Autechre Envane Mp3, Flac, Wma
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Autechre Confield Mp3, Flac, Wma
Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Exploring Compositional Relationships Between Acousmatic Music and Electronica
Exploring compositional relationships between acousmatic music and electronica Ben Ramsay Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy De Montfort University Leicester 2 Table of Contents Abstract ................................................................................................................................. 4 Acknowledgements ............................................................................................................... 5 DVD contents ........................................................................................................................ 6 CHAPTER 1 ......................................................................................................................... 8 1.0 Introduction ................................................................................................................ 8 1.0.1 Research imperatives .......................................................................................... 11 1.0.2 High art vs. popular art ........................................................................................ 14 1.0.3 The emergence of electronica ............................................................................. 16 1.1 Literature Review ......................................................................................................... 18 1.1.1 Materials .............................................................................................................. 18 1.1.2 Spaces ................................................................................................................. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
PDF Book • Tarek B. Slimane
wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out wip3out _ Introduzione_mondo_Wipeout_ Scheda_tecnica_ Wip3out_ storia_dei_team_ soundtrack_ The_designers_republic_ caillois_system_ zero_ludico_system_ index_ Introduzione_mondo_ wipeout_ Il mito “WipE’out” è nato durante l’av- vento dell’era “gold” dei videogio- chi: la Playstation, nel 1995, sbar- cò sia negli States che in Europa. Il gioco uscì in multipiattaforma: PC MS- DOS, per la Sega Saturn e come uno dei titolo di lancio per la scatola grigia Sony. “What the heck!!!?”, la reazione dei “critici” dei videogames; il gio- co si presenta come il taglio net- to di una katana forgiata dai più grandi maestri del “Nippon”. Unico. Questo racing game anti-gravitaziona- le e con della violenza “sofisticata”, ha folgorato migliaia di appassionati delle corse, del design e della musica. Que- sto futuristico terremoto ha lasciato un segno indelebile. Per la cura grafica e identità del videogame è stato affida- to al prestigioso studio inglese fondato da Ian Anderson: “The Designers Repu- blic”: conosciuti per le cover arts com- missionati dalla label Warp Records, e per il loro stile “maximum-minimal” irriverente e controverso. Quest’ultimi soundtrack che completarono il cerchio due erano entrambi residenti a Shef- frenetico e psichedelico del gioco. field. Con questo primo WipE’out acclamato dalla critica, iniziò un’interessante pe- La scelta musicale diretta verso un’e- riodo videoludico. lettronica e techno underground: CoLD SToRAGE, Leftfield, The Chemi- cal Brothers e Orbital. -
Algorithmically Assisted Improvised Music
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 AAIM: Algorithmically Assisted Improvised Music Fay, Simon Fay, S. (2016). AAIM: Algorithmically Assisted Improvised Music (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/24629 http://hdl.handle.net/11023/3073 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY AAIM: Algorithmically Assisted Improvised Music by Simon Fay A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMPUTATIONAL MEDIA DESIGN CALGARY, ALBERTA June, 2016 c Simon Fay 2016 Abstract The AAIM (Algorithmically Assisted Improvised Music) performance system1 is a portfolio of interconnectable algorithmic software modules, designed to facilitate improvisation and live per- formance of electronic music. The AAIM system makes no attempt to generate new materials in one particular style, nor to act as an autonomous improviser. Instead, the goal of the AAIM sys- tem is to facilitate improvisation through the variation and manipulation of composed materials entered by the user. By generating these variations algorithmically, the system gives improvisers of computer music the ability to focus on macro elements of their performances, such as form, phrasing, texture, spatialisation, and timbre, while still enabling them to incorporate the rhythmic and melodic variations of a virtuosic instrumental improviser. -
Autechre Basscad,EP Mp3, Flac, Wma
Autechre Basscad,EP mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Basscad,EP Country: UK Released: 1994 Style: IDM, Experimental, Ambient MP3 version RAR size: 1702 mb FLAC version RAR size: 1765 mb WMA version RAR size: 1762 mb Rating: 4.5 Votes: 985 Other Formats: XM AAC AUD MP3 MOD DMF AHX Tracklist Hide Credits 1 Basscadet (Bcdtmx) 6:49 Basscadet (Beaumonthannanttwomx) 2 8:14 Remix – Beaumont Hannant Basscadet (Seefeelmx) 3 6:51 Producer [Reproduced By] – Mark CliffordRemix – Seefeel 4 Basscadet (Tazmx) 6:54 5 Basscadet (Basscadubmx) 9:37 Companies, etc. Phonographic Copyright (p) – Warp Records Copyright (c) – Warp Records Made By – PDO, UK – 10274611 Credits Design – The Designers Republic Keraion Prograam 2049* Written-By, Producer, Engineer – Rob Brown , Sean Booth Notes ℗ 1994 Warp Records. © 1994 Warp Records. Autechre Music Systems from Gescom Transcendental. Made in England. Category appears as WAP 44CD on spine. Category appears as WAP.44CD in text (layout) on back and disc. Barcode and Other Identifiers Barcode (Printed): 5 021603 044029 Matrix / Runout: WAP44CD 10274611 01 & MADE IN U.K. BY PDO Mastering SID Code: none Mould SID Code: none Other versions Category Artist Title (Format) Label Category Country Year Wax Trax! TVT 8717-2 Autechre Basscad,EP (CD, EP) Records, TVT TVT 8717-2 US 1994 Records Basscadetmxs (2 Of 3) 10.WAP.44DP Autechre Warp Records 10.WAP.44DP UK 1994 (10") Basscadet EP (5xFile, WAP44CDD Autechre Warp Records WAP44CDD UK Unknown WAV, EP, RE) Basscadet EP (5xFile, WAP44CDD Autechre Warp Records WAP44CDD UK Unknown FLAC, EP, RE) WAP 44CD Autechre Basscad,EP (CD, EP, RE) Warp Records WAP 44CD UK 1994 Comments about Basscad,EP - Autechre furious ox Interesting but none sound as good as the original on Incunabula betelgeuze BCDTMX was the first track by AE that I ever heard....I saw the video for it on an electronic music show here in Canada back in 1997. -
Alwakeel IDM As A
IDM as a “Minor” Literature: The Treatment of Cultural and Musical Norms by “Intelligent Dance Music” RAMZY ALWAKEEL UNIVERSITY OF LEEDS (UK) Abstract This piece opens with a consideration of the etymology and application of the term “IDM”, before examining the treatment of normative standards by the work associated therewith. Three areas in particular will be focused upon: identity, tradition, and morphology. The discussion will be illuminated by three case studies, the first of which will consider Warp Records’ relationship to narrative; the two remaining will explore the work of Autechre and Aphex Twin with some reference to the areas outlined above. The writing of Deleuze and Guattari will inform the ideas presented, with particular focus being made upon the notions of “minority”, “deterritorialisation”, and “continuous variation”. Based upon the interaction of the wider IDM “text” with existing “constants”, and its treatment of itself, the present work will conclude with the suggestion that IDM be read as a “minor” literature. Keywords IDM, Deleuze, minority, genre, morphology, subjectivity, Autechre, Aphex Twin, Warp Can you really kiss the sky with your tongue in cheek? Simon Reynolds (1999: 193) Why have we kept our own names? Out of habit, purely out of habit. […] Also be- cause it’s nice to talk like everybody else, to say the sun rises, when everybody knows it’s only a matter of speaking. To reach, not the point where one no longer says I, but the point where it is no longer of any importance whether one says I. Deleuze and Guattari (2004: 3-4) Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 1-21 ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DOI 10.12801/1947-5403.2009.01.01.01 2 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 Introduction Etymologically, an attempt to determine what “IDM” actually signifies is problematic. -
Journey Into Sound Radio Darmstadt - Radar 103,4 Mhz / Livestream: Live.Radiodarmstadt.De Artist Track Album Label Sendetermin
On Air every months's first Thursday 2100 - 2300 CET Journey into Sound Radio Darmstadt - RadaR 103,4 MHz / Livestream: live.radiodarmstadt.de Artist Track Album Label Sendetermin !!! AM/FM Strange Weather, isn't it? Warp 01.07.2010 Individual Dance Safarai !!! Hello? Is this Thing on? Hello? Is this thing on? Warp 28.08.2004 Math on lone Beats !!! Hello? Is this Thing on? V/A Warp 02.12.2010 Warp20 (Elemental) Christmas Mix Vol. IX !!! Shit, Scheisse, Merde Pt.2 2 Tracks Clean Edits Warp 22.05.2004 A Doctor's Journey !!! Steady as the Sidewalk cracks Strange Weather, isn't it? Warp 02.09.2010 Sweet voodoo message music !!! Sunday 5:17 am Hello? Is this thing on? Warp 28.08.2004 Math on lone Beats !((OrKZa1 How to kill N'Sync How to kill N'Sync Commie 26.04.2003 Open word soundscapes (Read by) Andreas Pietschmann CD1 Carlos Ruiz Zafón - Der Schatten des Windes Hoffmann und Campe 05.07.2007 La Sombra del Viento (Read by) Andreas Pietschmann CD2 Carlos Ruiz Zafón - Der Schatten des Windes Hoffmann und Campe 05.07.2007 La Sombra del Viento (read by) Andreas Pietschmann Mpipidi und der Motlopi-Baum Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Christian Brückner Löwe , Hase und Hyäne Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Eva Mattes Die Schlange mit den 7 Köpfen Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Judy Winter Bescherung bei König Löwe Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Leslie Malton Die Mutter, die zu Staub zerfiel Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths .. -
Drone Records Full Stock List January 5, 2012 A-Z
DRONE RECORDS FULL STOCK LIST JANUARY 5, 2012 A-Z (ETRE) A Post-Fordist Parade in the Strike of Events (CD, 2006, Baskaru karu:6, €13) (FALLEN) BLACK DEER Requiem (CD-EP, 2008, Latitudes GMT 0:15, €10.5) *AR (RICHARD SKELTON & AUTUMN RICHARDSON) Wolf Notes (LP, 2011, Type Records TYPE093V, €16.5) 1000SCHOEN Amish Glamour (Music for the Sixth Sense) (CD-R, 2008, Lucioleditions llns one , €9) Moune (CD, 2010, Nitkie patch four, €13) Yoshiwara (do-CD, 2011, Nitkie label patch seven, €15.5) 15 DEGREES BELOW ZERO Under a Morphine Sky (CD, 2007, Force of Nature FON07, €13.5) Between Checks and Artillery. Between Work and Image (10, 2007, Angle Records A.R.10.03, €10) New Travel (CD, 2007, Edgetone Records EDT4062, €13) Morphine Dawn (maxi-CD, 2004, Crunch Pod CRUNCH 32, €7) Resting on A (CD, 2009, Edgetone Records EDT4088, €13) 2KILOS & MORE 9,21 (mCD-R, 2006, Taalem alm 37, €5) 8floors lower (CD, 2007, Jeans Records 04, €13) 3 SECONDS OF AIR Flight of Song (CD + LP, 2009, Tonefloat TF77 / TF78, €30) 3/4HADBEENELIMINATED The Religious Experience (LP, 2007, Soleilmoon Recordings SOL 147, €25) Theology (CD, 2007, Soleilmoon Recordings SOL 148, €19.5) Oblivion (CD, 2010, Die Schachtel DSZeit11, €14) 400 LONELY THINGS same (LP, 2003, Bronsonunlimited BRO 000 LP, €12) 5F-X The Xenomorphians (CD, 2007, Hands Production D112, €15) 5IVE Hesperus (CD, 2008, Tortuga TR-037, €16) 5UU'S Crisis in Clay (CD, 1997, ReR Megacorp ReR 5uu2, €14) Hunger's Teeth (CD, 1994, ReR Megacorp ReR 5uu1, €14) 87 CENTRAL Formation (CD, 2003, Staalplaat STCD 187, €8) @C 0° -
Holophonor: on the Future Technology of Visual Music
Holophonor: On The Future Technology of Visual Music Jonathan Weinel, Stuart Cunningham, Richard Picking and Lyall Williams Glyndŵr University (North Wales, UK) {j.weinel | s.cunningham | r.picking}@ Glyndŵr.ac.uk Abstract: This chapter discusses the progression of visual music and related audio-visual artworks through the 20th Century and considers the next steps for this field of research. The principles of visual music are described, with reference to the films of early pioneers such as John Whitney. A further exploration of the wider spectrum of subsequent work in various audio-visual art forms is then given. These include: visualisations, light synthesizers, VJ performances, digital audio-visual artworks, projection mapping artworks and interactive visual music artworks. Through consideration of visual music as a continuum of related work, we are able to consider the ‘Holophonor’: a fictional audio-visual instrument, as an example of the ideal visual music instrument of the future. We conclude by proposing that a device such as the Holophonor could be constructed in the near-future, by utilising inter- disciplinary approaches from the fields of HCI and affective computing. Keywords: Altered States of Consciousness, Electroacoustic Music, Electronic Dance Music, Video Games, Visual Music. Introduction The Holophonor is a musical instrument of the 31st Century; it is best described as a combination of an Oboe and a Holographic Projector. The notes played by its user triggers the projector to show holographic images that relate to the mood of the notes. Due to its complicated nature, it requires a great amount of skill to play. According to Leela, only a few people possess the skill to play the instrument - and they are not very good at it. -
Download Reviews Editor 16 FELIX LABAND Services Like Itunes,The New Napster and Others Less Appealing
ROGUE RCRDS ...GO TELL YR MAMA! #### “A place where grainy chanson romanticism meets folk sing-along and lovelorn elegy follows satirical barb. The album weaves a web of consistent magical charm... Bjork by way of Joanna Newsom. That said, CocoRosie sound, blissfully, like no one else” — MOJO Chandeliers in the Savannah and Johnny Whitney Blood Brothers. Neon Blonde is of Mark Gajadhar Rogue edition includes 3 Featuring guest performances from Devendra Banhart bonus tracks! and Antony (Antony & The Johnsons). Rogue edition includes bonus track! THOSE NOW, THESE IN OCTOBER: DIMMER AIRBORN AUDIO ‘It All Looks The Same At Night’ ‘Good Fortune’ 13 track compilation of ex-Straitjacket Fits Anti-Pop Consortium’s High Priest and leader Shayne Carter’s new vehicle. M.Sayyid unleash their debut album. Rogue edition includes 7 track bonus DVD! Rogue edition includes 16 track bonus disc! Available in all good stores and at www.inertia-music.com S T 2 N 1 CD E ITORIAL We are three years old. Despite the thousands of words that stand before you, this issue E T is notable for what is missing. There’s been so much great music come across our desks U in the last few months that we’re barely scratching the surface with this issue. Although N there are some 50 or so reviews in this issue and more on the website some of our We welcome your contributions and contact: S O favourite albums, tracks and songs of late are missing, still submerged in an enormous PO Box a2073 S ‘to be reviewed’ pile.