Rhythmic Connectivity
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Some Albums to Keep Your Toes Warm This October
Some Albums To Keep Your Toes Warm This October Bittles‘ Magazine | Record Review As Autumn wraps her chilly arms around the country we look to music for the comfort that we can no longer get from happiness or the sun. Luckily, this time of year tends to be when great new bands get off their asses and go out on tour, while it also seems like there is another fantastic new album to delight us every single day. By JOHN BITTLES In fact, there are so many great new releases this month that there is absolutely no chance of squeezing them into one single article. This week alone I will be reviewing Caribou, Gui Boratto, The 2 Bears, A Winged Victory For The Sullen, and tons more. While, next week we’ll have new albums by Slam, Distal, Huxley, DJ Koze among others. So, make yourself comfy, turn off the phone, geta nice glass of wine, and let us begin. As lead single ›Can’t Do Without You‹ won both our hearts and minds this summer it is only fair to commence with ›Our Love‹, the much anticipated follow-up to ›Swim‹ by Caribou. The aforementioned ›Can’t Do Without You‹ opens proceedings in, sadly, edited form, yet that doesn’t stop it from being one of the most touchingly beautiful four minute pop song you are likely to hear all year. Next track ›Silver‹ keeps the emotional trance elements to the fore, while alternate sounds are explored with ›All I Ever Need‹ utilizing UK Garage style bass over Dan’s falsetto and the title track›‹ recalling a time when the Es were good, and hugging strangers was par for the course. -
Treble Culture
OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN P A R T I FREQUENCY-RANGE AESTHETICS ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4411 77/9/2007/9/2007 88:21:53:21:53 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4422 77/9/2007/9/2007 88:21:54:21:54 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN CHAPTER 2 TREBLE CULTURE WAYNE MARSHALL We’ve all had those times where we’re stuck on the bus with some insuf- ferable little shit blaring out the freshest off erings from Da Urban Classix Colleckshun Volyoom: 53 (or whatevs) on a tinny set of Walkman phone speakers. I don’t really fi nd that kind of music off ensive, I’m just indiff er- ent towards it but every time I hear something like this it just winds me up how shit it sounds. Does audio quality matter to these kids? I mean, isn’t it nice to actually be able to hear all the diff erent parts of the track going on at a decent level of sound quality rather than it sounding like it was recorded in a pair of socks? —A commenter called “cassette” 1 . do the missing data matter when you’re listening on the train? —Jonathan Sterne (2006a:339) At the end of the fi rst decade of the twenty-fi rst century, with the possibilities for high-fi delity recording at a democratized high and “bass culture” more globally present than ever, we face the irony that people are listening to music, with increasing frequency if not ubiquity, primarily through small plastic -
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. -
A Life in Stasis: New Album Reviews
A Life In Stasis: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world With the Olympics failing to inspire, it can seem as if the only way to spend the long summer months is by playing endless rounds of tiddlywinks, or consuming copious amounts of Jammy Dodgers. But, that doesn’t have to be the case. There is a better way! For instance, you can take up ant farming, as my good friend Jeffrey has recently done, or immerse yourself in the wealth of fantastic new music which has recently come out. Personally, I would recommend the latter. By JOHN BITTLES In the following column we review some of the best new albums hitting the shelves over the coming weeks. We have the shadowy electronica of Pye Corner Audio, pop introspection by Angel Olsen, the post dubstep blues of Zomby, some sleek house from Komapkt, Kornél Kovács and Foans, the experimental genius of Gudrun Gut and Momus, and lots more. So, before someone starts chucking javelins in my direction, we had better begin… Back in 2012 Sleep Games by Pye Corner Audio quickly established itself as one of the most engaging and enthralling albums of modern times. On the record, ghostly electroncia, John Carpenter style synths, and epic, ambient soundscapes converged to create a body of work which still sounds awe-inspiringly beautiful today. After the melancholy acid of his Head Technician reissue last month, Martin Jenkins returns to his Pye Corner Audio alias late August with the haunted landscapes of the Stasis LP. -
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 -
Uestlove Interview
here's a certain satisfaetion Ahlrir "?uestlove,, T'hompson can take in sharingtheArea:One stage *.ith a slew ofartists and DJs that are drau'n b1'and large from the global elecrronica scene. crantid, acts like New Order, IUobli the Orb and Carl Cox are separated by sel'eral large degrees from the commercial success enjol-ed b1- most of this country"s reigning hip-hop ardr,s. But ?uest- lor,r, the wild-Afroed co-lbu-,ider, dr-umrner, and principal spokesrnan for hip-hop coilec- tive the Roots, has 2 berter memorv than statesid e hip hoP farrs, and he se ES a bit differentlr-. "Basically, I thint ciaece mu5ic and the of electronica anC all that smflis the I offspring of bass musi: anc rausic rhat the BombSquad u-as doing- Thompson opines fiom the Roots' home bese in philadeiphia. 'It's just more dense ani fuc..er. Not ro men- B-hop on a dance- tion the subculture ofdsrce mr.sic in Detroit A lot ofpeople faii ro recognize that the bill? The Boots' birthplace of dairce m'.rsic. eleckonic music. is actuallvDeroir -{ ieq'brodre.s are rufflei sees nothing orcr there hecause the,t're not getting their p!:ops, but basicaill,, I sdd about it. see them as one an<i the same.rThsy're both BY JUSTIN HAMPTOIi black subcultures that started in and had underground begin- nings. Hip-hop in Nerv York, dance in the ghet- i ros of Detroit and parts tr of Chicago." } Such is the point of }f Area:One, the 17-date TJ urban music package tour concocted by elec- ,! tronica guru Richard "Moby" Hall and his management compan'. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Hyperdub's Kode9 & the Spaceape Have Left Tired
With their new album ‘Black Sun’, Hyperdub’s Kode9 & the Spaceape have left tired genre pigeonholes behind, switched up their sound and conjured a bright, neon-lit sci-fi parable of futuristic house, fractured breakbeats, cryptic poetry and bleeps, where nothing is as it seems. Infl uenced by JG Ballard, Solaris, UK funky, THX1138 and Prince Far-I, it’s a dystopian funk epic that should see them reach a whole new audience. DJmag fi nds out more… Words: BEN MURPHY cience fi ction and electronic changed, became something other but still enabled through a gauze of Kode9’s gloopy, buzzing music have a chequered life, what would that be like?” wonders Spaceape. computerfunk, living colours that stretch through history together. Both are Spaceape’s oblique, cryptic lyrics, and chattering, often obsessed with the Camberwell, South London-dwelling Glaswegian hypermodern beats, a machine-gun spray of broken future, interwoven with new Kode9 (Steve Goodman) will be familiar to many rhythms and weird house music, ‘Black Sun’ is what technology and look to electronic music fans as the owner of the peerless, happens when two attuned brains with a distinct transport the reader, viewer or always one-step-ahead label Hyperdub (responsible conceptual vision of how they want their music to listener to other worlds. But for launching mavericks like Burial, Ikonika, Zomby sound — and what they want it to stand for — collide. it’s rare that beats ‘n’ and Darkstar into the world), as a globetrotting DJ “We share a lot in common and I guess that’s why, basslines are able to allude to fantasy without and producer who’s played a prominent part in the when we work together, it comes out sounding like it seeming contrived, all naff aliens and X Files recent evolutions and mutations of dance, from does,” says Spaceape on the recording of the album codswallop. -
Decoding Dubstep: a Rhetorical Investigation of Dubstep╎s Development from the Late 1990S to the Early 2010S
Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep's Development from the Late 1990s to the Early 2010s Laura Bradley Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] 4-25-2013 Decoding Dubstep: A Rhetorical Investigation of Dubstep’s Development from the Late 1990s to the Early 2010s Laura Bradley Florida State University, [email protected] Bradley | 1 THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DECODING DUBSTEP: A RHETORICAL INVESTIGATION OF DUBSTEP’S DEVELOPMENT FROM THE LATE 1990S TO THE EARLY 2010S By LAURA BRADLEY A Thesis submitted to the Department of English in partial fulfillment of the requirements for graduation with Honors in the Major Degree Awarded: Spring 2013 Bradley | 2 The members of the Defense Committee approve the thesis of Laura Bradley defended on April 16, 2012. ______________________________ Dr. Barry Faulk Thesis Director ______________________________ Dr. Michael Buchler Outside Committee Member ______________________________ Dr. Michael Neal Committee Member Bradley | 3 ACKNOWLEDGEMENTS Many people have shaped and improved this project, through all of its incarnations and revisions. First, I must thank my thesis director, Dr. Barry Faulk, for his constant and extremely constructive guidance through multiple drafts of this project—and also his tolerance of receiving drafts and seeing me in his office less than a week later. Dr. Michael Buchler’s extensive knowledge of music theory, and his willingness to try out a new genre, have led to stimulating and thought provoking discussions, which have shaped this paper in many ways. -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
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. -
9Rgrou / F BT Expra6s
f- r n r:l I h. l_ i U ll tl L L. I I l--.- a I "bt" transeau t I : 'q a I I l ? kl I \ € 7 I \ 0 T a I I F II I , L r ^ I \ l t XI ?ortv 9rgrou / F BT expra6s... I \ .a 12 I ! ! I ./ J L. I tl I n I I I a 1 / T / t f I , t I I - \ \ \ ,/ 7 ll 7 / E t / / WWW.EIEH'I, ,1LL.EtrIM TICHTO RAP HOUSE REGGAE ROCK DAIiCEHATL ACIO IUI{GLE AMBIEI{T II{OUSTRIAI- BHAIiGRA FREESTYI"E SOUI. fUI{K R&B LATIII IiI,tR o 'AZZ o alternativelndusttiol . bhongro . blues . dub. freestyle . hi-nry / house. iozzvibes . jungle.latin. rop. reggoe/dancehall remix poradiso . rock . techno music & business: take o ride on the bt express... prem um music zine: print * web I tl v f! t) \ I ) , I t a , ) 1 1 I' ! t I I --l t I E l = ti _) http : / /www.streetso u n d.co m Eorror.rn.orrrr richdmrnrlil*'t^Ll'^fl-t##fhHffiJt**nurr,*r.ro* o,,,"oo, t)ag (IuExTED,ToRS: lonnld.msrAP.<Lry.s !g'f.mll:rin ($htiff) S P.lnnrle BoG TECtltO. r Todd "Lrh" BlGe T!(H. L.dh tdno.& *O(t. b f!t|rlc! Ht.tPG. ocrnc. rd tDtlOa-AI-tARGE. trtrl.t flodtE SoUL flJ N( R&B.Syu.li Houde aLrtRNATlVt. B.mrd io6lit G FREESIYLE . Rody lrp..t xtE jU . SEwTCES ?.d E. top.E JAZZ VIEES . Ri.l Edl.i NGIE Cl.rl.s lftGlyrn REGGAE Dlrc & T.ry D.hopo los HOUSE lnita E( vldta BHANGRA Iln Frhry / lcI sn€graour{D u( .woorba ( coxla rS um$ | M.td and uiai 6olg.