Virtual Interview with Virtual Riot
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Hyperdub's Kode9 & the Spaceape Have Left Tired
With their new album ‘Black Sun’, Hyperdub’s Kode9 & the Spaceape have left tired genre pigeonholes behind, switched up their sound and conjured a bright, neon-lit sci-fi parable of futuristic house, fractured breakbeats, cryptic poetry and bleeps, where nothing is as it seems. Infl uenced by JG Ballard, Solaris, UK funky, THX1138 and Prince Far-I, it’s a dystopian funk epic that should see them reach a whole new audience. DJmag fi nds out more… Words: BEN MURPHY cience fi ction and electronic changed, became something other but still enabled through a gauze of Kode9’s gloopy, buzzing music have a chequered life, what would that be like?” wonders Spaceape. computerfunk, living colours that stretch through history together. Both are Spaceape’s oblique, cryptic lyrics, and chattering, often obsessed with the Camberwell, South London-dwelling Glaswegian hypermodern beats, a machine-gun spray of broken future, interwoven with new Kode9 (Steve Goodman) will be familiar to many rhythms and weird house music, ‘Black Sun’ is what technology and look to electronic music fans as the owner of the peerless, happens when two attuned brains with a distinct transport the reader, viewer or always one-step-ahead label Hyperdub (responsible conceptual vision of how they want their music to listener to other worlds. But for launching mavericks like Burial, Ikonika, Zomby sound — and what they want it to stand for — collide. it’s rare that beats ‘n’ and Darkstar into the world), as a globetrotting DJ “We share a lot in common and I guess that’s why, basslines are able to allude to fantasy without and producer who’s played a prominent part in the when we work together, it comes out sounding like it seeming contrived, all naff aliens and X Files recent evolutions and mutations of dance, from does,” says Spaceape on the recording of the album codswallop. -
Synthesizers
Synthesizers Nice to meet you! My name is Oscar and I am here to share some great tips with you! If you just got involved in the electronic music production scene, you might be aware of how important sound design is for you as a music producer. People often say that you have to develop your own signature sound so that you can stand out from the rest. That’s true. The music industry does not want another Martin Garrix or Calvin Harris in the scene, they want something new which is promotable or marketable to attract the listeners. Before you even start learning sound design, you have to know what generates those sounds that we hear in songs that we listen to everyday. They are known as the synthesizers. A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. There are tons of quality software synthesizers out there in the market. - Wavetable Synthesizer Wavetable synthesis is a sound synthesis technique that employs arbitrary periodic waveforms in the production of musical tones or notes. Famous wavetable synthesizers include Sylenth1 by Lennar Digital, Serum by xFer Records and Spire by Reveal Sounds. - FM (Frequency Modulation) Synthesizer Frequency modulation synthesis (or FM synthesis) is a form of audio synthesis where the timbre of a simple waveform (such as a square, triangle, or sawtooth) is changed by modulating its frequency with a modulator frequency that is also in the audio range, resulting in a more complex waveform. Some of the famous synthesizers for FM Synthesis are FM8 by Native Instruments and Sytrus by Image Line. -
Decoding Dubstep: a Rhetorical Investigation of Dubstep╎s Development from the Late 1990S to the Early 2010S
Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep's Development from the Late 1990s to the Early 2010s Laura Bradley Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] 4-25-2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep’s Development from the Late 1990s to the Early 2010s Laura Bradley Florida State University, [email protected] Bradley | 1 THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DECODING DUBSTEP: A RHETORICAL INVESTIGATION OF DUBSTEP’S DEVELOPMENT FROM THE LATE 1990S TO THE EARLY 2010S By LAURA BRADLEY A Thesis submitted to the Department of English in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring 2013 Bradley | 2 The members of the Defense Committee approve the thesis of Laura Bradley defended on April 16, 2012. ______________________________ Dr. Barry Faulk Thesis Director ______________________________ Dr. Michael Buchler Outside Committee Member ______________________________ Dr. Michael Neal Committee Member Bradley | 3 ACKNOWLEDGEMENTS Many people have shaped and improved this project, through all of its incarnations and revisions. First, I must thank my thesis director, Dr. Barry Faulk, for his constant and extremely constructive guidance through multiple drafts of this project—and also his tolerance of receiving drafts and seeing me in his office less than a week later. Dr. Michael Buchler’s extensive knowledge of music theory, and his willingness to try out a new genre, have led to stimulating and thought provoking discussions, which have shaped this paper in many ways. -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
Virtual Riot German Engineering Free Download Virtual Riot
virtual riot german engineering free download Virtual riot. Virtual Riot is a German DJ and producer of electronic dance music , his real name is Christian Valentin Brunn (born July 20, 1994 in Marl ). contents. Career. Virtual Riot has been publishing electronic dance music since 2011. Since the winter semester 2013 he has been enrolled at the Popakademie Baden-Württemberg in the Pop Music Design course with a focus on producing / DJ producing. In 2014 Christian Brunn signed with Disciple Recordings . His EP Chemistry , released in 2016 , was ranked 20th on Billboard’s Dance / Electronic Albums and his EP German Engineering , released in 2018, was ranked 11th on the Billboard Dance / Electronic Digital Song Sales Charts. On April 16, 2019, he announced that he had signed a contract with the American label OWSLA . Brunn has numerous Beatport chart hits, including One For All, All For One with Razihel and Cali Born with Helicopter Showdown. Although Virtual Riot is his main alias, he has also released music under various pseudonyms, such as Project Key Generator or Your Personal Tranquilizer . Brunn produces music of various genres, melodic and bass, dubstep riddim, future bass, electro house and various other styles, as he does not want to commit to one style. With YouTube and SoundCloud he has in each case more than 300,000 subscribers. He had his biggest appearance in Antwerp in 2018 in front of 16,000 spectators. Listen to Virtual Riot's Filthy "Pray For Riddim" VIP. Dubstep don Virtual Riot is here with his latest awe-inspiring effort, dusting the cobwebs off his 2018 track "Pray For Riddim" to deliver a filthy VIP version. -
Free Spire Presets W.A. Production Free Spire Presets
Ultimate List of FREE Resources for Producers Free Spire Presets Do you want some free top notch presets for the famous synthesizer Spire by Reveal Sound? Congratulations! You have come to the right place. Spire is a software polyphonic synthesizer that combines powerful sound engine modulation with flexible architecture and a graphical interface that provides unparalleled usability. Being such an amazing tool for sound design and being used by so many famous music producers around the world, we have decided to gather all the free Spire presets that we could find on the Internet and some presets that are made by W.A. Productions. W.A. Production Free Spire Presets 1 - Free FL Studio Progressive Template [FL Studio Project, Samples, Presets] It’s a free Progressive Trance Template project for FL Studio users that comes with some Spire presets. 2 - What About: FREE Complextro Kits Free Complextro kits that comes with awesome Spire presets. 3 - What About: Free EDM Sylenth1 & Spire Presets 60 free top notch Spire presets made by W.A. Production. 4 - Future House for Sylenth1 and Spire Demo Pack Ultimate presets pack created for all EDM, Future House, Deep House and House freaks out there. 5 - EDM Anthems Free Demo Pack Another must have construction kit pack which comes with Spire Presets for EDM producers out there. 1 6 - EDM Construction Kits Free Demo Pack Biggest sounds and melodies created by the W. A. Production team for all EDM freaks out there. 7 - Future House Kits Free Demo Pack A great new pack stuffed with future house vibes and tools inspired by names such as Oliver Heldens, Don Diablo, Martin Garrix, Burns and others. -
Mark Fisher Goldsmiths, University of London / University of East London (UK)
The Metaphysics of Crackle: Afrofuturism and Hauntology Feature Article Mark Fisher Goldsmiths, University of London / University of East London (UK) Abstract There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro- time of postmodernity. The emergence of a 21st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition. Keywords: Hauntology, Afrofuturism, dub, phonography, rockism Mark Fisher is the author of Capitalist Realism (2009) and the forthcoming Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. His writing has appeared in many publications, including The Wire, Frieze, The Guardian and Film Quarterly. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. Dancecult: Journal of Electronic Dance Music Culture 5(2): 42–55 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2013.05.02.03 Fisher | The Metaphysics of Crackle 43 [In] “Phonograph Blues” . Johnson sings, with too much emotion it seems, about his broken record player. -
Mad Dogs and Englishness Popular Music and English Identities
Mad Dogs and Englishness Popular Music and English Identities EDITED BY LEE BROOKS, MARK DONNELLY AND RICHARD MILLS This ebook belongs to gabriele marino ([email protected]), purchased on 15/10/2019 BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in 2017 Paperback edition published 2019 Copyright © Lee Brooks, Mark Donnelly and Richard Mills, 2017 Cover design: Lee Brooks All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. ISBN: HB: 978-1-5013-1125-3 PB: 978-1-5013-5202-7 ePDF: 978-1-5013-1126-0 ePub: 978-1-5013-1127-7 Names: Brooks, Lee. | Donnelly, Mark, 1967- | Mills, Richard, 1964- Title: Mad dogs and Englishness: popular music and English identities / edited by Lee Brooks, Mark Donnelly and Richard Mills. Description: New York, NY: Bloomsbury Academic, 2017. | Includes bibliographical references and index. Identifi ers: LCCN 2017013601 (print) | LCCN 2017017214 (ebook) | ISBN 9781501311260 (ePDF) | ISBN 9781501311277 (ePUB) | ISBN 9781501311253 (hardcover: alk. -
Various Excision 2015 Mix Compilation Mp3, Flac, Wma
Various Excision 2015 Mix Compilation mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: Excision 2015 Mix Compilation Country: Canada Released: 2015 Style: Dubstep, Drum n Bass, Electro House, Hip Hop, Glitch MP3 version RAR size: 1350 mb FLAC version RAR size: 1645 mb WMA version RAR size: 1746 mb Rating: 4.2 Votes: 579 Other Formats: WMA VOC AHX VQF FLAC AA XM Tracklist Hide Credits Disc One Again & Again 1 –Excision, Dion Timmer 3:45 Featuring – Matt Rose International Anthem 2 –Flux Pavilion 3:59 Featuring – Doctor Burial (Moody Good Remix) 3 –Yogi 4:01 Remix – Moody Good 4 –Excision, Downlink Robo Kitty 4:10 Power Now (Funtcase Remix) 5 –Dirtyphonics 5:14 Featuring – Matt RoseRemix – Funtcase King Is Back (Snails & Ghastly VIP) 6 –Snails 3:05 Featuring – Big AliRemix – Ghastly , Snails 7 –Jauz, Ephwurd Rock The Party 3:55 Night Shine (Bear Grillz Remix) 8 –Excision, The Frim Featuring – Luciana CaporasoRemix – Bear 3:07 Grillz 9 –501 Kill Your Boss 3:27 Nightmare 10 –Virtual Riot, Autodrive 4:14 Featuring – Splitbreed 11 –Excision Shadowflame 4:00 12 –Snails Stomp 4:18 13 –Cookie Monsta Mosh Pit VIP 3:13 14 –Far Too Loud Invader 4:41 15 –Excision, Space Laces Push It Up 3:50 16 –Excision Codename X 3:21 Dirty Vibe (DJ Snake & Aazar Remix) 17 –Skrillex Featuring – CL , Diplo, G-DragonRemix – 3:36 Aazar, DJ Snake 18 –Datsik, Bear Grillz Drop That Low 3:35 Tear The Roof Out (AFK Remix) 19 –Nostalgia 4:00 Remix – AFK Disc Two 1 –Excision Live Wire 4:12 2 –Trolley Snatcha, Modestep Sing 5:31 –LeKtriQue, Black -
BURIAL: I Was Brought up on Old Jungle Tunes and Garage Tunes Had
NIGHT LIGHT #1 — EDITED BY FRED CAVE, WERKPLAATS TYPOGRAFIE WERKPLAATS — JUNE 2014 FRED CAVE, NIGHT LIGHT #1 — EDITED BY BURIAL INTERVIEW WITH MARK FISHER play us ‘Metropolis’, Reinforced, Paradox, DJ Hype, Foul DECEMBER 2007 – UNEDITED TRANSCRIPT Play, DJ Krystl, Source Direct and techno tunes. When you’re younger that stuff blows your mind. But then they, MARK FISHER: Vocals were always central to your they didn’t lose interest in it, but they got on with life and sound, but they have become even more important I was stuck for years. And I would still buy the tunes, and on this album than they were on your first LP. my whole life was going on missions to buy tunes and try and impress ‘em by putting together compilations I BURIAL: I was brought up on old jungle tunes and thought that they would like. I thought I was holding a garage tunes had lots of vocals in but me and my brothers lighter up for that stuff, I’d cane Jaffa Cakes and make loved intense, darker tunes too, I found something I compilations, slip the odd garage tune in. And even when could believe in... but sometimes I used to listen to the I started making tunes I was trying to impress them, I still ones with vocals on my own and it was almost a secret am, but I think they hate my new tunes though. When thing. I’d love these vocals that would come in, not proper I grew up I thought everyone would be into jungle and singing but cut-up and repeating, and executed coldly. -
Washington and Lee University Department of Music—Polyphony
Polyphony Washington and Lee University Department of Music Summer 2015 턂 턂 FROM THE DEPARTMENT HEAD Welcome to the first edition of Polyphony, the news Polyphony magazine of the Department of Music at Washington and Lee Head, Department of Music University. Just as independent musical lines come together to Gregory Parker form a complex and interesting composition, the Department of Music brings individuals together in ways that enhance their Administrative Assistant unique talents and, at the same time, equips them to contribute to the rich diversi Mary Peterson ty of musical and cultural expression. Contributing Writers and Editors In this issue we will recap the highlights of the recently completed 2014-2015 academic year. You will read about internationally-acclaimed performers who came Jonathan Chapman Cook, Christopher Dobbins, to campus, student accomplishments, alumni news and faculty activities. You will Timothy Gaylard, Nate Leath, Shane Lynch, meet our new Director of Instrumental Activities, learn about improvements to Les Nicholas, Gregory Parker, Byron Petty, Wilson Hall and find out about new curricular developments. We will also look Graham Spice, Mark Taylor, Terry Vosbein, ahead to the exciting Concert Guild and SonoKlect events of the coming year, the Shuko Watanabe Petty University Singers tour to Ireland, ensemble concerts, faculty and student recitals Contributing Photographers and alumni events. In May, the music faculty completed a ten-year strategic plan for the Depart Patrick Hinely ’73, Lacey Lynch, ment of Music that was sixteen months in the making. We have charted a bold Gregory Parker, Kevin Remington, course that we believe will enhance W&L’s reputation as a great institution for mu Steven M.