DOCSLIB.ORG

Review Emagazine Le I Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Review Emagazine Le I Vol LE MAGAZINE SON REVIEW IMAGE& VOL. 10, NO 5 5 o ol. 10 / n PHOTOGRAPHY: FRANÇOIS DESAULNIERS MAGAZINE V AUDIO PHYSIC SON & IMAGE SON & IMAGE SITARA It was 1973 when I first understood what a top-flight high-fidelity system could do. The speakers were the B&W DM70 hybrids: a 12" woofer in an imposingly wide cabinet, crowned by a curved ele- ven-element electrostatic panel. What I heard profoundly changed my perception of recorded music. Until then I had not believed it possible to so closely reproduce the emotion of a live concert. The REVIEW epiphany was costly, as I’ve gone through many speakers in my quest to relive the experience: Hartley, Energy 22 Reference Connoisseur, Mordaunt and Short Pageant, Oracle Mentor Studio, Magnepan 1.6 QR, NHT 3.3, Totem Model 1, Enigma Oremus, Revelation Antares, Revelation Lyra 7, and Revelation Mistral S6. Audio Physic is sorely missing from the list, so you’ll understand my enthusiasm when our editor-in-chief proposed a pair of Sitara. AUDIO PHYSIC vibration at its source and minimising its trans- Founded nearly 25 years ago by a music lover mission between speaker components. For searching to improve the sound of his ProAc example, a U-shaped elastic ring is fit snugly Tablette speakers, Audio Physic has built a solid around the rim of the cone in the mid-bass reputation based on the elegance of their spea- transducer, causing the diaphragm to tighten. kers, the quality of the construction and of This shifts resonances to beyond the range of course their holographic imaging. The philoso- human hearing and obviates the need to filter phy underlying the development of all their them out through the crossover. Designated by speakers (No loss of fine detail) has become their Audio Physic as the “Hyper Holographic Cone” trademark, in all senses of the word. (HHC), this technique is used in the High End Located in the town of Brilon in Germany, and Reference series. The HHC transducer also Audio Physic ensures in-house the design, assem- employs another novel approach, the use of a bly, testing and quality control of their speakers. Cabinet double-basket construction to physically separate moving construction is entrusted to the Danish firm Hornslet, deve- and fixed parts as much as possible. Moving parts, specifi- lopers of Hornflex, a patented technique for curving MDF cally the coil, suspension and diaphragm are aligned and panels, by means of multiple parallel grooves cut deeply held in place by an internal polymer basket designed for into the wood. The curved panels reduce standing waves maximum vibration damping. The fixed part, the neody- and the grooves also serve to increase box volume without mium magnet, is attached to an external aluminium basket. altering the external dimensions. This construction provides a mechanical barrier to the Audio Physic has revised their range of speakers into transmission of resonances from the cabinet or the basket three series, Yara Line, High End and Reference, with a clear to the diaphragm, and allows better transfer of heat from progression within and between each series. The Yara Line the coil. Lastly, to ensure another barrier to vibration, the represents the entry level and, in order, consists of the transducers are mounted using neoprene grommets that Compact, Evolution, Classic and Superior models. The Sitara prevent the basket from touching the cabinet. A warning to is the newest addition to the family and the entry point to torque wrench fanatics: the nuts holding the speakers in the High End series, followed within that line by the Tempo place do not need tightening! Doing so will compromise the and the Scorpio. The Reference line consists of the Virgo, integrity of the supports and defeat their purpose. the Avanti, the Caldera and the top-of-the line Kronos. 5 At the Salon Son et Image this year in Montreal, Audio A GUIDED TOUR OF THE SITARA o Physic was well represented by the Canadian distributor As explained to me by Manfred Diestertich, the design goals Dimexs. Visitors could not only see and hear a wide sample for the Sitaras were to achieve a speaker that is: adapted to ol. 10 / n of the Audio Physic range, but also chat with Dieter small and medium sized rooms (15 to 25 m2), capable of Kratochwil, CEO and Manfred Diestertich, in charge of being correctly driven by “normal” equipment, for example research and development. I took the opportunity to inter- a 40 to 50 watt amplifier, universally applicable and strong view them on their company and on the design objectives on imaging and emotion, entices the auditor to extend his MAGAZINE V behind the Sitara. Under Manfred’s direction, the design of listening sessions, and allows the listener to clearly follow the entire range of speakers and their components has been the music from another room, (always a good sign of the revised and updated. Several novel approaches are used to intelligibility of the musical message!) achieve the Audio Physic signature sound, i.e., maximum A two-and-a-halfway configuration was selected to information without falling into the trap of the hyper-ana- provide more energy in the bass frequencies. Frequency SON & IMAGE lytical speaker. The key is obsessive attention to reducing response is specified as 35 Hz to 40 kHz, with a nominal impedance of 4 ohms king double binding posts. Double or triple and a sensitivity of binding posts are offered as an option. 89 dB. The Sitara is Support and stability of the speaker are assu- a physically attracti- red by metal outrigger feet with machined ve and well-propor- adjustable spikes. Round covers (plastic but REVIEW tioned speaker in the resembling metal) cover the outriggers and form of a 980 x 147 x nicely complete the aesthetics. On a final - 220 mm column incli- technical note, the drivers are run in at the ned seven degrees to factory, so that the owner can quickly the rear. The raked achieve the true sonic signature of the angle functions to im- speakers. Nonetheless, Audio Physic re- prove sound dispersion commends three days of run in to allow into the room and phase the speaker to reach its full expression. alignment, and substan- tially contributes to the LEANING INTO THE MUSIC physical attractiveness of For preliminary listening during the the speaker. The tweeter, a three-day run-in period, I set up the 25 mm textile dome, and speakers in a room measuring 4.6 x 3.4 the 150 mm mid and bass x 3 m at a distance of 0.6 m from the transducers are set close front wall, and 1.8 m apart. For the IMAGE MAGAZINE together in the upper sec- final touch, I levelled them with the round spirit level provided by Audio & tion of the column. I found the look appealing and felt Physic, a nice touch! You have to see no need to hide them behind and touch these speakers to truly the black cloth grills provided. appreciate the quality of the cabine- SON Bass response is extended by a try. If the satin smooth finish of the reflex vent located halfway speakers is any indication of their down the rear face of the spea- musical qualities, then we are in for ker. With the handily placed a treat. vent and their light weight of 17 First up: “Society” by Eddie kg, the speakers are easy to Vedder from the soundtrack of reposition. Into the Wild, on system 1 (see The midrange and the bass Associated equipment). My first transducers are both Hyper Holo- impression is of a total lack of graphic Cones, but differ slightly in exaggeration or attenuation any- their coil structure. The mid has a where in the frequency range. double-layer coil for less mass and The song takes flight with Eddie better midrange reproduction, while Vedder’s voice warm and full of the bass has a four-layer coil winding emotion, as it should be, and for more mass and inductance, and solidly positioned between the thus better control in the bass. Cut- speakers. My wife stops her off between the mid and bass is provi- reading (which is rare) and ded by a second-order filter with a cor- sits with eyes closed, immer- ner frequency of 500 Hz, while a third- sed in the song. She remarks order filter does duties for the mids and that, for the first time, the the high-frequencies, with a corner fre- metallic overtones on the quency of 2,800 Hz. Again, to reduce guitar are audible. We conti- 5 o the influence of vibration, the crosso- nue with “Shape of My ver is located in a sealed compart- Heart” by Dominic Miller ol. 10 / n ment at the base of the speaker, and Neil Stacey, where the while the terminal plate is mounted interplay between the two on a neoprene support. The care guitarists is clear and pre- taken to minimize vibration and control cise, and a joy to follow. MAGAZINE V its dispersal is, to say the least, impressive. On the track “Ernest” by If the purchaser does not specify a prefe- Jim Lampi, the bass rence, the speakers are delivered with notes of the Chapman single rhodium-plated WBT binding posts stick are powerful and to avoid, according to Manfred, degrada- clearly delineated, pro- The 7° angled slim cabinet SON & IMAGE SON & IMAGE tion of sound caused by jumper cables lin- equalises phase differences viding the foundation between tweeter and midrange driver. that is essential to this track. ked work.
Load more

Recommended publications
  • John Zorn Artax David Cross Gourds + More J Discorder
    John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request.
    [Show full text]
  • Philip Glass Remixed) by Snibbe Studio
    BLOG MAGAZINE EVENTS JOBS SHOP LOG IN / MEMBERSHIP FILTER CONTENTS CINDER, IOS Published on 13/12/2012 comment 1 REWORK (Philip Glass Remixed) by Snibbe Studio written by Filip Visnjic Snibbe Studio’s biggest project since the Björk Biophilia, REWORK is a full-length app album treatment for the Beck/Philip Glass collaborative remix album featuring artists like Amon Tobin and Cornelius now available for the iPhone and iPad. The studio has built a REWORK app that includes interactive visualizations corresponding to 11 of the remix songs with visuals that range from three-dimensional landscapes to shattered multicolored crystals and vibrating sound waves. The app also includes an interactive “Glass Machine” that allows users to create their own music inspired by Philip Glass’ early works by simply sliding two discs around side- by-side, generating polyrhythmic counterpoints between the two melodies. “This is a way for people who don’t have the experience of manipulating music material to see what it’s like” Glass. The artists include Tyondai Braxton, Amon Tobin, Cornelius, Dan Deacon, Johann Johannsson, Nosaj Thing, Memory Tapes, Silver Alert, Pantha du Prince, My Great Ghost and Peter Broderick. The album is out now on Orange Mountain Music/Ernest Jenning Record Co./The Kora Records and is available at Philip Glass’ website as well as via the iTunes store and Amazon.com. The app was created using Cinder with the help from David Wicks who did most of the visualization work for the eleven songs using Bloom’s GLKit extension and working with Graham McDermott and Ahna Girshick from Snibbe Studio.
    [Show full text]
  • Dreamscapes and Dark Places / Music Video Spawned From
    Johannes Goebel, Director Kathleen Forde, Curator, Time-Based Arts Dara Greenwald, Research Assistant Shannon Johnson, Web Director Hélène Lesterlin, Associate Curator, Dance Jason Steven Murphy, Project Manager Elizabeth Palazzo, Business Coordinator Todd Vos, 3rd Floor Elf www.empac.rpi.edu UPCOMING EMPAC EVENTS: DANCE MOViES 3: ICE BREA K E R :: Salute the end of winter with one last snowy romp through an international line-up of new dance films and experimental videos! :: Thurs 03.23.2006 :: 7:30 PM :: Location :: Academy Hall, Rensselaer Campus DANCE MOViES 4: STREET WISE:: A sassy collection of short films featuring dancing in the streets, alleys, delis and various cramped quarters of cities all over the world. :: Thurs 04.20.2006 :: 7:30 PM (7:00 PM Pre-show video) :: Location :: Sage 3303, Rensselaer Campus MUSIC VIDEOS SPAWNED FROM SURREALISM Fortress Music: Pinback In the 1920’s, artists like Andre Breton, Salvador Dali and Man Ray Director: Elliot Jokelson w/ Loyalkaspar mashed bizarre imaginary happenings with the “real world” on Courtesy: Touch and Go film and called it surrealism. Today artists use computer generated animation and recent digital technologies to integrate the physi- 4 Ton Mantis Music: Amon Tobin cal world with layers that are much more fantastic. Now we call it Director: Floria Sigismondi augmented reality, virtual reality or perhaps even magical realism. Courtesy: Ninja Tune But frankly, we’re all getting at the same thing... the seduction of the dream world and other dark subconscious places is never going to go out of style as long as human nature still exists. In the past decade, the structure of the short snappy music video has not only become fodder for the likes of the commercial MTV set, but a gold mine for major artists and film directors to work with - and within - the limitations of the specific structure of the music video clip.
    [Show full text]
  • Thesis Submitted for the Degree Of
    THE UNIVERSITY OF HULL School of Arts How do electronic musicians make their music? Creative practice through informal learning resources. being a Thesis submitted for the Degree of MA in Music by Research (25004) in the University of Hull by Wai Kuen Wan (BEng University of Leeds, BA Leeds Metropolitan University) June 2017 Contents Abstract iv Introduction 1 Context and literature review 7 1. Compositional approaches 16 1.1 Curation 17 1.1.1 Context of materials 17 1.1.2 Juxtaposition 19 1.1.3 Assemblage 20 1.1.4 Personal sound archive 22 1.2 Sound manipulation 24 1.2.1 Custom modular tools 25 1.2.2 Destruction and degradation 28 1.2.3 Manipulating recorded performance 30 1.3 Indeterminacy and serendipity 31 1.4 Specificity of objectives 34 2. Conditions for creativity 40 2.1 Motivation 41 2.1.1 Self-serving 42 2.1.2 Enthusiasm 44 2.1.3 Commercial success 46 2.1.4 Reactionary responses 50 2.2 Personal growth 53 2.2.1 Exploratory learning 53 2.2.2 Early experiences 56 2.3 Discography for reflection 59 ii 2.4 Duration and nature of composition 61 2.4.1 Intensive work practice 62 2.4.2 Promoting objectivity 65 2.4.3 Learning vs making 66 3. Technological mediation 70 3.1 Attitudes to technology 70 3.1.1 Homogenisation of technologies 71 3.1.2 New ideas do not require new technologies 74 3.1.3 Obsessing and collecting 76 3.2 Tools for realisation 80 3.2.1 Proficiency and fluency with instruments 83 3.2.2 Opacity and affordance - enslaved to the (quantised) rhythm 86 3.3 Redefining technology 89 3.3.1 Subversion – extending the lexicon 90 3.3.2 Active Limitation 94 3.4 Instruments and their influence 97 3.4.1 Resisting conformity 98 3.4.2.
    [Show full text]
  • U.K.'S Eclectic NO Tune Marks 10 Years with Boxed Set by RASHAUN HALL Own Thing," Explains Koala
    Dance ARTISTS & MUSIC U.K.'s Eclectic NO Tune Marks 10 Years With Boxed Set BY RASHAUN HALL own thing," explains Koala. "It's rare says Koala, referring to labelmates always do well for us. It's great, and hits, and compiling from that," says NEW YORK -Individuality seems for a label to just let you develop as like Tobin, Cinematic Orchestra, DJ encouraging, that such an indepen- More. "We couldn't really do that to be a rare commodity in the music an artist. If you decide to do some- Vadim, and the Herbaliser. "There's dent label can now be celebrating its because we're always interested in industry today. With boy bands and thing completely different from the a consistency in terms of the people 10th anniversary." something new. So we went to the coming -of-age divas being signed left last thing you did, they support it. If doing what they want. People enjoy In preparing the "Xen Cuts" artists and asked them what they and right, it's become ever more dif- that about the label." wanted to do. We gathered all this ficult for experimental artists to find Notes More, "Plus, they are all material and then tried to figure out a label to call home. For this reason, very motivated artists. A lot of peo- what to use. At one point, we just U.K. -based label Ninja Tune remains ple send demos off and expect the said, `Fuck it, let's go for it.'" vital. record companies to fall all over Highlights of the 39 -track collec- Home to a wide variety of art- themselves, but that doesn't happen.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Tessa Farmer & Amon Tobin
    CONTROL OVER NATURE TESSA FARMER & AMON TOBIN Opening Reception: Saturday, September 15th, 6-8pm September 15 – October 6, 2012 Spencer Brownstone Gallery is pleased to present ‘Control Over Nature’, an exhibition by Tessa Farmer in collaboration with an acoustical installation by Amon Tobin. For her second show at the gallery, Tessa has teamed up with Amon Tobin to mark his September 14th performance at New York City’s Hammerstein Ballroom. With his groundbreaking audio/visual live show ISAM 2.0, the electronic music pioneer joined forces with Farmer for an extraordinary collaborative installation combining his sound design and elements from ‘ISAM’, alongside Farmer's trademark sculptures (constructed from bits of organic material, such as roots, dead insects and bones). Hovering with a rarefied, jewel-like beauty, Tessa's tiny spectacles resound with a theurgist exotica: their specimen forms evolve as something alien and futuristic. The collaboration perfectly captures the themes surrounding 'ISAM': sensory deprivation, disorienting situationism and the mechanization of natural things. "There is common ground between Tessa and I" says Amon, "we're both re-arranging and augmenting natural elements to make something imagined but tangible. We are both exploring new uses for familiar materials, or in Tessa's case familiar creatures. I'm trying to take an objective approach to all my source material, whether it's field recording or synthesis based or a mixture of the two. I'm treating it all as musically/creatively relevant and useful." Tessa's work is featured heavily throughout the 'ISAM' campaign as a whole, with the album artwork being dedicated to her creatures: "ISAM is beautiful, surprising, playful, disturbing and unnerving at times.
    [Show full text]
  • Amon Tobin Éÿ³æ¨‚Å°ˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
    Amon Tobin 音樂專輯 串行 (专辑 & 时间表) Bricolage https://zh.listvote.com/lists/music/albums/bricolage-670272/songs Permutation https://zh.listvote.com/lists/music/albums/permutation-743525/songs ISAM https://zh.listvote.com/lists/music/albums/isam-3146880/songs Foley Room https://zh.listvote.com/lists/music/albums/foley-room-568598/songs Supermodified https://zh.listvote.com/lists/music/albums/supermodified-834332/songs Out from Out Where https://zh.listvote.com/lists/music/albums/out-from-out-where-521793/songs Adventures in Foam https://zh.listvote.com/lists/music/albums/adventures-in-foam-2024449/songs Dark Jovian https://zh.listvote.com/lists/music/albums/dark-jovian-19824620/songs Boxset https://zh.listvote.com/lists/music/albums/boxset-60742200/songs Fear in a Handful of Dust https://zh.listvote.com/lists/music/albums/fear-in-a-handful-of-dust-64623419/songs https://zh.listvote.com/lists/music/albums/chaos-theory%3A-splinter-cell-3- Chaos Theory: Splinter Cell 3 Soundtrack soundtrack-841652/songs Stunt Rhythms https://zh.listvote.com/lists/music/albums/stunt-rhythms-16607802/songs Two Fingers https://zh.listvote.com/lists/music/albums/two-fingers-16612193/songs Solid Steel Presents Amon Tobin: https://zh.listvote.com/lists/music/albums/solid-steel-presents-amon-tobin%3A- Recorded Live recorded-live-3489402/songs Chaos Theory Remixed – The https://zh.listvote.com/lists/music/albums/chaos-theory-remixed-%E2%80%93-the- Soundtrack to Splinter Cell 3D soundtrack-to-splinter-cell-3d-2956458/songs https://zh.listvote.com/lists/music/albums/verbal-remixes-%26-collaborations- Verbal Remixes & Collaborations 718667/songs.
    [Show full text]
  • A Proposed Typology of Sampled Material Within Electronic Dance Music1 Feature Article Robert Ratcliffe Manchester Metropolitan University (UK)
    A Proposed Typology of Sampled Material within Electronic Dance Music1 Feature Article Robert Ratcliffe Manchester Metropolitan University (UK) Abstract The following article contains a proposed typology of sampled material within electronic dance music (EDM). The typology offers a system of classification that takes into account the sonic, musical and referential properties of sampled elements, while also considering the technical realisation of the material and the compositional intentions of the artist, producer or DJ. Illustrated with supporting examples drawn from a wide variety of artists and sub-genres, the article seeks to address the current lack of research on the subject of sample-based composition and production, and provides a framework for further discussion of EDM sampling practices. In addition, it demonstrates how concepts and terminology derived from the field of electroacoustic music can be successfully applied to the study and analysis of EDM, resulting in an expanded analytical and theoretical vocabulary. Keywords: EDM, sample, sampling, musical borrowing, production, composition, electroacoustic, mimesis, transcontextuality, spectromorphology, source bonding Robert Ratcliffe is an internationally recognised composer, sonic artist, EDM musicologist and performer. He completed a PhD in composition and musicology funded by the Arts and Humanities Research Council at Keele University, UK. He has developed a hybrid musical language and compositional technique through the cross-fertilisation of art music and electronic
    [Show full text]
  • Amon Tobin out from out Where Mp3, Flac, Wma
    Amon Tobin Out From Out Where mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Out From Out Where Country: Japan Released: 2002 Style: Trip Hop, Abstract, IDM, Breakbeat, Downtempo, Experimental MP3 version RAR size: 1743 mb FLAC version RAR size: 1132 mb WMA version RAR size: 1623 mb Rating: 4.6 Votes: 711 Other Formats: MIDI RA WAV XM VOX MP3 MP4 Tracklist Hide Credits 1 Back From Space 4:52 2 Verbal 3:55 3 Chronic Tronic 6:07 4 Searchers 5:45 5 Hey Blondie 4:31 6 Rosies 5:22 7 Cosmo Retro Intro Outro 4:07 8 Triple Science 4:58 9 El Wraith 5:59 10 Proper Hoodidge 5:25 11 Mighty Micro People 5:48 Verbal Video 3:26 Film Director [Video Directed By] – Alexander Rutterford Companies, etc. Published By – Just Isn't Music Made By – Disctronics, UK Credits Liner Notes – Masanobu Kasuga Written-By, Producer – Amon Tobin Notes Made in England. Packaged in a jewel case. Includes 4-page booklet, a japanese folded liner notes sheet and an obi. Barcode and Other Identifiers Barcode (String): 4523132614700 Barcode (Printed): 4 523132 614700 Matrix / Runout: IMPRESS ZENCD70 02 6 Mastering SID Code: IFPI L136 Mould SID Code: IFPI 0419 Other (Mould Text): MADE IN THE UK BY DISCTRONICS Other versions Category Artist Title (Format) Label Category Country Year Amon Out From Out Where ZEN CD70 Ninja Tune ZEN CD70 UK 2002 Tobin (CD, Album, Enh, Car) Not On Amon Out From Out Where Label ZZ-02GP0000340 ZZ-02GP0000340 Russia 2002 Tobin (CD, Album, Unofficial) (Amon Tobin) Amon Out From Out Where ZENCD 70 Ninja Tune ZENCD 70 UK 2002 Tobin (CD, Album, Promo) Amon Out From Out Where ZEN CD70 Ninja Tune ZEN CD70 Canada 2002 Tobin (CD, Album, P/Mixed) Amon Out From Out Where none Ninja Tune none UK 2002 Tobin (CD, Album, Promo) Related Music albums to Out From Out Where by Amon Tobin Amon Tobin - Amon Tobin (Bonus Boxset Material) Amon Tobin - Creatures Amon Tobin & Michael Shrieve - Oracle Amon Tobin - Freebie Creatures Amon Tobin - Amon Tobin - ISAM Amon Tobin - Bricolage Amon Tobin - Monthly Joints.
    [Show full text]
  • Discorder April 200 1 That Fluffy Tailed Magazine from Citr 101.9 Fm
    DISCORDER APRIL 200 1 THAT FLUFFY TAILED MAGAZINE FROM CITR 101.9 FM WEIGHTS & MEASURES • ANION TOBIN • FROG EYES • KIA KADIRI SOLARBABY • LADYTRON • CANNED HAMM DIARY i— t^n\jr g MO INJ -IT TOUR DE with special guests I Tickets Available At I I ucHotmaaror | At Richards on Richards j (604) 280-4444 f 1036 Richards St. AND ONE BASSIX Vancouver, BC IIMM* h*£ 217 W. Hastings & Landscape Body Machine (604) 689 - 7734 Doors at 8 pm *MP Jr? ?f J ROC CATCH'EM WFJ ©THE COMMODORE SATURDAY APRIL 28TH, NOISE CONSPIRACY R0CK1T FROM THE CRYJPJL JHE (I NTERNATIONAl) NOISE CONSPIRACY ^GROUP SOUNDS" "SURVIVAL SICKNESS" RES QVAGRANT > WATER STREET VANCOUVER CANADA Events at a glance: heavily sedated: Barbara Andersen frffi#lffffi in training: Lyndsay Sung kia kadiri by hancunt p. 12 ad rep: DJ Z-TRIP @ CROSSFADE FRIDAYS solarbaby by spike p. 13 Maren Hancock art directrix: frog eyes by jay aouillara p. 14 Lori Kiessling ladytron by Christine gfroerer p. 15 assistant art director: amon tobin by luke meat and robert robot p. 16 Matt Searcey THURSDAY APRIL 19 weights and measures by lia kiessling p. 17 producfion mananger: Christa Min MARQUES WYATT canned hamm tour diary by little hamm p. 19 photo editor: Ann Goncalves real live action editor: STRICTLY RHYTHM, KING STREET i... _ Steve DiPasquale •fe AmaHnrl* "Hn.iR« Music" On YOSHITOSHI, layout: interview hell p. 5 Russ "Switch" Davidson, Farah Dharshi, Lori, Matt Searcy, Tara 7" p. 6 Westover radio free press p. 7 photography and illustrations: SATURDAY APRIL 21 Hoi strut and fret p.
    [Show full text]
  • 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) Drum'n'Bass (These are excerpts from my book "A History of Rock and Dance Music") Jungle TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Dance music of the 1990s largely rejected the simple, jovial, hedonistic approach to body movement that had ruled since James Brown invented funk music in the 1960s. Disco, techno and house had simply imported new technologies (both for rhythm and arrangements) into the paradigm of funk. The 1990s continued that process, but further removing the "joy" of dancing from the beats, and, in fact, replacing it with fits of acute neurosis. One of the most important ideas to come out of Britain was "jungle" or "drum'n'bass", a syncopated, polyrhythmic and frantic variant of house, a fusion of hip-hop and techno that relied on extremely fast drum-machines, epileptic breakbeats and huge bass lines. Precursors of jungle included, in the USA, Bug In The Bassbin (1989), the rhythmic workout of Carl Craig's Innerzone Orchestra, and, in Britain, Perfecto's Baz De Conga (1989). The experiments of Plaid and Meat Beat Manifesto also laid the foundations of jungle. Jungle saw the light in 1992 in London with tracks such as Leakage Trip's Psychotronic, Nebula II's Flatliners and Johnny Jungle's Johnny, followed by Andy C's Valley Of The Shadows (1993) and Ed Rush's Bloodclot Attack (1993), while Omni Trio's Renegade Snares (1993) and especially LTJ Bukem's Music (1993) invented "ambient jungle" (a calmer, introverted version of that hyperkinetic dance music).
    [Show full text]