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Angriff Der Melancholie Malen, Anti-Kriegs-Demos, Fußball: Für Musik Haben Die Einst So Coolen Futuristen Von Massive Attack Nur Noch Wenig Zeit
Angriff der Melancholie Malen, Anti-Kriegs-Demos, Fußball: Für Musik haben die einst so coolen Futuristen von Massive Attack nur noch wenig Zeit. VON CHRISTOPH DALLACH Dummerweise hat das neue Album jede nur mögliche Werbung nötig. Denn so hoch die Erwartungen an das einstige Pop-Avantgarde-Genie wa- rfolg im Pop ist auch immer eine Frage des ren, so bitter werden sie nun enttäuscht: neun Moll-Electro-Hop-Balladen, Timings. Und was das betrifft, hat das pa- die grau und bedeutungsschwanger ohne jeden Pep dahinwummern. Auch Ezifistische britische Musiker-Kollektiv, das die üblichen Gastsänger wie Reggae-Veteran Horace Andy und die kurz- sich ganz martialisch Massive Attack nennt, kei- haarige Heulsuse Sinéad O’Connor helfen da nichts mehr. ne glückliche Hand. Als Anfang der neunziger Der Aussetzer der Bristoler Elektro-Stars zeigt, wie schwierig es ist, im Mu- Jahre die erste Single seines Debüt-Albums ãBlue sikgeschäft über mehrere Jahre innovativ zu bleiben. Das ist umso trauri- Lines“ erschien, verscheuchten die Amerikaner ger, als es der ganzen Branche derzeit an Innovationen mangelt. Dabei gerade Saddam Hussein aus Kuweit. Die Musiker waren Massive Attack mal eine Institution, die Ma§stäbe für die moderne beschlossen, zeitweilig die Attacke aus ihrem Na- Popmusik gesetzt hat. Ende der achtziger Jahre, hervorgegangen aus der men zu streichen. HipHop-DJ-Künstler-Gang Wild Bunch in der britischen Hafenstadt Bristol, In diesem Monat erscheint mit ã100th Window“ hatten Massive Attack prägenden Anteil an der Entstehung des so genann- (Virgin) das vierte Werk von Massive Attack, wie- ten TripHop. Einem Sound, der von gebremsten HipHop-Beats und ge- der gibt’s Krach zwischen dem Chef der Iraker pflegter Melancholie bestimmt wurde und bis heute in Cafés, Clubs und und den Vereinigten Staaten von Amerika, und Boutiquen nachhallt. -
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. -
Epilogue 231
UvA-DARE (Digital Academic Repository) Noise resonance Technological sound reproduction and the logic of filtering Kromhout, M.J. Publication date 2017 Document Version Other version License Other Link to publication Citation for published version (APA): Kromhout, M. J. (2017). Noise resonance: Technological sound reproduction and the logic of filtering. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 NOISE RESONANCE | EPILOGUE 231 Epilogue: Listening for the event | on the possibility of an ‘other music’ 6.1 Locating the ‘other music’ Throughout this thesis, I wrote about phonographs and gramophones, magnetic tape recording and analogue-to-digital converters, dual-ended noise reduction and dither, sine waves and Dirac impulses; in short, about chains of recording technologies that affect the sound of their output with each irrepresentable technological filtering operation. -
S Y M P a T H Y F O R T H E D E V
SYMPATHY FOR THE DEVIL WORDS MATT MUELLER J U N K I E . SATANIST. MURDERER. MUSIC PRODUCER JOE MEEK WAS N E V E R G O I N G TO BE THE KIND of boy you’d TAKE HOME TO MEET MOTHER. S O W H Y I S A N E W FIL M T R Y I N G TO RESURRECT HI S R A D D L E D REPUTATION? . MUSIC SPECIAL . MUSIC SPECIAL . ON FEBRUARY 3RD 1967, eight years to the day after Buddy Holly’s time) to get back together for the play’s West End opening night. “I AT FIRST HATED by the music establishment for his unorthodox sound out from other band members, Heinz did what he had to do. I’ve made death, music producer Joe Meek’s body was wheeled on a gurney think pretty much everyone who’s in the film who’s alive I’ve met or and style, Meek came to be grudgingly admired. He wasn’t interested my decisions from my research and I’ve stuck them in the film.” out of his rented London studio at 304 Holloway Road. The corpse spoken to at some point,” he says. in returning the favour. Phil Spector once called to tell him how much of Violet Shenton followed. Meek had beckoned his long-suffering In an industry rife with self-immolating screwballs, Meek’s sorry he loved his music – Meek shouted down the phone that Spector had HEAVILY INTO THE occult, Meek held séances to communicate with landlady (who used to bang on the ceiling with a broom and had no tale still has few competitors in the tragicomic stakes. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
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. -
Haruomi Hosono, Shigeru Suzuki, Tatsuro Yamashita
Haruomi Hosono Pacific mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Pacific Country: Japan Released: 2013 Style: Fusion, Electro MP3 version RAR size: 1618 mb FLAC version RAR size: 1203 mb WMA version RAR size: 1396 mb Rating: 4.1 Votes: 218 Other Formats: AA ASF VQF APE AIFF WMA ADX Tracklist Hide Credits 最後の楽園 1 Bass, Keyboards – Haruomi HosonoDrums – Yukihiro TakahashiKeyboards – Ryuichi 4:03 SakamotoWritten-By – Haruomi Hosono コーラル・リーフ 2 3:45 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki ノスタルジア・オブ・アイランド～パート1:バード・ウィンド/パート2:ウォーキング・オン・ザ・ビーチ 3 9:37 Keyboards – Ryuichi SakamotoWritten-By – Tatsuro Yamashita スラック・キー・ルンバ 4 Bass, Guitar, Percussion – Haruomi HosonoDrums – Yukihiro TakahashiKeyboards – Ryuichi 3:02 SakamotoWritten-By – Haruomi Hosono パッション・フラワー 5 3:35 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki ノアノア 6 4:10 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki キスカ 7 5:26 Written-By – Tatsuro Yamashita Cosmic Surfin' 8 Drums – Yukihiro TakahashiKeyboards – Haruomi Hosono, Ryuichi SakamotoWritten-By – 5:07 Haruomi Hosono Companies, etc. Record Company – Sony Music Direct (Japan) Inc. Credits Remastered By – Tetsuya Naitoh* Notes 2013 reissue. Album originally released in 1978. Track 8 is a rare early version of the Yellow Magic Orchestra track. Translated track titles: 01: The Last Paradise 02: Coral Reef 03: Nostalgia of Island (Part 1: Wind Bird, Part 2: Walking on the Beach 04: Slack Key Rumba 05: Passion Flower 06: Noanoa 07: Kiska Barcode and Other Identifiers Barcode: 4582290393407 -
Martin Denny Exotica
NEW RELEASE DR10019 LIMITED EDITION CLASSIC LPs HIGH-DEFINITION PREMIUM VINYL PRESSING FOR SUPER FIDELITY MARTIN DENNY EXOTICA SIDE 1 1. QUIET VILLAGE 3:41 (Les Baxter) 2. RETURN TO PARADISE 2:21 (Tiomkin-Washington) 3. HONG KONG BLUES 2:17 (Hoagy Carmichael) 4. BUSY PORT 2:53 (Les Baxter) 5. LOTUS LAND 2:25 (Cyril Scott) 6. SIMILAU 1:59 (Carr-Coleman) SIDE 2 1. STONE GOD 3:09 (Les Baxter) 2. JUNGLE FLOWER 1:49 (Les Baxter) 3. CHINA NIGHTS 2:04 (Shina No Yoru) (Takeoka) 4. AMI WA FURI 2:10 (Gil Baumgart) 5. WAIPU 3:14 Exotica is the first album byMartin Denny, released (Francis Brown) 6. LOVE DANCE 2:35 in 1957. It contained Denny’s most famous piece, (Les Baxter) “Quiet Village” (originally composed by Les Baxter), and spawned an entire genre bearing its name. It was recorded December 1956 in Webley Edwards’ studio in MARTIN DENNY: piano, celeste & arrangements, Waikiki (not, as often reported, the Aluminum Dome at plus The Martin Denny Combo: Henry J. Kaiser’s Hawaiian Village Complex). Arthur Lyman (vibraphone, xylophone, percussion); John Kramer (string bass); Augie The album topped Billboard’s charts in 1959. The Colon (bongos, congas, Latin effects, bird calls, album was recorded in mono. It was re-recorded in percussion); Harold Chang (drums, percussion). stereo in 1958; by then, however, Denny’s sideman Produced by Simon Jackson. Recorded on a 3 Arthur Lyman had left the group, and was replaced hours and 25 minutes session on two track mono at Webley Edward’s Studio, Honolulu, Hawaii, by Julius Wechter. -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
Openmag 122 Web.Pdf
+ OPENMA Toute l'actualité,G concerts, LIVE spectacles et événements en partenariat avec GRATUIT DISPONIBLE EN FNAC - #122 JANVIER - FÉVRIER 2010 - www.openmag.fr MICKY GREEN « JE ME SENS PLUS FORTE AUJourd’hui » DOSSIER ROCKE DE LA RENTRÉ MUSIQUE • HOT CHIP • MASSIVE ATTACK • ANGIE STONE • V.V. BROWN CINÉMA • Les sOrTIes en saLLe • GaInsbOurG (VIE HÉROÏQUE) LITTÉRATURE • CLara eLLIOTT STRANGULATION BLUES • séLeCTIOn renTrée 2010 Le prochain événement cinématographique attendu en mars prochain, c’est la sortie en salle du nouveau film signé Rob Marshall (Chicago), Nine, avec un Daniel Day-Lewis magnétique entouré d’un aréopage d’actrices aussi belles que talentueuses : Penelope Cruz, Nicole Kidman, Kate Hudson, Marion Cotillard, Stacey « Fergie » Ferguson (des Black Eyed Peas) et deux monstres sacrés que sont Sophia Loren et Judi Dench. Rien que cela ! L’action se déroule en Italie dans le rome des années 60 avec pour cadre les studios mythiques de Cinecittà et prend forme d’une comédie musicale à la manière de broadway puisqu’il s’agit de l’adaptation du spectacle éponyme. On déplore que le film n’ai pas rejoint Chicago dans les hauteurs du box-office américain. L’europe et la France réserveront-elles un meilleur sort à cette nouvelle superproduction de 90 millions de dollars des frères Weinstein (fondateurs de Miramax) où plane l’ombre de Fellini? À suivre…. ÉDITO exit 2009 et la crise ! Ça y est 2010 est là ! une nouvelle énergie, de nouvelles envies, de nouveaux artistes, c’est tout ce que l’on vous souhaite pour redé- marrer de bon pied… D’ailleurs, en plus de votre magazine, on vous offre déjà ce mois-ci un dossier spécial rock entre découvertes (Local Natives, The Soft Pack…) et valeurs sûres (Vampire Weekend, Tindersticks, Beach House, Adam Green…), avec un focus sur les EP des groupes qui montent en puissance. -
The Blank Generation
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Blank Generation (These are excerpts from my book "A History of Rock and Dance Music") Akron 1976-80 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The "blank generation" came out of a moral vacuum. While punks roamed the suburban landscape, blue-collar workers were feeling the pinch of an economic revolution: human society had left the industrial age and entered the post-industrial age, the age in which services (such as software) prevail over manufacturing. Computers now rule the world, from Wall Street to Boeing. The assembly line took away a bit of the personality of the worker, but that was nothing: the new service- based economy takes away the worker completely, physically. In the post-industrial society the individual is even less of a "person". The individual is merely a cog in a huge organism of interconnected parts that works at the beat of a gigantic network of computers. This highly sophisticated economy treats the individual as a number, as a statistic. The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage.