Aaron Spectre «Lost Tracks» (Ad Noiseam, 2007) | Reviews На Arrhythmia Sound

Total Page:16

File Type:pdf, Size:1020Kb

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. Albums, places 67-100 12/26/2017 The best in 2017 - singles and EP 24.12.2017 Best albums of 2016: places 1 through 33 12/30/2016 powered by CACKLE http://www.arrhythmiasound.com/en/review/aaron-spectre-lost-tracks-ad-noiseam-2007.html 2/3.
Recommended publications
  • Electro House 2015 Download Soundcloud
    Electro house 2015 download soundcloud CLICK TO DOWNLOAD TZ Comment by Czerniak Maciek. Lala bon. TZ Comment by Czerniak Maciek. Yeaa sa pette. TZ. Users who like Kemal Coban Electro House Club Mix ; Users who reposted Kemal Coban Electro House Club Mix ; Playlists containing Kemal Coban Electro House Club Mix Electro House by EDM Joy. Part of @edmjoy. Worldwide. 5 Tracks. Followers. Stream Tracks and Playlists from Electro House @ EDM Joy on your desktop or mobile device. An icon used to represent a menu that can be toggled by interacting with this icon. Best EDM Remixes Of Popular Songs - New Electro & House Remix; New Electro & House Best Of EDM Mix; New Electro & House Music Dance Club Party Mix #5; New Dirty Party Electro House Bass Ibiza Dance Mix [ FREE DOWNLOAD -> Click "Buy" ] BASS BOOSTED CAR MUSIC MIX BEST EDM, BOUNCE, ELECTRO HOUSE. FREE tracks! PLEASE follow and i will continue to post songs:) ALL CREDIT GOES TO THE PRODUCERS OF THE SONG, THIS PAGE IS FOR PROMOTIONAL USE ONLY I WILL ONLY POST SONGS THAT ARE PUT UP FOR FREE. 11 Tracks. Followers. Stream Tracks and Playlists from Free Electro House on your desktop or mobile device. Listen to the best DJs and radio presenters in the world for free. Free Download Music & Free Electronic Dance Music Downloads and Free new EDM songs and tracks. Get free Electro, House, Trance, Dubstep, Mixtape downloads. Exclusive download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Click here to download New Electro & House Best of Party Mashup, Bootleg, Remix Dance Mix Maximise Network, Eric Clapman and GANGSTA-HOUSE on Soundcloud Follow +1 entry I've already followed Maximise Music, Repost Media, Maximise Network, Eric.
    [Show full text]
  • The Pomegranate Cycle
    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
    [Show full text]
  • Erik Truffaz, Murcof, Talvin Singh
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Jeudi 16 avril Erik Truffaz/Murcof /Talvin Singh Dans le cadre du cycle Répéter/varier II Du mardi 14 au vendredi 17 avril 2009 Jeudi avril 16 | Ce concert est difusé en direct sur les sites www.citedelamusique.fr et www.arte.tv. Il y restera disponible gratuitement pendant un mois. Erik Truffaz/Murcof /Talvin Singh /Talvin Erik Truffaz/Murcof Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Cycle Répéter/varier II DU MARdi 14 AU VENDREdi 17 AVRIL Le jazz acoustique tourne enen rond.rond. En unsorcier mot, ilde se l’échantillonnage, répète. Tel est le verdict MARDI 14 AVRIL, 20H Eden unnombreux mot, il se jeunes répète. musiciens Tel est d’aujourd’hui.le guitariste Comment David en Torn finir avec avec son ses MERCREDI 15 AVRIL, 20H letrajectoires verdict de trop nombreux prévisibles, jeunes ses harmoniesescouade bien calées, d’improvisateurs ses rythmiques de musiciensà la ligne ? d’aujourd’hui.Comment sortir Comment de ce son daté,choc trop (Tim quadrillé Berne, Craig par la Taborn tradition ? et Aufgang & PC Pieces enComment finir avec s’échapper ses trajectoires de l’inévitable trop schémaTom R « thèmeainey) propose et variation » ? avec Prezens prévisibles,Comment changer ses harmonies de beat bien pour trouverde de mélanger nouveaux motifs mondes répétitifs, ? Telles Première partie : calées,sont les ses questions rythmiques auxquelles à la ligne ? toute unetextures nouvelle électroniques, génération tente ambiances de Aufgang Commentrépondre en sortir branchant de ce son l’improvisation daté, hypnotiques sur le courant et électronique.
    [Show full text]
  • Musical Inspirations Posted on 01 November 2011
    Musical Inspirations Posted on 01 November 2011. By Laura Di Orio. While each choreographer seems to have his/her own process during the creation of a work, most seem to share a common driving force: music. Whether the choreography stems from a piece of music or a choreographer needs to search for music to suit the movement’s needs, the importance of the relationship between dance and its accompanying music in undeniable. Here, Dance Informa speaks with a few choreographers about their musical inspirations and processes. What inspires you musically? What is it about a certain piece of music that moves you to choreograph? Christopher Liddell and dancers. Photo by Bill Hebert Christopher Liddell, theater dance choreographer www.cliddellchoreography.com First, I’ve got to feel it in the gut, whether it’s because the lyrics spin a great tale or the music itself paints a robust picture. A great arrangement is key, containing at least three ‘acts’ or movements: plot intro, exposition and/or conflict, resolution. And I like when it’s catchy enough for the audience to hum on their way out. Lar Lubovitch, choreographer, Lar Lubovitch Dance Company www.lubovitch.org It’s not totally conscious, but I’m certainly looking for something that makes me need to dance and that triggers my inner eye. My response to music is in effect making an action painting for the music. What comes first for you – the choreography or the music? Lydia Johnson, choreographer, Lydia Johnson Dance www.lydiajohnsondance.org I think that’s changed. It used to be music first, but in the last four or five years what started to happen was whatever I’m working on is kind of coming of its own accord and is growing independently from music.
    [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]
  • Claudia Richter, Photos/Layout: Claudia Richter
    No Fear of a blank interview By Uwe Häberle And Claudia Richter, Photos/Layout: Claudia Richter During the „Fear of a blank planet“ autumn tour 2007 Steven Wilson was ready to answer the questions of the editors from www.Voyage-PT.de on 13th Novem- ber 2007 at the „LKA“ in Stuttgart, despite the fact that there is no massive promotion effect for the band to be expected from a fan website as e.g. from re- spective music magazines or radio stations. Mr. Wilson presented himself as a deeply grateful conversational partner. And if he enjoyed the questions than the coverage of his answers exceeded the questions many times over. Steven allo- wed fascinating insights into his intellectual world, which significantly influences his creativity. And en passant he proved that he still is a down-to-earth person. There is probably nothing a blank planet“ tour in au- take several pictures. Our Well prepared we came on better for a diehard Porcu- tumn 2007 we retried our main goal was to conduct the dot to the „LKA“ to fire pine Tree fan (beside the miss out chance again and an interview that steps be- our questions at Steven. live events of course ) as to started a new inquiry at the yond the usual questions Not an easy undertaking, ask Steven Wilson exactly record label „Roadrunner“. and that addresses as- as it all causes a great those questions that you „Roadrunner“ arranged pects on which Steven, in excitement on ourselves always wanted to ask. Du- an interview appointment our humble opinion, never that we had to keep under ring the Blackfield tour in on the 13th of November commented on.
    [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]
  • Quantifying Music Trends and Facts Using Editorial Metadata from the Discogs Database
    QUANTIFYING MUSIC TRENDS AND FACTS USING EDITORIAL METADATA FROM THE DISCOGS DATABASE Dmitry Bogdanov, Xavier Serra Music Technology Group, Universitat Pompeu Fabra [email protected], [email protected] ABSTRACT Discogs metadata contains information about music re- leases (such as albums or EPs) including artists name, track While a vast amount of editorial metadata is being actively list including track durations, genre and style, format (e.g., gathered and used by music collectors and enthusiasts, it vinyl or CD), year and country of release. It also con- is often neglected by music information retrieval and mu- tains information about artist roles and relations as well sicology researchers. In this paper we propose to explore as recording companies and labels. The quality of the data Discogs, one of the largest databases of such data available in Discogs is considered to be high among music collec- in the public domain. Our main goal is to show how large- tors because of its strict guidelines, moderation system and scale analysis of its editorial metadata can raise questions a large community of involved enthusiasts. The database and serve as a tool for musicological research on a number contains contributions by more than 347,000 people. It of example studies. The metadata that we use describes contains 8.4 million releases by 5 million artists covering a music releases, such as albums or EPs. It includes infor- wide range of genres and styles (although the database was mation about artists, tracks and their durations, genre and initially focused on Electronic music). style, format (such as vinyl, CD, or digital files), year and Remarkably, it is the largest open database containing country of each release.
    [Show full text]
  • Ambient Music Guide's Best Albums of 2015 Part 2 - Chillout Mix
    Ambient Music Guide's Best Albums of 2015 Part 2 - Chillout Mix START TRACK TITLE ARTIST ALBUM/E.P. (click to buy the release online) (m/s) 00’00 Expansion Ascendant Ætheral Code (Synphaera Records) 07’52 Terra Firma Pan Electric & Ishq Elemental Journey (Pink Lizard Music) 13’53 Nature Boy Another Fine Day A Good Place to Be (Interchill Records) 18’36 Luftrum 8 Motionfield Luftrum (Carpe Sonum Records) 25’37 Are We Learning Yet? Shakta (Seb Taylor) Collected Downtempo vol. 2 (Tribal Shift Records) 29’30 Are You Connectome? The Dread Plastination of Otis T Fernbank (thedreadband.com) 34’19 Messianic Hibernation (Seb Taylor) Collected Downtempo vol. 3 (Tribal Shift Records) 38’53 You Are The Stars Kick Bong A Waking Dream (Cosmicleaf) 43’33 Point Of View Kurt Stenzel Jodorowsky's Dune soundtrack (Cinewax) 45’55 World 1 Si Matthews Tales of Ten Worlds (Carpe Sonum) 54’46 Sea Surfaces Martin Nonstatic Granite (Ultimae Records) 60’42 Unfamiliar Shadows Twilight Archive Mood Chain (Electrophonogram) 65’39 Nespole Floating Points Elaenia (Luaka Bop) 70’14 Strands Ascendant Various - Ambient Online vol. 4 (Ambientonline.org) 77’40 Gonglaing Ebauche Adrift (Invisible Agent Records) 85’32 Voila St Germain St Germain (Nonesuch/Parlophone) 91’31 The Beginning + Viola Abakus + St Germain The Beginning/Dreamer e.p. (Modus Recordings) 97’28 Last Train To Lhasa (ambient Banco de Gaia Last Train To Lhasa: 20th Anniversary Edition (Disco mix) Gecko) 101’52 Last Train To Lhasa Banco de Gaia Last Train To Lhasa: 20th Anniversary Edition (Disco (Astropilot remix) Gecko) 107’14 Dreamer Abakus The Beginning/Dreamer e.p.
    [Show full text]
  • Free Music and Trash Culture: the Reconfiguration of Musical Value Online
    University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 1-1-2010 Free music and trash culture: The reconfiguration of musical value online Andrew M. Whelan University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Whelan, Andrew M., Free music and trash culture: The reconfiguration of musical value online 2010, 67-71. https://ro.uow.edu.au/artspapers/234 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] WHELAN Free Music and Trash Culture: The Reconfiguration of Musical Value Online Andrew Whelan, University of Wollongong The unprecedented quantity of music now freely available online appears to have peculiarly contradictory consequences for the ‘value’ of music. Music appears to lose value insofar as it is potentially infinitely reproducible at little cost: claims have been made that music thereby loses economic value; and perhaps affective value also. In the first case, music is not worth what it once was because copyright owners are no longer being paid for it. In losing income (the argument goes), less money will be invested in future music production: music therefore becomes less ‘good’ (culturally and aesthetically valuable). In the second case, it is suggested that online superabundance renders music worth less in that personal engagements with it are transient, frivolous, and ad hoc: nobody has time to listen to all that music, and the surfeit implies that musical value thereby depreciates.
    [Show full text]
  • Breakcore.Pdf 2/1/2007 2:39:28 PM
    DCR115-Girls Love Breakcore.pdf 2/1/2007 2:39:28 PM Daly City Records Presents: “ MOCHIPET - GIRLS LOVE BREAKCORE ” ARTIST: Mochipet Mochipet is back, again? CD PreRelease: 02/14/2007 At first sight one might think that this album was dedicated to CD In-Stores: 04/03/2007 breakcore and the girls who love it. With guests like Rotator, Doormouse, Aaron Spectre, and Otto Von Schirach it is sure a Vinyl: 03/06/2007 GIRLS good contender for it. However, one listen through and you will TITLE: Girls Love Breakcore notice that is much more. Keeping in the same Mochipet BREAKCORE CAT-NO: DCR115 traditions of the past, this album is an exploration into the field of FORMAT: CD gabber, noise, jazz, metal, hip-hop, and waffles. There is even some TITLE: Girls Love Breakcore toy piano and Chinese Opera thrown in for good measure. This is the record for the imaginary world where justin timberlake has CAT-NO: DCR116 four legs and moshes to alien flapper b-girls at an underground FORMAT: 12” rave in china during the roaring 20’s. Be prepared! Rotator C Otto Von Schirach Weasel Walter (peaceoff) M (ipecac / schematic) (flying luttenbacher) Headmaster to France’s infamous record labels: Y Otto von Schirach is an IDM and Composer and instrumentalist Weasel Walter PEACEOFF, KAMIKAZE CLUB, DAMAGE, MUTANT breakcore artist from Miami, Florida of (born Christopher Todd Walter in Rockford, IL) SNIPER, BANG A RANG, and RUFF, Mr. Kill, Rotator, CM Cuban/German decent. His style is founded the band The Flying Luttenbachers in Frank Tavakoli, is a master of breakcore and many more sporadic and noisy than other Chicago in 1991 with late jazz cult figure Hal other forms of fucked up weird electronic dance MY artists in the genre, and has a leaning Russell.
    [Show full text]
  • BEATPORT LAUNCHES NEW ORGANIC HOUSE / DOWNTEMPO GENRE CATEGORY a New Space Dedicated to Deeper, Slower, and More Meditative Shades of House Music
    FOR IMMEDIATE RELEASE BEATPORT LAUNCHES NEW ORGANIC HOUSE / DOWNTEMPO GENRE CATEGORY A new space dedicated to deeper, slower, and more meditative shades of house music. BERLIN, DE - JUNE 23, 2020 - Beatport, the world’s number one destination for electronic ​ ​ ​ music, has announced that it has expanded its deep genre classifications even further, with the launch of Organic House / Downtempo. Cultivated by acts such as Sabo, BLOND:ISH, Britta ​ ​ ​ Arnold, Shawni, Bedouin, Nicola Cruz, Oliver Koletzki, Lazarusman, Namito, Amonita, Behrouz, Amine K, Mira, Acid Pauli, M.A.N.D.Y., Damian Lazarus, YokoO, KMLN, Pachanga Boys, Monolink, and many more, the slow and radiant sound of this particular style ​ of dance music has emerged from desert-dwelling parties to a place of global fandom that warrants its own space on Beatport. The genre includes storied labels such as Do Not Sit On ​ ​ The Furniture, Sol Selectas, Crosstown Rebels, Desert Dwellers, Get Physical, RADIANT., Hoomidaas Records, Pipe & Pochet, and Bercana Music. The new genre coalesced around feedback Beatport received from its prominent labels, artists, distributors, and the Organic House / Downtempo community. Whereas previously this genre was spread across Afro House, Deep House, Electronica, Melodic House & Techno, this music now has its own space in which to thrive and showcase its many talented artists and often long-running labels. Speaking about the launch, Raphael Pujol, Beatport Head of Curation, stated, “We are ​ ​ thrilled to give the extra visibility to this music through the creation of the Organic House / Downtempo genre classification. This unique sound was scattered over 3 or 4 genres and made it very difficult for customers to find the music they love, and to give the amount of exposure they deserve to labels and artists.” Echoing Pujol are a few of the genre’s leading artists, like Acid Pauli "Up to now it has been ​ ​ quite challenging to find this kind of music here.
    [Show full text]