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An Interview with Mike Paradinas
In Praise of Good Speakers: An Interview with Mike Paradinas Bittles‘ Magazine | Interview I first stumbled upon the twisted world of Mike Paradinas in 1994 through his remix EP of indie heroes The Auteurs. Across forty odd minutes of sonic experimentation he chewed up the original tracks and added huge layers of distortion until what remained was something of a truly mind-expanding listen. Yet just when it would seem that the tracks were too fucked up for comfort and your ears would start to complain, the music would suddenly break into a heartbreaking melody, or a moment of magnificent beauty that lifted the entire project to epic heights. By JOHN BITTLES Thus a musical love affair was born as I eagerly tracked down the albums Tango N’ Vectif and Bluff Limbo and took my first tentative steps into a world of exquisite noise. The music on these early releases was by turns angry, fearful, and wonderfully melodic. It took the blueprint of artists like Aphex Twin and B12 and filled it full of gleeful experimentation and musical contrasts. One minute you are bombarded with almost unlistenable noise, the next you are swimming in melancholic grooves. Both albums were playful slippery beasts that would sneak up behind the listener and caress with one hand while pinching roughly with the other. More releases followed. Stand outs included the Fear single on Virgin Records and albums such as Makesaracket under his Jake Slazenger alias. In 2007 he released Duntisbourne Abbots Soulmate Devastation Technique (album titles are not his strong point) which was just as difficult and obtuse as its title. -
Counter-Tradition: Toward the Black Vanguard of Contemporary Brazil
10 Counter-Tradition: Toward the Black Vanguard of Contemporary Brazil GG Albuquerque In the 1930s, the first samba school, Deixa Falar, located in the Estácio de Sá neighborhood of Rio de Janeiro, was experiencing a period of growth. More and more people were accompanying the carnival parade, singing and celebrating in the streets of the city. But this expansion brought an acoustic problem to the sambistas (samba players): amid that crowd, the people could not clearly understand the music that was being played and sung. In an attempt to solve this problem, the composer Alcebíades Barcelos, aka Bide, used his technical skills as a shoemaker and clothed a 20-kilogram butter can with a moistened cement paper bag, tying it to the can with wires and thumbtacks. The result was a brilliant creation: Bide had invented the surdo, a bass drum that not only solved the initial problem of acoustic demand from samba schools, but also revolutionized Brazilian popular music. Until that time, samba had a very different sound from what we now recognize as samba. A notorious example is Donga’s “Pelo Telefone” (1916). The music exhibited a slow swing influenced by rural sounds (like the maxixe) and European genres (like polka and Scottish), and was recognized as the first samba ever recorded. The polyrhythmic drums, the batucada that became the structural pillar of samba, would only flourish a little more than a decade later, precisely because of the experiments of Estácio de Sá’s musicians in the 1930s. Bide and other composers, such as Ismael Silva, Armando Marçal, Heitor dos Prazeres, Brancura, Baiano, Baiaco, and Getúlio Marinho, developed the sonic language of the urban samba in Rio de Janeiro, the samba de sambar:1 a new sonic configuration based on fast syncopated rhythms and simpler, more direct, and more effective harmonies to be sung in the streets during carnival. -
Digital Shoegaze
SENTIREASCOLTAREDIGital MAGAZINE LUGLIO/AGosto N. 45/46 garneau°dadamatto°capillary action°ital tek°function°isengrind°el topo°feiner ITALIANS REMIX IT BETTER°DILLON°ELEFANT°FRANCESCO CUSA primavera sound°mi ami°my bloody valentine°angelica KLUSTER°MUDHONEY°KURT WEILL Pyramids*Fuck Buttons*Televise Digital Shoegaze DIRETTORE 4 NEWS Edoardo Bridda COOR D IN A MENTO Teresa Greco CON S ULENTI A LL A RE da ZIONE 6 TURN ON Daniele Follero THOMAS FUNCTION, BLACK DEVIL DISCO, ITAL TEK, CAPILLARY ACTION...... Stefano Solventi ST A FF Gaspare Caliri Nicolas Campagnari 16 TUNE IN Antonello Comunale FRANCESCO DILLON, REMIX ITALIA... Antonio Puglia HA NNO C OLL A BOR A TO Gianni Avella, Paolo Bassotti, Davide Brace, Marco 28 DroP OUT Braggion, Filippo Bordignon, Marco Canepari, Manfredi Lamartina, Gabriele Maruti, Stefano Pifferi, Andrea DIGITAL SHOEGAZE, FRANCESCO CUSA Provinciali, Costanza Salvi, Vincenzo Santarcangelo, Giancarlo Turra, Fabrizio Zampighi, Giuseppe Zucco 44 RECENSIONI GUI da S PIRITU A LE TRICKY, EL TOPO, MICAH P. HINSON,SIGUR ROS Adriano Trauber (1966-2004) GR A FI ca 96 WE ARE DEMO Nicolas Campagnari 98 REARVIEW Mirror IN C OPERTIN A KLUSTER, MUDHONEY, MOGWAI.... Pyramids SentireAscoltare online music magazine Registrazione Trib.BO N° 7590 del 28/10/05 Editore Edoardo Bridda 116 CUlt MOVIE Direttore responsabile Antonello Comunale AMERICA, AMERICA, DOVE VAI? Provider NGI S.p.A. Copyright © 2008 Edoardo Bridda. Tutti i diritti riservati.La riproduzione totale o parziale, in qualsiasi forma, su qualsiasi supporto e con qualsiasi 120 LA SERA DELLA PRIMA mezzo, è proibita senza autorizzazione scritta di SentireAscoltare IL DIVO, INDIANA JONES E IL REGNO DEL TESCHIO DI CRISTALLO 122 I COSIDDETTI CONTEMPORANEI KURT WEILL SA 3 S W Sarà pubblicato in ottobre su Kemado il film The Fountain (in Italia L’albero della For All Of Us doveva uscire il prossimo 22 sto disco costituisce un’introduzione, sarà nuovo album di Marissa Nadler. -
Recording Artist Recording Title Price 2Pac Thug Life
Recording Artist Recording Title Price 2pac Thug Life - Vol 1 12" 25th Anniverary 20.99 2pac Me Against The World 12" - 2020 Reissue 24.99 3108 3108 12" 9.99 65daysofstatic Replicr 2019 12" 20.99 A Tribe Called Quest We Got It From Here Thank You 4 Your Service 12" 20.99 A Tribe Called Quest People's Instinctive Travels And The Paths Of Rhythm 12" Reissue 26.99 Abba Live At Wembley Arena 12" - Half Speed Master 3 Lp 32.99 Abba Gold 12" 22.99 Abba Abba - The Album 12" 12.99 AC/DC Highway To Hell 12" 20.99 Ace Frehley Spaceman - 12" 29.99 Acid Mothers Temple Minstrel In The Galaxy 12" 21.99 Adele 25 12" 16.99 Adele 21 12" 16.99 Adele 19- 12" 16.99 Agnes Obel Myopia 12" 21.99 Ags Connolly How About Now 12" 9.99 Air Moon Safari 12" 15.99 Alan Marks Erik Satie - Vexations 12" 19.99 Aldous Harding Party 12" 16.99 Alec Cheer Night Kaleidoscope Ost 12" 14.99 Alex Banks Beneath The Surface 12" 19.99 Alex Lahey The Best Of Luck Club 12" White Vinyl 19.99 Algiers There Is No Year 12" Dinked Edition 26.99 Ali Farka Toure With Ry Cooder Talking Timbuktu 12" 24.99 Alice Coltrane The Ecstatic Music Of... 12" 28.99 Alice Cooper Greatest Hits 12" 16.99 Allah Las Lahs 12" Dinked Edition 19.99 Allah Las Lahs 12" 18.99 Alloy Orchestra Man With A Movie Camera- Live At Third Man Records 12" 12.99 Alt-j An Awesome Wave 12" 16.99 Amazones D'afrique Amazones Power 12" 24.99 American Aquarium Lamentations 12" Colour Vinyl 16.99 Amy Winehouse Frank 12" 19.99 Amy Winehouse Back To Black - 12" 12.99 Anchorsong Cohesion 12" 12.99 Anderson Paak Malibu 12" 21.99 Andrew Bird My Finest Work 12" 22.99 Andrew Combs Worried Man 12" White Vinyl 16.99 Andrew Combs Ideal Man 12" Colour Vinyl 16.99 Andrew W.k I Get Wet 12" 38.99 Angel Olsen All Mirrors 12" Clear Vinyl 22.99 Angelo Badalamenti Twin Peaks - Ost 12" - Ltd Green 20.99 Ann Peebles Greatest Hits 12" 15.99 Anna Calvi Hunted 12" - Ltd Red 24.99 Anna St. -
«Globalists» Seek Peripheral Sounds | Norient.Com 1 Oct 2021 06:09:38
«Globalists» Seek Peripheral Sounds | norient.com 1 Oct 2021 06:09:38 «Globalists» Seek Peripheral Sounds by Camilo Rocha DJs such as Diplo, DJ Dolores, Maga BO, DJ Rupture, Ghislain Poirier and Wayne&Wax build amazingly diversified sets, which can include American hip hop, German techno or French electro, but also Trinidadian soca, Morrocan rap, Rio funk, Angolan kuduro, Jamaican dancehall, London grime or Colombian cumbia. The exposure of these «peripheral» rhythms has already influenced artists in other spheres, such as the band Bloc Party and the DJs/producers Simian Mobile Disco and Samim (whose big hit this year, «Heater», mixes cumbia and techno). There is also Anglo-Sinhalese singer MIA, the first popstar to emerge from this trend who this year released the widely acclaimed album Kala. Could this all simply be a new guise for the well-worn «world music» label? Talking to Folha by phone, Canadian DJ/producer Ghislain Poirier, who just released the album No Ground Under on Coldcut’s Ninja Tune label, disagrees: «World music is more exotic, the sounds we play are more urban. They all come from common backgrounds: people without much money, doing music in home studios or in a laptop. It’s something more urgent.» Thanks to broader access to the internet and other technologies, there has been an unprecedented proliferation of sounds from the world’s margins, often with a strong electronic basis, produced on old, obsolete laptops or PCs, often with pirated software, and released on blogs, other websites and in globalist DJs’ mixes. https://norient.com/stories/rocha2008 Page 1 of 5 «Globalists» Seek Peripheral Sounds | norient.com 1 Oct 2021 06:09:38 American DJ and MC Wayne&Wax, who’s also an ethnomusicologist, has baptized this movement «global ghettotech». -
Radical Pay Reforms Spark Anger in University Staff
“When China awakes, she will astonish the world” Varsity takes you to the heart of the biggest, most complicated country on the planet Page 14 No. 604 The Independent Cambridge Student Newspaper since 1947 Friday October 15, 2004 Radical pay reforms spark GU in financial anger in university staff crisis Senate House debate reveals bitter opposition £4,500 missing expenses Calls for CUSU integration Sarah Marsh he Chine Mbubaegbu AFURIOUS DEBATE over Cambridge’s new pay and grading structure took place this Tuesday. At THE CAMBRIDGE University the University parliament, Senate on-Dem-Bussc Graduate Union has found itself in a House, many senior academics voiced l-V state of serious disarray after a number of fears of mass pay cuts and a devalua- key resignations. This follows several tion of junior and non-academic roles. years of financial mismanagement by t Mocke There are concerns that this will con- r past Executives, which has until now tribute to a growing divide between lbe gone unnoticed by the University. senior university management and the A This summer, a meeting of the rest of the University. Standing Advisory Committee on Vice-President of the Association Student Matters, which includes mem- of University Teachers (AUT), Dr bers of both CUSU and the Graduate Silvia Martinelli, said that this would Union (GU), found that the Union’s be the most radical and detrimental financial papers up until 2002-3 ‘pre- reform in Cambridge for a hundred sented a most unsatisfactory position.’ years. The AUT’s secretary Nick Sarah Airey, President of the GU for Savage asserted there was “A huge 2003-4, kept the Graduate Union amount of unhappiness right from afloat, whilst trying to rectify the finan- the head of the school of physical sci- cial situation. -
PARIS 2015 TERM 1 October 25 — November 6
Red Bull Music Academy Application Info PARIS 2015 TERM 1 October 25 — November 6 TERM 2 November 15 — November 27 APPLY January 21 — March 4 Go to redbullmusicacademy.com to find everything you need to apply for the Red Bull Music Academy in Paris. WHAT IS THE ACADEMY? Since 1998, the Red Bull Music Academy has exercise in pulling people from every corner devoted itself to bringing talent and ideas together of the globe together under one roof — and then in inspiring places. Each and every year, this creating a dialogue that continues long after meeting of minds sees 60 selected participants the Academy ends. collaborate and share with one another, as well as listen to the stories and sounds of pioneering What participants learn at the Academy is that, musical figures — special guest speakers whose while our languages and experiences may footsteps we continue to walk in. vary, what everyone has in common is a desire to explore music’s weird and wonderful ability At each Academy, the past and the present to communicate. You don’t need to be able to play meet to identify and explore future possibilities a dozen instruments, build a synth from scratch, in sound — in the custom-built studios working or know every lyric Björk has ever written. on new music, on the RBMA Radio airwaves, You don’t need to have released music on a label, and on the dancefloors of our month-long run or headlined a stage. But if the idea of being of club and live events in the city’s finest venues. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
The BG News May 1, 2000
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 5-1-2000 The BG News May 1, 2000 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News May 1, 2000" (2000). BG News (Student Newspaper). 6654. https://scholarworks.bgsu.edu/bg-news/6654 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. WEATHER MONDAY May 1, 2000 Rain High, 71 WORLD NEWS 2 OPINION 4 Low, 46 CITY 5^ The BG News SPORTS 6 btnewi.com Volume 88. Issue 71 A daily independent srudenrpness Sexual ^ Columbine tape angers harassment prevalent in workplace University students NICOLE VALEK Sun Wwn R LINDSAY HANNAH "It's such a horrific thing. The STAFF WRrrm families arc putting it behind "I'd buy it if the them. To put it to music, to Sexual harassment Is .i prevalent almost glamorize it. doesn't money went to the and ongoing problem thai people make sense." said Jamie survivors' families or face each day. Last Wednesday. University In a survey conducted by the students and residents of Little- Greskowiak, junior elementary the. school, but ton. Colo., were rocked by the education major. Journal of Psychology, approximate- buying it just to see ly 42 percent of women and 15 per- public release of a videotape that Another student expressed cent of men report that (hey have features footage of the similar concerns for the families. -
Bios Let-It-Bleep
Infratunes présente : Let it Bleep #1 Vendredi 7 octobre & Samedi 8 octobre au Trabendo Let It Bleep #1 : Dossier de presse – http://let-it-bleep.infratunes.com Sommaire 1 ) Présentation du festival Let it Bleep 2 ) Une programmation pointue 3 ) Infos pratiques Let It Bleep #1 : Dossier de presse – http://let-it-bleep.infratunes.com 1 ) Présentation Suite aux succès remportés auprès du public lors de ses précédents concerts en région parisienne, l’équipe du webzine INFRATUNES (+ de 13000 visiteurs/jour) investit le Trabendo (sur le site de la Villette, lieu faisant autorité dans le domaine des arts numériques) pour son premier festival de musique et d’arts numériques. La programmation, confectionnée avec passion par Mr Clément Coudray (programmateur de la Guinguette Pirate et du festival Sous La Plage) et la rédaction d’INFRATUNES, se veut représentative d’une scène européenne des musiques electronica avec une forte présence de l’axe franco-britannique (les pionniers de l’electro et de l’electronica au sens large). En associant des légendes (Fennesz, Mu-Ziq, Leila, etc.), des artistes reconnus (dDamage, Luke Vibert, Apparat, etc.) et des artistes en devenir (Langage Computer, Ecoplan, etc.), INFRATUNES créé un festival dynamique et pointu à l’image de son webzine. Let It Bleep #1 : Dossier de presse – http://let-it-bleep.infratunes.com 2 ) Une programmation pointue Vendredi 7 octobre µ-Ziq (Planet Mu – UK) Avec la sortie de Tango N Vectif en 1993 sur le label Rephlex, µ-ziq marque définitivement la musique électronique d'un grand µ. Sous de multiples pseudonymes, il s'amuse à pervertir la scène post rave avec une joie communicative. -
Universidade Do Rio De Janeiro Centro De Letras E Artes Programa De Pós-Graduação Em Música Mestrado Em Música
UNIVERSIDADE DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA MESTRADO EM MÚSICA A MÚSICA ELETRÔNICA DA DIÁSPORA AFRICANA NAS AMÉRICAS E SUA INVISIBILIDADE NO CONTEXTO ESCOLAR MONICA DE OLIVEIRA RIO DE JANEIRO, 2019 A MÚSICA ELETRÔNICA DA DIÁSPORA AFRICANA NAS AMÉRICAS E SUA INVISIBILIDADE NO CONTEXTO ESCOLAR por Monica de Oliveira Dissertação submetida ao Programa de Pós-Graduação em Música do Centro de Letras e Artes da UNIRIO, como requisito parcial para obtenção do grau de Mestre, sob a orientação da Profa. Dra. Luciana Requião e coorientação do Prof. Dr. Carlos Palombini. Rio de Janeiro, 2019 A MÚSICA ELETRÔNICA DA DIÁSPORA AFRICANA NAS AMÉRICAS E SUA INVISIBILIDADE NO CONTEXTO ESCOLAR Monica de Oliveira Dissertação submetida ao Programa de Pós-Graduação em Música do Centro de Letras e Artes da UNIRIO, como requisito parcial para obtenção do grau de Mestre, sob a orientação da Profa. Dra. Luciana Requião e coorientação do Prof. Dr. Carlos Palombini. Aprovada em 31 de julho de 2019 ________________________________________________ Profa. Dra. Luciana Pires de Sá Requião (Orientadora) PPGM / UNIRIO ________________________________________________ Prof. Dr. Carlos Palombini (Coorientador) PPGM / UNIRIO ________________________________________________ Prof. Dr. Agusto César Gonçalves e Lima UFF ________________________________________________ Prof. Dr. Samuel Mello Araújo PPGM / UNIRIO AGRADECIMENTOS Agradeço a Oxalá, o senhor do pano branco, por me guiar no resgate da minha ancestralidade máxima, meu Ori. Êpa Baba! Agradeço a todos os meus ancestrais, seres da diáspora e anteriores a ela, por tanta luta nesse mundo desumano, seres que me fizeram estar aonde estou hoje. A minha avó Isaura por tantos ensinamentos profundos, e o mais profundo de todos: "minha filha, se for preciso largue tudo na vida, menos a coluna". -
It Takes a Little Lawsuit
This article was downloaded by: [Wayne Marshall] On: 08 August 2012, At: 22:41 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK South Asian Popular Culture Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rsap20 It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility Wayne Marshall a & Jayson Beaster-Jones b a Department of Music, Harvard University, Cambridge, MA, USA b Department of Performance Studies, Texas A&M University, College Station, TX, USA Version of record first published: 20 Jul 2012 To cite this article: Wayne Marshall & Jayson Beaster-Jones (2012): It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility, South Asian Popular Culture, DOI:10.1080/14746689.2012.706015 To link to this article: http://dx.doi.org/10.1080/14746689.2012.706015 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.