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World-Class Electronic Music at Flow's Resident Advisor Front Yard
Press release. Free for publication March 22nd 2018, 11:30 EET World-class electronic music at Flow's Resident Advisor Front Yard Flow Festival is known for its stellar electronic music offering, and this year the audience gets to enjoy it at the Resident Advisor Front Yard, among other venues. Come August, Helena Hauff, Moodymann, Gerd Janson, Young Marco, Yaeji, Sammy Dee & Zip, Sonja Moonear and many others will take the stage at Flow. Flow Festival debuted the very popular Resident Advisor Front Yard at last year's festival. This year the stage is back and the cooperation with Resident Advisor, the world's num- ber one online media for electronic music, continues. The area's stripped down industrial atmosphere with its cargo container structures combined with a park-like greenery and gorgeous light design creates an amazing setting for enjoying the club sounds. On Friday Resident Advisor Front Yard will host Sammy Dee and Zip, two legendary Ger- man DJs playing together, Swiss top DJ Sonja Moonear, Finnish electro's ultimate cult duo Imatran Voima's 20th anniversary live performance, Amsterdam-based Young Marco with his original, obscure and fascinating record finds, and Korean-born, but Berlin-based house and techno sensation Peggy Gou. On Saturday, the Resident Advisor stage will be taken over by e.g. Helena Hauff, who reached the top spot on Crack Magazine's TOP 50 DJ list, Detroit In Effect with his Miami bass, techno and hip hop inspired set, as well as Veronica Vasicka, who personifies Mini- mal Wave, the style and the record company. -
Neotrance and the Psychedelic Festival DC
Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival. -
Politizace Ceske Freetekno Subkultury
MASARYKOVA UNIVERZITA FAKULTA SOCIÁLNÍCH STUDIÍ Katedra sociologie POLITIZACE ČESKÉ FREETEKNO SUBKULTURY Diplomová práce Jan Segeš Vedoucí práce: doc. PhDr. Csaba Szaló, Ph.D. UČO: 137526 Obor: Sociologie Imatrikulační ročník: 2009 Brno, 2011 Čestné prohlášení Prohlašuji, ţe jsem diplomovou práci „Politizace české freetekno subkultury“ vypracoval samostatně a pouze s pouţitím pramenů uvedených v seznamu literatury. ................................... V Brně dne 15. května 2011 Jan Segeš Poděkování Děkuji doc. PhDr. Csabovi Szaló, Ph.D. za odborné vedení práce a za podnětné připomínky, které mi poskytl. Dále děkuji RaveBoyovi za ochotu odpovídat na mé otázky a přístup k archivu dokumentů. V neposlední řadě děkuji svým rodičům a prarodičům za jejich podporu v průběhu celého mého studia. ANOTACE Práce se zabývá politizací freetekno subkultury v České Republice. Politizace je v nahlíţena ve dvou dimenzích. První dimenzí je explicitní politizace, kterou můţeme vnímat jako aktivní politickou participaci. Druhou dimenzí je politizace na úrovni kaţdodenního ţivota. Ta je odkrývána díky re-definici subkultury pomocí post- subkulturních teorií, zejména pak Maffesoliho konceptem neotribalismu a teorie dočasné autonomní zóny Hakima Beye. Práce se snaţí odkrýt obě úrovně politizace freetekno subkultury v českém prostředí pomocí analýzy dostupných dokumentů týkajících se teknivalů CzechTek, CzaroTek a pouličního festivalu DIY Karneval. Rozsah práce: základní text + poznámky pod čarou, titulní list, obsah, rejstřík, anotace a seznam literatury je 138 866 znaků. Klíčová slova: freetekno, politizace, dočasná autonomní zóna, DAZ, neo-kmen, neotribalismus, CzechTek, subkultura, post-subkultury ANNOTATION The presented work focuses on the politicization of the freetekno subculture in the Czech Republic. The politicization is perceived in two dimensions. The first dimension is the explicit politicization, which could be represented as the active political participation. -
Amsterdam Dance Event Announces First Confirmed Artists
Amsterdam Dance Event announces first confirmed artists The Amsterdam Dance Event (ADE), the world's largest festival and business conference for electronic music, today announced the first selection of artists for 2017. Among them are Bonobo, Charlotte de Witte, Colin Benders, GAIA, Jeff Mills, Laurent Garnier, Martin Garrix, Nina Kraviz, Orbital, Peggy Gou and Richie Hawtin. The organisers expect to welcome a record breaking 400,000 visitors for the 23rd edition. The five day and night gathering runs from October 17th-21st, 2018 and is the world’s leading festival and conference program, offering an extensive art, film, photography program, alongside music and the latest trends in technology and social good. ADE-director Richard Zijlma states: “We’re almost at the point of reaching the magical 400,000 visitors mark, and we still see lots of opportunities to grow. ADE aims to be a world stage for musical talent and the music industry. With visitors from more than 100 countries now you can confidently claim that Amsterdam is truly the beating heart of the worldwide music industry during ADE, while being at the same time a breading ground for cultural and technological innovation for five days and nights. In addition to the growth of the extensive night program, there is also rapid growth of the ADE Beats program, with the audience for hiphop, bass and beats growing year on year. ADE 2017 featured more than 2,500 artists and 550 speakers in a record breaking 160 locations. In previous communications, ADE’s organisers announced that the opening concert with the Metropole Orchestra, the free city festival ADE Hangover and the ADE Hackathon will return to this year’s program. -
Ian Ion Biography
KEEP MAKING N O I Z E - IAN ION BIOGRAPHY Ian Ion, born in Copenhagen, started getting into music early, playing guitar at first. At fifteen, in the middle of the punk and new wave era, Ian got hold of a Korg synthesizer, started playing around and soon turned towards electronic music. In 1984 he formed the group Russia Heat (as Ian Maria) and released a very successful twelve-inch. Another single followed, and in '87 Ian was invited by Rune B and Dick D'Press to form the group The Overlords. With The Overlords, the threesome devised a very media and music conscious formula, mixing futuristic productions with hard-hitting images. The music, a blend of rock and electronica, was presented to an unsuspecting audience on the Roskilde Festival's Green Stage in the summer of '88, coinciding with the release of The Overlords' first album. After a trip to Goa in 1988, Ian found a new forum for electronic music. And after signing with front-runner techno label, Antler/Subway in Belgium, The Overlords released the classic track Sundown, that brought the band worldwide recognition and gave Ian the chance to work with many different artist including Blue Pearl, Billy Idol, Traci Lords, Sven Väth, Miro and Dr. Baker. Some of these collaborations brought Ian gold disks and chart positions all over the World. Meanwhile, Ian set up his own studio in central Copenhagen called The Grooveyard. Here he met psychedelic outfit Koxbox, who quickly started working with him to produce a very distinct sound that was instantly recognized on the underground scene. -
Richie Hawtin Has Always Been at the Leading Edge of Innovation in All Aspects of Electronic Music. Now More Than Ever, He's S
RICHIE HAWTIN WordsRichie Richie Hawtin and Thomas H Green Photos www.alexanderkoch.com 0123456789 Hawtin 0123456789 new horizons Richie Hawtin has always been at the leading edge of innovation in all aspects R e of electronic music. Now more than ever, he’s searching for fresh horizons and new MM joe pli worlds to conquer. Who better to launch the first ever Mixmag Live? [[1L]] MARCH 2012 RICHIE HAWTIN Plastikman @ Brixton Academy, London from his lively blue eyes. He’s in dance music’s warlock, derive from his family’s move on November premier league these days, an immediately 14 1979 from the Northamptonshire village of recognisable name atop bills at clubs, raves and Middleton Cheney to LaSalle, Ontario, Canada, festivals and someone who is these days recognised when he was nine years old. even in the least likely of places. “My main memory of Middleton Cheney is a R te “I took a vacation on the coast of Morocco with strong sense of extended family, cousins, aunts, S ee my girlfriend,” he says in his relaxed Canadian uncles, a very close-knit family, everyone getting M accent, “walking though streets without pavements, together regularly,” he says. “That’s why the Canadian eule so far away from our world – and someone was like, move was such a big change: becoming isolated, M ‘Are you Richie Hawtin? Can I get your autograph?’.” introverted. The ‘DJ Richie Hawtin’ aspect of me Ann De : He laughs – “But it’s alright, people who come up are reflects what I remember of myself before I went S long term fans, not ‘I know that guy’s face from a to Canada: having all these people around, being boot D 0123456789 n 0123456789 A magazine.’ It’s a nicer sort of fame.” in elementary school, the cool kid in class who CH As Richie Hawtin he is the DJ who brings techno everyone talked to. -
2.+ENG Dossierprensa2018.Pdf
1 THE FESTIVAL 3 LINEUP 5 PLACES 11 ORGANIZATION AND PARTNERS 12 TICKETS 14 GRAPHIC CAMPAIGN 15 PRESS QUOTES 16 CONTACT 17 2 THE FESTIVAL Primavera Sound has always concentrated all its efforts on uniting the latest musical proposals from the independent scene together with already well established artists, while embracing any style or genre in the line up, fundamentally looking for quality and essentially backing pop and rock as well as underground electronic and dance music. Over the last years, the festival has had the most diverse range of artists. Some of those who have been on stage are Radiohead, Pixies, Arcade Fire, PJ Harvey, The National, Nine Inch Nails, Kendrick Lamar, Neil Young, Sonic Youth, Portishead, Pet Shop Boys, Pavement, Echo & The Bunnymen, Lou Reed, My Bloody Valentine, Brian Wilson, Pulp, Patti Smith, Nick Cave, Cat Power, Public Enemy, Franz Ferdinand, Television, Devo, Enrique Morente, The White Stripes, LCD Soundsystem, Tindersticks, Queens of the Stone Age, She- llac, Dinosaur Jr., New Order, Fuck Buttons, Swans, The Cure, Bon Iver, The xx, Iggy & The Stooges, De La Soul, Marianne Faithfull, Blur, Wu-Tang Clan, Phoenix, The Jesus and Mary Chain, Tame Impala, The Strokes, Belle & Sebastian, Antony & the Johnsons, The Black Keys, James Blake, Interpol and Sleater-Kinney amongst many others. Primavera Sound has consolidated itself as the urban festival par excellence with unique characteristics that have projected it internationally as a reference cultural event. The event stands out from other large music events and is faithful to its original artistic idea, keeping the same standards and maintaining the same qua- lity of organization of past years, without resorting to more commercial bands. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Tiesto's Club Life Radio Channel to Launch from Miami Music Week on Siriusxm
Tiesto's Club Life Radio Channel to Launch from Miami Music Week on SiriusXM Live event with Tiesto for SiriusXM listeners to be held at SiriusXM's Music Lounge SiriusXM's Electric Area and BPM channels to broadcast performances and interviews live from Ultra Music Festival NEW YORK, March 20, 2012 /PRNewswire/ -- Sirius XM Radio (NASDAQ: SIRI) announced today that Tiesto's Club Life Radio channel will officially launch from the Ultra Music Festival in Miami on Friday, March 23. (Logo: http://photos.prnewswire.com/prnh/20101014/NY82093LOGO ) The 24/7 commercial-free channel, featuring music created and curated by electronic dance music superstar DJ and producer Tiesto, will launch with an event during Miami Music Week: Tiesto spinning live on air for SiriusXM listeners at the SiriusXM Music Lounge. The special will also feature sets by artists on Tiesto's Musical Freedom Label, including Dada Life and Tommy Trash. The special will air live beginning at 2:00 pm ET on Tiesto's Club Life Radio; and will also air live on Electric Area, channel 52. "I'm really excited to be launching Club Life Radio with SiriusXM," said Tiesto. "They are the perfect partners and it will be an awesome way to showcase the incredible artists on my own label, Musical Freedom, play new material of my own as well as other music that I'm really passionate about." "With the launch of Tiesto's Club Life Radio, we are confirming our role as a leader in dance music," said Scott Greenstein, President and Chief Content Officer, SiriusXM. -
64 BELL Woodson Renick Full.Pdf
Affect-Based Aesthetic Evaluation and Development of Abstractions for Rhythm in Live Coding Renick Bell, Tama Art University February 27, 2015 1 Renick Bell – Affect-Based Aesthetic Evaluation and Development of Abstractions for Rhythm in Live Coding Contents 1 Preface 7 2 Summary 9 3 Introduction 14 3.1 An Outline of this Document . 15 3.2 Definition of Live Coding . 16 3.3 How Live Coding Is Done . 17 3.3.1 Abstractions . 18 3.3.2 Other Tools . 18 3.3.3 Analogies to Traditional Music . 19 3.4 Justification for Live Coding . 20 3.5 Problem Statement . 22 4 Background 24 4.1 A Brief History of Live Coding . 24 4.2 Abstractions . 29 4.2.1 Definition of Abstraction . 35 4.2.2 Layers of Abstraction . 35 2 Renick Bell – Affect-Based Aesthetic Evaluation and Development of Abstractions for Rhythm in Live Coding 4.3 Generators . 37 4.4 Interaction . 39 4.5 Rhythm in Live Coding . 42 4.6 Approaches to Evaluating Live Coding . 44 5 My Works 46 5.1 Music Theory . 46 5.1.1 Rhythm Patterns . 46 5.1.2 Density . 52 5.2 Conductive . 55 5.3 Performances . 57 6 Discussion 63 6.1 A Pragmatic Aesthetic Theory . 63 6.1.1 Justification for Considering Live Coding from the Viewpoint of Aes- thetics . 63 6.1.2 Dewey’s Pragmatic Aesthetics . 68 6.1.3 Dewey and Valuation . 73 6.1.4 A Revised Pragmatic Aesthetics . 75 6.1.5 Affect . 75 3 Renick Bell – Affect-Based Aesthetic Evaluation and Development of Abstractions for Rhythm in Live Coding 6.1.6 Experience Phase . -
Petar Dundov: Biography
Petar Dundov: biography What is techno? Scientists and philosophers have long since pondered the concept of its musical definition since it burst out of Detroit in the mid-‘80s. Is it that notion of the “ghost in the machine”, of soul from electronics that its inventors elicited? Or is it more the repetitive throb and thump of 4/4 beats and slow-burning momentum that the Berghain generation are proponents of? Croatian producer Petar Dundov’s stunning music manages to marry both ideals in the most explosive of fashions. To Dundov, “techno is music that precedes movement. It is dance music, solid enough to carry emotions through the dance floor and abstract enough to be a template for ever”. And indeed his breathtaking productions embody this ethos, serving the inherent function of making your body pulse spontaneously while also challenging your brain with its complex melodies and slow-burning, hypnotic progressions. It’s the antidote for anyone who thinks that techno is about senseless, dull looping. Although maybe the word “techno” doesn’t give enough detail about his style, it’s probably the nearest ballpark to whose principles his music adheres – and he is keen to expand the horizons of what people know and expect of the genre. But it’s that sense of his tracks being alive, forever evolving and expanding and increasing in intensity, which gives his music its unique sound and has seen his work crossover into a myriad of different areas of the global electronic music scene. The last two years have seen his mind-bending single Oasis (played by everyone from Dubfire to Sasha to Ben Klock to Prins Thomas to Timo Maas) take the scene by storm with its intricate, ever-changing melodies, John Digweed snap him up for an epic rework of Alan Fitzpatrick’s Reflections, and Gregor Tresher squeeze a deep, mesmerising remix of his track The Life Wire out of him. -
Combining Live Coding and Vjing for Live Visual Performance
CJing: Combining Live Coding and VJing for Live Visual Performance by Jack Voldemars Purvis A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Science in Computer Graphics. Victoria University of Wellington 2019 Abstract Live coding focuses on improvising content by coding in textual inter- faces, but this reliance on low level text editing impairs usability by not al- lowing for high level manipulation of content. VJing focuses on remixing existing content with graphical user interfaces and hardware controllers, but this focus on high level manipulation does not allow for fine-grained control where content can be improvised from scratch or manipulated at a low level. This thesis proposes the code jockey practice (CJing), a new hybrid practice that combines aspects of live coding and VJing practice. In CJing, a performer known as a code jockey (CJ) interacts with code, graphical user interfaces and hardware controllers to create or manipulate real-time visuals. CJing harnesses the strengths of live coding and VJing to enable flexible performances where content can be controlled at both low and high levels. Live coding provides fine-grained control where con- tent can be improvised from scratch or manipulated at a low level while VJing provides high level manipulation where content can be organised, remixed and interacted with. To illustrate CJing, this thesis contributes Visor, a new environment for live visual performance that embodies the practice. Visor's design is based on key ideas of CJing and a study of live coders and VJs in practice.