DOCSLIB.ORG

JUST ANNOUNCED Actress + London Contemporary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JUST ANNOUNCED Actress + London Contemporary JUST ANNOUNCED Actress + London Contemporary Orchestra Saturday 26 May 2018 / Barbican Hall / 19:30 Tickets £17.50 – 22.50 plus booking fee Electronic musician and producer Darren Cunningham, known as Actress and the London Contemporary Orchestra (LCO) are to reprise their collaboration at the Barbican on 26 May 2018. The evolution of their project continues with recent performances including an appearance at Strelka Institute in Moscow and at the Tate Tanks in London. Originally performed at the Barbican in February 2016, the concert creates synergy between both live electronic and acoustic components. Furthermore the project aims not just to align the electronic and the acoustic in harmony but to splice them into a new hybrid instrument. As part of the process Actress and LCO augment traditional piano and create sounds from objects as varied as temple bowls and plastic bags. This project was originally curated by Boiler Room and the LCO with the support of Arts Council England and the backing of leading British independent record label Ninja Tune. Actress has curated a programme of additional performances to complement the presentation on 26 May. To open proceedings multi-disciplinary artist Duval Timothy will deliver a set of jazz-inspired minimalism on piano. Lo-fi electronic performer and audio engineer Silvia Kastel then brings the first half of the evening to a close. Kastel’s set will playfully test the borders between sound art, noise and dance music. Following the concert in the Hall, Swedish producer Toxe will debut her live show on Barbican’s Clubstage. Her late-night set of glitch-peppered techno will provide ample proof of her status as a ‘one-to-watch’. On sale to Barbican members on Thursday 8 March 2018 On general sale on Friday 9 March 2018 Produced by the Barbican Find our more Alva Noto + Ryuichi Sakamoto: Two Wednesday 20 June 2018 / Barbican Hall / 19:30 Tickets £25 – 35 plus booking fee German artist Alva Noto joins forces with Academy Award-wining Japanese musician Ryuichi Sakatomo for a special concert at the Barbican on 20 June 2018. A continuation of the collaborative relationship that spawned the score to director Alejandro González Iñárritu's 2015 film The Revenant, Sakamoto and Alva Noto recently released Glass (Noton). This album captures a live ambient improvisation from the duo in turn inspired by the work of visual artist Yayoi Kusama. Their Barbican appearance, titled Two, will also combine improvisation and new material; furthermore this date is one of few opportunities to experience the live show in 2018. As composer, performer, producer, and environmentalist, few artists have as diverse a résumé as that of Ryuichi Sakamoto. His work includes pioneering electronic music as a member of Yellow Magic Orchestra, classical pieces, minimal/ambient music, many art collaborations, and over 30 film scores. Recent works include the release of his 16th solo album, async (Milan). Alvo Noto, otherwise known as Carsten Nicolai, has released experimental music spanning the last twenty years. He has toured extensively internationally taking in esteemed institutions such as the Solomon R. Guggenheim Museum (New York), Centre Pompidou (Paris) and Tate Modern (London). Alvo Noto also recently appeared at the Barbican to present a new audio visual show titled UNIEQAV in a sold out performance on 4 March 2018. On sale to Barbican members on Thursday 8 March 2018 On general sale on Friday 9 March 2018 Produced by the Barbican Find our more Wynton Marsalis Quartet + Headspace Quartet Tuesday 19 June 2018 / Barbican Hall / 19:30 Tickets £15 – 35 plus booking fee A rare opportunity to hear Wynton Marsalis in a small group setting – a quartet led by his brother, drummer Jason Marsalis – where the depth and sonic range of Wynton’s sound can take centre stage, evoking memories of the great masters of the jazz trumpet whilst – in the true spirit of the music – resolutely remaining a powerful voice in his own right. Opening the concert is the Headspace Quartet, a group led by Wynton’s friend, Clarence Adoo, whose career as a virtuoso trumpeter was cut short by a life-changing car accident. A founder member of the British Paraorchestra, Clarence has become an active teacher and committed advocate for disabled issues. Determined to continue sharing his musical gifts, Clarence now plays the Headspace, a custom built breath- controlled electronic instrument which gives its name to the ensemble playing this concert’s opening set. Wynton Marsalis, in his role as managing and artistic director of the world-renowned Jazz at Lincoln Center Orchestra (JLCO), recently completed a Barbican International Associate Ensemble residency. Marsalis and JLCO’s sold-out residency celebrated the “King of Swing” American clarinettist and bandleader Benny Goodman, and master educator, composer and musical thinker Leonard Bernstein and featured performances from Jazz at Lincoln Center Youth Orchestra in its UK debut. On sale to Barbican members on Thursday 8 March 2018 On general sale on Friday 9 March 2018 Produced by the Barbican in association with Serious In support of the Clarence Adoo Trust Find out more ALSO ANNOUNCED John Cale (2018-1964): A Futurespective With the London Contemporary Orchestra Plus special guests Actress, Cate LeBon and the House Gospel Choir Friday 9 & Saturday 10 March 2018 / Barbican Hall / 19:30 Tickets £35 – 45 plus booking fee Joining the iconic pioneer John Cale for his two-date ‘futurespective’ at the Barbican will be electronic producer and musician Actress, Welsh singer-songwriter Cate Le Bon and the House Gospel Choir; created and founded by vocalist Natalie Maddix. Ahead of the concerts John Cale comments: “It’s a strange beast, my catalogue of thoughts from 50+ years - weird meanderings around the recesses and synapses - quite a trip! So thrilled to have the luxury of LCO & my friends HGC. When contemplating how I might wish to hear certain songs led me to electronic sonic Actress & the timeless vocals of Cate LeBon - it’s all heart coming your way.” Find out more Just Jam Reloaded with Belly Squad, Kamaal Williams, Nídia, Skengdo x AM, Kenny Allstar, Murlo, Headie One, DJ Funkz, Afro B, Sam Wise, Devilman, Novelist and Mad J Saturday 17 March 2018 / Barbican Hall / 19:30 Tickets £15 plus booking fee Just Jam Reloaded’s who’s-who line-up of underground talents continues to grow, now with the addition of grime MC and producer Novelist; an artist who appeared at the first Barbican Just Jam in 2014 and has since become one of the scene’s leading mavericks. Also confirmed to appear is DJ, performer and Reprezent Radio host Mad J. Find out more SONORAMA! Latin American Composers in Hollywood With Omar, Nina Miranda and Hackney Colliery Band Horns Part of La Linea Friday 20 April 2018 / Barbican Hall / 19:30 Tickets £15 - 25 plus booking fee Soul singer and MBE, Omar, plus former Smoke City vocalist Nina Miranda are now confirmed to appear in SONORAMA!, a tribute to Latin American music in Hollywood. Also joining the celebrations is brass collective Hackney Colliery Band Horns; the group have collaborated with the likes of Amy Winehouse and Jamie Cullum, and performed in 2012’s Olympic Closing Ceremony. Find out more COMING UP IN 2018 John Cale (2018-1964): A Futurespective With the London Contemporary Orchestra Plus special guests Actress, Cate LeBon and the House Gospel Choir Friday 9 & Saturday 10 March 2018 / Barbican Hall / 19:30 Tickets £35 – 45 plus booking fee Find out more Niladri Kumar: Seduced by the Sitar Tuesday 13 March 2018 / Milton Court Concert Hall / 19:00 Tickets £18 – 50 plus booking fee Find out more Trio Ponty Lagrene Eastwood Jean-Luc Ponty, Biréli Lagrène, Kyle Eastwood Friday 16 March 2018 / Barbican Hall / 19:30 Tickets £15 – 35 plus booking fee Find out more Just Jam Reloaded with Belly Squad, Kamaal Williams, Nídia, Skengdo x AM, Kenny Allstar, Murlo, Headie One, DJ Funkz, P Montana, Afro B, Sam Wise, Devilman, Novelist and Mad J Saturday 17 March 2018 / Barbican Hall / 19:30 Tickets £15 plus booking fee Find out more Charles Hazlewood with Army of Generals and the British Paraorchestra PLAY! Sunday 18 March 2018 / Barbican Hall / 19:30 Tickets £15 – 20 plus booking fee Find out more Harshdeep Kaur Tuesday 27 March 2018 / Barbican Hall / 19:30 Tickets £20 – 35 plus booking fee Find out more Piano Day Poppy Ackroyd, Marina Baranova, Florian Christl Thursday 29 March 2018 / Milton Court Concert Hall / 19:30 Tickets £10 plus booking fee Find out more Alessandro Cortini + Sarah Davachi Monday 30 April 2018 / Milton Court Concert Hall / 19:30 Tickets £10 – 20 plus booking fee Find out more Simian Mobile Disco with Deep Throat Choir + Fatima Al Qadiri presents Ja7eem Wednesday 4 April 2018 / Barbican Hall / 20:00 Tickets £17.50 – 22.50 plus booking fee Find out more Carl Craig presents Synthesizer Ensemble Friday 6 April 2018 / Barbican Hall / 19:30 Tickets £20 – 25 plus booking fee Find our more Kyle Dixon & Michael Stein performing the music of Stranger Things Saturday 7 April 2018 / Barbican Hall / 20:00 & 22:30 SOLD OUT returns only Find out more Thurston Moore: 12x12 Music for Twelve 12-String guitars (Acoustic + Electric) Saturday 14 April 2018 / Barbican Hall / 19:30 Tickets £17.50 – 25 plus booking fee Find out more SONORAMA! Latin American Composers in Hollywood With Omar, Nina Miranda and Hackney Colliery Band Horns Part of La Linea Friday 20 April 2018 / Barbican Hall / 19:30 Tickets £15 - 25 plus booking fee Find out more Mexrrissey – La Reina is Dead Part of La Linea Sunday
Load more

Recommended publications
  • Visible Cloaks Reassemblage
    Visible Cloaks Reassemblage Visible Cloaks’ Reassemblage is a collection of delicately rendered passages of silence and sound that invokes – and invites - consciousness. The foundation of the duo’s second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI “translation,” and other generative principles that favor inclusive musical environments over the narrowly constrained. In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume ofFairlights, Mallets, and Bamboo, a mixtape indicated by Doran as “an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.” These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music. Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay byTrinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to “speak nearby” rather than “speak about.” In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect. In an effort to “speak nearby” rather than “speak about,” Visible Cloaks Track Listing RVNG Intl. filters and forms source material to become young again. Often the duo strip 1. Screen PO Box 20752 tonal elements of their specificity or randomize melodies so they become 2. Valve (ft. Miyako Koda) Tompkins Sq. stirring and lucid. Essential patterns emerge, conscious experience heightens.
    [Show full text]
  • Yasunao Tone, Carsten Nicolai and Ryoji Ikeda Are Three Practitioners
    LABS 2017 estAblishing A criticAl frAmework for the ApprAisAl of “noise” in contemporAry sound Art with specific reference to the prActices of YasunAo tone, Carsten nicolAi And ryoji ikedA Adam Collis Yasunao Tone, Carsten Nicolai and Ryoji produced by and about these practitioners, Ikeda are three practitioners representative of including commercial releases, works, writ- electronic music and sound-art practices that ings and interviews. What emerges from this emerged in the 1990s where sound materi- is that Heidegger’s notion of truth as “reveal- als not normally considered musical, such ing” and Derrida’s critique of phonocentrism as digital clicks, glitches and bursts of white can provide a clearer philosophical framework noise, are prevalent. The origins of this body for a consideration of this body of work. of work lie outside of the established music of This thesis argues that these practices reflect academia and the mainstream popular music a wider cultural shift away from the notion industry, and practitioners are often associated of “value” as something quantified, abstract with particular record labels, including Mille and intrinsic, toward one concerned with the Plateaux or Raster-Noton. While attempts qualitative, contextual and extrinsic, and that have been made to coalesce these practices these practices are forms of conceptual sound into a single unified genre, these assessments art that challenge both the notion of “absolute” tend to critique work mainly in technological music and the prevailing political-economic terms. structures. In contrast, this thesis draws out deeper Adam Collis: <[email protected]>. philosophical concerns relevant to these prac- PhD thesis, University of Surrey, U.K., 2016.
    [Show full text]
  • Freunde Guter Musik Berlin Ev
    PRESSEMITTEILUNG FREUNDE GUTER MUSIK BERLIN e.V. Erkelenzdamm 11 – 13 B IV • 10999 Berlin • Telefon ++ 49-30-615 2702 • Fax ++49-30-614 8695 [email protected] • www.freunde-guter-musik-berlin.de 25 Jahre Freunde Guter Musik Berlin e.V. DI ▪ 2. Dezember 2008 ▪ 21:00 The Lappetites Eliane Radigue (France) Kaffe Matthews (UK) Ryoko (Japan) Antye Greie AGF (Germany) The Lappetites is a laptop group playing with digital and sonic linking games for composition – 4 women from different backgrounds and different generations. Maria am Ostbahnhof ▪ An der Schillingbrücke 12 / 8 € DO ▪ 4. Dezember 2008 ▪ 21:00 Heaven And Record Release Concert "Sweeter As The Years Roll By" (Staubgold 87) Tony Buck ▪ Drums Steve Heather ▪ Percussion Martin Siewert ▪ Guitars zeitblom ▪ Bass David Cunningham Solo Electric Guitar and Effects Dj Alec Empire Eat Your Heart Out/Dhr, Berlin Dj Markus Detmer Staubgold/Quecksilber, Berlin Maria am Ostbahnhof ▪ An der Schillingbrücke 15 / 10 € ___________________________________________________________________ Freunde Guter Musik Berlin e.V. in Zusammenarbeit mit Klangraum Minoritenkirche Krems / Nö Festival GmbH, staubgold und Maria am Ostbahnhof, gefördert durch Initiative Neue Musik Berlin e.V. PRESSEMITTEILUNG FREUNDE GUTER MUSIK BERLIN e.V. Erkelenzdamm 11 – 13 B IV • 10999 Berlin • Telefon ++ 49-30-615 2702 • Fax ++49-30-614 8695 [email protected] • www.freunde-guter-musik-berlin.de 25 Jahre Freunde Guter Musik Berlin e.V. Eine avancierte Frauencomputerband und eine avantgardistische, kompromisslose Rock-Männerband mit Gastauftritt und DJ-Nacht sind das diesjährige Jubiläumsprogramm der Freunde Guter Musik Berlin im Kultort Maria am Ostbahnhof. Besucher früherer Freunde-Konzerte werden unter den etablierten Labels FEMMES ÉLÉCTRONIQUE und BANDS’N’BOYS alte Bekannte in neuen Formationen wieder treffen wie Eliane Radigue und zeitblom.
    [Show full text]
  • PRESS RELEASE 2012.5.19 Media Contact
    PRESS RELEASE 2012.5.19 Exhibition Title Collection Exhibition Son et Lumière – Material, Transition, Time Period Saturday April 28, 2012 - Sunday November 4, 2012 10:00 - 18:00 (until 20:00 on Fridays and Saturdays) Note: Tickets available until 30 minutes before closing Closed: Mondays, July 17, and September 18 (Open on April 30, July 16, August 13, September 17 and October 8) Venue 21st Century Museum of Contemporary Art, Kanazawa (Galleries7-12 and 14, Long-Term Project) *The exhibition period of Gallery 12 and Long-Term Project is April 28, 2012- August 31, 2012 Admission General: ¥350 (¥280*) / College students: ¥280 (¥220*) / Elem/JH/HS: Admisson free / 65 and older: ¥280 (*Prices in brackets for groups of 20 or more) Paticipating Artists AKIYAMA Yo / AWAZU Kiyoshi / Jan FABRE / Peter FISCHLI David WEISS / KIMURA Taiyo / KISHIMOTO Sayako / KUSAMA Yayoi / Gordon MATTA-CLARK / Carsten NICOLAI / Gerhard RICHTER / SAITO Makoto / TASHIMA Etsuko / Magnus WALLIN / Andy WARHOL Number of 24 works Exhibited Works Organized by 21st Century Museum of Contemporary Art, Kanazawa (Kanazawa Art Promotion and Development Foundation) Inquiries 21st Century Museum of Contemporary Art, Kanazawa (Tel +81-(0)76-220-2800) Media Contact Exhibition curator: KITADE Chieko Public relations office: SAWAI Misato, OCHIAI Hiroaki 1-2-1 Hirosaka, Kanazawa, Ishikawa Prefecture, Japan 920-8509 Tel: +81-(0)76-220-2814 Fax: +81-(0)76-220-2802 http://www.kanazawa21.jp E-mail: [email protected] PRESS RELEASE About the Exhibition In light there is darkness, in sound silence. Neither of these pairings are mutually exclusive concepts. Rather in each case the latter is a property inherent in the former.
    [Show full text]
  • „Farben Hören, Töne Sehen. Ich Entwerfe Den Prozess, Aber Ich Bin Nicht Der Autor. Der Prozess Ist Der Autor. Man Kann Einen
    Carsten Nicolai „Farben hören, Töne sehen. Ich entwerfe den Prozess, aber ich bin nicht der Autor. Der Prozess ist der Autor. Man kann einen Prozess ewig weiterlaufen lassen, würde sozusagen ewig Bilder oder Sound produzieren.“ 1 Farben hören Unsere fünf Sinne verdanken wir einem evolutionären sche Karten erinnerten. Chladni war überzeugt, etwas Zufall: fünf nah beieinander liegende Formen von Aussergewöhnliches entdeckt zu haben: die bildliche Sinneserfahrung, dennoch sind sie deutlich voneinan- Darstellung des Klanges, eine direkte Verbindung zwi- der getrennt, jeder für einen anderen Zweck und mit schen den Sinnen, die für ästhetische Wahrnehmung anderen Eigenschaften. Im Laufe der Moderne jedoch stehen – Sehen und Hören. Angesichts der entstan- haben Künstler und Naturwissenschaftler immer wie- denen Muster soll er in seiner Überraschung ausge- der versucht, diese Trennung der Sinneserfahrungen rufen haben: „Der Klang malt!“ Chladnis Experimente zu überwinden, um den nicht wegzudenkenden Unter- haben in die grundlegenden Lehrbücher der Physik schied zwischen Sehen, Hören, Schmecken, Tasten Eingang gefunden. Sie haben auch eine ganze Reihe und Riechen zu überbrücken. Ernst Chladni, Begrün- zeitgenössischer Künstler inspiriert. Insbesondere ist in der der modernen Akustik, strich im Jahr 1786 einen diesem Zusammenhang der Maler, Wissenschaftler Violinenbogen über den Rand einer Metallplatte, die und Musiker Hans Jenny hervorzuheben. Ein Jahrhun- mit Sand bedeckt war. Indem er dies tat, begannen dert vor Chladni berichtet der Philosoph John Locke die Sandkörner unterschiedliche Gestalten zu bilden, von seiner Verwunderung angesichts eines Falles, wo von einfachen Linien und Kurven bis zu komplizierten ein „gebildeter, blinder Mann“ die Farbe Scharlachrot Mustern, die an Sterne, Labyrinthe oder topographi- als den Klang einer Trompete empfand.
    [Show full text]
  • Maurizio Nannucci Undisclosed Recipients
    NANNUCCI_COVER_12.indd 1 onestar press maurizio nannucci undisclosed recipients 1998 / 2002 onestar press 2002 / 1998 Recipients Undisclosed Nannucci Maurizio 05/05/09 15:44 Maurizio Nannucci Undisclosed Recipients 1998 / 2002 onestar press nanucci_int_150_OK.indd 2 8/02/08 16:12:26 nanucci_int_150_OK.indd 3 8/02/08 16:12:26 Renzo Piano Building Workshop, 27-01-1998, 16:59, Re: Genova Porto... 5 From: "Renzo Piano Building workshop"<[email protected]> To: [email protected] Date: Tue, 27 JAN 1998 16:59:47 -0400 Subject: Re: Genova porto antico Abbiamo pensato con Renzo Piano di chiederti una proposta per una tua opera, una scritta luminosa, per l’edificio dei magazzini del cotone nel porto antico. Ti prego di contattarmi telefonicamente. saluti Venanzio Truffelli MessageMessage for [email protected] [email protected] (Maurizio (Maurizio Nannucci) Nannucci) nanucci_int_150_OK.indd 4 8/02/08 16:12:26 nanucci_int_150_OK.indd 5 8/02/08 16:12:27 John Goodwin, 5-2-1998, 10:15, Re: saluti & news 66 Robert Rainwater, 18-02-1998, 17:58, Meeting at New York Public Library 7 X-Lotus-FromDomain: ACTORONTO Date: Wed, 18 Feb 1998 17:58:21 -0500 From: "John Goodwin"<[email protected]> From: [email protected] (rrainwater) To: [email protected] Subject: Meeting at NYPL Date: Tue, 5 Feb 1998 10:15:47 -0400 To: [email protected] Subject: Re: saluti & news Dear Mr. Nannucci, Hi Maurizio, Just yesterday I finally put together the balance of my 10% deposit for my loft - this amount has to be paid on 1 March 1998 - so now I can Thank you very much for writing to let me know that you will be visiting New York stop worrying about paying for my loft as I have no other costs until I move in from Feb.
    [Show full text]
  • Auto PILOT CARSTEN N I C O L a I
    230781640628620899862803482534 64823378678316527120190914564 602 aUTO 1465495853710507922796892PILOT 5892354 1059731732816096318595024459455CARSTEN N I C O L A I 3 731159562863882353 4201989380952 572010654858632 7242454150695950829533 11686172 4012858361603 47104047534 09341 7216412199245863150302861 7467289097777279380008164 862518983569485 2327917860857843838279679766814 60424196528502221066118630674 305068203496 885959772975498930161753928468 73622 26260991246080512 456498035593634 6829989487226588048575640142 1021359695362314429524849371871 138687519435064302184531910484 4894090718649423196156794520809514 11706798214808651328230664709 0199561121290 690830264 252230825334 8865936153381 82796823030 29745557067498385054945885 410 78622039194945047123713786960956 1382686838689427 145765403 005370614680 55022523160388193014209376213 aUTO PILOT CARSTEN N I C O L A I raster-noton Inhalt/Contents 05 Source of innovation, keywords from a sketch Takashi Ikegami 08 Von der Synapse zum Signal: Carsten Nicolais ›telefunken‹ 14 From synapse to signal: Carsten Nicolai’s ‘telefunken ’ Christoph Cox 20 Nachrichten aus der Produktion 32 News from the production front Martin Pesch 59 Laboratorium ist die Antwort. Was ist die Frage? – ein Gespräch 74 Laboratorium is the answer.What ist the question? – a conversation Hans Ulrich Obrist, Carsten Nicolai 86 Sketch Takashi Ikegami 96 Appendix 3 4 Source of innovation Takashi Ikegami understanding/what is randomness noise generates structures in non equal. open systems dissipative structure noise in dna-
    [Show full text]
  • Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July
    ICA Press release: 26 May 2016 Detroit: Techno City 27 July – 25 September 2016 ICA Fox Reading Room Preview 26 July Techno! The New Dance Sound of Detroit (1988). Courtesy Neil Rushton and 10 Records LTD The next ICA Fox Reading Room exhibition will present a studied look at the evolution and subsequent dispersion of ‘Detroit Techno music’. This term, coined in the late 1980s, reflects the musical and social influences that informed early experiments merging sounds of synth-pop and disco with funk to create this distinct music genre. For the first time in the UK, a dedicated exhibition will chart a timeline of ‘Detroit Techno music’ from its 1970s origins, continuing through to the early 1990s. The genre’s origins begin in the disco parties of Ken Collier with influence from local radio stations and DJs, such as Electrifying Mojo and The Wizard (aka Jeff Mills). The ICA’s exhibition explores how a generation was inspired to create a new kind of electronic music that was evidenced in the formative UK compilation: Techno! The New Dance Sound of Detroit. Using inexpensive analogue technology, such as the Roland TR 808 and 909, DJs and producers including Juan Atkins, Blake Baxter, Eddie Fowlkes, Derrick May, and Kevin Saunderson, formed this seminal music genre. Although the music failed to gain mainstream audiences in the U.S, it became a phenomenon in Europe. This success established Detroit Techno, as a new strand of music which absorbed exterior European tastes and influences. This introduced a second wave of DJs and producers to the sound including Carl Craig, Richie Hawtin and Kenny Larkin.
    [Show full text]
  • Detroit : Techno
    Until recently, Detroit has not had much attention at all con­ cerning its role as the birthplace of techno. "Detroit, globally known as the birthplace of techno, is virtually unrecognized nationally and locally beyond its Motown and rock roots". It DETROIT: TECHNO has always existed as such under the popular culture radar. First and foremost, why was Detroit the breeding ground for techno music? Why has the general population taken so long in recognizing Detroit for its techno accomplishments? Could it be simply because Detroit is not a mega-city like New York or Los Angeles? Or is it simply because the time and the place ]ohnathan Bowen were not right until recently? The Belleville 3: Juan Atkins, Derrick May, and Kevin Detroit has long been known by many names: Motown, the Saunderson, arc the three individuals who are credited as Motor City, Hockey Town, and even the less than flattering techno's creators. These three individuals grew up in Murder City. However, with the passing of time and the dim­ Belleville, hence the term "The Belleville 3," but they later ming and brightening of trends, Detroit would come to be moved into Detroit to carry on their pioneering work in the known by another name: TechnoTown. \Vhat is techno? Upon 1980's and beyond. Atkins, May, and Saunderson didn't actu­ opening an Encyclopedia Britannica and looking under the ally begin this pioneering work of creating techno in Detroit entry labeled "Techno," one will find this encompassing and however. Juan Atkins sums it up best: "vVhen I first started revealing definition: making music, I lived in Detroit.
    [Show full text]
  • Music 10378 Songs, 32.6 Days, 109.89 GB
    Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…
    [Show full text]
  • Kazumi Watanabe Kylyn Mp3, Flac, Wma
    Kazumi Watanabe Kylyn mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Kylyn Country: Japan Released: 1988 Style: Fusion MP3 version RAR size: 1720 mb FLAC version RAR size: 1820 mb WMA version RAR size: 1709 mb Rating: 4.6 Votes: 771 Other Formats: MP3 DMF AIFF DTS AIFF MP2 AUD Tracklist 1 199X 1:56 2 Sonic Boom 6:30 3 Water Ways Flow Backward Again 5:17 4 Milestones 8:15 5 E-Day Project 5:45 6 Akasaka Moon 4:34 7 Kylyn 2:29 8 I'll Be There 6:38 9 Mother Terra 3:26 Companies, etc. Record Company – Nippon Columbia Co., Ltd. Manufactured By – Nippon Columbia Co., Ltd. Distributed By – Nippon Columbia Co., Ltd. Credits Alto Saxophone, Soprano Saxophone – Toshiyuki Honda Artwork By – Bam-Voo Bass – Rey J. O'Hara* Co-producer – Akira Ikuta, Taku Kashiwabara Drums – Shuichi "Ponta" Murakami*, Yukihiro Takahashi Guitar [Guitars] – Kazumi Watanabe Keyboards – Mikio Masuda Keyboards, Vocals – Akiko Yano Mixed By – Ryuichi* Mixed By, Producer – Kazumi* Other [Publicist] – Jin Nakahara Percussion – Pecker Producer, Keyboards – Ryuichi Sakamoto Tenor Saxophone – Yasuaki Shimizu Trombone – Shigeharu Mukai Barcode and Other Identifiers Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Kazumi YX-7595-ND Kylyn (LP, Album) Better Days YX-7595-ND Japan 1979 Watanabe Kazumi 35C38-7135 Kylyn (CD, Album) Denon 35C38-7135 Japan 1984 Watanabe Jroom Jazz, Kazumi Kylyn (CD, Album, COCB-53333 Columbia Music COCB-53333 Japan 2005 Watanabe Ltd, RE, RM, Pap) Entertainment Related Music albums to Kylyn by Kazumi Watanabe Kazumi Watanabe - Mobo Live Kazumi Watanabe - Olive's Step Kazumi Band - Ganaesia Kazumi Watanabe - Mobo Kazumi Watanabe = 渡辺香津美 - Lonesome Cat = ロンサム・キャット Ryuichi Sakamoto & Kazumi Watanabe - Tokyo Joe Kazumi Watanabe With Friends - Super Selection Akiko Yano - Home Music II.
    [Show full text]
  • Tone Glow, June 2020
    018: DeForrest Brown, Jr. toneglow.substack.com/p/018-deforrest-brown-jr An interview with DeForrest Brown, Jr. + an accompanying mix, album downloads, and our writers panel on Nídia's 'Não Fales Nela Que A Mentes' and Arca's 'KiCK i' Jun 17, 2020 DeForrest Brown, Jr. DeForrest Brown, Jr. is a New York-based theorist, journalist, curator, and artist. He’s created work under his own name and as Speaker Music, and is a representative of the Make Techno Black Again campaign. His writings have appeared in Tiny Mix Tapes, Afropunk, Artforum and Hyperallergic. His upcoming book, Assembling a Black Counter Culture, is out this year on Primary Information. Joshua Minsoo Kim talked with Brown, Jr. on May 28th about his new albums and book, COVID-19, George Floyd, techno, and empathy. Photos by Ting Ding. 1/21 Joshua Minsoo Kim: Hello, hello. DeForrest Brown, Jr.: Hey, how’s it going? Good, how are you? I’m all right… you know? Just all right? Yeah, it’s just one of those things… You know, the news. Hold on, I’m moving a big ass bean bag chair. (moves chair). I’ve been working on the book, but the book is kind of forming in my life right now, I guess. What do you mean by that? So my book, Assembling a Black Counter Culture, it starts at the gold rush and I’m trying to tell the history of America through techno and the Industrial Revolution, tying it all together. Between George Floyd and these protests and the economic collapse, it’s kind of a weird thing to see the end of the book.
    [Show full text]