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Dj Spooky Is Articulate, Articulates

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DJ SPOOKY IS ARTICULATE, OR IS IT BETTER TO SAY THAT HE ARTICULATES'? HE EXPRESSES HIMSELF WITH HIS MIXES AND WRITTEN THE PROCESS, WORKS; IN a COMMON SENSE CHARACTERIZING OF GIDDY CONFUSION AND EXCITEMENT WITH THE CONDITIONS OF CONTEMPORARY LIFE, WHILE DISPLAYING AN INFORMED, HISTORICALLY LOCATED, SENSE OF PLACE AKin ...^p ALSO: OLIVIA TREMOR CONTROL, |Hfc UULUHIHlb,30 SECOND MOTION PICTURE, SPEEDBUGGY, THE ELECTROSONICS, KANEVA AND SPACEKID. PLUS: SAVE THE CBCI .O \, 1176 GRANVILLE ST, G08-GATK APRIL 1997 ISSUE *171 APRIL CALENDAR FRI. 4th SAT. 5X1-1 BRICKHOUSE FEATURES WITH GUESTS BALL II THE ATROCITY EXHIBITION SAVE THE CBC 7 ONS SCANTY WEAR FASHION SHOW/ FRI. nth THE SADDLESORES 30 SECOND MOTION PICTURE 10 VANCOUVER POLK KIOSKS. TAROT. PERFORMERS OIIVIA TREMOR CONTROL 13 MUSIC FESTIVAL ^m^m^m^m^m^m^m^m^m^tm PRESENTS FROM ELEOROSONICS/SPACEKID/KANEVA/SPEEDBUGGY 14 SATr I2t SALNN FRANCISCFRANCISCOO I rSEL DJ SPOOKY 16 ELE MUSIC WASTE DBLE CO RE LI * i___fi2 ZOLTY CRACKEI THE COLORIFICS 20 ETS: -nCktfMASTER. If I W SMAK MHiHV#t, 11/ HOMECOMING SHOW BLACK SWAM I W I ' :'•' . I- *P—mmmml Columns FRI, iQth COWSHEAD CHRONICLES NOISE _ SATtJ9th VANCOUVER SPECIAL THERAPY | COLORIFICS DIARY of JONNIE LOAF BOY WITH QUEAZY 4fe INTERVIEW HELL GUESTS SUBCULT. GASIVI editrix BASSLINES 19 miko hoHman SA^, 2*9th PRINTED MATTERS 19 ort director •ea«(_©i_«*£K c«-c«_i<_ fcgo^ai kenny paul SEVEN INCH 21 FROM SAN FRANCISCO ad rep BETWEEN THE LINES 21 FRI, 25th kevin pendergraft TEMPEST UNDER REVIEW 22 production manager 24 MUSCLE barb yamazakf REAL LIVE ACTION BITCHE CHARTS 27 graphic design/layout WITH | STONY PLAIN RECORDING ARTISTS tania alekson, atomos, erin ON THE DIAL 29 hodge, ken paul, GUESTS. HE PAPERBOYS APRIL DATEBOOK 30 barb y production tania a, chris eng, anna friz, erin h, yuka mflcami, stu, tristan winch photography/illustrations barb, Jamie bilan, shawn ROIMIMY SCOTT'S SPRING & SUMMER R ^L J^Gf*A A/O E/JA/D SLJXM * contributors S___> james b, nelse b, brady c, EVERY MONDAY (STAgf^8.PM) "o christian, michael c, christina, ROUGHCUTS S S]0gfcfP P E R S c% qlenn d, chris e, anna f, karen nn y n g f, gth, alia h, jen h, pieter h, I RODE THE BUS ALL THE WAY OUT TO UBC AND HOSTED BY " " " "*•**' • J^m &C0USIIC OPEN STAGE FOR BANDS (O'R°0'lvl-™_,,Hs R 0 VID E D) sydney h, Joyce i namiko k ALL I GOT WAS THIS LOUSY COVER. GRAPHIC kenny. daria I, john I. sean I, lloya, janis bmc, adam m, DUGHSK3N BY KEN. NO COVER'EVERY TUESDAY MO COVER! Joseph m, kris r. dale s, THE BROWN DERBY sheldon s, June s, aave t, jim v, O "DiSCORDER" 1997 by th* Stud.nt Radio Society of INVITATIONAL JAZZ AND JAM FESTIVAL brian w, brian w tho University of British Columbia. All right« r.i.rv... PLAYERS AND SAND INFO; 680-1250 program guide Circulation 17, 500. APRIL 15th » CD RELEASE FOB JUICE 7:30 -10:00 pm namilco kunimoto Subscription!, payabU in advance, to Canadian residents aro $ 15 for ono yoar, to re«dent, of tho USA aro $ 15 US; charts WEDNESDAYS $24 CDN oUowhoro. Single copies aro $2 (to covor port­ th megan Im, barb age, of course). Please make checks or money orders APRIL. _2"<* •> B«*« • 18 datebook w&C CFOX PEIVlOLI3TEtM DERBY popcorn girls til March 23th and can be booked distribution by calling Kevin at (604) 822-3017 ext. 3. Our rates are 1 matt stettich available upon request. DiSCORDER is not responsible for CUTTING EDGE NEW ROCK I***-**?" loss, damage, or any other injury to unsolicited manu­ sm-mam- us distribution scripts, unsolicited artwork (including but not limited to HOSTED BY GRAHAM SCOTT megsie drawings, photographs and transparencies), or any other __U_l__k_____ discorder on-line unsolicited material. Material can be submitted on disc VIDEO RELEASE FOR S.P.M. ben lai (Mac, preferably) or in type. As always, English is pre­ ferred. SOUND PRESSURE MANIFEST, publisher From UK to Langley and SquamUh to Bellingham, CiTR H ADLEY, _. co RELEASE FOR EVIL ROY SLADE linaa scholten can be heard at 101.9 fM as well as through aU major cable systems in the Lower Mainland, except Shaw in D.D.T. White Rock. Cal the OTR DJ fine at 822-2487, our office at 822-3017 ext. 0, or our now. and sports fines ot 822-3017 FLUX,& HIP HOP MECANIX ext. 2. Fax us at 822-9364, e-mo_ v ah citi«unixg.ub«.ca, visit our web site at hHp://www.ains.ubcca/media/c_r or NOISE THERAPY just pick up a goddamn pen ond write #233-6138 SUB Blvd., DE,s, l,DGE Vancouver, BC, CANADA V6T1Z1. i_3__c______i_i CFOX DEMOLISTEIM P R i n T E D In Cnnnon DERBY FINALS TrPfP L, 4PM -6PIVI VIRGIN M EGASTORE Site Of $11fitly Music for The Pimp In You. r—^ [\r SNEAKER PIMPS BECOMING X SOUNDTRACK THE SAINT FEATURING: ORBITAL, MOBY, CHEMICAL BROTHERS, UNDERWORLD, DURAN DURAN, DAVID BOWIE AND MANY MORE! SURE -'li'M.IHHl •BhUlTIMEDIA • MORE ARD 604.669.2289 Visit our cafe on the upper level. VIRGIN MEGASTORE 233-6138 SUB Blvd., . a6wfehead chrorucles e dear m "no i'm just lookin' 'round, thanks a lot./ i gotta be going now. will i get caught?" (freedy Johnston "on the way out") '"'• *t the dairy experiment was a bust, i tan see that now. clearly, and while it wasn't supposed to be a sad documentation, some found it disheartening, airhead especially one certain province reporter who's opinion i respect for reasons i'm still sorting out. and to him this column is dedicated. Dear Airhead, gets a glowing review. Now not Oi was trying to make was from the side he saw her, his eyes just caught the sight of her, somehow she i'd like to commend I'm sick of lame 'zines too, that by brewing your own, you was seemingly rolling by him. she moved as if on wheels and said hello as DiSCORDER on your newfound and I could really give a fuck are totally outside the corporate > she passed by him. he wasn't even sure at first if he even knew her, but she dedication to finding the about the "hot band du jour," deothbeer structure. Don't even ' knew him. then it came to him, who she was, he knew now where he had crummiest writers on tne planet. but I also don't have a single try and convince me that isn't seen her before, she was much taller than he had ever really realized before Between the Lines is written by spare second to waste on punk. No dipshit edge-kid can convince me I'm wrong ond nei­ and this, for some reason, threw him off a bit. her thin frame and boyish the two biggest brainiocs since another 'zine done on a shitty looks suggested someone much younger than himself and for a moment he Sean Raggett or Coral Short. old typewriter with those cute ther can a self-righteous RiotNrrd nepotist. In fact, the only thing felt very old. turning, he watched her continue down the street and round Damn it, even Trish Kelh/ is bet­ little paste-on stars featuring Andrea and Christina have con­ ter than these two, and that isn't writings by a myopic, angry, the corner disappearing from his view, and it was then that he became scared vinced me of is that they are a saying a whole lot. young girl who's discovered he'd never see her again, catching his reflection in a store window he looked couple of card-carrying morons. Christina claims that she that by calling herself at himself like he had never done before, mirrors at home had always been ond poor little busy bee Andrea "RiolGrrrl" she can be right unkind to him, reflecting the bad side every time, the whites of his eyes are just loo darn bogged down all the hme. Gender politics Dale Nixon turning gray with the passage of time, the road map that was his face, his with the trials of everyday life are extremely important to hair that was turning white and seemingly receding at a rather alarming to review any "music/fun" me but the vast majority of Wall, a big hollo to y'all. rate, it was now, though, as he looked at himself clearly in the store window 'zines. Now isn't that what most these zines — and I've read This is your annual report from that he realized he looked better than he thought, maybe she saw something 'zines are about? By keeping a lot of them — do nothing that musical foreign correspond­ he never could, pulling up to the window he studied his face and brought this policy, not onfy are they but increase hostility and ent — Marcos X (of Ngoma his hands up to it. confidence rushed through his body as it never had be­ denying your readers with a schism. If you grrrls really fame). Last time I was down here fore, standing back he surveyed his clothes and the frame they were at­ whole whack of information, want a revolution, buy a NAFTA was big news and co- tached to. turning from side to side it became clear to him that he was not as they themselves are missing out fucking gun or two. I did. No incidentally, the band I was sickly as he had once thought, he had style of a sort, where he got it from he on a lot of realh/ good writing.
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    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.