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Living and Labouring As a Music Writer
Cultural Studies Review volume 19 number 1 March 2013 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 155–76 Lawson Fletcher and Ramon Lobato 2013 Living and Labouring as a Music Writer LAWSON FLETCHER AND RAMON LOBATO SWINBURNE UNIVERSITY I attended gigs most weeks while studying at university. I was happy to remain a punter until around May, June 2007. A band called Cog played at The Tivoli. After the show, I read a review on FasterLouder.com.au which was poorly-written and factually incorrect—they mentioned a few songs that weren’t played. It pissed me off. I thought: ‘I can do better.’ So I wrote a review of a show I saw that same weekend—Karnivool at The Zoo—and sent it to the Queensland editor of FasterLouder.com.au … He liked it, and published it. I sent the same review to the editor of local street press Rave Magazine, who also liked it, and decided to take me on as an ‘indie’ CD reviewer; later, I started writing live reviews for Rave, too. ‘Dale’, a 23-year old freelance music writer Like most music critics in Australia, Dale is an autodidact. His entry into a writing career started with ad hoc reviews for websites and local music magazines. Over ISSN 1837-8692 time he built up a network of contacts, carefully honed his craft, and is now making a living by writing reviews and interviews for various magazines and websites. The money isn’t good, but it’s enough to live off—and Dale relishes the opportunity to influence how his readers understand and enjoy the culture around them and contribute to a wider conversation about music. -
Effets & Gestes En Métropole Toulousaine > Mensuel D
INTRAMUROSEffets & gestes en métropole toulousaine > Mensuel d’information culturelle / n°383 / gratuit / septembre 2013 / www.intratoulouse.com 2 THIERRY SUC & RAPAS /BIENVENUE CHEZ MOI présentent CALOGERO STANISLAS KAREN BRUNON ELSA FOURLON PHILLIPE UMINSKI Éditorial > One more time V D’après une histoire originale de Marie Bastide V © D. R. l est des mystères insondables. Des com- pouvons estimer que quelques marques de portements incompréhensibles. Des gratitude peuvent être justifiées… Au lieu Ichoses pour lesquelles, arrivé à un certain de cela, c’est souvent l’ostracisme qui pré- cap de la vie, l’on aimerait trouver — à dé- domine chez certains des acteurs culturels faut de réponses — des raisons. Des atti- du cru qui se reconnaîtront. tudes à vous faire passer comme étranger en votre pays! Il faut le dire tout de même, Cependant ne généralisons pas, ce en deux décennies d’édition et de prosély- serait tomber dans la victimisation et je laisse tisme culturel, il y a de côté-ci de la Ga- cet art aux politiques de tous poils, plus ha- ronne des décideurs/acteurs qui nous biles que moi dans cet exercice. D’autant toisent quand ils ne nous méprisent pas tout plus que d’autres dans le métier, des atta- simplement : des organisateurs, des musi- ché(e)s de presse des responsables de ciens, des responsables culturels, des théâ- com’… ont bien compris l’utilité et la néces- treux, des associatifs… tout un beau monde sité d’un média tel que le nôtre, justement ni qui n’accorde aucune reconnaissance à inféodé ni soumis, ce qui lui permet une li- photo © Lisa Roze notre entreprise (au demeurant indépen- berté d’écriture et de publicité (dans le réel dante et non subventionnée). -
Roedelius Bio Engl
ROEDELIUS: JARDIN AU FOU CD and Vinyl Release date: March 27th 2009 Cat No BB23 CD 927892/LP 927891 The essentials: ► Hans-Joachim Roedelius: born 1934; first record release in 1969 with Kluster (with Dieter Moebius and Konrad Schnitzler), and active ever since as a solo artist and in various collaborations (amongst others with Moebius/Cluster, Moebius and Michael Rother/Harmonia, as well as with Brian Eno). One of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. ► Jardin au Fou was first released on the French EGG label in 1979 ► produced by Peter Baumann (Tangerine Dream) ► liner notes by Asmus Tietchens ► CD features six bonus tracks: three remixes, three new tracks One of the most remarkable albums of the so-called Krautrock scene has to be Jardin au Fou by Hans-Joachim Roedelius (Cluster, Harmonia), issued in 1979. All the more noteworthy as it bore no resemblance whatsoever to what was expected of avant-garde electronica and displayed none of the typical Krautrock characteristics. Rhythm machine, sequencer and abstract sounds are conspicuous by their absence. Indeed, listeners were stunned by one of the most beautiful, charming, ethereal and peaceful albums in the history of German rock music. It was produced by Peter Baumann at his own Paragon Studios in 1978, a year after he left Tangerine Dream to concentrate on a solo career and production work. At the time, he was charged by the French label EGG with delivering three productions from the German electro/avant- garde/Krautrock cosmos. -
Is Rock Music in Decline? a Business Perspective
Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse, -
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. -
Popular Music in Germany the History of Electronic Music in Germany
Course Title Popular Music in Germany The History of Electronic Music in Germany Course Number REMU-UT.9811001 SAMPLE SYLLABUS Instructors’ Contact Information Heiko Hoffmann [email protected] Course Details Wednesdays, 6:15pm to 7:30pm Location of class: NYU Berlin Academic Center, Room “Prenzlauer Berg” (tbc) Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first nine weeks of class consider the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Cluster, Neu! and Can, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop. -
The Music (And More) 2019 Quarter 3 Report
The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat. -
Brighton-Based Fujiya & Miyagi Have Been Making Expansive
Brighton-based Fujiya & Miyagi have been making expansive, experimental and multifaceted electronic-driven music for twenty years now. As an outfit they have been as successful in their investigations into bleep as they have elongated Krautrock wig outs, and creating breathy electro pop as fiercely as they do post-punk-indebted scratchy dance. Their new album, Flashback, is to be released in May 2019 and it finds a group re-connecting with the potent music of their youth and connecting it with their well-learned musical chops as adults. Fujiya & Miyagi first came to light with their 2002 album 'Electro karaoke in the negative style' which created the first glimpse of what was to become their distinctive sound of electronics and hushed vocals. It wasn't until 2006 with the release of 'Transparent Things' that the group gained wider critical acclaim and became more widely known both in Europe and in North America. The album blended the groups love of 70's German electronic Music, post-punk dance music and the sounds affiliated with labels such as Warp Records in the 1990s. They toured extensively during this period and also around 2009's Lightbulbs album. They then worked with LA based Producer Thom Monahan on 2011's Ventriloquizzing. The record was a move away from the more electronic and dance orientated direction of their previous records with more emphasis on sounds and textures. After a three year gap Fujiya & Miyagi returned in 2014 with their most electronic album to date titled 'Artificial Sweeteners'. Which returned to the working methods of their earlier records but with added vigour and experimentation. -
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory .................. -
Popular Music in Germany: History, Culture, Politics
Course Title Popular Music in Germany: History, Culture, Politics The History of Electronic Music in Germany Course Number REMU-UT.9811D01 SPRING 2020 Syllabus last updated on: 23-December-2019 Lecturer Contact Information Heiko Hoffmann Course Details Wednesdays, 6:15pm to 7:30pm Location: Rooms will be posted in Albert before your first class. Please double check whether your class takes place at the Academic Center (BLAC – Schönhauser Allee 36, 10435 Berlin) or at St. Agnes (SNTA – Alexandrinenstraße 118–121, 10969 Berlin). Prerequisites No pre-requisites Units earned 2 credits Course Description From Karlheinz Stockhausen and Kraftwerk to Giorgio Moroder, D.A.F. and the Euro Dance of Snap!, the first half of class considers the history of German electronic music prior to the Fall of the Wall in 1989. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s. One focus will be on regional scenes, such as the Düsseldorf school of electronic music in the 1970s with music groups such as Can and Neu!, the Berlin school of synthesizer pioneers like Tangerine Dream, Klaus Schulze and Manuel Göttsching, or Giorgio Moroder's Sound of Munich. 1 Students will be expected to competently identify key musicians and recordings of this creative period. The second half of the course looks more specifically at the arrival of techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall, up to the present. Indeed, Post-Wall East Berlin, full of abandoned spaces and buildings and deserted office blocks, was the perfect breeding ground for the youth culture that would dominate the 1990s and led techno pioneers and artists from the East and the West to take over and set up shop. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music 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) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures. -
Do You Want Vaporwave, Or Do You Want the Truth?
2017 | Capacious: Journal for Emerging Affect Inquiry 1 (1) CAPACIOUS Do You Want Vaporwave, or Do You Want the Truth? Cognitive Mapping of Late Capitalist Affect in the Virtual Lifeworld of Vaporwave Alican Koc UNIVERSITY OF TORONTO In "Postmodernism, or, The Cultural Logic of Late Capitalism," Frederic Jameson (1991) mentions an “aesthetic of cognitive mapping” as a new form of radical aesthetic practice to deal with the set of historical situations and problems symp- tomatic of late capitalism. For Jameson (1991), cognitive mapping functions as a tool for postmodern subjects to represent the totality of the global late capitalist system, allowing them to situate themselves within the system, and to reenact the critique of capitalism that has been neutralized by postmodernist confusion. Drawing upon a close reading of the music and visual art of the nostalgic in- ternet-based “vaporwave” aesthetic alongside Jameson’s postmodern theory and the afect theory of Raymond Williams (1977) and Brian Massumi (1995; 1998), this essay argues that vaporwave can be understood as an attempt to aestheticize and thereby map out the afective climate circulating in late capitalist consumer culture. More specifcally, this paper argues that through its somewhat obsessive hypersaturation with retro commodities and aesthetics from the 1980s and 1990s, vaporwave simultaneously critiques the salient characteristics of late capitalism such as pastiche, depthlessness, and waning of afect, and enacts a nostalgic long- ing for a modernism that is feeing further and further into an inaccessible history. KEYWORDS Afect, Postmodernism, Late Capitalism, Cognitive Mapping, Aesthetics Creative Commons Attribution 4.0 (CC BY 4.0) capaciousjournal.com | DOI: https://doi.org/10.22387/cap2016.4 58 Do You Want Vaporwave, or Do You Want the Truth? Purgatory A widely shared image on the Internet asks viewers to refect on the atrocities of the past century.