DOCSLIB.ORG

Une Étude De L'intelligent Dance Music : Analyse Du Style Rythmique D'aphex Twin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Une Étude De L'intelligent Dance Music : Analyse Du Style Rythmique D'aphex Twin Une étude de l’Intelligent Dance Music : analyse du style rythmique d’Aphex Twin Mémoire Anthony Papavassiliou Maîtrise en musique - musicologie Maître en musique (M.Mus.) Québec, Canada © Anthony Papavassiliou, 2014 RÉSUMÉ L‘Intelligent Dance Music (IDM) est un courant de musique électronique semi- expérimental qui a émergé au Royaume-Uni au début des années 1990. Souvent considérée comme une musique cérébrale peu propice à la danse, l‘IDM n‘avait jamais fait l‘objet de l‘étude nécessaire à la justification d‘un tel jugement. Les analyses formelles menées ici sur des œuvres représentatives d‘Aphex Twin, pionnier et figure principale du courant, montrent une démarche sophistiquée de complexification rythmique qui a pour effet de solliciter activement l‘attention de l‘auditeur. D‘une part, l‘asymétrie organisée aux différents niveaux du rythme provoque des phénomènes d‘ambigüité et de rupture sur le plan de la perception métrique. D‘autre part, l‘abondance d‘ensembles microrythmiques, parfaitement synchronisés avec la structure métrique, produit un dense et précis enrichissement du rythme opéré sous forme d‘agréments gestuels ou texturaux. Ces particularités musicales résultent d‘un lot de choix prédominants définissant le style de l‘artiste et, par la même occasion, fournissent les premiers éléments d‘une définition de l‘IDM basée sur des caractéristiques formelles. iii ABSTRACT Intelligent Dance Music (IDM) is a semi-experimental genre of electronic music that emerged in UK at the turn of the 1990s. Even though IDM has been described as a kind of cerebral music not appropriate for dancing, it has not been considered worth of musicological study until now. This thesis presents formal analyses of pieces by pioneering act and main IDM figure Aphex Twin: listeners‘ attention is notably drawn by Aphex Twin's sophisticated approach and complex rhythmic structures. On the one hand, the different rhythmic layers are characterized by an organized asymmetry leading to ambiguity and rupture in the domain of metrical perception. On the other, the large amount of microrhythmic elements, all perfectly synchronized to the metric structure, contribute to greatly enrich rhythm through gestural and textural material. These musical characteristics, that are the result of a number of choices peculiar to the artist‘s style, open the way to a formal definition of IDM. v TABLE DES MATIÈRES Résumé .............................................................................................................................................................. iii Abstract ............................................................................................................................................................... v Table des matières ............................................................................................................................................ vii Liste des tableaux .............................................................................................................................................. ix Liste des figures ................................................................................................................................................. xi Sigles et abréviations ....................................................................................................................................... xiii Remerciements ................................................................................................................................................. xv Introduction......................................................................................................................................................... 1 Chapitre I – Considérations terminologiques .................................................................................................... 17 1. La structure rythmique : rythme et mètre ............................................................................................ 17 1.1. Définition .................................................................................................................................... 17 1.2. Groupement et mètre ................................................................................................................... 19 1.3. Accentuation et syncope ............................................................................................................. 20 1.4. Dissonance métrique, polyrythmie et polymétrie........................................................................ 26 1.5. Ambigüité et indétermination du mètre ...................................................................................... 27 2. Concepts relatifs aux microdurées ....................................................................................................... 29 2.1. Microson ..................................................................................................................................... 29 2.2. Microrythme ............................................................................................................................... 30 2.3. Microtiming ................................................................................................................................ 32 3. Terminologie relative aux éléments de la structure rythmique ............................................................ 33 3.1. Pulsation et unité ......................................................................................................................... 34 3.2. Temps, tactus et tempo................................................................................................................ 34 Chapitre II – Trois analyses d‘œuvres .............................................................................................................. 37 1. Analyse de « To Cure a Weakling Child » .......................................................................................... 37 1.1. Introduction ................................................................................................................................. 37 1.2. Présentation de la méthodologie ................................................................................................. 37 1.3. Analyse ....................................................................................................................................... 49 1.4. Synthèse ...................................................................................................................................... 62 2. Analyse de la forme préliminaire de la forme de « Cock/Ver10 » ...................................................... 63 2.1. Introduction ................................................................................................................................. 63 2.2. Analyse de la forme : ambigüité et indétermination ................................................................... 63 2.3. Synthèse : détermination de la forme préliminaire ..................................................................... 69 3. Analyse transphonographique de « Cock/Ver10 » .............................................................................. 71 3.1. Introduction ................................................................................................................................. 71 3.2. Caractéristiques stylistiques de « Cock/Ver10 » ......................................................................... 71 3.3. Analyse de « Cock/Ver10 » (Aphex Twin, 2001) ....................................................................... 72 3.4. Analyse de l‘hyperphonographe ................................................................................................. 77 3.5. Synthèse ...................................................................................................................................... 84 Conclusion ........................................................................................................................................................ 87 Annexe 1 : Figures ............................................................................................................................................ 91 Annexe 2 : Discographie ................................................................................................................................... 93 Annexe 3 : Documents divers ........................................................................................................................... 95 Bibliographie .................................................................................................................................................... 97 vii LISTE DES TABLEAUX Tableau 1 – Tableau des fréquences d‘évènements par seconde à 84 bpm (B) en fonction de la subdivision du temps exprimée par ces derniers (A). ............................................................................................................... 40 Tableau 2 – Tableau des multiples de fréquences (tempo et évènements) en fonction du tempo. .................... 43 Tableau 3 – Exemple extrait du tableau de transcription réalisé pour l‘analyse de « To Cure A Weakling Child ». ............................................................................................................................................................. 44 Tableau 4 – Tableau de la forme préliminaire de l‘œuvre à partir des concepts d‘ambigüité et d‘indétermination. ............................................................................................................................................
Load more

Recommended publications
  • Highland Games. Kilts Galore. Help: Graduating
    THEFriday, October 10, 2014 - Volume 61.5 14049 Scenic Highway,BAGPIPE Lookout Mountain, Georgia, 30750 www.bagpipeonline.com Burning at Help: Graduating and the Stage Highland Games. Kilts Galore. Headed into Law BY KRISITE JAYA BY MARK MAKKAR Burning at the Stage took place Life after Covenant can either be on Thursday (10/3) night. The exciting or foreboding, but hear- Overlook was crowded with music ing from people who are already performances, friends huddling there always helps in lighting the around straw-bales, and marshmal- path that is to come. During the lows roasting atop fire pits. Alumni Law Career Panel, organized by who happened to be in town for the Center for Calling & Career, Homecoming contributed to the students listened to three Covenant festivities, exchanging squeals and alumni who have pursued work in hugs with familiar faces. The event, the field of law since graduating. according to the Senior Class Dr. Richard R. Follet introduced Cabinet member Sam Moreland, the meeting by stating that “Cov- “has taken different forms over the enant has a list of 60 graduates that years, but tends to have the ele- have gone into some kind of law ments of music, the Overlook, fire after graduating from Covenant.” and s’mores, and relaxed fellowship Three of them were able to make as commonalities.” it to the Panel. Josh Reif, John Many have long associated the Huisman, and Pete Johnson shared event with the Homecoming tradi- stories about when they were at tion, but Burning at the Stage is an BYGARRET SISSON Around 150 people attended was featured as the announcer.
    [Show full text]
  • Physicality of the Analogue by Duncan Robinson BFA(Hons)
    Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player.
    [Show full text]
  • Press 1 April 2021 the Famous Artists Behind History's Greatest Album
    CNN Style The famous artists behind history's greatest album covers Leah Dolan 1 April 2021 The famous artists behind history's greatest album covers Throughout the 20th-century record sleeves regularly served as canvases for some of the world's most famous artists. From Andy Warhol's electric yellow banana on the cover of The Velvet Underground & Nico's 1967's debut album, to the custom-sprayed Banksy street art that fronted Blur's 2003 "Think Tank," art has long been used to round out the listening experience. A new book, "Art Sleeves," explores some of the most influential, groundbreaking and controversial covers from the past forty years. "This is not a 'history of album art' type book," said the book's author, DJ and arts writer DB Burkeman over email. Instead, he says the book is a "love letter" to visual art and music culture. For the 45th anniversary of "The Velvet Underground & Nico" in 2012, British artist David Shrigley illustrated a special edition reissue cover for Castle Face Records. Image: David Shrigley/Rizzoli Featured records span genres and decades. Among them are Warhol's cover for The Rolling Stones' 1971 album "Sticky Fingers," featuring the now-famous close-up of a man's crotch (often assumed, incorrectly, to be frontman Mick Jagger in tight jeans) as well as an array of seminal covers designed by graphic designer Peter Saville, co-founder of influential Manchester-based indie label Factory Records. Despite having relatively little art direction experience under his belt, Saville was behind iconic covers such as Joy Division's "Unknown Pleasures" (1979), depicting the radio waves emitted by a rotating star, and the brimming basket of wilting roses -- a muted reproduction of a 1890 painting by French artist Henri Fantin-Latour -- that fronted New Order's "Power, Corruption & Lies" (1983).
    [Show full text]
  • 2006 TRASH Regionals Round 07 Tossups
    2006 TRASH Regionals Round 07 Tossups 1. It appears twice in the e.e. cummings poem “little ladies more”. It also appears in the Tennessee Williams play A Streetcar Named Desire when Blanche DuBois asks it of Mitch. Seemingly awkward because of its use of the formal pronoun, it means, “Do you want to sleep with me (tonight)?” For ten points, give this phrase re-introduced to a new generation by Mya, Lil’ Kim, Pink, and Christina Aguilera in their 2001 version of “Lady Marmalade”. Answer: Voulez-vous coucher avec moi (ce soir)? 2. In Need for Speed: Most Wanted it’s called “Speed Breaker”, and is most often used to dodge roadblocks. In GUN, it’s called “Quick Draw.” The earliest example of it is probably in the 1980 Epyx game Rescue at Rigel. In Star Wars: Jedi Academy, you can get it using “Force Speed,” by killing Reborn Jedis, or typing the cheat code “there is no spoon.” For ten points, give the common name for the ability in video games to move at normal speed while the rest of the game is slowed down, most famously used in the Max Payne and, predictably, Matrix videogames. Answer: bullet time (Prompt on “slow motion” or equivalents. Note for itinerant cheaters: the cheat code is really “thereisnospoon”) 3. His favorite movie may be Divine Secrets of the Ya-Ya Sisterhood, while he cried a lot when he paid to see Godfather III. His first name may be Marion, but his full name has also been reported to be William Williams.
    [Show full text]
  • UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music
    UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno .........................................
    [Show full text]
  • Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews На Arrhythmia Sound
    2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound Home Content Contacts About Subscribe Gallery Donate Search Interviews Reviews News Podcasts Reports Home » Reviews Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) Submitted by: Quarck | 19.04.2008 no comment | 198 views Aaron Spectre , also known for the project Drumcorps , reveals before us completely new side of his work. In protovoves frenzy break­grindcore Specter produces a chic downtempo, idm album. Lost Tracks ­ the result of six years of work, but despite this, the rumor is very fresh and original. The sound is minimalistic without excesses, but at the same time the melodies are very beautiful, the bit powerful and clear, pronounced. Just want to highlight the composition of Break Ya Neck (Remix) , a bit mystical and mysterious, a feeling, like wandering somewhere in the http://www.arrhythmiasound.com/en/review/aaron-spectre-lost-tracks-ad-noiseam-2007.html 1/3 2/22/2018 Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews на Arrhythmia Sound dusk. There was a place and a vocal, in a track Degrees the gentle voice Kazumi (Pink Lilies) sounds. As a result, Lost Tracks can be safely put on a par with the works of such mastadonts as Lusine, Murcof, Hecq. Tags: downtempo, idm Subscribe Email TOP-2013 Submit TOP-2014 TOP-2015 Tags abstract acid ambient ambient-techno artcore best2012 best2013 best2014 best2015 best2016 best2017 breakcore breaks cyberpunk dark ambient downtempo dreampop drone drum&bass dub dubstep dubtechno electro electronic experimental female vocal future garage glitch hip hop idm indie indietronica industrial jazzy krautrock live modern classical noir oldschool post-rock shoegaze space techno tribal trip hop Latest The best in 2017 - albums, places 1-33 12/30/2017 The best in 2017 - albums, places 66-34 12/28/2017 The best in 2017.
    [Show full text]
  • Easter Eggs: Hidden Tracks and Messages in Musical Mediums
    Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Easter Eggs: Hidden Tracks and Messages in Musical Mediums Jonathan Weinel, Darryl Griffiths and Stuart Cunningham Creative & Applied Research for the Digital Society (CARDS) Glyndŵr University Plas Coch Campus, Mold Road, Wrexham, LL11 2AW, Wales +44 1978 293070 {j.weinel | Griffiths.d | s.cunningham}@glyndwr.ac.uk ABSTRACT the programmers’ office, in the style of the video game Doom [2]. The hidden game features credits and digital ‘Easter eggs’ are hidden components that can be found in images of the programmers. It is accessed by carrying computer software and various other media including out a particular series of actions on the 95th row of a music. In this paper the concept is explained, and various blank spreadsheet upon opening Excel. examples are discussed from a variety of mediums in- cluding analogue and digital audio formats. Through this discussion, the purpose of including easter eggs in musi- cal mediums is considered. We propose that easter eggs can serve to provide comic amusement within a work, but can also serve to support the artistic message of the art- work. Concealing easter eggs in music is partly depend- ent on the properties of the chosen medium; vinyl records Figure 1. Screenshots from the ‘hall of tortured souls’, in Mi- may use techniques such as double grooves, while digital crosoft Excel 95. formats such as CD may feature hidden tracks that follow long periods of empty space. Approaches such as these This paper will consider the purpose and realisation of and others are discussed.
    [Show full text]
  • Artificial Intelligence, Ovvero Suonare Il Corpo Della Macchina O Farsi Suonare? La Costruzione Dell’Identità Audiovisiva Della Warp Records
    Philomusica on-line 13/2 (2014) Artificial Intelligence, ovvero suonare il corpo della macchina o farsi suonare? La costruzione dell’identità audiovisiva della Warp Records Alessandro Bratus Dipartimento di Musicologia e Beni Culturali Università di Pavia [email protected] § A partire dai tardi anni Ottanta la § Starting from the late 1980s Warp Records di Sheffield (e in seguito Sheffield (then London) based Warp Londra) ha avuto un ruolo propulsivo Records pushed forward the extent nel mutamento della musica elettronica and scope of electronic dance music popular come genere di musica che well beyond its exclusive focus on fun non si limita all’accompagna-mento del and physical enjoinment. One of the ballo e delle occasioni sociali a esso key factors in the success of the label correlate. Uno dei fattori chiave nel was the creative use of the artistic successo dell’etichetta è stato l’uso possibilities provided by technology, creativo delle possibilità artistiche which fostered the birth of a di- offerte dalla tecnologia, favorendo la stinctive audiovisual identity. In this formazione di un’identità ben ca- respect a crucial role was played by ratterizzata, in primo luogo dal punto the increasing blurred boundaries di vista audiovisivo. Sotto questo profilo between video and audio data, su- un ruolo fondamentale ha giocato la bjected to shared processes of digital possibilità di transcodifica tra dati transformation, transcoding, elabora- audio e video nell’era digitale, poten- tion and manipulation. zialmente soggetti agli stessi processi di Although Warp Records repeatedly trasformazione, elaborazione e mani- resisted the attempts to frame its polazione. artistic project within predictable Nonostante la Warp Records abbia lines, its production –especially mu- ripetutamente resistito a ogni tentativo sic videos and compilations– suggests di inquadrare il proprio progetto arti- the retrospective construction of a stico entro coordinate prevedibili, i suoi consistent imagery.
    [Show full text]
  • DVD Program Notes
    DVD Program Notes Part One: Thor Magnusson, Alex Click Nilson is a Swedish avant McLean, Nick Collins, Curators garde codisician and code-jockey. He has explored the live coding of human performers since such Curators’ Note early self-modifiying algorithmic text pieces as An Instructional Game [Editor’s note: The curators attempted for One to Many Musicians (1975). to write their Note in a collaborative, He is now actively involved with improvisatory fashion reminiscent Testing the Oxymoronic Potency of of live coding, and have left the Language Articulation Programmes document open for further interaction (TOPLAP), after being in the right from readers. See the following URL: bar (in Hamburg) at the right time (2 https://docs.google.com/document/d/ AM, 15 February 2004). He previously 1ESzQyd9vdBuKgzdukFNhfAAnGEg curated for Leonardo Music Journal LPgLlCe Mw8zf1Uw/edit?hl=en GB and the Swedish Journal of Berlin Hot &authkey=CM7zg90L&pli=1.] Drink Outlets. Alex McLean is a researcher in the area of programming languages for Figure 1. Sam Aaron. the arts, writing his PhD within the 1. Overtone—Sam Aaron Intelligent Sound and Music Systems more effectively and efficiently. He group at Goldsmiths College, and also In this video Sam gives a fast-paced has successfully applied these ideas working within the OAK group, Uni- introduction to a number of key and techniques in both industry versity of Sheffield. He is one-third of live-programming techniques such and academia. Currently, Sam the live-coding ambient-gabba-skiffle as triggering instruments, scheduling leads Improcess, a collaborative band Slub, who have been making future events, and synthesizer design.
    [Show full text]
  • Hábitas Y Contra Hábitas Revox Micah P. Hinson Escribe Finisterrae En Dvd Festival Del Milenio Ron Barceló Desalia Nerd Boyfr
    hasta el 8 de enero en el número 13 de la Micah nos hable de un personaje perdido: él todavía mejor. Una semana en República Avda. América (Madrid). H mismo ha tenido un pasado terrible. Pero Dominicana con todos los gastos pagados y Paul, el protagonista, el pobre chico con la mayor fiesta en la que jamás hayas perdido, encuentra la esperanza y la estado. Sol, ron, diversión y un montón de PUZZLES motivación… y las halla en la escritura. gente te están esperando. Si has visto el Virginia Arroyo + David Muñoz LA GIRA DE BEST COAST Con marcadas influencias de Jack Kerouac y vídeo de la edición del año pasado, Charles Bukowski además de la entenderás a la perfección de lo que te Mucho antes de que este verano empezara a inconfundible huella de Hinson, “No Voy A hablo. La palabra es hedonismo, y tú sonar “Crazy for You”, ya estábamos Salir De Aquí” se ha lanzado antes en puedes vivir esta experiencia única. Para deseando este momento. Ese sabor a sal, el castellano que en inglés, así que corran a hacerlo, sólo necesitas subir un vídeo, una olor a Nivea y la sensación de que aún nos por su edición de Alpha Decay y júzguenla foto o un post de Facebook a la página de queda arena en los zapatos. Eso es lo que por ustedes mismos antes de que lo haga Ron Barceló Desalia. Eso sí, debe aparecer ya había conseguido Bethany Cosentino y lo The New York Times. H una botella de ron de esta marca y debe que ha reafirmado al anunciarse ahora que inmortalizar un momento inolvidable para 6 la banda que lidera, Best Coast, es la ti.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Thehard DATA Spring 2015 A.D
    Price: FREE! Also free from fakes, fl akes, and snakes. TheHARD DATA Spring 2015 A.D. Watch out EDM, L.A. HARDCORE is back! Track Reviews, Event Calendar, Knowledge Bombs, Bombast and More! Hardstyle, Breakcore, Shamancore, Speedcore, & other HARD EDM Info inside! http://theharddata.com EDITORIAL Contents Editorial...page 2 Welcome to the fi rst issue of Th e Hard Data! Why did we decided to print something Watch Out EDM, this day and age? Well… because it’s hard! You can hold it in your freaking hand for kick drum’s L.A. Hardcore is Back!... page 4 sake! Th ere’s just something about a ‘zine that I always liked, and always will. It captures a point DigiTrack Reviews... page 6 in time. Th is little ‘zine you hold in your hands is a map to our future, and one day will be a record Photo Credits... page 14 of our past. Also, it calls attention to an important question of our age: Should we adapt to tech- Event Calendar... page 15 nology or should technology adapt to us? Here, we’re using technology to achieve a fun little THD Distributors... page 15 ‘zine you can fold back the page, kick back and chill with. Th e Hard Data Volume 1, issue 1 For a myriad of reasons, periodicals about Publisher, Editor, Layout: Joel Bevacqua hardcore techno have been sporadic at best, a.ka. DJ Deadly Buda despite their success (go fi gure that!) Th is has led Copy Editing: Colby X. Newton to a real dearth of info for fans and the loss of a Writers: Joel Bevacqua, Colby X.
    [Show full text]