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Indian E-music – The right mix of Indian Vibes… » 2018 » February » 09


Admina and the patriarchy-smashing edges of Bucharest’s underground

Delivered... Peter Kirn | Artists,Scene | Fri 9 Feb 2018 9:51 pm

Call it a second post-Communist Romanian revolution: artists are reshaping the scene just as quickly as they can keep the clubs open. Meet Admina and Corp.

We were inspired by Admina’s performance on the Moogfest stream, and her musical reputation precedes her, as a kind of hero to similar counter-cultural scenes tucked here and there worldwide. Simona Mantarlian, a DJ/critic, Bucharest insider, and native Romanian herself, talks to Admina about the scene and how it connects to musical life . There, finding a space is a matter of personal, creative, real survival – but it’s also working, and that means there’s a lot for us to learn from Bucharest’s fringe frontiers. -Ed.

Bucharest is a fast-paced stellar ride, defying entropy, as its underground dance clubs open — and reach insolvency — and find another way to surface and go on. We’re talking about epic places like Ponton [see here and here for an impression], then Kran, and also the abrupt curve Control Club has followed after its rebranding, where underground bookings came back on the roster after a posh-makeover-phase — we’ll pass.

The constant that drives the process lays in the strong crews of selectors, who never compromise in the quality, levity, and obscurity of their finds. A new crew called Corp. caught our attention through its podcasts and intense activity around the scene. The female and queer collective, founded by [European supported] SHAPE platform resident Chlorys and DJ/ producer Admina, pushed a new generation of musicians whose voices challenge the male-dominated status quo. We spoke with Admina about the context of Corp.’s philosophy, and took a virtual trip to Bucharest’s queer parties, transporting us to a new post-Internet realm, and beyond.

Admina’s video: Destroy Patriarchy.

Simona: First, what is Corp., and what are you up to with it?

Admina: Corp. is a Bucharest-based project and platform. It aims to represent and showcase female-identified musicians and DJs in electronic music, while also being dedicated to acquiring and exposing obscure sounds, spanning from experimental and traditional forms to contemporary ones. Its activity is dedicated to broadening the focus on female-identified artists within the context of Bucharest’s local scene, as well as beyond the borders of the country.

The main urgent drive behind Corp.’s initiative is to open and sustain a studio where women will have the space and time to further develop their skills and communicate.

Corp. members: Admina, Beatrice Sommer, Chlorys, Cosima von Bülove.

A few weeks ago, you were part of the all-female-identified stream that launched Moogfest. What did it mean for you to be involved in this Moogfest stream, and in the lineup? Is it significant to you that they did choose to feature women and non-binary artists in this context of the stream and announcement?

Being part of [Moogfest] is a good opportunity for me and also for Corp. It’s great exposure; I’m really glad and excited that I’m part of the show.

Can you tell us a little bit about your live performance there?

I thought of myself being most of the time a nostalgic and melancholic person. Music was also a guide for me. It’s hard to show those feelings while you are playing a set for people to dance, but I always try to get that feeling on the stage. So maybe I will use this opportunity embrace this through dark and experimental sounds — a little bit of sadness and nostalgia.

So, “destroy patriarchy.” Is patriarchy at home in Romania? What is the society like?

Every society is to a certain extent patriarchal; each society “encourages” differences between men and women, in the way they are educated, treated, taught, etc. Romania remains a patriarchal society, where women are perceived mainly as wives and mothers and are denied access to more powerful positions in the business world.

How does Corp. as collective relate to that?

Gender inequalities are a reality in our country. Corp. is proposing an incipient ambition to construct a new language for sexual (gender) politics in the Romanian electronic scene and clubbing.

We want to establish identity as power, a collective visibility. Identity as a declaration of the self, identity as claiming and naming common qualities.

There weren’t many women DJing in Bucharest, say, two years ago, and we can rightfully say things have changed. What was the reaction of the guys in the scene? Were they helpful with putting up Corp. gigs at the clubs they were booking?

Parallel to Corp.’s foundation in Romania, in Western Europe and America, voices of women in electronic music began to be heard. And their gender equality statistics were worrying already for many festivals and clubs around the world.

So, when we started Corp platform, let’s say that the idea was well received, the promoters and organizers have begun to pay more attention to gender equality in lineups.

Watching “Destroy Patriarchy”, the video for your first single, I recognized a lot of new DJs from Bucharest who are getting popular right now, beyond the limits of Bucharest-universe (Beatrice Sommer, Paula Dunker, boivoid, Ana Secheres). Some of them learned their skills via Corp. crew. What made you decide to do the opposite of what everybody does – share knowledge instead of putting extra effort to make it even more inaccessible?

The project also aspires to go beyond the performing artists and to include studio musicians, producers, sound engineers, technicians, cover artists, distributors, promoters, and festival organizers. We want to share everything we know with others. It’s not a big deal to play music. It’s simple, you just have to enjoy music and have the pleasure to share it with others. Why not be accessible to everyone — especially women and queer people who did not have access to technology, or trust to do it? We want to build that trust together. Let’s remember that music is there to bring people together and to create a community.

Back to “Destroy Patriarchy”, where did you record and mix the music and what’s the gear you used?

“Destroy Patriarchy” is a reaction to an oppressive system, aiming to send out a clear and empowering message. The video was recorded at Kiseleff Park in the specially-designed space for outdoor fitness. The music I made it in Ableton using an Akai MPK Mini MIDI controller.

Your nickname has an early internet / message board-era ring to it. How did it find you? What is your connection to the Internet?

Everything started with the word admin, and that was my first idea of DJ nickname. At that time I managed Facebook pages to make money, and it was just funny to call myself like that. And because in English the word didn’t have a feminine pronoun, I only heard about administratrix, which sounds totally hot, but it was too long and I didn’t want that much to assume a gender since I identify myself as a non-binary. With all of that, my friends have found a way to feminize it. Putting an “a” to the end, made it sound more feminine in Romanian. After that I found out, that Admina is actually a name, a Hebrew name, and it means “Of the red earth.” “People with this name have a deep inner desire to inspire others in a higher cause, and to share their own strongly held views on spiritual matters.” I said it was perfect for me.

What is the earliest memory that you track your obsession with music to?

When I was very young, I wanted to play the violin, but I went to fine art school eventually, because my mother had no money to buy me a violin and it was impossible to go to the music school without it. Now I am very glad I didn’t. I consider my visual experience very useful and closely related to how I understood music now.

What is the starting place you’d recommend to someone who never got into electronic music before?

To trust themselves … I don’t know what point is best for someone. Just begin with what they have already, and they will learn on the way what they need. It’s good to have a limited number of tools; it makes you more creative.

Tell us about a fun club experience we missed in Bucharest.

It’s good to know that we have Queer Night. It’s the only fun club experience I really enjoy ever ytime, because we all can be ourselves. Also we intend to organize our own parties in Bucharest so — be prepared!

The post Admina and the patriarchy-smashing edges of Bucharest’s underground appeared first on CDM Create Digital Music.

Roland quietly made their DJ controllers into live-hybrid machines

Delivered... Peter Kirn | Scene | Fri 9 Feb 2018 8:28 pm

Roland’s 1.10 DJ controller update adds a bunch of features – and plays to the machines’ strengths, drawn from the TR drum machine line, as live machines.

First, a recap:

Why Roland?

The DJ-202/505/808 line may look like bog-standard Serato controllers with Roland logos on. But they promise to be something else: DJ controllers made for people who also produce.

We already know that the “DJ” market involves a lot of producers dabbling in DJing and a lot of DJs dabbling in production. And anyone doing one or the other invariably finds they want to play a little, or do a remix, or finish a podcast, or practice mixing, or any of a number of things that might be served by DJ hardware.

So then the question is, what do you get? Two CDJs and a dedicated DJ mixer are expensive. Two turntables work, too, but that can be overkill if you want to play around with some digital files. So, then you’re back to a number of inexpensive DJ controllers, but they tend not to be much fun to play with, and they don’t have much utility in production.

That’s where the Roland/Serato line gets really appealing. The platters have extremely high precision and low latency drivers – meaning they work really well for beat-matching (including if you’re a producer learning to do that), and even some scratching. The 505 and 808 work well with turntables, too, meaning you can use a pair of decks with Serato for digital vinyl if you want. And, crucially, the 505 and 808 still function as mixers with the computer turned off.

I’d love to see other DJ gear that meets the above, but because of those jog wheels, there isn’t much.

What’s new in 1.10

It could have ended there, but it appears Roland is investing into making the DJ line better at the task. What Roland is calling their “1.10” firmware update is actually pretty hefty, particularly for the more full-featured 505 and 808.

Remember, the 505 and 808 really are AIRA drum machines as well as controllers. And even with a TR-909 sitting on my desk, they’re rather useful ones. So without plugging in a single cable, you’ve got these drum machines ready to play at a gig. They even work with the computer unplugged in standalone mode, so you don’t have a paperweight when your PC is off (like when a Windows 10 update is installing… grrrrr).

More sounds. [202, 505, 808] The DJ-808 adds low toms, rim shots, rides, and 606 crash and 808 cowbell to its 606/707/808/909 sounds. The DJ-202/505 add kits for 606 and 707 to their existing 808 and 909 – a total of twelve kits, up from eight. All round, you’ve got a lot of new kits and individual sounds – and you can swap those out live as you play for added variety.

These aren’t just samples, either – they feature the same component modeling approach you’ve heard in other Roland drum machines (and specifically the TR-8 AIRA), so they’re based on realistic digital models of the analog circuits. That’s why there are no “sound kits” to download or something like that.

TR-S master effects. [505, 808] The TR-S master effects include drive/distortion, a pretty punchy compressor, and new transient follower. All three let you drive your drum jams over a track.

Channel effects. [808] The DJ-808 also includes a new delay, phaser, a new noise effect, and bitcrusher. Since the DJ-808 also acts as a mixer/hub for gear, that’s… a lot of fun. The mic input also gets its own reverb, delay, and delay-reverb combo.

TR-S editing. [505, 808] The TR-S isn’t as full-featured as a dedicated sequencer/drum machine, but it already hides a lot of power. To that, you now have the ability to copy kits (DJ-505) and nudge and tap tempo (808).

TR-S step loop. [505] Also cool – now you can loop through just some steps instead of the whole loop on the TR-S sequencer, so handy both for Serato sequences and the drum machine.

Tweak settings. [202, 505, 808] My only slight frustration with the DJ-202/505 is that the jog wheel/platters are so sensitive, at first I was bumping the top surface of the platter while using the effects. (I’ve… learned not to do that.) There’s now a sensitivity adjustment buried in settings, which if decreased, seemed to me to have a negligible impact on accuracy but made it slightly harder to bump. It’s a “release” setting, so impacts when you let go of that jog. Your mileage may vary. All three models now also have a Backspin Length setting, which lets the wheel jog through more of the track than a single rotation normally would. I found that turning up this length let me jog through more of the track quickly.

And the DJ-808 is now a live hub

Look, if you’re going to splurge on DJ gear, most controllers leave you with big, unwieldy coffins that turn into paperweights when the computer is off and take up space when you want to remix or jam or produce.

So here’s what’s cool: the DJ-808 isn’t thatand it’s a vocal processor, and it’s a TR-8-style drum machine with 606/707/808/909 sounds onboard and effects. That gives you up to 11 stereo channels and one mic. And while this sounds a little – let’s say psycho – now we can compare space.

One table, plus two CDJs and a mixer and … uh, sorry, you’re pretty much out of space, and you’ve only got two decks.

One table, plus DJ-808, laptop, and some toys. Now you’ve got four decks, the mixer, a drum machine, and all your toys, and you can still plug in a mic and go to town.

Plus, bonus: all these inputs record to the recorder in Serato DJ. So, you don’t have the old problem of remembering a portable recorder / cables / flash memory card / the level was set wrong / the inputs weren’t all there / etc. etc.

Of course, the same is true if we’re talking at home.

Now, if you’re cringing because this might be a musical trainwreck with some DJs, hey, I didn’t say the thing would practice for you. But for people who are good at improvising on all this stuff, it’s a godsend.

The only bad news: the DJ-505 is crippled, in that the switches on the front let you choose either the external input or your laptop, but not both. I get that Roland may want to differentiate products here, but since the 808 does so much already, I hope the next firmware update lets us use its inputs all at once the way the DJ-808 did. The 505 is a lot more affordable and more portable than the 808, and it still packs the essentials.

You hear that, Japan? There’s my 1.20 firmware wishlist.

Anyway, 1.10 downloads are available for all the hardware. And the TR-S is so much fun on the DJ-505 that I’m finishing now a separate guide to using it as a performance tool, plus guides to mapping the whole range to VJ applications. Stay tuned.

New Version 1.10 Update for the Roland DJ Series Announced

The post Roland quietly made their DJ controllers into live-hybrid machines appeared first on CDM Create Digital Music.

Five Fines of $10,000 or More Proposed for Radio Stations Missing Quarterly Issues Programs Lists in their Public File – New Concerns for Stations as Public File Goes Online and License Renewal Approaches

Delivered... David Oxenford | Scene | Fri 9 Feb 2018 5:36 pm

The FCC’s Audio Division yesterday issued “Notices of Apparent Liability for Forfeiture” to five radio stations; all owned by Cumulus Licensing. Each of these notices proposed a fine (called a “forfeiture” in FCC-speak) of either $10,000 (here) or $12,000 (here, here, here and here), all for violations of the FCC public file rules. All of these stations, located in close proximity in eastern South Carolina, were missing numerous sets of Quarterly Issues Programs lists that should have been included in their public files in the last license renewal term. The stations voluntarily reported that the lists were missing in their license renewal applications filed in 2011. In clearing up these long-pending renewals, the FCC proposed to issue these fines – again emphasizing that even this deregulatory FCC does not hesitate to enforce the rules that remain on the books (see our previous warnings here and here).

The release of these proposed fines also sends a warning to broadcasters about to convert to the online public inspection file (as all radio stations will need to have their public file online by March 1 – see our discussion of the online public file here), that these reports will be able to be viewed by anyone, anywhere, to see if they have been prepared and timely placed into the stations online public file. Each document deposited in the public file is date-stamped as to when it was uploaded. So anyone trying to assess a station’s compliance with the public file rule can see whether the Quarterly Issues Programs list was uploaded to the file and whether the upload was timely – within 10 days of the end of each calendar quarter.

This warning takes on added significance as, believe it or not, we are approaching the beginning of another license renewal cycle. The first radio license renewal applications in the next license renewal cycle will begin with the filing of license renewal applications by stations in Maryland, Virginia, West Virginia and the District of Columbia in June, 2019 – just over a year away. TV license renewal will start a year later. During the 3-year radio renewal cycle, every other month a group of stations in certain states will have to file their renewal (see the calendar for filing radio renewals here – TV is in the same order, just one year later).. In the last cycle, the largest single cause of fines was missing Quarterly Issues Programs lists. And these violations were all self-reported by stations or, on occasion, discovered by interested local residents who actually visited the paper public file maintained at the station’s main studio. This time around, the FCC, or interested public-interest groups, will be able to raise questions about a station’s compliance with the rules from afar – just by looking at the online public file.

These Quarterly Issues Programs lists are taken seriously by the FCC, as they are the only official station records of how broadcasters served the public in their local service area. 30 years ago, stations were required to keep more detailed records of all their public service programming – in the form of program logs and other documents that itemized news and public affairs programs, PSAs, commercials and all other aspects of station performance. At license renewal time, the FCC would pick 7 days from the previous license renewal term, and a station would have to report on the amount of news and public affairs programming it carried on those days, and the number of PSAs that were run on the station. When, during a prior deregulatory period in the 1980s, the FCC did away with specific requirements for the amount of non-entertainment programming required to be broadcast by every station (and the requirement that stations maintain program logs as official FCC records), it left stations with more discretion as to how they addressed local issues. But the FCC substituted for the detailed paperwork that it used to require the Quarterly Issues Programs lists as the document in which broadcasters would show how they served the public interest.  These lists are now the only officially-mandated document to show how you served the interests of your community (and, as we noted here, they take on added importance to demonstrate local service by stations that decide to no longer maintain a manned main studio).

So, by the 10th day of April, July, October and January, each station (commercial or noncommercial) is supposed to list the most important issues that faced its community in the prior quarter, as determined by station management, and the programs that the station aired to address those issues. We always suggest that stations have multiple programs that address each issue, and that some of the programs that address each issue contain in-depth discussion of the issue. While the FCC has said that even a PSA campaign may be listed as programming that addresses an important issue, such spots should never be the only program that addresses an issue of importance in any quarter (see our summary here of a case where the FCC made this clear).

Any program that addresses an issue of importance in a serious manner can be listed as being issue-responsive, even if the program where the discussion takes place might normally be considered an entertainment program. So, if one of your issues is an increased aging population, it is possible that a serious discussion of the issues facing the aging that takes place in an entertainment TV program could be considered issue-responsive. Similarly, if your morning DJ who normally spins records gets incensed by traffic issues on his way to work one morning and decides to turn his program into a call-in show to discuss local problems with the roads, that discussion can be considered issue responsive. News segments and public affairs programs are of course issue-responsive.

Make sure that multiple programs address each issue in a serious manner. For each issue that you have found in your community, list all of the programs that you aired that addressed the issue. For each program, include the name of the program on which the issue-responsive segment aired, the duration of the discussion, the time and date that it aired and a brief description of what the segment was and how it addressed the issue. As you are giving the time and date, it probably does not look good if all of your issue-responsive programming airs at 5 AM on Sunday morning.

While there have been some calls to change the way that issue-responsive programming is addressed, at this point, the Quarterly Issues Programs lists are all that we have. So treat them seriously to avoid the kinds of issues (and the accompanying fines) that are being faced by the stations who received the notices of apparent liability yesterday.

Frank Wiedemann And Gudrun Gut Talk About Their ‘Symphony Of Now’ Project

Delivered... Interview moderated by Daniel Melfi | Scene | Fri 9 Feb 2018 12:17 pm

For the last four decades, Berlin has been a city defined more by its constant state of upheaval than by its industry, production or individual subcultures. As the world outside places emphasis on the city’s changes and relative unpredictability, those within its boundaries—like seminal musician Gudrun Gut and Innervisions’ co-founder Frank Wiedemann—have managed to carve a previously elusive slice of cultural independence and more surprisingly, relative anonymity.

Emerging from the watchful eye of the once-divided city’s former authorities and ineffective political structures, Berlin’s artists have forged a formidable defense of their creative autonomy. It’s best understood through the diverse musical canon that has flourished in the city since the early ’80s: Krautrock, new wave, post-punk and techno. This is the artistic range that soundtracks the newest member of the Berlin film canon, Audi Zeitgeist’s Symphony Of Now.

Modeled as a contemporary take on Walter Ruttmann’s 1927 film Die Sinfonie Der Großstadt, Symphony Of Now features an original score composed by Wiedemann and a number of Berlin-based musicians like Gudrun GutModeselektor, Samon Kawamura and Thomas Fehlmann. It serves not only to enhance director Johannes Schaff’s cinematic vision, but also to document over three decades of musical and cultural innovation.

Telekom Electronic Beats’ Daniel Melfi connected Gut with Wiedemann to discuss this musical transition, film scores and how to relate Berlin’s Weimar-era films with modern cinema.

Daniel Melfi: How did the project come to you?

Frank Wiedemann: Max, the guy who does Sacred Ground, a festival I do with Ry X, invited me to meet the movie’s production team and told me about the idea. I was interested in making a soundtrack and I liked the idea of creating music for Die Sinfonie Der Grosstadt and then adapting the new movie to the soundtrack, so you keep the pace and momentum of the original movie. And because the old movie consists of five acts, I thought it would be a good idea to have five guests, one for each act and then just improvise the music, and that’s how we got together.

Gudrun Gut: Actually, I think you asked us at Sacred Ground festival. I was there last year, it was a fantastic festival. And then he asked Thomas Fehlmann and said that he should ask me. And so, for me, it was exciting because I never work together with Thomas. People always think that Thomas Fehlmann and I work together all the time, but we never do, actually. This was a nice opportunity. I immediately liked the idea. And from my side, I knew the movie, because I originally wanted to become an experimental filmmaker and Walter Ruttmann is kind of “the guy.” I love the idea of how he just filmed through the day, and so I felt, “Woah, this is cool.” It’s a fantastic movie.

DM: The new film focuses primarily on the night instead of the day. Does that change the score in any way?

FW: I don’t think so. The score was of course made by “night music” people, but I don’t think it was ever about having too much of the night in my head. It was really that we made the music based on the old movie.

DM: Were they all original pieces commissioned for the film?

GG: Yeah. We met in the studio and we each had a setup. I had a little Korg analog setup. Thomas had something prepared— loops and stuff. And you brought your machines. We hooked it up and looked at the third act and tried something.

FW: I think we had two or three runs.

GG: Yeah, a couple of runs. Then I did some vocal overdubs. And then you finished it up.

FW: That’s actually what happened in all the acts. First we had to explore what instruments or loops we would use, and then we played two or three takes improvising on top of the movie.

DM: How do you feel about the style of the films? Do you think it relates to the lifestyle here?

FW: I haven’t seen that much of the new movie, yet. We both love the old one, even though it was criticized when it was released because it only showed the wealthy side of Berlin.

GG: But in art use, it’s kind of a classic.

FW: Yeah, it is.

GG: What I like about it is that it’s not like a normal story or a love story with a beginning, middle and end. It has a beginning, middle and end, but it’s just a day, it’s not a personal story, I really like that.

FW: I see the old one definitely as a document of its time, of course. That’s how Berlin was in the ‘20s.

GG: For me, I came to study in Berlin. I come from North Germany. When I started studying, it was really exciting to see that movie, because you saw something of the history of Berlin. There are a couple of other movies where you just see the life—kind of like a documentary of the time. And I think you see much more of the time and of the city when you have documentary material. It just shows more of reality even though sometimes stuff is left out.

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DM: Do you think film scores vary in their purpose?

GG: Yes, there are totally different film scores. A lot of  filmmakers just want to have something they’ve heard somewhere else. Or they have a bad picture, a bad scene and they want to make it emotional with music.

FW: Have you ever watched a movie without music, Daniel? What I want to say is: It’s really hard to watch a movie without music. I don’t think you get the drama and the pace and everything. It’s a lot about music and sound. That’s why I’m really interested in how deaf people experience movies, because I feel like the music is a part of the drama of every movie, even if it’s kitsch or cheese or whatever. It’s made by the music and not just the kiss.
You can really change a movie drastically with music. When I first went back to watch Die Sinfonie Der Grossstadt after not having seen it for a long time. I watched it without any music intentionally so that I would not be influenced.

DM: I noticed when I watched Die Sinfonie Der Grosstadt with ambient music, certain parts didn’t line up with the pace and others did. How does the contemporary music line up with the old film?

FW: I think it works for me. I did the music on another silent movie from the 1920s, and I think it works.

GG: I think the good thing about this project was that there was a lot of emphasis on the music. Normally, when you have film scores, it’s the last thing they take care of. Then it’s super rushed and there’s not much money left, and it’s a little bit problematic. But it’s nice that they did this and that you already had the music as an important part of it.

DM: How did you decide where to put each part?

FW: Well, everything was a bit tight with schedules. So we had to find dates with each participant for the studio. Modeselektor were the first to go, but I didn’t want to have them doing the first act, so I said let’s do the fourth act. After that, I worked with Hans-Joachim Roedelius on the first act, and then I worked with you and Thomas for the third, and then there was Samon Kawamura fourth and then the last one was with Alex.Do. I also decided that, apart from me being the one element that is part of the whole soundtrack, I kind of wanted to have a chain letter connecting every act with one another. So I took one bit from the Modeselektor part and integrated it into the Roedelius session, but I changed it around. And then we kept on doing the same thing with one element of Roedelius being part of our session and so on.

GG: There’s always one piece going.

DM: Kind of like when you mix two tracks together and keep one common element?

FW: If you do so, it’s like a chain letter really—like it was before email. Somebody writes, I write her a letter and she needs to continue it and then send it to somebody else. It’s like the kid’s game “Stille Post”—I whisper something in your ear, and then you need to understand it and continue the sentence in a whisper to the next person.

GG: Then, in the end, it’s something else. The idea is to have something that combines all the parts because it’s five different partners. I think he did a really good job on this. It’s very hard to have continuity with five different musical characters. This works really well, and the idea of this piece of the music is that you hear it in another one again, so it kind of melts.

DM: Kind of the way the city remains the subject and the tying link.

FW: Like the cab driver that brings the doctor to the hospital and the raver to the club.

DM: How does the film fit into this canon of Berlin films?

FW: We will see.

GG: I think it’s really hard to copy such a classic.

FW: If the movie is half as iconic as the first one—as the original—I’ll be very happy.

GG: It’s an idea, and it’s done. I think it’s interesting for what it is. It doesn’t have to be a masterpiece. To copy an idea is not necessarily an original idea. But I like the idea anyway because it’s like a snapshot of the time. For example, do you know the movie B-Movie?

FW: It’s called B-Movie: Lust & Sound In West Berlin.

GG: It’s about Berlin in the ‘80s, and they only used documentary material.

FW: Did they actually? That’s what I was asking, but it’s also an actor for Mark Reeder, no?

GG: That’s true. They made a movie out of documentary material. Still, it’s nice to see this original material. Maybe in 50 years they’ll see this movie and think, “Ah look, this is what it was like.” But then, on the other hand, nowadays everybody films and has a camera. In the old days they didn’t, so that makes a little bit of a difference.

FW: It makes it hard to make a standout movie. On the other hand, to say something nice about us: I’ve seen three versions with different music for the old one, and there was never a really nice score for that movie. I think that’s just my perspective, but I hope that at least this film will create a musical snapshot of this this era now.

DM: You’re saying the old scores don’t do Weimar-era music justice?

FW: It does, but it’s not an outstanding soundtrack. But that’s because at the time nobody really made soundtracks, they just had an orchestra play.

GG: With this project, music-wise, Frank took the idea of capturing the moment. Musically speaking, it’s much more modern.

DM: How do you think producing a score is different than producing an album?

GG: When you produce an album, it’s your own idea. If you do a film score, it’s a big team of people working together, and you mostly get feedback from the director.

FW: Even if, in this movie, the music plays a big role, it’s always going to serve the movie. It’s not about the music.

GG: Yeah, you’re serving the movie. If you do an album, you do it for yourself. A soundtrack is for the movie, that’s the big difference.

DM: Did working on the score inspire you to reflect on your time since you’d arrived in Berlin?

GG: I had to think about it because I remembered the movie from when I came to Berlin and saw it at the university. At the time I was really interested in this kind of literature, this kind of experimental filmmaking and the montage technique, and all of this. Actually, I’m reading a book right now from a woman who used a similar technique. I forgot her name, but she lives in Cologne, and it’s the same thing, same time: Weimar Republic, how she lives, how she goes to work. A normal working class girl. It is by Irmgard Kern Gilgi, Eine Von Uns— kind of similar take.

DM: There’s something very captivating about those simple but authentic depictions of a regular day.

FW: I was actually just watching Jim Jarmusch’s Stranger Than Paradise for the first time in years. Basically it’s the same thing. It’s about a character who lives in New York in the 1970s or 1980s, and there’s nothing to do except eat TV dinner in an apartment. And it’s super boring, and he does some gambling here and there to win some money, but nothing happens. Then his cousin from Hungary comes to visit him and brings some color into his life, but he doesn’t want that in the beginning. Have you seen that movie? You should.

GG: It’s a cult film. I remember it.

FW: I think we can all agree that we like that kind of document. It’s not really an action movie at all. None of these movies are action movies. You watch and you get a glimpse of a life.

DM: Are you looking forward to the performance at the grand premiere? Will everything be live with lots of hardware?

FW: It’s not possible. We will try to perform live as much as we can. That’s the thing with making music for a movie, in the old days the orchestras didn’t have a backup, but we have the big advantage of modern technology so we can have a backup running all the time. That’s very important because you can’t stop the movie and say, “let’s play another round.” I once did this years ago in Mannheim at Timewarp. Henrik Schwarz, Dixon, Kristian and I scored Das Cabinet des Dr. Caligari live, and it was actually very good to have a safety net. We never used it, but we had it just in case. It makes you feel comfortable and at the same time very free.

The grand premiere of Symphony Of Now will take place in Berlin on February 14 at a soon-to-be-disclosed location, where all of the involved musicians will perform the score live. Pay attention to this space to learn more details as they emerge.

Read more: Activist and photographer Ben de Biel remembers Berlin’s ’90s art squats 

The post Frank Wiedemann And Gudrun Gut Talk About Their ‘Symphony Of Now’ Project appeared first on Telekom Electronic Beats.

«They say life is like a market place»

Delivered... norient | Scene | Fri 9 Feb 2018 8:00 am

«You come, you buy small, You greet some people small», sings the Swiss-Ghanaian musician Joy Frempong in her song «Market Place» from the album No Problem Saloon. It is an anthem of Ghanaian everyday life. From the Norient book Seismographic Sounds (see and order here).

OY Live im PROGR Bern, 27.3.2013 (Foto Thomas Burkhalter)

«Market Place»

They say life is like a market place,
You come, you buy small,
You greet some people small,
And then you go, you leave

You come, you grow
You gonna buy some small then
Greet some small
Then you go—you go

Life is like a market place
You see someone, you greet someone
You bargain small then you buy some
You gossip this and that and then you leave,
Then you leave

You chat a little here and there
You say tomato much too expensive
Oh you laugh then you agree
This is just what you do before you leave,
Then you leave

Life is like a market place you meet someone you know
Bargain small then you buy some and you mate your soul
Life is like a market place you will cheat some small
Gossip this and that and then you go, you…

Now life is like a mobile phone
Your unit come your unit go
And when you done that distant call
Your credit finish, oo! then you will leave, you will leave

Life is like a market place you meet someone you know
Bargain small then you buy some and you mate your soul
Life is like a market place you will cheat some small
Gossip this and that and then you go

Life is like a market place
You see someone, you greet someone
You bargain small then you buy some
You gossip this and that, oh yes

You come, you grow
you gonna buy some small
Then greet some small
Then you go—you go

Mr. president, don’t forget
Even if you gather plenty
One day you come
One day you go

The lyrics were published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Thomas Burkhalter & Simon Grab : «Sampled Lebenswelt»
> Milena Krstic: «Am Anfang war ein Tropfen Kuhmilch»

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