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State of Bass
First published by Velocity Press 2020 velocitypress.uk Copyright © Martin James 2020 Cover design: Designment designment.studio Typesetting: Paul Baillie-Lane pblpublishing.co.uk Photography: Cleveland Aaron, Andy Cotterill, Courtney Hamilton, Tristan O’Neill Martin James has asserted his right under the Copyright, Designs and Patents Act 1988 to be identied as the author of this work All rights reserved. No part of this publication may be reproduced, in any form or by any means, without permission from the publisher While the publishers have made every reasonable eort to trace the copyright owners for some of the photographs in this book, there may be omissions of credits, for which we apologise. ISBN: 9781913231026 1: Ag’A THE JUNGLISTS NAMING THE SOUND, LOCATING THE SCENE ‘It always has been such a terrible name. I’ve never known any other type of music to get so misconstrued by its name.’ (Rob Playford, 1996) Of all of the dance music genres, none has been surrounded with quite so much controversy over its name than jungle. No sooner had it been coined than exponents of the scene were up in arms about the racist implications. Arguments raged over who rst used the term and many others simply refused to acknowledge the existence of the moniker. It wasn’t the rst time that jungle had been used as a way to describe a sound. Kool and the Gang had called their 1973 funk standard Jungle Boogie, while an instrumental version with an overdubbed ute part and additional percussion instruments was titled Jungle Jazz. The song ends with a Tarzan yell and features grunting, panting and scatting throughout. -
Carles Santos El Fervor De La Perseverancia
folleto fest07-41+ 12/4/07 19:16 Página 1 folleto fest07-41+ 12/4/07 19:16 Página 2 El Festival Internacional de las Artes de Castilla No hemos querido en esta nueva edición del y León es una iniciativa de la Consejería de Cultura y Turismo que Festival limitarnos a dirigir una mirada pasiva al mundo de la crea- nació con una intención clara de apertura hacia formas actuales de ción, sino adoptar una actitud de compromiso y apoyo a la creación expresar y sentir el arte y la cultura, en el marco de una ciudad contemporánea internacional, con una apuesta decidida por las como Salamanca, Patrimonio de la Humanidad, y que constituye por compañías, desarrollando líneas de coproducción que nos han lleva- sí sola el más prestigioso escenario urbano, dispuesto siempre a do a colaborar con otros importantes festivales europeos, como son acoger y proyectar al mundo, con la fuerza y prestigio que le conce- los Festivales de Avignon, Atenas y Roma. Damos así un trascenden- de su trayectoria histórica, su tradición científica y su vocación cul- te paso hacia delante, ya que además de escaparate de la creación tural, las más importantes creaciones del arte moderno. artística más novedosa, el Festival se convierte en plataforma de la misma, y nos concede el privilegio de asistir al descubrimiento de Este objetivo de trascender el marco de lo local los espectáculos coproducidos que, después de Salamanca, girarán abriéndose a horizontes más amplios y situar a Salamanca como por el resto del mundo. centro de las artes escénicas se manifiesta más firme que -
Thinking with Music Angela Mcrobbie
soundings issue 9 summer 1998 Thinking with music Angela McRobbie To relate music to cultural theory is not enough. Angela McRobbie argues that adopting a more materialist analysis will allow us to sample the artistry and literary voice of current music makers. Who is that by? Nowhere is the marriage between art and science more happily secured than in the extraordinary profusion of cheap-to-produce popular musics which over the last fifteen or so years have created a music-society to rival and even outstrip the image-society in which we now live. This forces a reassessment of what music means in everyday life, but so prolific is the output of so many different genres, which converse with and against each other, that few critics seem capable of creating a credible map, or writing a story of contemporary pop. Music-making defiantly slips the net of language, setting itself, as Susan Sontag memorably put it, back in the 1960s, 'against interpretation'. Current music styles leapfrog backwards and forwards in time, snatching phrases, chords and strains of sound from unlikely sources, placing one on top of the other, and making issues of authorship and ownership irrelevant. 'Who is that by?' becomes an absurdly naive question. These musics play teasing, competitive games with the audience, for whom, listening on the car radio or even half submerged in the local swimming pool, there is always the chance that they will never hear the same track again. (For a moment, last summer, I thought of getting out of the water at the Archway pool in North London, to ask the DJ/swimming attendant the name of the hip-hop track that was 57 Soundings playing. -
{PDF} Goldie Ebook, Epub
GOLDIE PDF, EPUB, EBOOK Ellen Miles | 78 pages | 15 Oct 2006 | Scholastic US | 9780439793797 | English | New York, United States Goldie PDF Book Student, 20, is found dead in his halls at Coventry University eight days after Cambridge academic's Putnam's Sons. From Wikipedia, the free encyclopedia. Goldie Hawn's son Oliver Hudson gets fans talking with latest photo of family home. Retrieved July 28, Retrieved August 31, His first studio album, Timeless , followed in Leo Freedman was born in London and raised in Canada, but his love affair with Southern California led him to invest his time and attention to the Arts scene in Orange County. We are all as perfect as we desire. In , he bought a country house in Bovingdon , Hertfordshire. Best Cast. Out and about: Goldie Hawn was focused on her fitness as she pedaled around the Pacific Palisades neighborhood of Los Angeles on Sunday afternoon. BBC Press Office. For a time, Goldie worked at the Try 1 shop in Walsall also selling gold teeth , then moved to London. Bill Hudson. Motion Pictures [78]. Listen to all your favourite artists on any device for free or try the Premium trial. Archived from the original on June 15, Just Eat - Takeaway deals. Even I don't know the rules: Police officer in charge of enforcing UK's coronavirus lockdown laws makes Retrieved 26 April The year-old actress rocked an all-black ensemble while soaking up the sun as she traveled around town on two wheels. On 24 August , he appeared in the Channel 4 documentary Idris Elba's How Clubbing Changed the World hosted by Idris Elba to explain how he invented the revolutionary technique of time stretching by misusing an HF ultra-harmonizer, which is usually used for guitars. -
Ιnspired by the Purification Rituals Held by the Minoans During the Bronze
Ιnspired by the purification rituals held by the Minoans during the Bronze Age MAGIC MONDAYS at The Beach House The ultimate amalgam of extraordinary experiences packed into one evening – we proudly present Magic Mondays. Starting with a contemporary interpretation of the spiritual ceremony, created and practiced by the Minoans during the Bronze Age. The purifying blessing with laurel and sage calls on the divine goddess of the sun to relinquish her power and give way to the night. The evening unfolds whilst our renowned artists and DJs reveal their talent on The Beach House decks. Join us and be a part of the communal feeling that is Magic Mondays at The Beach House. VISITING ARTISTS BEN BRIDGEWATER MAY 27 / JUN 10 / SEP 2 Ben has been a permanent fixture on the London party scene for 20 years, as well as playing at the world's coolest parties for royals and roughnecks, viscounts and vagabonds. He has held residencies at The Arts Club, The Scotch, The Box, 5 Herford St, The Double Club, The Groucho and The Cuckoo Club, supported Stevie Wonder and The Stones, played at parties in Paris for Stella McCartney as well as at film premieres for James Bond and Star Wars. As co-founder and creative director of Playlister, Daios Cove's in-house music team, Ben understands the sound of The Beach House better than anyone. ALEX NUDE JUN 3 / SEP 9 / OCT 7 Having DJed for over a decade, Alex Nude has been based in Mykonos since 2013. As resident DJ for Scorpios Mykonos for the first three years he became well-known for his branded night 'Blaq Theory' with great tech sounds recorded at the world-class Nightclub Moni, also in Mykonos. -
BURIAL: I Was Brought up on Old Jungle Tunes and Garage Tunes Had
NIGHT LIGHT #1 — EDITED BY FRED CAVE, WERKPLAATS TYPOGRAFIE WERKPLAATS — JUNE 2014 FRED CAVE, NIGHT LIGHT #1 — EDITED BY BURIAL INTERVIEW WITH MARK FISHER play us ‘Metropolis’, Reinforced, Paradox, DJ Hype, Foul DECEMBER 2007 – UNEDITED TRANSCRIPT Play, DJ Krystl, Source Direct and techno tunes. When you’re younger that stuff blows your mind. But then they, MARK FISHER: Vocals were always central to your they didn’t lose interest in it, but they got on with life and sound, but they have become even more important I was stuck for years. And I would still buy the tunes, and on this album than they were on your first LP. my whole life was going on missions to buy tunes and try and impress ‘em by putting together compilations I BURIAL: I was brought up on old jungle tunes and thought that they would like. I thought I was holding a garage tunes had lots of vocals in but me and my brothers lighter up for that stuff, I’d cane Jaffa Cakes and make loved intense, darker tunes too, I found something I compilations, slip the odd garage tune in. And even when could believe in... but sometimes I used to listen to the I started making tunes I was trying to impress them, I still ones with vocals on my own and it was almost a secret am, but I think they hate my new tunes though. When thing. I’d love these vocals that would come in, not proper I grew up I thought everyone would be into jungle and singing but cut-up and repeating, and executed coldly. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture. -
Lucas Stephen M 2014 Masters
TRIPLE SYNTHESIS by Stephen Lucas A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © STEPHEN LUCAS 2014 ii Acknowledgements I would like to thank my thesis supervisors and committee members Professor Michael Coghlan and Professor Alan Henderson, for their guidance and support in the development of this thesis. I must also thank committee member Professor Holly Small for her generous input and support. In addition, I wish to thank my graduate studies Professors Dorothy de Val, Pat Bradley and David Mott for their advice and expert instruction in my coursework at York University. iii Abstract This thesis investigates the result of merging three musical approaches (jazz fusion, breakbeat/IDM and Electronic Dance Music) and their respective methodologies as applied to music composition. It is presented in a progressive manner. Chapters two to four identify and discuss each of the three styles separately in terms of the research undertaken in the preparation of this thesis. Chapter 2 discusses, through a close examination of selected compositions and recordings, both Weather Report and Herbie Hancock as representing source material for research and compositional study in terms of melody, harmony and orchestration from the 1970s jazz-fusion genre. Chapter 3 examines breakbeat and Intelligent Dance Music (IDM) drum rhythm programming through both technique and musical application. Chapter 4 presents an examination of selected contemporary Electronic Dance Music (EDM) techniques and discusses their importance in current electronic music styles. Chapters 5, 6 and 7 each present an original composition based on the application and synthesis of the styles and techniques explored in the previous three chapters, with each composition defined by proportions of influence from each of the three styles as in the Venn diagram shown in the introduction. -
GENTLE GIANTS Hercules & Love Affair Expand Their Sound on Thoughtful New Album, ‘Omnion’
MUSIC RATE THAT CHOON Reviewing the month’s biggest tracks p.110 LENGTHY BUSINESS August’s albums analysed p.144 COMPILATION COMPETITION Mixes and collections broken down p.148 GENTLE GIANTS Hercules & Love Affair expand their sound on thoughtful new album, ‘Omnion’... p.144 djmag.com 117 SOONEY HOT CREATIONS DJ DEEP DEEPLY ROOTED HOUSE HOUSE BEN ARNOLD as the title might suggest, has echoes of raves gone by, dropping QUICKIES into a clattering breakbeat in the mid-section. Meanwhile, 'Drug Will Saul & Tee Mango present Dilling' finds label-chum DJ Tennis Primitive Trust [email protected] on the vocals, tripping out over Power On EP deep, throbbing tech, while the Aus Music legendary DJ Bone takes things 7. 5 on a friskier, more angular tip with Highly recommended, this new collab between his remix. Millionhands boss Tee Mango and Aus main man Will Saul. 'Power On' is all lovely pads and bleeps. Sebastopol Nothing not to like there. Gahalowood Kompakt Matuss 8.0 Absence Seizure 008 Frenchman and Hypercolour Absence Seizure alumnus Sebastien Bouchet 7. 5 returns to Köln's most stately Beautifully crafted, cerebral house music from New Kompakt under his new alias, York via Ukraine's Julia Matuss. With its warbling Sebastopol, with three tracks Rhodes, 'Fairy Dust' is a delight, while 'Faramant' of largesse. ‘Gahalowood’ is delves deep. something of a monstrous proposition, with shoe-gaze Inland Knights vocals coupled with epic, big-room Subway reverberations. On the flip, there's Drop Music the wonderfully tripped-out ‘Flash 8.0 MONEY Pool’, a wonky, off-kilter mash-up Two tracks of irresistible funk from the legendary Letherette SHOT! of pulsing synths and cowbells. -
284 Chapter 4 Compilasians: from Asian Underground To
CHAPTER 4 COMPILASIANS: FROM ASIAN UNDERGROUND TO ASIAN FLAVAS Introduction The success of those British Asian popular musicians who were associated with the Asian Underground by the end of the 1990s had two imagined outcomes: 1) their success could establish British Asians as significant contributors to British society and popular culture, or 2) their success could eventually falter and, as a result, return British Asian popular musicians to the margins of British society. As Chapter 2 demonstrates, the second outcome proved to become reality; British Asian musicians associated with the Asian Underground did return to the margins of “British culture” as popularly conceived. Before they returned to the margins, recording companies released a plethora of recordings by British Asian musicians, as well as compilation recordings prominently incorporating their music. As shown in Chapter 2, the “world music” category in the context of the award ceremonies served many simultaneous, if at times contradictory, roles that helped define British Asian musicians’ relation to mainstream culture; the most significant of these roles included serving as a dumping ground for exotic others and as a highly visible platform highlighting British Asian musicians’ specific contributions to the music industry. Yet British Asian musicians’ participation within particular compilation recordings offers yet another significant forum that defines their cultural identity. The first British Asian-oriented compilations had been motivated by attempts to capture the atmosphere of particular club scenes and package them for mass consumption; as a result, these compilations most often featured music by artists associated with respective clubs. Yet as a surfeit of 284 British Asian releases saturated the market, British Asian music lost its novelty. -
Styly Elektronické Taneční Hudby V Rámci České Scény
JIHOČESKÁ UNIVERZITA V ČESKÝCH BUDĚJOVICÍCH Pedagogická fakulta Katedra hudební výchovy Styly elektronické taneční hudby v rámci české scény DIPLOMOVÁ PRÁCE Šárka Tomanová 5. ročník, ČJ-HV/ZŠ Vedoucí práce: Mgr. Martin Voříšek, Ph.D. 2012 Anotace Diplomová práce se zaměřuje na žánr elektronické taneční hudby a jeho další stylové rozdělení v rámci české hudební scény. Hlavní část historicky a hudebně vymezuje celkem sedm hlavních stylů ETH a člení je do podstylů, se kterými se posluchači můžou nejčastěji setkávat na domácích tanečních akcích. Dále popisuje vznik, vývoj a současný stav ETH u nás. Práce se orientuje také na zachycení odlišností mezi jednotlivými podstyly pomocí notace rytmických patternů a zvukových ukázek. Anotation This diploma thesis is focused on the topic of electronic dance music and its genre classification within Czech music scene. The main part of the thesis defines seven primary genres of EDM from the historical and musical perspective, and consequently it divides them into the subgenres that the audience can meet on the Czech dance floors most frequently. Moreover, the thesis describes the origin, evolution as well as the current situation of Czech EDM. The thesis also concerns with the differences among the subgenres by means of the drum pattern notation and sonic samples. Prohlášení: Prohlašuji, že jsem svoji diplomovou práci na téma Styly elektronické taneční hudby v rámci české scény vypracovala samostatně pouze s použitím literatury uvedené v seznamu citované literatury. Prohlašuji, že v souladu s § 47b zákona č. 111/1998 Sb. v platném znění souhlasím se zveřejněním své diplomové práce, a to v nezkrácené podobě – v úpravě vzniklé vypuštěním vyznačených částí archivovaných Pedagogickou fakultou elektronickou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejích internetových stránkách, a to se zachováním mého autorského práva k odevzdanému textu této kvalifikační práce. -
Hermeneutics of Suspicion: Paranoia and the Technological Sublime in Drum and Bass Music by Dale Chapman Mount Allison University
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 2 (Fall 2003) Hermeneutics of Suspicion: Paranoia and the Technological Sublime in Drum and Bass Music by Dale Chapman Mount Allison University 1. Few recent films, independent or otherwise, approach the degree of taut, visceral intensity generated by the movie ! (Daniel Aronovsky, 1998). With its story of a brilliant mathematician haunted by the elusive specter of a powerful equation—an equation charged with explaining the most unpredictable patterns in our universe—! taps into the heady mixture of euphoria and paranoia that characterizes its cultural moment. One of the most intense moments in the film, though, takes place before this story even gets properly under way. The title sequence of ! captures an intense synergy between aural and visual manipulation: as the movie begins, a nebulous, sustained texture provides a musical extension of the mute signifier “!” which is presented to us in its enigmatic Greek spelling. Through this lens, the concept of pi seems to take on a quality of abstraction, as something that can be labeled by a single, opaque symbol. As the tentative first beats of the theme’s breakbeat groove come in, however, the true significance of “pi” becomes fleshed out: firstly through the 3.14 that constitutes the layperson’s understanding of pi, then in terms of the infinite string of digits that make up the larger totality of this irrational number. The visual representation of this string is immensely powerful, as the digits are scrolled upwards far too quickly for the viewer to grasp. 2.