Guest Creative Ellen Allien
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May 18, 2016 for Immediate Release WATCH MODERAT's “RUNNING
May 18, 2016 For Immediate Release WATCH MODERAT’S “RUNNING” VIDEO https://youtu.be/tVawpT44Hrk MODERAT KICK OFF NORTH AMERICAN TOUR THIS FRIDAY MODERAT’S III OUT NOW VIA MUTE/MONKEYTOWN ModerAt, the alliance of electronic heavy weights, Modeselektor and AppArAt, kick off their North American tour in support of new album, III, this Friday in New York. They’ll be joined throughout by longtime creative collaborators, PfadfiNderei, who will take the reins on visual production. Last week, Moderat announced the release of the album’s second single, “RuNNiNg,” which presents a highly emotive kind of pop, built for dancing, but never simple. Today, the trio reveals the single’s visual accompaniment, directed by JAkob GruNert. Grunert uses the incessant momentum of “Running” to narrate a pilot’s final flight in the Mojave Desert. After abandoning his plane in an aircraft boneyard, the pilot grapples with the frailty of purpose and the pursuit of rebirth. The story goes hand-in-hand with Apparat’s description of “Running” in that the song is about being part of a mass that constantly needs to move to function, but a mass that’s not deciding directions by itself. Mute/MoNkeytown will release “Running,” featuring the exclusive b-side, “90% WAsser,” on May 20th. The digital bundle includes remixes by Shed and KiNK. The “RuNNiNg” 10”, available July 1st, will feature both remixes, and the “RuNNiNg” 12”, available July 15th, will feature the original track and exclusive b-side. WAtch “RuNNiNg” Video – https://youtu.be/tVawpT44Hrk ListeN To “RuNNiNg (Shed Remix)” – https://souNdcloud.com/moNkeytowNrecords/moderAt-ruNNiNg-shed-remix/ “RemiNder” Video – https://youtu.be/cJwsNUoazUg ModerAt Tour DAtes (tix oN sale via www.moderat.fm.): Thu. -
Some Albums to Keep Your Toes Warm This October Pt 2
Some Albums To Keep Your Toes Warm This October Pt 2. Bittles‘ Magazine | Record Review I was arm-wrestling a tiger the other day (my editor told me I had to make the beginning of my articles more exciting) when I suddenly realised that I had no time for such frivolity as I had some great albums to review. Quickly admitting defeat, I retreated to my listening studio (bedroom) and immersed myself in some of the fantastic records that will be hitting the record store shelves this October. By JOHN BITTLES We have the UK house of Huxley, the indie bleakness of Grouper, the disco diva-isms of Munk, the techno bass of Distal and so much more. But really, in a month when there is, finally, a new album by Glaswegian duo Slam, there is only one place we can begin. Stuart McMillan and Orde Meikle have long been established as bona fide legends of the house and techno scene! Their record label Soma is over 400 releases old, their DJ sets at clubs like The Sub Club and The Arches in Glasgow are discussed with an air of awed reverence, and, as Slam, the duo have released some of the finest electronic music known to man. And now, in the year 2014 they give us their first album in seven years with the deep and moody brilliance of Reverse Proceed. The cinematic ambience of Tokyo Subway, Visual Capture and the title track open proceedings and are the perfect introduction to the deliciously deep sounds to come. In fact it’s not until the techno futurism of Synchronicity that we even get our very first sign of a beat. -
People Dancing Without Bodies
Thesis for Media and Communication Studies Sally von Rosen People dancing without bodies: A qualitative study of virtual raving in a pandemic Masters in Media and Communication Studies One-year master’s thesis VT 2020 Word count: 18895 Advisor: Erin Cory Examiner: Temi Odumosu 1 Thesis for Media and Communication Studies Sally von Rosen 2 Thesis for Media and Communication Studies Sally von Rosen Abstract This thesis revolves around social dance movements in the form of raving and clubbing in Berlin, and how this performative scene is affected by social distancing measures due to the current situation of Covid-19. As an important moment in history, online body performances and virtual spaces aim to complement and substitute social experiences in physical environments. The field of study relating digital technology to club cultures is timely, as virtual raving is changing social bodies’ interactions. Life has gone online for the sake of upholding socialization, as people find themselves in isolation – in a hybrid experience of the digital and material. To assess these changes in social life, this thesis uses an auto ethnographical case study on virtual raving and interviews with rave participants, and deploys Affordance Theory. The affordances accounted for are those of ‘settings’, ‘socialization’, ‘entertainment’, and ‘mobility’. The analysis demonstrates the possibilities and problems of transferring the meditative and social bodily experiences associated with raving, to virtual environments. The resulting discussion addresses issues of global accessibility, virtual raves, and what these mean for a techno raving sub culture, and the people who participate in it. Keywords: virtual raving, social bodies, social distancing, Affordance Theory, digital natives, virality, rave culture, liveness, atmosphere, auto ethnography. -
Leipziger Platz Vom 19.03.1996
PRESSESPIEGEL SÍe sind stolz auf das ge- meinsame ProjeK miteinem ,,Theater des 21, Jahrhun- de¡tsß: AI- do Rossr, Isolde und i \:ì\S Peter ,,Wir setzen auf gemischtes und iunAes i "-\\ Kollmaír Publikum", erklär{ Handelsplanei Jãns \\ (von Siegfried, Kein lffunder - Teil iles Projekts lînks), ist der ..Tlesor Tower": Ein .Trrsendkauf- Foto: Gudath ði e .q, ä t'e' a n Kap it al a ulug., vËi ãuf t fi',x'å'.i:.aii,îå';l#.tgTå#îf; rverden sollen. um die Uh¡. Darunter bleib-t im Gekl- uv,uu urù,tuuuuËueùuleu. uleKana- ötenill_, in d¡ei Etagent I vom Designer bis zum BIs, I dischelluppe sorgte mi_t ihrer phantasri- M;;ñ iäüúli,ìr".i:^ r schen Ivlischung aus Bewegung, Licht, ve¡binde die al_ Auch Szene_Läden sind wi-llkommen. I 1 Dasalte Pla%-Achteck Itloch liegt das Bau- soll bald wieder erctehen gelãnde ", hrach, Dahin. Se1bst alte Berliner haben Der Leipzi- ter stehen die Schwierigkeiten, den Leip- ger PIaE in J. zíger Platz ar¡J Anhieb Wohnhãuse¡ zu den 20er So zeicñnete zeigen. Dabei schJug hiel Arch¡tekt Aldo Possi das der Wilheln. Jahren, Eck am Leipziger PlaE; Hlnter das Herz Berlins so úhnell den Häu- stnße, Beim Blick ætlrcnten erhebt sích dle Zlrkuskuppel, Foto:lGuhold wie am benachbarten Pots- in die Leip. damer Piatz. Das 1905 eröff- z,ger nete Werthei:n mit d¡eimal Stra8e meh¡' Verkauf sf läche als das sieht man I(aDeWe heute war Europas größtes links das KauÍhaus. Paiást- Kaufhaus Hotel und Fürstenhof Wertheim, gehöúen zu den renommier- testen Herbergen der Stadt, Meter messende Platz- Platz zunächst,,Octogon" Das zerbombte Al'eal auf Achteck neu entstehen. -
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. -
Basslines – Space of Involvement
Basslines – Space Of Involvement Column in zweikommasieben Magazin #18, 2018 (www.zweikommasieben.ch) Annotated version with sound and text references Text: Marius ‚Comfortnoise‘ Neukom (www.comfortnoise.com) As time passed it became inevitable: club culture would enter the museum and become subject of historical research, a development both exciting and terribly sobering. Club cul- ture began in the 60s, entered its heyday in the 90s and began to wither in the 00s. Today its existence is bleak. With ever more distance, it’s becoming increasingly clear what made club culture. The exhibition and catalogue Night Fever. Designing Club Culture 1960 – To- day (2018) at the Vitra Design Museum in Weil am Rhein, as well as the documentary book Der Klang der Familie: Berlin, Techno und die Wende (2014), an oral history project by Fe- lix Denk and Sven von Thülen, consider the nuts and bolts of club culture: the history of its spaces and how German reunification worked decisively in its favor. At the beginning of 1995, I touched the plasma ball in Globus, the top room of Berlin’s Tresor. Naive and boundlessly fascinated as I watched the colorful electric charges pour out from the sphere into my palm, I knew that I was in the right place at the right time 1. What I didn’t know, however, is what was new, what differed. I gave myself over to Tresor with Marcos Lopez, WMF with Kid Paul and E-Werk with Westbam. They laid the founda- tion for the years of clubbing that followed; DJ’ing with different music styles and in different scenes; running a record store; organizing countless parties—to this day with my current involvement with a collective that runs a club and me producing electronic music for the dance floor. -
0. Pr English
Sound Circuits are immersive sound walks inspiring reflection on the social dynamics of public spaces in Berlin and around the themes of memory, fear, freedom, rhythm and health. They will be installed in different Berlin neighbourhoods between October 5th and Nov 5th and are organized by the course of Sonic Arts Festival Eufonia. In four sound walks, more than 15 artists present their sound narratives accessible through QR codes inviting the public to explore the city through sound. October 5th - Nov 5th 2020 Berlin Friedrichshain | Mitte | Kreuzberg | Neukölln Website https://www.eufonia-festival.com/sound-circuits-berlin Instagram https://www.instagram.com/sound.circuits/ Facebook https://www.facebook.com/events/1245936705767044/ During the month of October Berlin will sound different. Several creative entities have united their artists to make sound creations that explore freedom, rhythm, fear, health and memory in the public spaces of the neighbourhoods of Friedrichshain, Mitte, Kreuzberg and Neukölln. Through QR codes placed in public places by the artists, you can access original sound creations that connect the urban landscape to your ear. The use of headphones is recommended for a more immersive experience. Available Sound Circuits will be: In Friedrichshain, developed by Catalyst In Mitte, developed by Feral Note In Neukölln, developed by artists from the last Eufonia edition In Kreuzberg, developed by Eufonia This project is aimed at a wide audience and intends to overcome some of the challenges that the pandemic has brought us, requiring no gathering or any human contact or access to culture. The Sound Circuits unite several local cultural organisations and exhibit their work, as well as that of the local artists associated with them, emphasizing their relevance to the development of the cultural fabric of Berlin. -
ORCHESTRA of BUBBLES BPC125 Ellen Allien and Apparat, Two
ELLEN ALLIEN&APPARAT ORCHESTRA OF BUBBLES BPC125 LP/CD BARCODE: LP: UPC A 661956712517 CD : UPC A 661956712524 17.04.2006 Ellen Allien and Apparat, two headstrong musicians who indeed differ in their musical context but still come together not just at the peripheral rims, collaborated on an album together: „Orchestra of Bubbles“. By a deep plunge into the world of sound of their counterpart both are trying to find gateways in order to expand their own possibilities. While Apparat used to stand for an algorithms-based aesthetics and Ellen Allien fathomed the possible heights and depths of the dance floor widthways as well, for their joint production they dabble in a principle which electronic music is dedicated to from the very beginning and which is now only spelled differently: Contingency. Meaning, Ellen Allien and Apparat indeed take on the connections between Techno and IDM, but extend the original horizon with their thoughtful way of production where they interpenetrate, empathise and move their own artistic borders. This becomes precise in those moments when Apparat not just aims at the dance floor but reaches it with the help of Ellen Allien’s keen sense for a heavy on bass-keynote that gives his melancholic superstructure its cathedral of sound-adhesion. On the other hand Ellen Allien’s claim to produce „brainish“ music isn’t just an empty phrase but comes alive again. By using their special Lego-block beats the musicians create a playful re-definition of abstract Elektro, which could be seen as the gateway between both of them and at the same time synchronizes their heart beats. -
Kit Kat Club Berlin
Kit kat club berlin Fetish- & Techno-Club aus Berlin, informiert über seine Veranstaltungen. Außerdem: Community, Presselinks Cosmopolitan NightClub · Kunst & Kuenstler im Club · Dresscode · Gästebuch. CarneBall Bizarre - KitKatClubnacht. Dresscode: Fetish, Lack & Leder, Sack & Asche, Uniforms, TV, Goth, Kostüme, elegante Abendgarderobe, Glitzer & Glamour, Extravagantes jeder Art! Apart from a few exceptions along the year, there's always a dresscode on a Friday or Saturday. The KitKatClub is a nightclub in Berlin, opened in March by Austrian pornographic film maker Simon Thaur and his life partner Kirsten : March Located just around the corner from Tresor, KitKatClub is a popular co-ed fetish spot. Sex is allowed (or encouraged), and on most nights you'll have to strip to Sat, Oct In Berlin, Europe's most decadent party city, techno and sex go hand–in-hand. THUMP's John Lucas penetrated the depths of Kit Kat Club, the. Few Berlin clubs have a dress code; just about anything goes. But this . We came from a far country to enjoy nightlife in Berlin a specially to see KitKatClub. 63 reviews of KitKatClub "We went on Saturday night around half past midnight. We had been Photo of KitKatClub - Berlin, Germany. a night in kiKat. Lucie D. Phone, +49 30 · Address. Köpenicker Straße 76; Berlin, Germany Wed PM UTC+02 · Kit Kat Club - Berlin · Berlin, Germany. Heute rede ich über denn Kitkat Club in Berlin und was ich dort erlebt habe. The Kit Kat Club in Berlin is one of those rare clubs that has achieved legendary status before it's even been closed. It can chart it's history back to when a. -
The Electronic Music Scene's Spatial Milieu
The electronic music scene’s spatial milieu How space and place influence the formation of electronic music scenes – a comparison of the electronic music industries of Berlin and Amsterdam Research Master Urban Studies Hade Dorst – 5921791 [email protected] Supervisor: prof. Robert Kloosterman Abstract Music industries draw on the identity of their locations, and thrive under certain spatial conditions – or so it is hypothesized in this article. An overview is presented of the spatial conditions most beneficial for a flourishing electronic music industry, followed by a qualitative exploration of the development of two of the industry’s epicentres, Berlin and Amsterdam. It is shown that factors such as affordable spaces for music production, the existence of distinctive locations, affordability of living costs, and the density and type of actors in the scene have a significant impact on the structure of the electronic music scene. In Berlin, due to an abundance of vacant spaces and a lack of (enforcement of) regulation after the fall of the wall, a world-renowned club scene has emerged. A stricter enforcement of regulation and a shortage of inner-city space for creative activity in Amsterdam have resulted in a music scene where festivals and promoters predominate. Keywords economic geography, electronic music industry, music scenes, Berlin, Amsterdam Introduction The origins of many music genres can be related back to particular places, and in turn several cities are known to foster clusters of certain strands of the music industry (Lovering, 1998; Johansson and Bell, 2012). This also holds for electronic music; although the origins of techno and house can be traced back to Detroit and Chicago respectively, these genres matured in Germany and the Netherlands, especially in their capitals Berlin and Amsterdam. -
Allegories of Afrofuturism in Jeff Mills and Janelle Monaé
Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe Feature Article tobias c. van Veen McGill University Abstract The performances, music, and subjectivities of Detroit techno producer Jeff Mills—radio turntablist The Wizard, space-and-time traveller The Messenger, founding member of Detroit techno outfit Underground Resistance and head of Axis Records—and Janelle Monáe—android #57821, Cindi Mayweather, denizen and “cyber slavegirl” of Metropolis—are infused with the black Atlantic imaginary of Afrofuturism. We might understand Mills and Monáe as disseminating, in the words of Paul Gilroy, an Afrofuturist “cultural broadcast” that feeds “a new metaphysics of blackness” enacted “within the underground, alternative, public spaces constituted around an expressive culture . dominated by music” (Gilroy 1993: 83). Yet what precisely is meant by “blackness”—the black Atlantic of Gilroy’s Afrodiasporic cultural network—in a context that is Afrofuturist? At stake is the role of allegory and its infrastructure: does Afrofuturism, and its incarnates, “represent” blackness? Or does it tend toward an unhinging of allegory, in which the coordinates of blackness, but also those of linear temporality and terrestial subjectivity, are transformed through becoming? Keywords: Afrofuturism, Afrodiaspora, becoming, identity, representation, race, android, alien, Detroit techno, Janelle Monáe tobias c. van Veen is a writer, sound-artist, technology arts curator and turntablist. Since 1993 he has organised interventions, publications, gatherings, exhibitions and broadcasts around technoculture, working with MUTEK, STEIM, Eyebeam, the New Forms Festival, CiTR, Kunstradio and as Concept Engineer and founder of the UpgradeMTL at the Society for Arts and Technology (SAT). His writing has appeared in many publications. -
Tell Carl Craig Techno Isn't About Raw Fucking Attitude and He'll Tell You to Shut up and Listen
104 TELLdetroit CARLrising carl craig CRAIG TECHNO ISN’T ABOUT RAW FUCKING ATTITUDE AND HE’LL TELL YOU TO SHUT UP AND LISTEN. interview TEMPE NAKISKA The game-changing second generation Detroit producer is one the most influential names in techno and a fierce advocate for his city, from his essential role in founding the Detroit Electronic Music Festival to his latest project, Detroit Love, a touring DJ collective of some of the biggest talents in the field, old school to new. Craig grew up absorbing the odyssey of sounds that formed legendary UK. There he got acquainted with the industrial sonic experiments radio DJ The Electrifying Mojo’s show from 1977 to the mid-80s. of Throbbing Gristle and UK rave music’s singular take on the From Jimi Hendrix to floppy haired soft rocker Peter Frampton, breakbeat – a clinical, on-edge combustion that would heavily Depeche Mode synth pop to Talking Heads new wave, and ruthless influence Craig’s own sound. Returning to the US he started his dancefloor belters from Parliament, Prince and Funkadelic, Mojo own label, Planet E, and unleashed himself on the world. Drawing scratched out notions of genre or ‘black’ and ‘white’ music to serve from jazz, hip hop and world music, he violently shook up what his up pure soul. forebears had started. You want techno? Hear this. Attending his earliest gigs underage, Craig helped his cousin 2016 marks 25 years of Planet E, through which Craig has on lights. It was there, deep in Detroit’s 80s underground, that he cruised to the earth-ends of his influences, via aliases including first-hand witnessed the music of the Belleville Three.