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Cooked in the Lab Dark, Techy D&B Trio Ivy Lab Break Bad on LP P.108
MUSIC DECEMBER ON THE DANCEFLOOR This month’s tracks played out p. 92 GO LONG! The long-players listened to p. 108 WILD COMBINATION The most crucial compilations p. 113 Cooked In The Lab Dark, techy d&b trio Ivy Lab break bad on LP p.108 djmag.com 091 HOUSE REVIEWS BEN ARNOLD [email protected] melancholy pianos, ‘A Fading Glance’ is a lovely, swelling thing, QUICKIES gorgeously understated. ‘Mayflies’ is brimming with moody, building La Fleur Fred P atmospherics, minor chord pads Make A Move Modern Architect and Burial-esque snatches of vo- Watergate Energy Of Sound cal. ‘Whenever I Try To Leave’ winds 9.0 8.5 it up, a wash of echoing percus- The first lady of Berlin’s A most generous six sion, deep, unctuous vibrations Watergate unleashes tracks from the superb and gently soothing pianos chords. three tracks of Fred Peterkin. It’s all This could lead Sawyer somewhere unrivalled firmness. If great, but ‘Tokyo To special. ‘Make A Move’’s hoover Chiba’, ‘Don’t Be Afraid’, bass doesn’t get you, with Minako on vocals, Hexxy/Andy Butler ‘Result’’s emotive vibes and ‘Memory P’ stand Edging/Bewm Chawqk will. Lovely. out. Get involved. Mr. Intl 7. 5 Various Shift Work A statuesque release from Andy Hudd Traxx Now & Document II ‘Hercules & Love Affair’ Butler’s Mr. Then Houndstooth Intl label. Hexxy is his new project Hudd Traxx 7. 5 with DJ Nark, founder of the excel- 7. 5 Fine work in the lent ‘aural gallery’ site Bottom Part four of four in this hinterland between Forty and Nark magazine. -
Dub's Dark Legacy in Drum 'N' Bass Culture Christodoulou, C
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Darkcore: Dub’s Dark Legacy in Drum ‘n’ Bass Culture Christodoulou, C. This is a copy of an article published in the Dancecult: Journal of Electronic Dance Music Culture, 7 (2), 2015. The final definitive version is available online at: https://dx.doi.org/10.12801/1947-5403.2015.07.02.12 © 2015 The Author(s). This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Darkcore: dub’s dark legacy in drum ‘n’ bass culture Chris Christodoulou, London South Bank University, London The popular use of the terms “dark” and “darkness” in bass-oriented electronic dance music (EDM) styles, such as grime, dubstep and jungle/drum ‘n’ bass, points to the recontextualisation of the racial category of blackness on the one hand and the dark uncanniness of post-industrial urban space on the other. Acknowledging the influence of dub on a continuum of bass-oriented EDM styles in the UK, I focus on drum ‘n’ bass to show how “dark” discourses within the dub diaspora can be defined as a critical response, firstly, to the ethnocentric demonisation of blackness as the post-colonial Other of modernity, and secondly, to the destructive conditions created by the political economy of the contemporary city where rapidly changing relationships between class, gender and technology determine access to wealth and social prosperity1. -
Sounding Dark ICA Panel, 9Th September 2016
Sounding Dark ICA Panel, 9th September 2016 Darkcore: dub’s dark legacy in Drum ‘n’ Bass Culture Key Themes ü Drum ‘n’ Bass Darkness ü Dark Otherness ü Dark Futures Talk based on: Christodoulou, Chris (2015) ‘Darkcore: Dub’s Dark Legacy in Drum ‘n’ Bass Culture’, (Dancecult: Journal of Electronic Dance Music Culture, Echoes from the Dub Diaspora, (2015, 7(2)). Drum ‘n’ Bass Darkness Discourses of darkness within jungle/ drum ‘n’ bass culture provide an affirmative critical response to: • The demonisation of blackness as the post-colonial Other of modernity; • the difficult conditions created by the political economy of the contemporary city where rapidly changing relationships between class, gender and technology determine access to wealth and social prosperity. Drum ‘n’ Bass Darkness • Jungle, or ‘jungle-techno’, developed during 1992 as the main soundtrack to London’s inner city rave scene. • Jungle/drum ‘n’ bass: a mainly instrumental genre, based on a combination of powerful bass sounds and hip-hop-style break- beats (‘breaks’) that are either synthesised or digitally sampled from existing sources (funk records; sample packs, etc.); • Breaks looped (repeated) and accelerated to around 174 BPM – around twice the speed of dub tracks. Drum ‘n’ Bass Darkness Jungle’s mainstream popularity peaked in the mid-1990s; Maintains a continued presence as part of global EDM culture in the 2010s, and in the pop charts in radio-friendly form; Its formation can be considered a postcolonial response to the deleterious social effects of globalisation -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Hitchhiker's Guide 2018
HITCHHIKER'S GUIDE 2018 Constellation Code of Conduct ............1 Rules & Policies ..................................3 Art Grants ...........................................8 Map ....................................................10 Theme Camps ...................................12 What Where When .............................15 1 CONSTELLATION CODE OF CONDUCT While we strive to keep the number of hard and fast rules that we have to a minimum, certain types Pegasus Farm Campground 480 Arnold Hill Road of behavior serve only to harm other participants or the event itself. Radical inclusion means that Elkins, WV 26241 strangers are welcome to participate in our community; it does not mean tolerance of harmful behaviors.This document identifies behaviors and actions that will not be tolerated at Playa del Fuego, Constellation or other events sponsored by FirePony Creative Society. A copy of the FPCS Code of Conduct will be on-site ing basic safety rules is not acceptable. An exam- for FirePony Creative Society sponsored events in ple would be spinning fire without a safety after the Ranger and First Aid notebooks or other relevant being reminded not to do so. locations. In addition, participants of any FirePony • Entering the event without invitation. All partic- Creative Society-sponsored events are expected to ipants, volunteers, Board Members, landowners, WHAT IS CONSTELLATION? comply with all federal, state, and local laws. (The etc. gain entry to our events by purchasing tick- terms herein are used in a commonsense manner ets, or as a vendor under contract with FirePony Constellation is a new regional Burning Man Event to be held early Fall at Pegasus Campground and not necessarily as legal terms of art.) Creative Society Any other entry will be considered in Elkins, West Virginia, run by FirePony Creative Society. -
Data Specifications and Collection
Ref. Ares(2018)2835897 - 31/05/2018 D2.1 – Data specifications and collection May 31st, 2018 Author/s: Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor/s: Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Deliverable Lead Beneficiary: CERTH This project has been co-funded by the HORIZON 2020 Programme of the European Union. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use, which may be made of the information contained therein. Multimodal Predictive Analytics and Recommendation Services for the Music Industry 2 Deliverable number or D2.1 – Data specifications and collection supporting document title Type Report Dissemination level Public Publication date 31-05-2018 Author(s) Manos Schinas (CERTH), Symeon Papadopoulos (CERTH) Contributor(s) Yiannis Kompatsiaris (CERTH), Frédéric Notet (MMAP), Quimi Luzón (BMAT), Geoffroy Peeters (IRCAM), Rebecka Sjöström (PGM), Daniel Johansson (SYB), Tommy Vaudecrane (BN) Reviewer(s) Julien Perret (BN), Maria Stella Tavella (MMAP), Vasilis Papanikolaou (ATC), Daniel Molina (BMAT) Keywords music data, data collection, API, database, music platforms, broadcast data, social media, music content, music knowledge base, data management Website www.futurepulse.eu CHANGE LOG Version Date Description of change Responsible V0.1 05/04/2018 First deliverable draft version, table of contents Manos Schinas V0.5 27/04/2018 -
One Night in Hackney”: from Punk Kids to Cyberdogs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 18 | 2019 Guerre en poésie, poésie en guerre “One Night in Hackney”: From Punk Kids to Cyberdogs Clara Kunakey Electronic version URL: http://journals.openedition.org/miranda/18685 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Clara Kunakey, « “One Night in Hackney”: From Punk Kids to Cyberdogs », Miranda [Online], 18 | 2019, Online since 17 April 2019, connection on 25 April 2019. URL : http://journals.openedition.org/ miranda/18685 This text was automatically generated on 25 April 2019. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “One Night in Hackney”: From Punk Kids to Cyberdogs 1 “One Night in Hackney”: From Punk Kids to Cyberdogs Clara Kunakey 1 This is the story of a young girl who visited London for the first time. In 2017 she moved to the south of England and happened to live in the Borough of Hackney in the east end of the English capital city. There, she came to share a flat with a thirty-eight-year-old independent DJ nicknamed Tago. The man, as an eccentric sheriff from The Legend of Kaspar Hauser1, taught her the art of DJing and introduced her to techno music. Quickly, the girl got interested in this genre and started to develop her own library and skills in mixing. At some point, he made her listen to the local anthem of “One Night in Hackney”2 . -
From Punk Kids to Cyberdogs
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 18 | 2019 Guerre en poésie, poésie en guerre “One Night in Hackney”: From Punk Kids to Cyberdogs Clara Kunakey Electronic version URL: http://journals.openedition.org/miranda/18685 DOI: 10.4000/miranda.18685 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Clara Kunakey, ““One Night in Hackney”: From Punk Kids to Cyberdogs”, Miranda [Online], 18 | 2019, Online since 17 April 2019, connection on 16 February 2021. URL: http://journals.openedition.org/ miranda/18685 ; DOI: https://doi.org/10.4000/miranda.18685 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “One Night in Hackney”: From Punk Kids to Cyberdogs 1 “One Night in Hackney”: From Punk Kids to Cyberdogs Clara Kunakey 1 This is the story of a young girl who visited London for the first time. In 2017 she moved to the south of England and happened to live in the Borough of Hackney in the east end of the English capital city. There, she came to share a flat with a thirty-eight- year-old independent DJ nicknamed Tago. The man, as an eccentric sheriff from The Legend of Kaspar Hauser1, taught her the art of DJing and introduced her to techno music. Quickly, the girl got interested in this genre and started to develop her own library and skills in mixing. At some point, he made her listen to the local anthem of “One Night in Hackney”2. -
Bjorni Patrik.Pdf (663.8Kt)
SSION FE & O FR PR A M S T E YRKESHÖGSKOLAN G P R O F E SS I S ON E S & P RO GR EXAMENSARBETE Författare: Patrik Mikael Björni Utbildningsprogram och ort: Musik, Jakobstad Inriktningsalternativ/Fördjupning: Musikpedagog Handledare: Kim Ramstedt, Kaj Ahlsved Titel: Amen-break. Från ett samplat trumbreak till nya trumkomp i drum’n’bass-musik. ____________________________________________________________ Datum 5.5.2012 Sidantal 27 Bilagor 0 ____________________________________________________________ Sammanfattning Drum’n’bass är en genre inom elektronisk dansmusik som utvecklades under 1990-talet. Genren kännetecknas av rytmiskt komplexa trumkomp. Syftet med detta arbete är att ge en uppfattning av trumkomp, vilka kallas för breakbeats i drum’n’bass-musik. Med hjälp av litteratur har jag forskat i historien om drum’n’bass för att ge en uppfattning om hur genren utvecklades och dess bakgrund. Breakbeats är skapade genom att sampla och bearbeta trumkomp från äldre funk-och soullåtar med elektroniska verktyg. Ett fyra takters ”trumsolo” från låten Amen Brother, av soulgruppen The Winstons (1969), är ett av de mest samplade trumbreaken inom drum’n’bass-musiken. Detta trumbreak kallas för amen-break. Med nio stycken transkriptioner av trumkomp skapade av amen break har jag undersökt hur rytmiken i detta trumbreak bearbetats för att skapa nya trumkomp i drum’n’bass-musik. Transkriptionerna visar att även om rytmiken i de transkriberade breakbeatsen är väldigt olika, har de även andra gemensamma element förutom att de är skapade av samma trumbreak. ____________________________________________________________ Språk: Svenska Nyckelord: elektronisk musik, drum’n’bass, trumkomp, breakbeat, transkription, hermeneutik, musik, trummor ____________________________________________________________ BACHELOR’S THESIS Author: Patrik Mikael Björni Degree Programme: Music, Jakobstad Specialization: Music pedagogue Supervisors: Kim Ramstedt, Kaj Ahlsved Title: Amen break. -
Owner's Manual When the “AMP” Indicator Is Lit (P
Easy Operation List Whole Patch Edit Modify value by larger steps [SHIFT] + [VALUE] (p. 16) Confirm Current Settings [SHIFT] + knob (p. 55) LCD Contrast [EDIT] -> BANK [8] (p. 168) Set Envelope Depth [ENVELOPE/LFO1/EFFECTS] + [VALUE] Tuning [EDIT] -> BANK [8] -> PAGE [>] (p. 168) when the “ENVELOPE” indicator is lit (p. 59, 64, 88, 92) Set LFO1 Waveform [ENVELOPE/LFO1/EFFECTS] + [VALUE] Effects when the “LFO1” indicator is lit (p. 72) Set Filter Type [FILTER/AMP/PITCH] + [VALUE] Effects On/Off (Master) [SHIFT] + [FX ON/OFF] (p. 101) when the “FILTER” indicator is lit (p. 61) Select Multi Effects Type [ENVELOPE/LFO1/EFFECTS] + [VALUE] Set Random Pan Switch [FILTER/AMP/PITCH] + [VALUE] when the “Effects” indicator is lit (p. 106) Owner's Manual when the “AMP” indicator is lit (p. 67) Set Coarse Tune [FILTER/AMP/PITCH] + [VALUE] Pattern Play This owner's manual consists of the following 14 chapters and supplementary information. when the “PITCH” indicator is lit (p. 57) Before using this unit, care- Move to the last measure [FWD] + [BWD] (p. 31) Save Patches [SHIFT] + [WRITE] in PATCH page -> Specify destination (p. 82) Before you read this manual, you should read through the Quick Start manual so you're famil- Move to the first measure [BWD] + [FWD] (p. 31) fully read the sections enti- iar with the basic operation of the unit. All Mute [SHIFT] + [PART MUTE] (p. 32) Turntable tled: “USING THE UNIT Monitor [PART MUTE] + PART [1]–[R] (p. 32) Turntable On/Off [SHIFT]+Modulation lever (p. 47) Mute Exchange [PART MUTE] + [PART SELECT] (p. 32) SAFELY” and “IMPOR- Chapter 1 An Overview of the JX-305 Quickly listen to next pattern [SHIFT] + PAGE [<] [>] during Pattern playback (p. -
Dancing in the Technoculture Hillegonda C Rietveld
Dancing in the Technoculture Hillegonda C Rietveld To be published in: Simon Emmerson (Ed)(2018) The Routledge Research Companion To Electronic Music: Reaching Out With Technology. London and New York: Routledge Abstract This chapter will address a transnational network of relationships within electronic dance music in the context of the machine aesthetic of techno. It will be shown that a sense of a global music scene is nevertheless possible. Beyond historically shaped post-colonial and socio-economic links that underpin a range of global popular cultural forms, the techno aesthetic arguably responds to, and inoculates against, a sense of post-human alienation and a dominance of electronic communication and information technologies of the technoculture. Accompanied by a form of futurism, techno scenes embrace the radical potential of information technologies in a seemingly deterritorialised manner, producing locally specific responses to the global technoculture that can differ in aesthetics and identity politics. In this sense, the electronic dance music floor embodies a plurality of competing “technocracies”. Introduction This chapter addresses transnational, yet locally definable, electronic dance music culture as it engages with and intervenes globalising experiences of urbanised life, and the digitally networked information and communication technologies that characterise and dominate what is currently know as “the technoculture” (Shaw, 2008; Robins and Webster, 1999; Constance and Ross, 1991). Electronic dance music, as it developed -
Transcript to Accompany the Crate Digging: the Influence of De Underground Recods Podcast
Transcript to accompany the Crate Digging: The Influence of De Underground Recods Podcast. Part of Newham Heritage Month, May 2021. Katherine Green [0:01] De Underground Records was 18 Sebert Road, Forest Gate. It was both a recording studio and a record shop and operated from 1991 until 1996. Owned by Mike the Underground, his brother Cool Hand Flex, Uncle 22 and DJ Randall. It was an independent business which was one of the cornerstones in the development of the UK hardcore, jungle and drum and bass scene. The wider De Underground family included A-Sides, MC Fats, Marly Marl and Wacko. De Underground became synonymous with this sound and many well-known releases, including Lennie Di Ice's We Are IE, Uncle 22 to Six Million Ways to Die, and Cool Hand Flex's Melody Madness. As part of Newham Heritage Month, the project Crate Digging: The Influence of De Underground Records by Rendezvous Projects aims to celebrate, share and preserve the cultural history of this Forest Gate institution. The following starts by introducing life in Forest Gate in the 80s, musical and cultural influences and then goes on to hear about the shop, studio, protagonists, making music and its legacy. It includes extracts from oral histories from A-Sides, Anita Boghal, Cool Hand Flex, DJs Chef, Hype, Marly Marl, Randall, Skie Warlock and Wax. MC's Fats, Navigator and Rage; Sherry Morrison, Eddie Otchere, Paul Romane, Uncle 22 and Laura Young. For more information, please see Newham Heritage Month and Rendezvous Projects websites. Eddie Otchere [1:25] What sort of endeared me to Forest Gate was a really was a beautiful East London village and a beautiful community.