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Indian E-music – The right mix of Indian Vibes… » 2019 » November » 19


Gays Hate Techno talk non-commercial techno culture, with a killer compilation to match

Delivered... Peter Kirn | Scene | Tue 19 Nov 2019 8:34 pm

Their festival has no wristbands. Their lineups aren’t blowing up on socials. But when Gays Hate Techno throws a party or does a compilation – like the one that just dropped – what you get is nothing but musical spirit.

It’s just the kind of subversive attitude that has infused the best electronic music. Since we can’t all make the gathering, Gays Hate Techno compilations can bring you some of that feeling directly through the music. The comps have easily become must-hear events, and version 4.0 is no different.

I spoke with GHT founder Matt Fisher and compilation producer Benjamin B. Orphan Eksouzian to get insight into how it all comes together. They bring a hopeful message for anyone who feels like they’re not finding community in electronic music – and a template for how to work together to get that groove back.

Oh yeah, and – since this is a compilation, we’ve got something to queue up for listening. (Don’t miss the corker of a track by friend-of-the-site David Abravanel, whose music has the perfect wit for the task.) There’s a full megamix of the music (which you can also get by subscribing to their podcast):

Images courtesy GHT, from their gathering.

Peter: I know this is a unique kind of group; can you explain how you imagine this group and how it works?

Matt: Gays Hate Techno isn’t a commercial promoter in the traditional sense. We don’t have a set roster, resident DJs, or a particular agenda. We organize around doing projects like the gathering and compilations that support the online community, not the other way around. In that way, the compilation and the gathering have the same objective — they’re ways we can promote and celebrate relationships that otherwise exist only or mostly online. 

Peter: The people I know who have been to your events say it’s a really special chance to come together. How does the gathering function for the group?

Matt: The format for the gathering is modeled after radical faerie gatherings and Burning Man-style encampments, so it has objectives that are different from, say, a commercial music festival. We’re a low-cost slumber party built around music, but a community-building event first and foremost. What I mean by that is that we rely on participation, volunteering, and spontaneity more than maybe a festival would. We also try to be as low cost as possible, and we maintain a travel fund that defrays costs for our women, trans, nonbinary performers and performers of color. 

Peter: So how does the community work – how do people participate?

Matt: Anybody can and should participate. Our structure is built around facilitating personal interactions as much as it is producing a music lineup. We have an open call for performers, and we leave room around our curated program time for an open program for spontaneous sets and projects. 

People volunteer to cook meals, help park cars and help set up stages. We ask everyone to donate 2 hours of their time. They also bring art, conduct harm reduction training, act as our medical team, give massages, do yoga and meditation. Obviously an event our size doesn’t particularly need 400 volunteers. The objective of the volunteering is much more about shaking people out of spectator mode and giving them an excuse to make new friends while being part of the event, not just part of the audience. 

I think that the social focus leads to better performances, by the way. We set up an environment that makes for relaxed, enthusiastic listening, and people who’ve let their guards down a little bit, and encourage the DJs and musicians to pursue more personal, farther-out ideas than maybe they normally get to explore. There’s a great feedback loop there. We’re all there as music fans, and as a supportive network.

Benjamin: In terms of the compilation process, as Matt stated above, we view these compilations as a creative product of the members of Gays Hate Techno. Our aim is to promote our members’ art and to showcase their original work as expressed through the musical genre of techno. 

To that end, each year (cycle) we announce a call to participate to the current members of the facebook group, email contacts from previous compilations, as well as a Discord group for folks who have decided to leave Facebook, but want to stay connected to the gathering and community. Members create all of the content – music, album artwork, promotional video work, press release copy, and in most years the audio mastering of tracks. 

We encourage volunteer work and participation to create a compilation that reflects our community. We require the artist to declare the work as their own and to confirm that it doesn’t contain samples that could present a licensing issue. Outside of that, we don’t reject works from an aesthetic critique standpoint. This year, for example, we had more artwork submissions for the album artwork than we could use and decided to let the Facebook group vote to determine the final piece to represent Gays Hate Techno IV.

Peter: At the risk of making you explain a joke, I have to ask – what’s the story with the name?

Matt: Gays Hate Techno is a joke name that came out of a conversation I had with friends in NYC back in 2010 or 2011. They were running a party at the Stonewall Inn that featured techno, tech-house, and minimal more than what at the time was typical gay male club music. It was the answer to the question: why’s it so hard to get people to come out to listen to better music? 

Each of the three words was meant sarcastically, of course, with a sort of Kathy Griffin-type ironic dismissiveness. A couple of days later, I put together the Facebook group as a way for us to just toss around and post tracks we liked. People invited friends, and it very, very quickly became an international group. People would comment that they didn’t know any other queer people who liked the music people were posting. So there was a desire to connect with other people this way.

CDM: Thanks to this whole crew – I’m tempted to call this group “Haters”? Do support the compilation and this wonderful community and give it a listen – and buy it if you like it.

GAYS HATE TECHNO IV

Featured artists you should get to know:

Jarvi aka Acid Daddy shares some of the background with us about their track – and it’s an essential and powerful story:

“i am honored to be included in the fourth edition of the Gays Hate Techno compilation! my track, “what they took from me i will never get back”, is a step towards healing. a sonic representation of my state of mind post-trauma, and the strain it has put on my interpersonal relationships because of the inflicted fear and pain. i am a survivor, but the memory is there with me each day i wake up, until the moments laying in bed before i drift to sleep.

since my abuse happened back home
in michigan, it is important for me to give back to the queer & trans folks there without medical help or accessibility. detroit, and michigan in general, have limited resources for LGBTQIA+ family, and there is no facility exclusively for queer and trans survivors of sexual abuse and rape, which is an important factor when you’re navigating this type of trauma. i have decided that i will match the sales of this record until december 18th of this year, and will be donating that on top of my own contribution to the Ruth Ellis Center, an organization in detroit that provides safe living for homeless queer and trans youth, support services, a drop in health center for wayne county residents who are medicaid eligible at no cost, and transition resources for trans youth, just to name a few. therapy is key in the healing process, and giving queer youth access to that is crucial.

i hope y’all enjoy the compilation. thank you for the continued support!…” –Jarvi Guðmundsdóttir aka Acid Daddy (excerpt from FB post)

https://www.facebook.com/synthezmanofficial/  
https://www.facebook.com/Trovarsiofficial/

More details and pictures from the gathering can be found on the official site:

gayshatetechno.com

The post Gays Hate Techno talk non-commercial techno culture, with a killer compilation to match appeared first on CDM Create Digital Music.

No Bra: ‘In Britain, I was seen as page-three humour’

Delivered... Alex Needham | Scene | Tue 19 Nov 2019 5:25 pm

Susanne Oberbeck sings sexually charged songs in a German accent while standing topless and sporting a moustache – and at last she’s found an audience that understands her

In 2003, Susanne Oberbeck saw a headline in the Sunday Sport referring to a member of S Club 7. “Rachel Stevens,” it said, “with no bra.” Oberbeck, who is German, was sufficiently intrigued by this sleazy tabloid prurience to name her own band No Bra.

Originally a duo, No Bra soon became known for Oberbeck’s habit of intoning sexually charged lyrics in a Nico-esque accent over industrial sounds while standing topless and wearing a moustache. No Bra’s single Munchausen – in which two hipsters try to outdo each other with extravagant boasts (“I used to share a squat in Camden with Nina Hagen and she used to make pizza out of dead cats”) – even got championed by the unlikely figure of BBC Radio 1’s Pete Tong when it was released in 2005.

Love and Power is out 27 November.

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Behringer attempt to claim trademarks, including marks actively in use by KORG, Polivoks

Delivered... Peter Kirn | Scene | Tue 19 Nov 2019 4:37 pm

Behringer appears to be staking out every historical synth brand it can. That’s leading to some historical synth names – and some names very much already in use by someone else.

SYNTH ANATOMY gets the scoop on the trademark filings, which cover a significant variety of historical brand names. These range from the obscure to the classic KORG Mono/Poly instrument.

Behringer Submitted Trademarks For Over 10 Synthesizers Including The MONOPOLY [synthanatomy.com]

Coming from MUSIC TRIBE, the corporate entity that makes the Behringer brand, these registrations include the Blue MarvinKobolPolykobolPolivoksSynthexTridentQuadraSourceProdigyLoganPro-16, and Pro-800. (Those are just the ones SYNTH ANATOMY unearthed.) While not covered in these filings, Behringer also this week teased a Wasp remake.

Notably, KORG – original makers of the Mono/Poly – do make a Mono/Poly iOS app now, and presumably might remake it as they have the MS-20 and ARP Odyssey. Polivoks, the legendary Soviet brand, is now made by Russia’s Elta Music and even a remake by original Polivoks engineer Vladimir Kuzmin, also under the original name.

There’s no actual product news here yet – and the registration of these marks doesn’t necessarily mean that a trademark will ever get used. You can read the International Trademark Association’s explanation of “trademark trolls” and “trademark bullies” – but short version, trademark law does let you do this:

Trademark Trolls: Here to Stay?

MUSIC TRIBE have been aggressive with trademarks in the past. The company is now locked in an evolving legal battle with the original family owners of the Auratone brand in the USA, and MUSIC TRIBE lost an EUIPO court case over that trademark to the surviving family members of the original Auratone founder.

Reaction from other synth makers, though, suggests to me that a lot of engineers are more excited about creating new instruments rather than only remaking the past. The Mono/Poly was a classic, at least, but it seems dubious that the future of electronic instruments will be decided in a trademark court.

If you do know more about the status of these trademarks or this or other relevant cases, of course I’m happy to hear from you. I will get back to making weird new things under… well, new names, I think.

The post Behringer attempt to claim trademarks, including marks actively in use by KORG, Polivoks appeared first on CDM Create Digital Music.

Cubase 10.5: what do you get for the DAW that has everything?

Delivered... Peter Kirn | Scene | Tue 19 Nov 2019 1:18 pm

The software has always been feature packed. But in addition to serious workflow tools, the latest release might add some inspiration, too.

Even as we’re spoiled for choice in production tools, Cubase stands out as one of a few tools that does it all. If you’re looking for a cross-platform production environment that never says “I can’t do that,” it makes it fairly hard to go wrong. So – how do you add more to that?

Let’s break that down into an overview. This update has some different additions for different audiences.

Oh yeah, and another thing – Cubase has quietly turned 30 years old with this release. That says something about Steinberg’s dedication, and also the endurance of specialized, mature tools for the unique demands of producing music and sound.

The new multi-tap delay puts Steinberg again head to head with its old rival from across Hamburg, Apple Logic (nee Emagic). But Steinberg runs their software cross-platform, and they’ve got something else in store – a powerful granular instrument.

Creative inspiration

There’s a new MultiTap Delay, adding to Cubase’s creative tools. (Pro/Artist)

Padshop 2 upgrades this unique granular instrument, which is also out on iPad. I’ll write about that separately, because, well, it’s granular. Also, while Logic has its own wild delays, here Steinberg has the edge. Oh, and it runs on Windows, too. (Pro/Artist)

Plus the Elements version now has the Stereo Delay, De-esser and Roomworks processors, which makes it actually a very fine entry level DAW investment.

Lately, all the DAWs seem to be adding a feature for recording ideas before you hit record. Steinberg calls is “Retrospective MIDI Record” which sounds better than “oh I forgot to hit — £$&* it!” Or “why do my ideas always suck when the recording is on; that was great and what did I even just play I forgot it already?!”

Match EQ visually by spectrum.
Sometimes it’s the little things – like channel strip color coding.

Mixing and editing

You can now colorize mixer channels. (Pro/Artist/Elements)

There’s a new Pro-only Spectral Comparison EQ. That’s an interesting new approach doing equalization and precise mixing; I’m curious how it’ll be received (especially by people whose ears already do this pretty well – and those who struggle, too).

A serious tool for production

There’s a bunch of other stuff:

  • Import tracks individually from a project (Pro)
  • Export video as H.264 with 16-bit stereo audio (Pro/Artist/Elements)
  • Combine Select Tools Mode for precise selection (Pro/Artist)
  • Optional dBFS Max normalization (Pro)

And the Score Editor, Macro creation window, and other areas see improvements, among lots of other improvements.

Maybe best of all – you can run in Safe Mode without plug-ins for easier troubleshooting, which all DAWs really ought to make easier. Word is also that Steinberg is finishing Catalina compatibility, though part of the appeal of Cubase – unlike Logic – is that you don’t need a Mac to run it.

More information:

https://new.steinberg.net/cubase/new-features/

It’s also worth saying that Steinberg isn’t employing a one-size-fits-all-approach – unlike, for example, their German neighbors at Ableton (or Pro Tools, for that matter). So in addition to editions, there are differentiated tools.

There’s Cubase, but there’s also Nuendo for heavy-duty production work, as favored by a lot of broadcast and film users.

And maybe most interesting is that Steinberg is one of the few companies left really developing the idea of dedicated wave editing, which is crucial to a lot of pro workflows and mastering and other engineers.

While WaveLab has long been a stalwart in this category, they’ve added something rather new with SpectralLayers, a new visual approach to editing. So you’ve got your choice of ways of working.

The post Cubase 10.5: what do you get for the DAW that has everything? appeared first on CDM Create Digital Music.

10 Anthems From Unit, Hamburg’s Notorious Early-’90s Techno Temple

Delivered... Derek Opperman | Scene | Tue 19 Nov 2019 11:44 am

The post 10 Anthems From Unit, Hamburg’s Notorious Early-’90s Techno Temple appeared first on Telekom Electronic Beats.

Billboard names JioSaavn CEO Rishi Malhotra to its Digital Power Players for 2019 – RadioandMusic.com

Delivered... | Scene | Tue 19 Nov 2019 9:00 am
Billboard names JioSaavn CEO Rishi Malhotra to its Digital Power Players for 2019  RadioandMusic.com
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