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Indian E-music – The right mix of Indian Vibes… » 2019 » February » 08

Elimination of Requirement that Broadcasters Post Their Licenses Becomes Effective

Delivered... David Oxenford | Scene | Fri 8 Feb 2019 5:51 pm

As we wrote here, at the FCC’s December meeting, the FCC was scheduled to adopt an order eliminating the requirement that broadcasters post a physical copy of their licenses and other instruments of authorization at their control points or transmitter sites. In fact, the Commission adopted that order before the meeting, and it today published the order in the Federal Register, meaning that it is effective as of today. This order was adopted as part of the FCC’s Modernization of Media Regulation initiative. As a station’s licenses are now generally available online, the FCC stated that they saw no reason to require that they be posted at station locations not normally accessible to the public. So there is now one less regulatory requirement for broadcasters to worry about.

Panda Bear: Buoys review – indie experimenter finds the slow lane

Delivered... Kate Hutchinson | Scene | Fri 8 Feb 2019 11:30 am

(Domino Recordings)

Noah Lennox, whether on his own as Panda Bear or with his Brooklyn band Animal Collective, has a knack for meshing lustrous electronics into densely textured, hallucinatory scenerios, aided by his brightly lit, boyish coo. The latter’s seminal album Merriweather Post Pavilion turns 10 this year and was an epic feat of indie experimentalism that hasn’t, wrote Pitchfork recently, been surpassed.

No doubt that anniversary was at the back of Lennox’s mind when he made Buoys. His sixth solo album is remarkably more muted than his previous work. Lead single Token and its Lemon Jelly-like sampledelia throws back to Merriweather, a spiritual successor to the joyful rush of My Girls, but otherwise Buoys offers a sort of deconstructed R&B that focuses on repetition and restraint.

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Cosey Fanni Tutti: Tutti review – industrial pioneer slogs on

Delivered... Ben Beaumont-Thomas | Scene | Fri 8 Feb 2019 10:30 am

(Conspiracy International)

Cosey Fanni Tutti is one of those musicians, like Michael Rother or Tony Allen, who is seemingly ruled by a rhythmic energy, one that beats through their brains and to which their music constantly returns. For Tutti, this is a steady 4/4 beat of around 125 beats per minute: an insistent rhythm hovering near high-tempo, simmering with tension that never quite breaks. Amid the noisy abstraction of Throbbing Gristle in the late 1970s, it sounded through Hot on the Heels of Love; it’s there throughout the synthpop romances she made with husband Chris Carter; it sat beneath Carter Tutti Void, the collaborative dub techno album the pair made with Nik Void of Factory Floor in 2013. And like the heart of a deathless supervillain, that pulse beats on in her first solo album since 1982, originally written in tandem with her Art Sex Music autobiography.

Related: Cosey Fanni Tutti: 'I don’t like acceptance. It makes me think I've done something wrong'

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