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Indian E-music – The right mix of Indian Vibes… » 2017 » October » 19

Lindstrøm: It’s Alright Between Us As It Is review – back on track with bubbling beats, jazz piano and goth feathers

Delivered... Ben Beaumont-Thomas | Scene | Thu 19 Oct 2017 10:15 pm

(Smalltown Supersound)

Oslo producer Hans-Peter Lindstrøm, already known for being pretty cosmic, went further out than ever before with his last album, a collaboration with Todd Rundgren that turned them both to spaghetti in a psychedelic black hole. He’s now back out the other side, making his traditional “space disco”, but with some beautiful acid-flashback flourishes. Spire and Tensions evoke cocktail hour at an Ibizan villa, before But Isn’t It and Shinin nicely showcase house and Italo songcraft. All pleasant enough, but Lindstrøm then levels up in the final third, with Drift, a hail of petals that recalls Orbital’s Belfast, and the jazz piano that poignantly destabilises closing tracks Bungl (Like a Ghost) and Under Trees. The former is also invigorated by stark poetry and black-feathery cooing from Jenny Hval, a gothic phantom haunting the club with a gravestone on her back.

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Jessie Ware: Glasshouse review – smooth soul, ramped up when the diva lets loose

Delivered... Hannah J Davies | Scene | Thu 19 Oct 2017 10:00 pm


Emerging at the tail end of the dubstep movement, south London’s Jessie Ware has long been the musical equivalent of a minimalist Scandi clothes store, all restrained vocals thoughtfully draped over barely there electronica. On Glasshouse, she manages to harness her rarely seen diva mode in among the pared-back hallmarks, but the result is a mixed one. Opener – and lead single – Midnight sees her push her vocals in all directions for striking falsetto-propelled soul, while Selfish Love capitalises on the current Latin pop trend in pleasingly classy fashion with no clunky attempts at Spanish. Elsewhere, Sam – co-written with Ed Sheeran – is a four-chord story of finding The One and having her now one-year-old daughter, lifted by Ware’s raw family confessional. Unfortunately, though, there’s plenty of “pleasant-but-insipid” here, such as Slow Me Down and Stay Awake, Wait for Me – both drowned in radio-friendly sultriness – and Your Domino, which feels like a paunchy, overproduced take on 2012 single If You’re Never Gonna Move. Ware is arguably at her best here when she drops the hyper-stylised veneer and gives the pop star lark her best shot, rather than openly hedging those bets.

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Delivered... Spacelab - Independent Music and Media | Scene | Thu 19 Oct 2017 6:45 pm
The Sundance Film Festival is one of the premiere film festivals in the world; it includes both dramatic and documentary films, shorts, panel discussions, installations and performances.

FCC Political Broadcasting Rules for Write-In Candidates

Delivered... David Oxenford | Scene | Thu 19 Oct 2017 3:22 pm

In these last few weeks before the many municipal elections that will be occurring in November in states across the country, I have recently received several questions about a broadcaster’s legal obligations toward write-in candidates who want to run advertising on a radio or television station. Under FCC precedent, all legally qualified candidates (including those running for state and local offices, see our article here) must be provided lowest unit rates, equal opportunities to purchase advertising time matching purchases by their opponents and, when they do buy time, the no censorship rules apply to their ads. For Federal candidates, they also have a right of reasonable access. But is a write-in candidate a “legally qualified candidate?” 

In most cases, the question as to whether a candidate is legally qualified is relatively easy.  The station looks at whether the person has the requisite qualifications for the office that they are seeking (age, residency, citizenship, not a felon, etc.), and then looks to see whether they have qualified for a place on the ballot for the upcoming election or primary.  In most cases, qualifying for a place on the ballot is a function of filing certain papers with a state or local election authority, in some places after having received a certain number of signatures on a petition supporting the candidacy.  Once the local election authority receives the papers (and does whatever evaluation may be required to determine if the filer is qualified for a place on the ballot), a person is legally qualified and entitled to all the FCC political broadcasting rights of a candidate: equal opportunities, no censorship, reasonable access if they are Federal candidates, and lowest unit rates during the limited LUC windows (45 days before a primary and 60 days before a general election).  But, for write-in candidates, there are different rules that are applied, as there is no election authority to certify that the requisite papers have been filed for a place on the ballot.  Instead, in these situations, a person claiming to be a candidate must make a “substantial showing” that he or she is a bona fide candidate – that he has been doing all the things that a candidate for election would do. What does that mean?

Section 73.1940(f) of the Commission’s rules sets out what a substantial showing needs to include.  The rule states:

The term substantial showing of a bona fide candidacy as used in paragraphs (b) of this section means evidence that the person claiming to be a candidate has engaged to a substantial degree in activities commonly associated with political campaigning. Such activities normally would include making campaign speeches, distributing campaign literature, issuing press releases, maintaining a campaign committee, and establishing campaign headquarters (even though the headquarters in some instances might be the residence of the candidate or his or her campaign manager). Not all of the listed activities are necessarily required in each case to demonstrate a substantial showing, and there may be activities not listed herein which would contribute to such a showing.

Stations are entitled to ask a purported candidate to make that substantial showing before they accord the candidate all the rights that he or she might be entitled to under the rules.  Stations will looks at factors including whether the candidate has had campaign rallies. Is the candidate making speeches and campaign appearances throughout the area where the election is being held? Is there campaign literature that is being distributed on his or her behalf? Does the candidate have any campaign offices or campaign workers?  Is the campaign more than a website?  A station is entitled to ask for this evidence, and then needs to review the evidence, probably with the aid of counsel and possibly with the informal advice of the FCC (whose Political Broadcasting Office is usually quite helpful in working through issues like this), to determine whether the write-in candidate meets the substantial showing test.

The determination is very fact based. A few years ago, an individual from a fringe group launched a write-in campaign for Congress in a Missouri district where he resided. As he made speeches in the district, had an office there, and put up signs and passed out literature there (and his campaign was covered by the local print publications), many stations deemed him to be a legally qualified candidate and ran his advertising. A few years later, that same individual purportedly launched a campaign for an open US Senate seat in the same state. But that candidate did nothing to show that he was a bona fide state-wide candidate – showing no evidence of a statewide election campaign. Given the different factual circumstance, the Commission informally determined in that case that he was not a bona fide candidate for the Senate as he had not made a substantial showing of his candidacy for the statewide office.

If the candidate does pass the substantial showing test, then all of the political broadcasting rules apply – just as if the candidate had qualified for a place on the ballot. But if the purported candidate has done nothing more than say “I’m a candidate” and then decided to buy advertising time on a broadcast station, it is likely that the station need not sell him or her advertising time. Again, it depends on the facts of the situation, so analyze those facts carefully and discuss these issues with counsel familiar with the precedent in this area. For more information about political broadcasting rules, see our Guide to Political Broadcasting, here.

Mentors: How Silent Servant Guides Rising Techno DJ Phase Fatale

Delivered... Interview by Chloé Lula. | Scene | Thu 19 Oct 2017 10:33 am

Silent Servant has long been a flagbearer for the contemporary dance floor avant-garde who blends the sounds of warehouse techno, industrial noise and post-punk. His signature brand of minimal wave-indebted techno has exerted a profound influence on the tastes of producers and fans since his initial experiments with Sandwell District 15 years ago, and many rising stars have followed in his musical footsteps. One such artist is Phase Fatale, a New Jersey-born, Berlin-based producer who has garnered attention for a DJing and production technique that weds early ‘80s electronic sensibilities with contemporary techno. His penchant for the style has earned him releases on Silent Servant’s own Jealous God label and the Ostgut Ton sub-imprint, A-TON—not to mention regular bookings at Berghain.

The two producers have collaborated more frequently over the last few years and have performed together at shows like Berlin Atonal. For our latest Mentors column, we sat down with them to discuss their shared musical pasts, the influence they’ve exerted on each other’s productions and their recent collaborative 12-inch, Redeemer, which came out on Vatican Shadow’s Hospital Productions on October 13.

Phase Fatale: A lot of the music that influenced me the most came from the Wierd parties in New York—they happened weekly at Home Sweet Home. It was the coldwave and minimal synth party in the States that was bringing this sound over from Europe that had already been going on for years—since the ‘80s.

Silent Servant: I worked in advertising for a long time, so even when I was living in LA I would go to New York for work, and I’d also end up at the Wierd parties. I didn’t know anybody. I would literally just go and sit in the corner and listen to music. But there’s a similar party in LA. We had Part-Time Punks. The thing with Wierd, though, is that the guy running it, Pieter Schoolwerth, also had a record label for the whole thing, so there was a very stable music community that revolved around it. A lot of those same bands would play in LA. So the connection was there. Pretty much all of the stuff that he did and the bands that he brought out would come play with us in LA. And I would DJ at Part-Time Punks a bunch, too, so it was the same thing happening on both coasts.

PF: I think the thing about Wierd—or Part-Time Punks—is that there’s an aesthetic approach to it. It’s not just a traditional goth party that plays The Cure. It was something that dug really deep and was super nerdy, but at the same time it was very eccentric and had an almost club kid vibe to it.

SS: Yeah, exactly. I think it became a place where you could listen to really good music that you wouldn’t hear anywhere else. You could hear any minimal synth band or goth thing that we’re into. I don’t pretend to be super goth or anything, but a lot of the appeal of this music aesthetic for me is that it’s what I grew up with. I’m a little older—I saw the end of the ‘80s—and I saw my older brother go to all of these new wave clubs. I always really wanted to experience that. LA has always had a lot going on in that scene. So as I got older, it just became a part of me.

PF: Yeah, the same goes for me. My dad was involved in the scene in the ‘80s, mostly with new wave and goth and post-punk bands, so when I was little he kind of drilled this music into my head. We listened to a lot of new wave and post-punk bands in the backseat of the car. So I grew up with a lot of music that most people in my generation didn’t have exposure to. I actually remember the first time I walked into Wierd. I was completely underage; I wasn’t even 18. I just remember walking in there and hearing these songs that my parents used to play for me when I was a kid and I would always just listen to them at home. When I walked in there, though, I was like, “Woah, they’re playing this song in here?” I never thought that existed outside, because of course when I was younger, I wasn’t going to bars.

SS: We actually met at one of these things. It was some weird-ass party that Martial Canterel was playing. It was just one of those things that you experience with certain people where you see someone and you’re like, “You kind of look like me,” or you have some other commonalities from a visual standpoint, and then you realize that you have commonalities from a musical standpoint that’s totally outside the techno stuff. And for me, that’s even more of a connecting point.

PF: Yeah, it’s more interesting when you can find strange common ground. We ran into each other a few times in the last few years, and then we ended up working together after all of these small meetings. Our first “collaboration” was the Grain EP on aufnahme + wiedergabe, but I don’t even know if you could call it a collaboration since we didn’t work on it together—I just sort of threw him the stems.

SS: Yeah, I remixed that and then kind of forgot about it, and then I started hearing it out a lot and was like, “Oh, cool!”

PF: I guess the first real collaboration of ours was the 2016 Atonal performance. We decided to make something special rather than just each of us playing solo again, which happens all the time.

SS: There were already certain influences that I really wanted to be part of it, but you were like, “Oh yeah, totally.”

PF: Yeah, I think what was nice about it was that we were able to pull from different references that we love but that we wouldn’t use our own selves as solo artists because they didn’t fit into our individual sonic palettes. But together we were able to expand and make something a little more referential by combining different elements.

SS: But at the same time I think that because of the way we mixed it, it still didn’t sound that referential, which is kind of cool. For me it was about experimenting with types of rhythmic patterns and shit that I don’t normally use. Then I made some stuff, and you made some stuff, and we spent, like, two days piecing it all together.

PF: There was even one part we made that was a KR-55 drum beat that I had sequenced, and we were like, “What would happen if we just mashed them together?”

SS: We were like, “Yeah that’s kind of cool!”

PF: It actually ended up becoming a whole song that changes and everything. It was completely not premeditated at all.

SS: Yeah, the set was a lot of happy accidents. But I think that’s also a testament to the fact that two people who work in similar contexts can be completely different, but that the references are kind of similar, you know. That’s why I started working with you—because I was like, “You know what’s up in my world, and we get along.” You just find commonalities and are like, “I can also be friends with this person.” There are some people, you know, you meet them and it’s strictly music, because you probably wouldn’t hang out with them normally. But in this context it’s cool, because I think of you as a friend. Plus we have these root aesthetic commonalities. Working together is not hard. It feels very natural.

PF: In order to work with somebody closely like we do, there has to be more than just music, obviously.

SS: You’re spending a lot of time with that person. It won’t work if you want to kill them at the end of the day. The only person I’ve really, really worked a lot with before is Karl—Regis. Karl has been such a big mentor for me. If it wasn’t for him, my life would be different. He literally just plucked me up and was like, “Come work with us,” and I was like, “Okay!” For me it’s like, trying to find the payback. And it’s not like, “I have to give back to the community!” I just think it’s really special when people are provided opportunities that you can give.

PF: I don’t think that having a mentor is necessarily critical to learning the ropes, but it’s really nice when you can find someone who will help you. This scene is so large and it can seem so daunting—there are so many different places where you could fit yourself into it. It’s good to find someone who’s already done things that you want to do and who shares your mindset.

SS: I think it’s more about finding people who culturally inspire you, because then it becomes a two-way street. As much as I talk to you, I get as much back from you just being enthusiastic and providing some perspective.

PF: People working in techno especially can be really insular. I’m coming from playing in bands and stuff where you’re always working with people, and they’ll tell you, “Your playing sucks. You’ve gotta try this.” It’s actually good criticism, even if you don’t agree with it. You always need another perspective, otherwise you can’t develop.

SS: A mutual respect has to be there too, though. There has to be a common respect to let people do what they do and give them new ideas.

PF: The 12-inch of edits coming out with Redeemer was actually your idea, because you did it for your release on Hospital Records in 2012. It turned out to be a really awesome idea. We just sat in my studio for, like, two days and went through the album together. My tracks tend to be so dense, but you have a more minimalist sensibility that works out really nicely in a dance floor setting because there’s more space and your tracks mix a little better. So you were like, “Take this out, take this out, make this longer.” Just through that short process, I garnered so much about how to better arrange a track for the dance floor. Before I just threw everything in, and now I know more about space and how to have different elements come in and out and small details that I can make way more intense rather than just turning everything up to 11.

SS: That’s something that I learned a lot from Karl. He’s really good at arranging. It’s not like I’m that good at it or anything, but especially when I’m DJing, it’s like, “Where are these parts going to go where I can mix in or out?” It was the first time for me being on the other side and helping someone in that way. Because when I worked with Karl, he just showed me and I just watched.

PF: It was great to go through this process of conceptualizing and then editing it technically. I also worked on it a bit faster than usual, which was good. Otherwise I dwell on stupid details that don’t matter. In the end, if you start screwing with something too much, you make it worse than it was before. It’s always the case. The first take is always the best take, so they say.

SS: That’s an interesting element to the music that we’re making—there’s almost an element of immediacy. And I think that’s why bands like Suicide are so good. There’s this immediacy to it that you feel right away. If you keep fiddling with things then a track can become too refined and sterile.

PF: In the end, I saw Redeemer as a way to put together all of the references that I love, like all of these past musical influences that I could summon up and recreate in my own statement and sound. It takes the Jealous God records and the sounds that were created there and transforms them into a new thing by using more guitar and vocals. So I’m going back to my band background and making something you really couldn’t do on a three-song 12-inch. It feels like I closed one thing and now I’m moving onto the next stage of my evolution. It was the perfect time for Dominick [Fernow]—Vatican Shadow—to ask me to work on it, because so many things are changing for me right now. This record closes one door and lets me continue.

Read more: Return To Wave: Helena Hauff Talks To Veronica Vasicka

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