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Teo Moritz, Superhuit Vient Aujourd'hui Grossir Les Rangs D'une Scène House Locale Qui Ne Comptait Jusqu'ici Qu'un Seul Représentant, Rotax, Créé Fin 1996
Reviews (France) MUSIQUE INFO HEBDO - February 4th 2000 - #109 Superhuit, le label deep-house lyonnais La région Rhône-Alpes est réputée pour être un bastion techno, une quinzaine de labels y produisant le gros de la production techno hexagonale. Fondé par Teo Moritz, Superhuit vient aujourd'hui grossir les rangs d'une scène house locale qui ne comptait jusqu'ici qu'un seul représentant, Rotax, créé fin 1996. Comme ce dernier, Superhuit se destine avant tout à la production de vinyles destinés aux DJ's. Signé sur Pamplemousse (alias Boogymann) et sur Brif Records, Teo Moritz publiait le premier maxi de Superhuit à l'automne 1999. Il décide aujourd'hui de passer à la vitesse supérieure. "Notre objectif à court terme est de produire un vinyle tous les deux mois", confie-t-il. "J'ai un nouveau maxi du lyonnais Ron Hayes. Il est sorti la semaine dernière, et nous et nous avons déjà vendu la totalité des copies pressées en quelques jours. Nous le repressons en raison de la demande. La couleur dominante de Superhuit sera la deep-house, même si chaque vinyle inclut des titres house plus classiques, ou des plages downtempo. Je développerai dans un premier temps Teo Moritz et Ron Hayes, mais je cherche de nouvelles signatures." La distribution est assurée par Vénus. (Y2M) MUSIQUE INFO HEBDO - March 23th 2001 - #160 Les fusions jazz de Teo Moritz Deux ans après la création de son label Superhuit, Teo Moritz produit son premier album, distribué par Vénus. Avec ce LP vinyle, le jeune DJ et producteur lyonnais rejoint le groupe d’artistes français explorant les mélanges entre jazz et musique électronique. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
August-07-Show Minimal Techno
august-07-show minimal techno our guest of the august-07-show - ata tak - is guiding us from sacramento to westerburg. from the birthplace of daniel bell to the place of residence of dominic eulberg. from the seeds of a certain sound-aesthetic to the place where it's currently in blossom. we talk about rhythm, reduction, bleeps and a very very thight mixing, for what ata tak has stunning skills. expect rare & twin- kling valuables all-over! - ata tak is introduced by new.com (p45/ cmfrt_ns_prdctns) • total playing time: 3h/18m/59s • mixed by ata tak & new.com • produced by new.com • recorded the 16th of august 2007 @ www.audioasyl.net • download (mp3/128kbs/185mb) over p45.ch & comfortnoise.com playlist new.com is playing: 000:08 - krak street boyz feat. big bully & lil dirty - listening man - tuning spork family affair 09 006:33 - soul capsule - beauty and the beat - perlon 63 015:44 - gez varley - political prisoner - k7 23lp 019:50 - lb dub corp - phase action - mote-evolver 06 022:20 - sarah goldfarb - dj is not a machine - curle 06 027:40 - cybotron - clear (troy pierce rmx) - juno 03 031:17 - ness - ear raw - 6th studio 01 036:18 - squeeks & kaoss - squeeks & kaoss (jamie jones orinoco rmx) - im- migrant 31 040:40 - de walta & aquatic - schulze - kalk pets 08 046:30 - norman nodge - nn 8.0 - mdr 03 052:58 - beat pharmacy - wata (acid dub) - deep space media 50169 057:19 - deepchord - wuerfel - deep chord 07 ata tak is playing: 061:50 - the vision - detroit: one circle - metroplex 25 067:53 - dbx - loosing control - accelerate 102 -
Indian Horse
Contents 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 Acknowledgements | Copyright For my wife, Debra Powell, for allowing me to bask in her light and become more. I come into the peace of wild things who do not tax their lives with forethought of grief. I come into the presence of still water. And I feel above me the day-blind stars waiting with their light. For a time I rest in the grace of the world, and am free. WENDELL BERRY, “The Peace of Wild Things” 1 My name is Saul Indian Horse. I am the son of Mary Mandamin and John Indian Horse. My grandfather was called Solomon so my name is the diminutive of his. My people are from the Fish Clan of the northern Ojibway, the Anishinabeg, we call ourselves. We made our home in the territories along the Winnipeg River, where the river opens wide before crossing into Manitoba after it leaves Lake of the Woods and the rugged spine of northern Ontario. They say that our cheekbones are cut from those granite ridges that rise above our homeland. They say that the deep brown of our eyes seeped out of the fecund earth that surrounds the lakes and marshes. The Old Ones say that our long straight hair comes from the waving grasses that thatch the edges of bays. -
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. -
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. -
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. -
Marxman Mary Jane Girls Mary Mary Carolyne Mas
Key - $ = US Number One (1959-date), ✮ UK Million Seller, ➜ Still in Top 75 at this time. A line in red 12 Dec 98 Take Me There (Blackstreet & Mya featuring Mase & Blinky Blink) 7 9 indicates a Number 1, a line in blue indicate a Top 10 hit. 10 Jul 99 Get Ready 32 4 20 Nov 04 Welcome Back/Breathe Stretch Shake 29 2 MARXMAN Total Hits : 8 Total Weeks : 45 Anglo-Irish male rap/vocal/DJ group - Stephen Brown, Hollis Byrne, Oisin Lunny and DJ K One 06 Mar 93 All About Eve 28 4 MASH American male session vocal group - John Bahler, Tom Bahler, Ian Freebairn-Smith and Ron Hicklin 01 May 93 Ship Ahoy 64 1 10 May 80 Theme From M*A*S*H (Suicide Is Painless) 1 12 Total Hits : 2 Total Weeks : 5 Total Hits : 1 Total Weeks : 12 MARY JANE GIRLS American female vocal group, protégées of Rick James, made up of Cheryl Ann Bailey, Candice Ghant, MASH! Joanne McDuffie, Yvette Marine & Kimberley Wuletich although McDuffie was the only singer who Anglo-American male/female vocal group appeared on the records 21 May 94 U Don't Have To Say U Love Me 37 2 21 May 83 Candy Man 60 4 04 Feb 95 Let's Spend The Night Together 66 1 25 Jun 83 All Night Long 13 9 Total Hits : 2 Total Weeks : 3 08 Oct 83 Boys 74 1 18 Feb 95 All Night Long (Remix) 51 1 MASON Dutch male DJ/producer Iason Chronis, born 17/1/80 Total Hits : 4 Total Weeks : 15 27 Jan 07 Perfect (Exceeder) (Mason vs Princess Superstar) 3 16 MARY MARY Total Hits : 1 Total Weeks : 16 American female vocal duo - sisters Erica (born 29/4/72) & Trecina (born 1/5/74) Atkins-Campbell 10 Jun 00 Shackles (Praise You) -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. -
Detroit Techno Und Die Frage Nach Der Hautfarbe
John-F.-Kennedy-Institut für Nordamerikastudien Abteilung für Kultur Freie Universität Berlin Detroit Techno und die Frage nach der Hautfarbe Magisterarbeit Erstgutachter: Prof. Dr. Winfried Fluck Zweitgutachter: Prof. Dr. Rolf Lindner (Institut für Europäische Ethnologie, Humboldt Universität Berlin) Verfasser: Daniel Schneider 05. Februar 2009 1 Inhalt 1. Einleitung S. 3 2. Einführung in Techno S. 5 2.1 Was ist Techno? S. 5 2.2 Wie funktioniert Techno? S. 8 2.3 Struktur der Technoszene und eigene Position S. 9 3. Einführung in die Geschichte Detroits S. 15 3.1 Die Geschichte der Stadt S. 16 3.2 Die Stadt als Inspiration und Kulisse S. 18 4. Die Vorgeschichte von Detroit Techno S. 21 5. Die Technoszene von Detroit S. 24 5.1 Die erste Generation S. 24 5.2 Die zweite Generation S. 27 5.3 Detroit House s. 34 6. Detroit Techno und „schwarze“ Musik S. 36 6.1 „Schwarze“ und „weiße“ Musik S. 36 6.2 Rockmusik vs. Tanzmusik S. 40 6.3 Ein Beispiel: Simon Reynolds vs. Jeff Mills S. 43 6.4 Stuart Cosgrove – der radikale Bruch mit der Vergangenheit S. 48 6.5 Wie „weiß“ sind eigentlich Kraftwerk? S. 52 6.6 Post-Soul S. 57 6.7 Kodwo Eshun – Düsseldorf als Mississippidelta S. 59 6.8 Afrofuturismus und Posthumanismus S. 61 6.9 Underground Resistance und die ethnischen Identitäten S. 69 7. Die Bedeutung von Detroit Techno in der europäischen Technoszene S. 76 7.1 Die Relevanz des afroamerikanischen Hintergrundes S. 77 7.2 Distinktionsmerkmal Detroit Techno S. 80 7.3 Detroit Techno und die „linken Kreise“ S. -
You Disco I Freak: New Single Reviews
You Disco I Freak: New Single Reviews Music | Bittles’ Magazine: The music column from the end of the world In the second part of our two week 12” extravaganza we have all sorts of electronic goodness sure to stir the loins. There are the shiver-inducing grooves of Ghost Vision, Soela and Demuja, the progressive house wallop of Bicep, the leftfield techno of I:Cube, the classic funk of Space, a four track comp of house freshness from the Shall Not Fade crew and tons more. By JOHN BITTLES So, get the turntables ready, pop on your dancing socks, and let us begin… This week we’ll start on a high with the disco-tinged electronica of newcomers Ghost Vision’s debut EP. Thomas Gandey of Cagedbaby fame and Daniel McLewin from Balearic mavericks Psychemagik, Saturnus is out early May and contains two long, lingering downtempo grooves. Lead track Saturnus (Ghost Vision Theme) is a 13 minute long slow-burner which works its way into your very soul. With hints of John Carpenter’s soundtrack work this is a song you can easily lose yourself within for hours if not days. B-Side, Zuul Passage is every bit as good, taking its time building to a beautiful crescendo which will have your heart leaping for joy. Deeply immersive, emotive and surreal, Cologne imprint Kompakt have done it yet again with a record of rare beauty and sonic wonder. 9.5/10. Since its inception back in 2016 British label E-Beamz has been at the forefront of the leftfield house scene. -
THE FAST FORWARD NEWSLETTER Some Kind of April Fool's Joke
and “Colony,” and of course FAST FORWARD EDITORIAL played them all. With each, Larkin’s confidence THE FAST FORWARD grew, and these tracks became the blueprints for what would become the “Escape From Planet Well, we’re back on track for spring, get- Techno” EP. ting these issues out in quick succession. This Just as he began to devote more time to his summer looks like it’s shaping up to be a wild ISSUE 8 APRIL 1991 music, opportunity knocked once again. one, music-wise ... we’ll just have to wait and NEWSLETTER Original Shelter DJ Scott “Go-Go” Gordon had see. One to watch out for is Yolanda’s new one taken a gig with big-time, chi-chi, frou-frou club on UR called “I Live for the Night,” a high-flying Vis-a-Vis. Now, Richie Rich was the man there deep house scream-up that elevates my girl to on Saturday nights, and every headliner needs diva status. Paris who? I heard it in the studio (that's the dirt, Richie) an opening act. Kenny fit that bill. and it’s a smoker. Out in the dead of summer Now, Kenny’s making his mark in the form Underground Resistance. OOPS! DEPT.: Metroplex Record is NOT dead Detroit Techno underground. As well as adding Thanks to Gwenn Volkert and Steve Kuo, as we reported last time. They've signed a dis- So I’m at Richie Hawtin’s “Confusion” night credibility to the Plus 8 label amongst the hard- our charter subscribers, and so far, our only tribution deal with Polydor from what we hear.