover Assassin (Chocolate Hills Of Bohol Mix) 2-6 Remix – Alex PatersonWritten-By – Alex Paterson, Kristian Anthony 14:37 Weston*, Martin Glover Companies, etc. Phonographic Copyright (p) – Universal Island Records Ltd. Copyright (c) – Universal Island Records Ltd. Mixed At – Matrix 4, London Mixed At – Lab Studio, Berlin Recorded At – Sunsonic Recorded At – Mark Angelo Studios Recorded At – Butterfly Studios Published By – Chrysalis Music Ltd. Published By – BMG Music Published By – Gema Published By – Warner/Chappell Music Ltd. Published By – EMI Virgin Music Credits Coordinator [Project Co-ordination For Universal Music Catalogue] – Joe Black Design – Captain, What's The Designers Republic? "Bespoke Star Trek Tailoring, Scotty"* Design [Deluxe Edition Design] – Julien Potter Design [In There Somewhere] – Alex Paterson Design [Pixel Pip Fantasy] – Phil Wolstenholme Design [Somewhere Out There] – Thrash Engineer – Greg Hunter (tracks: 1-1 to 1-7), Thrash (tracks: 1-1 to 1-7) Engineer [Assistant At Butterfly] – Scruff (tracks: 1-1 to 1-7) Engineer [Assistant At Mark Angelo's] – Sarah (tracks: 1-1 to 1-7) Engineer [Assistant At Matrix 4] – Sonia (tracks: 1-1 to 1-7), Tim (tracks: 1-1 to 1-7) Engineer [Assistant At Sunsonic] – Leroy (tracks: 1-1 to 1-7) Liner Notes – Kris Needs Performer [Players] – LX* (tracks: 1-1 to 1-7), Greg Hunter (tracks: 1-1 to 1-7), Guy Pratt (tracks: 1-1 to 1-7), Jah Wobble (tracks: 1-1 to 1-7), Marney Pax (tracks: 1-1 to 1-7), Miquette Giraudy (tracks: 1-1 to 1-7), Orde Meikle (tracks: 1-1 to 1-7), S. S. Hillage* (tracks: 1-1 to 1-7), Stuart McMillan (tracks: 1-1 to 1-7), Thomas Fehlmann (tracks: 1-1 to 1-7), Thrash (tracks: 1-1 to 1-7), Tom Green (tracks: 1-1 to 1-7), Youth (tracks: 1-1 to 1-7) Producer – Lewis Keogh (tracks: 2-6), Steve Hillage (tracks: 1-3), The Orb (tracks: 1-1 to 2-1, 2-3 to 2-6), Thomas Fehlmann (tracks: 2-2), Youth (tracks: 1-6, 2-5) Remastered By [Digitally] – Keiron McGarry Notes ℗ 2007 Universal-Island Records Ltd. © 2007 Universal-Island Records Ltd. A division of Universal Music Operations. Made in the EU. 2007 remaster of The Orb's 1992 classic release. Remastered at Universal Digital Mastering. 8-panel digipak with 20 page booklet housed in translucent plastic slipcase. 1-1 to 1-7: Mixed at Matrix 4 Studio 1-1: Programmed in Berlin. 1-2, 1-6: Programmed at Butterfly. 1-3: Programmed in space at Mark Angelo's. 1-4: Programmed at Sunsonic. 1-5: Programmed at Livingstone. 2-1: Previously unreleased. Mixed at Lab Studios. 2-2: "Towers Of Dub (Ambient Mix)" from 1991's Orb In Dub 12". The version here is ripped from vinyl. Yet, it has been released on the CD compilation Ambient Senses in 1994, although this version is 24 seconds shorter. 2-3: "Blue Room (Ambient At Mark Angelo's Mix)" is drawn from 1996's Mixmag Live! Vol. 9, which was available on both CD and cassette. This track also appeared on The Orb Anthology 2 bootleg. Mixed at Matrix 4. 2-4, 2-5: Previously unreleased. 2-6: "Assassin (Chocolate Hills Of Bohol Mix)" is taken from the Assassin single from 1992. 1-1: Published by Gema/BMG Music Publ. Ltd/Chrysalis Music Ltd. 1-2: Published by Chrysalis Music Ltd. 1-3: Published by Chrysalis Music Ltd./Warner Chappell Music Ltd./EMI Virgin Music Limited 1-4: Published by Gema/Copyright Control/Chrysalis Music Ltd. 1-5: Published by Chrysalis Music Ltd. 1-6: Published by BMG Music Publ. Ltd/Chrysalis Music Ltd. 1-7: Published by Chrysalis Music Ltd. 2-1: Published by Gema/BMG Music Publ. Ltd/Chrysalis Music Ltd. 2-2: Published by Gema/Copyright Control/Chrysalis Music Ltd. 2-3: Published by Chrysalis Music Ltd./Warner Chappell Music Ltd./EMI Virgin Music Limited 2-4: Published by Chrysalis Music Ltd. 2-5: Published by BMG Music Publ. Ltd/Chrysalis Music Ltd. 2-6: Published by Chrysalis Music Ltd. Worldwide release dates are as follows: Japan: 09/30/2007 UK: 10/01/2007 US/Canada: 10/08/2007 The quality of this remastering is disputed. Barcode and Other Identifiers Barcode: 6 00753 00703 7 Other (CD1 Category): 5301280 Other (CD2 Category): 5300704 Rights Society: Biem/Sabam Label Code: LC5064 Matrix / Runout (CD1): 06007 530 128-0 01 * 52001562 Matrix / Runout (CD2): 06007 530 070-4 04 # 52002539 Mastering SID Code (CD1): IFPI LV26 Mastering SID Code (CD2): IFPI L008 Mould SID Code (CD1): IFPI 0116 Mould SID Code (CD2): IFPI 0119 Matrix / Runout (CD1&2 (Inner hub): Made in Germany by EDC Matrix / Runout (CD1&2 (4x): UNIVERSAL (Logo) Other versions Category Artist Title (Format) Label Category Country Year Big Life, Big Life, BLRCD 18, U.F.Orb (CD, WAU! Mr. Modo BLRCD 18, The Orb UK 1992 513 749-2 Album) Recordings, WAU! 513 749-2 Mr. Modo Recordings IMCD 219, U.F. Orb (CD, Island Masters, Inter- IMCD 219, UK & Orb* Unknown 513 749-2 Album, RP) Modo 513 749-2 Europe Island Records, Island Records, WAU! Mr. 513 749-1, U.F.Orb (2xLP, 513 749-1, The Orb Modo Recordings, UK 1992 ILPSD 8033 Album) ILPSD 8033 WAU! Mr. Modo Recordings U.F.Orb (CD, DE 881422 The Orb Delabel DE 881422 France 1992 Album) U.F.Orb (CD, Island Red Label, 162-535 006-2 Orb* Album, RE, 162-535 006-2 US Unknown Inter-Modo UML) Comments about U.F.Orb - The Orb Ventelone It's a shame that some of the bonus tracks sound obviously mastered from vinyl. Related Music albums to U.F.Orb by The Orb The Orb - History Of The Future Pinky 'Piano' Paterson and singers - Banjo sing-a-lomg Michael Paterson & Warner Powers - Terrahawx The Orb - U.F.OFF - The Best Of The Orb The Orb - History Of The Future Part 2 Transit Kings - Early Bath The Orb - The Orb's Adventures Beyond The Ultraworld Orb - U.F.Orb.
Recommended publications
  • Magnetoelastic Beam with Extended Polymer for Low Frequency Vibration Energy Harvesting
    Binghamton University The Open Repository @ Binghamton (The ORB) Mechanical Engineering Faculty Scholarship Mechanical Engineering 2016 Magnetoelastic Beam with Extended Polymer For Low Frequency Vibration Energy Harvesting Alwathiqbellah Ibrahim Binghamton University--SUNY Shahrzad Towfighian Binghamton University--SUNY, [email protected] Mohammad I. Younis Binghamton University--SUNY Quang Su Binghamton University--SUNY Follow this and additional works at: https://orb.binghamton.edu/mechanical_fac Part of the Mechanical Engineering Commons Recommended Citation Ibrahim, Alwathiqbellah; Towfighian, Shahrzad; ounis,Y Mohammad I.; and Su, Quang, "Magnetoelastic Beam with Extended Polymer For Low Frequency Vibration Energy Harvesting" (2016). Mechanical Engineering Faculty Scholarship. 15. https://orb.binghamton.edu/mechanical_fac/15 This Conference Proceeding is brought to you for free and open access by the Mechanical Engineering at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Mechanical Engineering Faculty Scholarship by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. Magnetoelastic beam with extended polymer for low frequency vibration energy harvesting Alwathiqbellah Ibrahima, Shahrzad Towfighianb, Mohammad Younisc, and Quang Sud Binghamton University, 4400 Vestal Parkway E., Binghamton, NY 13902 ABSTRACT Ambient energy in the form of mechanical kinetic energy is mostly considered waste energy. The process of scavenging and storing such energy is known as energy harvesting. Energy harvesting from mechanical vibration is performed using resonant energy harvesters (EH) with two major goals: enhancing the power scavenged at low frequency sources of vibrations, and increasing the efficiency of scavenging energy by increasing the bandwidth near the resonant frequency. Toward such goals, we propose a piezoelectric EH of a composite cantilever beam with a tip magnet facing another magnet at a distance.
    [Show full text]
  • The Cocktail Lab Welcome to D’Amico’S the Continental American Provisions & Craft Bar
    The Cocktail Lab Welcome to D’Amico’s The Continental American Provisions & Craft Bar. The Continental Craft Cocktail Lab focuses on classic, Prohibition-era tipples that have stood the test of time. These cocktails combine simplicity and elegance, using a specific recipe model that include all the components of a balanced cocktail-spirit, citrus, sugar and bitter-resulting in an intriguing overall drinking experience. Our Craft Cocktail menu pays tribute to these time-honored recipes while also reinventing and experimenting with different ingredients and proportions to create new and exciting cocktails. We are pleased to present you our Craft Cocktail menu composed of modified Classics and Continental Originals; hand crafted with precision using fresh juices, house-made bitters, syrups and infusions. We invite you to explore the different flavors and let our staff guide you through a new cocktail experience. -Ross Kupitz THE ALCHEMIST AN ITALIAN IN NYC BLIND TIGER Bulleit Bourbon, Casamigos Reposado Tequila, Out of the Orb Nonino Quintessentia, Carpano Bianco, Rothman & Winter Peach, Cherry, Lime, Angostura, Peach Bitters 15 Orange Bitters BARRY L. CONTINENTAL INNOVATION RD’S CAFÉ CAVALLI DETROIT IN THE 1920’S Death’s Door Gin, St. George Dry Rye Gin, St. Augustine Gin, Cocchi Americano Bianco, Campari, Vya, Continental Green Chartreuse, Carpano Bianco, Grapefruit Bitters Cranberry-Anise Bitters Maraschino, Lime Craft Cocktails GIN 14 BOURBON/WHISKEY PS, IT’S A CHAMPAGNE COCKTAIL CARTHUSIAN LD SAZERAC Tattersall Gin, Grapefruit Crema, Cassis, Sparkling Wine Overholt Rye Whiskey, Yellow Chartreuse, ERIN N. Absinthe, Peychaud’s, Lemon RUM IT’S 11 AM SOMEWHERE HENRY COGSWELL’S WATER St.
    [Show full text]
  • Signumclassics
    143booklet 23/9/08 13:15 Page 1 ALSO AVAILABLE on signumclassics Different Trains Time for Marimba Steve Reich Daniella Ganeva The Smith Quartet SIGCD057 SIGCD064 Signum Classics are proud to release the Smith Quartet’s debut Time for Marimba explores the 20-th century Japanese repertoire for disc on Signum Records - Different Trains. The disc contains three marimba including music by five pre-eminent post-war composers. of Steve Reich’s most inspiring works: Triple Quartet for three string quartets, Reich’s personal dedication to the late Yehudi Menuhin, Duet, and the haunting Different Trains for string quartet and electronic tape. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 143booklet 23/9/08 13:15 Page 3 Electric Counterpoint Electric Counterpoint Steve Reich 1. I Fast [6.51] 2. II Slow [3.22] 3. III Fast [4.33] 4. Tour de France Kraftwerk [5.25] 5. Radioactivity Kraftwerk [5.57] 6. Pocket Calculator Kraftwerk [6.44] 7. Carbon Copy Joby Burgess & Matthew Fairclough [5.14] 8. Temazcal Javier Alvarez [8.05] 9. Audiotectonics III Matthew Fairclough [3.47] Total Timings [49.55] Video: Temazcal [8.09] Powerplant Joby Burgess percussion Matthew Fairclough sound design Kathy Hinde visual artist The Elysian Quartet www.signumrecords.com 143booklet 23/9/08 13:15 Page 5 Electric Counterpoint Tour de France improvising with flute, electric guitar, cello and Carbon Copy Steve Reich (1936-) Ralf Hutter (1946-), Florian Schneider (1947-) vibraphone as the then Organisation, they Joby Burgess (1976-) and Matthew Fairclough I Fast II Slow III Fast and Karl Bartos (1952-) explored the sounds of the modern industrial (1970-) world, setting up their own studio, Kling Klang, Joby Burgess xylosynth Radioactivity which remains at a secret location in Dusseldorf.
    [Show full text]
  • Social Spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay
    Social spatialisation EXPLORING LINKS WITHIN CONTEMPORARY SONIC ART by Ben Ramsay This article aims to briefly explore some the compositional links that exist between Intelligent Dance Music (IDM) and acousmatic music. Whilst the central theme of this article will focus on compositional links it will suggest some ways in which we might use these links to enhance pedagogic practice and widen access to acousmatic music. In particular, the article is concerned with documenting artists within Intelligent Dance Music (IDM), and how their practices relate to acousmatic music composition. The article will include a hand full of examples of music which highlight this musical exchange and will offer some ways to use current academic thinking to explain how IDM and acousmatics are related, at least from a theoretical point of view. There is a growing body of compositional work and theoretical research that draws from both acousmatics and various forms of electronic dance music. Much of this work blurs the boundaries of electronic music composition, often with vastly different aesthetic and cultural outcomes. Elements of acousmatic composition can be found scattered throughout Intelligent Dance Music (IDM) and on the other side of the divide there are a number of composers who are entering the world of acousmatics from a dance music background. This dynamic exchange of ideas and compositional processes is resulting in an interesting blend of music which is able to sit quite comfortably inside an academic framework as well as inside a more commercial one. Whilst there are a number of genres of dance music that could be described in terms of the theories that would normally relate to acousmatic music composition practices, the focus of this article lies particularly with Intelligent Dance Music.
    [Show full text]
  • Orb Is Required for Anteroposterior and Dorsoventral Patterning During Drosophita Oogenesis
    Downloaded from genesdev.cshlp.org on October 1, 2021 - Published by Cold Spring Harbor Laboratory Press orb is required for anteroposterior and dorsoventral patterning during Drosophita oogenesis Lori B. Christerson and Dennis M. McKearin Department of Biochemistry, University of Texas Southwestern Medical Center, Dallas, Texas 75235-9038 USA We describe mutations in the orb gene, identified previously as an ovarian-specific member of a large family of RNA-binding proteins. Strong orb alleles arrest oogenesis prior to egg chamber formation, an early step of oogenesis, whereas females mutant for a maternal-effect lethal orb allele lay eggs with ventralized eggshell structures. Embryos that develop within these mutant eggs display posterior patterning defects and abnormal dorsoventral axis formation. Consistent with such embryonic phenotypes, orb is required for the asymmetric distribution of oskar and gurken mRNAs within the oocyte during the later stages of oogenesis. In addition, double heterozygous combinations of orb and grk or orb and top/DER alleles reveal that mutations in these genes interact genetically, suggesting that they participate in a common pathway. Orb protein, which is localized within the oocyte in wild-type females, is distributed ubiquitously in stage 8-10 orb mutant oocytes. These data will be discussed in the context of a model proposing that Orb is a component of the cellular machinery that delivers mRNA molecules to specific locations within the oocyte and that this function contributes to both D/V and A/P axis specification during oogenesis. [Key Words: RNA binding; oogenesis; dorsoventral; posterior group; polarity; RNA localization] Received October 5, 1993; accepted in revised form January 20, 1994.
    [Show full text]
  • ("The 1994 Agreement") Which Agreement Was Hereinafter Referred to As "The Prior Agreement" Music Agreement&
    IMPORTANT NOTICE TO THE SONGWRITER THIS DOCUMENT CONTAINS AN IMPORTANT AGREEMENT WHICH MAY AFFECT YOUR CAREER ON A LONG TERM BASIS lT IS VITAL THAT YOU UNDERSTAND ITS CONTENTS AND ITS POTENTlAL RAMIFICATIONS YOU MUST THEREFORE SEEK SPECIALIST ADVICE FROM A LAWYER WITH EXPERIENCE OF AGREEMENTS OF THIS KIND BEFORE THE AGREEMENT IS ENTERED INTO WE WILL REQUIRE EVIDENCE THAT YOU HAVE HAD THE BENEFIT OF SUCH ADVICE T HT S A G REEM ENT is made th~day of ~wo thousand and three BETWEEN CHRYSALIS MUSIC LIMITED ofThe Chrysalis Building Bramley Road London WlO 6SP (hereinafter called "the Publisher") ofthe one part and KRISTIAN WESTON (pka "THRASH'') care ofBaxter McKay LLP Solicitors 34 Great James Street London WClN 3HB (hereinafter called "the Writer") of the other part WHEREAS 1. The Writer together with Duncan Alexander Robert Paterson aod Adam Morris entered into an agreement with Publisher on I 7lh May 1994 ("the 1994 Agreement") which agreement was amended (inter a/ia) by way of a further agreement between the same parties on 29th August 1997 ("the 1997 Agreement") The 1994 Agreement (as the same has been varied and amended) is hereinafter referred to as "the Prior Agreement" 2. Pursuant to the Prior Agreement the Writer granted to the Publisher certain rights in relation to the Writers interest in the Big Life Music Works (as defined therein) Such rights included (without limitation) the right to receive royalties otherwise payable to the Writer by Big Life Music Limited ("Big Life") pursuant to the Writers prior agreement with Big Life Music Ltd ("the Big Life Music Agreement") ("the Big Life Royalties") 3.
    [Show full text]
  • 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.
    [Show full text]
  • Annual Report MACK
    2018 Annual Report MACK MARTIN LUTHER KING JR. BRUSH N 4 Initiatives and Affiliates I-75 5 Strategic Direction 6 Letters Changemakers GRAND RIVER 8 Downtown Data of Detroit I-75 In October, Downtown Detroit Partnership joined CASS Business Improvement Zone 10 forces with WXYZ-Channel 7 and on-air talent WOODWARD Carolyn Clifford to produce the first installment of CLIFFORD 14 Parks and Public Spaces the media series called “Changemakers.” 3RD Each story in the series focuses on individuals ADAMS 18 Planning GRAND CIRCUS PARK who are making positive change in Detroit. In the BEACON PARK first story, Racheal Allen, Operations Manager MADISON 20 Safety of the Detroit Business Improvement Zone (BIZ) BAGLEY Ambassadors Program, shared the story of her BROADWAY WOODWARD GRATIOT 22 Detroit Experience Factory personal journey in overcoming obstacles that led to WASHINGTON her work with the BIZ Ambassadors. MICHIGAN AVE. I-375 24 MoGo CAPITOL PARK 3RD STATE GRATIOT 1ST BRUSH 26 Live Detroit M-10 MONROE LAFAYETTE BEAUBIEN 28 Events W LAFAYETTE CAMPUS MARTIUS PARK W FORT 30 Partnerships CADILLAC SQUARE CONGRESS THE WOODWARD ESPLANADE RANDOLPH Point W CONGRESS 32 Members, Funders, BIZ Board LARNED W LARNED of Origin JEFFERSON SPIRIT PLAZA JEFFERSON 34 DDP Board A new plaza, financed by the Edsel B. Ford II Fund, was installed to showcase Detroit’s point of origin and commemorate the 15th anniversary of Campus 35 DDP Staff HART Martius Park. The plaza includes a large stone and a PLAZA plaque highlighting the location and significance of CULLEN PLAZA 35 Financials the point of origin, the place where Detroit’s street (RIVARD PLAZA) system originated.
    [Show full text]
  • The Jams' and the KLF's Invocation of Mu
    CHART MYTHOS The JAMs’ and The KLF’s Invocation of Mu [Received August 18th 2016; accepted September 22nd 2016 – DOI: 10.21463/shima.10.2.07] Jon Fitzgerald <[email protected]> Southern Cross UniversitY Philip Hayward <[email protected]> Kagoshima UniversitY Research Center for the Pacific Islands and UniversitY of TechnologY SYdneY ABSTRACT: The JAMs and The KLF, two overlapping popular music ensembles led by British multi-media performers JimmY CautY and Bill Drummond, were notable for both the success theY had with a batch of singles in the late 1980s and early 1990s and the complex mythologY theY constructed and celebrated in song lYrics, music videos, press releases and short films. KeY to their mYthological project was their association with the fictional lost island-continent of Mu (with the band name JAMs being an abbreviation for ‘Justified Ancients of Mu Mu’). The latter identitY was derived from Robert Shea and Robert Anton Wilson’s Illuminatus trilogY of novels in which the aforementioned “ancients” were a secret brotherhood involved in combatting the rival Illuminati, who originated in Atlantis. As the JAMS’ and KLF’s oeuvres progressed, aspects of Mu and Atlantis were synthesised by CautY and Drummond with elements of other actual and fictional islands. The article traces the initial imagination and representation of Mu in esoteric crYpto-historical literature, its rearticulation in Shea and Wilson’s counter-cultural novels and its invocation and function in CautY and Drummond’s work with The JAMs and The KLF. KEY
    [Show full text]
  • Orbital I the Orb Na Soundedit
    Orbital i The Orb na Soundedit The Orb pojawi się w Łodzi podczas 10. edycji Festiwalu Soundedit. Zespół wystąpi w czwartek, 25 października 2018 r. w Klubie Wytwórnia (ul. Łąkowa 29). Natomiast 26 października (piątek) zagrają: zimnofalowa legenda The Opposition oraz kultowo-klubowa Morcheeba. 27 października (sobota) wystąpią: Mery Spolsky, Nosowska i Giorgio Moroder. Tego samego dnia odbędzie się uroczysta Gala wręczenia nagrody "Człowieka ze Złotym Uchem". The Orb założyli w 1988 r. Alex Paterson oraz Jimmy Cauty, którzy są absolutnymi pionierami ambient house. Ich pomysł na muzykę elektroniczną to spowolnione, bardziej uduchowione rytmy. The Orb wystąpi podczas 10. edycji Festiwalu Soundedit. Zagrają 25 października w łódzkim klubie Wytwórnia poprzedzając Orbital. Przez lata działalności członkowie tylko Alex Paterson przetrwał wszystkie zawirowania składu zespołu. Jego kariera muzyczna rozpoczęła się we wczesnych latach 80. Pracował wtedy jako techniczny formacji Killing Joke, gdzie na basie grał i gra nadal przyjaciel Alexa jeszcze z dzieciństwa - Martin "Youth" Glover (muzyk został nagrodzony statuetką "Człowieka ze Złotym Uchem" w 2012 r.). Po opuszczeniu Killing Joke w 1986 r., Paterson spotkał się Jimmy'ego Cauty, a duet zaczął występować razem jako The Orb w legendarnym londyńskim klubie The Land of Oz. Wspólne muzykowanie w naturalny sposób przerodziło się w nagrywanie płyt. Następnie Patterson i Youth założyli wytwórnię płytową WAU!/Mr. Modo Records. W 1990 r. wydali klasyczny już singiel "Little Fluffy Clouds", na którym wykorzystano fragmenty kompozycji "Electric Counterpoint" Steve'a Reicha. Utwór został odnotowany na 275 pozycji listy "New Musical Express" 500 najważniejszych utworów wszechczasów. W 1991 r. The Orb zarejestrowało swój pierwszy album "The Orb's Adventures Beyond The Ultraworld", na którym znalazł się również wspomniany singiel.
    [Show full text]
  • 7 Process Music and Minimalisms
    PROCESS MUSIC Listen: Arthesis (1973) by Éliane Radigue 1 STILL FROM EINSTEIN ON THE BEACH STEVE REICH infuenced by both tape loops and Ghanian drumming 2009 Pulitzer Prize in Music 2 Music As a Gradual Process (1968) Once the process is initiated, it will continue on its own. The process defnes both the sound characteristics and structure of the piece. The process must be heard as it is happening. The process must be gradual enough to be perceived. The subject of the music is the process, rather than the sound source. Pendulum Music (1968) 3 STILL FROM EINSTEIN ON THE BEACH 4 Rhythm 5 STILL FROM EINSTEIN ON THE BEACH Phasing Poly-meter Poly-tempo 6 STILL FROM EINSTEIN ON THE BEACH Phasing Come Out (1966) is a process piece based on phasing - two identical tape loops running at slightly different speeds. Used a recording of a single spoken line by Daniel Hamm, one of the falsely accused Harlem Six. 7 Phase Music Reich used the phasing process in scores for acoustic instruments as well… Piano Phase (1967). 8 9 10 Music for Eighteen Musicians (1976) Reich expanded his sonic palette with four voices, cello, violin, two clarinets, six percussionists, and four pianos. Big Ensemble with no conductor uses music signaling methods adapted from Ghanian Drumming and Balinese Music Repetitive “tape loop” techniques translated for acoustic instruments 11 The Orb’s 1990 single “Little Fluffy Clouds” sampled Reich’s Electronic Counterpoint and an interview with musician Rickie Lee Jones. Excerpt from “Electric Counterpoint” 12 The Orb’s 1990 single “Little Fluffy Clouds” sampled Reich’s Electronic Counterpoint and an interview with musician Rickie Lee Jones.
    [Show full text]
  • The Orb Cydonia Mp3, Flac, Wma
    The Orb Cydonia mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Cydonia Country: UK Released: 2001 Style: Trip Hop, Experimental, Ambient MP3 version RAR size: 1594 mb FLAC version RAR size: 1127 mb WMA version RAR size: 1746 mb Rating: 4.3 Votes: 311 Other Formats: DXD MIDI AU WMA MMF AHX RA Tracklist Hide Credits Cydonia Once More Bass Guitar – Simon Phillips Lyrics By – Omori*, Paterson*Producer, Mixed By – 1-1 The OrbProducer, Mixed By, Engineer – Andy Hughes Vocals – Aki OmoriWritten- 4:18 By – Omori*, Paterson*, Hughes*, Fehlmann*Written-By [' Cung Dan Dat Nuoc' Sample] – Phan Kim Thanh Promis 1-2 Producer, Mixed By – The OrbProducer, Mixed By, Engineer – Andy Hughes 5:27 Written-By – Paterson*, Hughes* Ghostdancing Lyrics By – Paterson*, Walsh*Producer, Mixed By – The OrbProducer, Mixed By, 1-3 7:29 Engineer – Andy Hughes Vocals, Guitar – Nina WalshWritten-By – Paterson*, Hughes*, Walsh*, Fehlmann* Turn It Down Bass Guitar – Nick BurtonElectric Guitar – Bailey HarperProducer, Mixed By – 1-4 The OrbProducer, Mixed By, Engineer – Andy Hughes Written-By – Paterson*, 8:39 Hughes*, Phillips*Written-By [' Lives In Steel' Sample] – Brian Saunders, Sir Dai Davis* Egnable 1-5 Producer, Mixed By – The Orb Mk II*Written-By – Paterson*, Hughes*, Le 1:58 Gonidec*, Weston*, Fehlmann* Firestar 1-6 Producer – Alex PatersonProducer, Engineer – Simon Phillips Written-By – 0:46 Paterson*, Phillips* A Mile Long Lump Of Lard 1-7 Producer, Mixed By – The OrbProducer, Mixed By, Engineer – Andy Hughes 6:21 Written-By – Paterson*, Hughes*,
    [Show full text]