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Indian E-music – The right mix of Indian Vibes… » Articles


Sofia By Night: 12 Parties Defining The Bulgarian Dance Music Underground

Delivered... By Mira Karadjova. | Scene | Thu 14 Dec 2017 11:54 am

The post Sofia By Night: 12 Parties Defining The Bulgarian Dance Music Underground appeared first on Telekom Electronic Beats.

Beyond Ruin Pubs: 10 Artists Ruling Budapest’s Underground Clubs

Delivered... By Andras Unger and Elissa Stolman | Scene | Mon 11 Dec 2017 11:06 am

The post Beyond Ruin Pubs: 10 Artists Ruling Budapest’s Underground Clubs appeared first on Telekom Electronic Beats.

Played Out: How Smart Bar Resident DJ Savile Makes People Dance

Delivered... By Savile | Scene | Thu 7 Dec 2017 1:55 pm

The post Played Out: How Smart Bar Resident DJ Savile Makes People Dance appeared first on Telekom Electronic Beats.

The Political Awakening Of Budapest’s Underground Music Scene

Delivered... By Elissa Stolman | Scene | Mon 4 Dec 2017 12:54 pm

The post The Political Awakening Of Budapest’s Underground Music Scene appeared first on Telekom Electronic Beats.

We Reviewed Mark Fell’s Artistic Mini-Festival In Portugal

Delivered... By Lisa Blanning | Scene | Fri 1 Dec 2017 11:10 am

The post We Reviewed Mark Fell’s Artistic Mini-Festival In Portugal appeared first on Telekom Electronic Beats.

How To Make An Unforgettable Live Set According To KiNK

Delivered... By KiNK. Interview by Oli Warwick. | Scene | Mon 20 Nov 2017 10:51 am

The post How To Make An Unforgettable Live Set According To KiNK appeared first on Telekom Electronic Beats.

See Photos From Poland’s Wildest Gabber Party, Wixapol

Delivered... Photos by Elizabeth Claire Herring | Scene | Fri 17 Nov 2017 11:19 am

The post See Photos From Poland’s Wildest Gabber Party, Wixapol appeared first on Telekom Electronic Beats.

9 Synth Artists Who Defined Eastern Europe’s Post-Soviet Sound

Delivered... By Irakli Kiziria. | Scene | Mon 13 Nov 2017 1:03 pm

The post 9 Synth Artists Who Defined Eastern Europe’s Post-Soviet Sound appeared first on Telekom Electronic Beats.

The Vinyl Manufacturing Studios That Democratized Club Music

Delivered... By Sven Von Thülen | Scene | Fri 10 Nov 2017 11:30 am

The post The Vinyl Manufacturing Studios That Democratized Club Music appeared first on Electronic Beats.

Why Release An Album On Floppy Disk? Remute Explains

Delivered... Interview by David Garber | Scene | Mon 6 Nov 2017 11:27 am

My new album, Limited, is the first hybrid vinyl/7-inch/floppy-disk techno record. The concept behind it is to reduce data, ideas and file sizes to their absolute minimum in order to cope with limited and forgotten technologies like the floppy disk—and to make fun, kicking and pretty raw-sounding tracks out of these limitations. The floppy disk format is something I’m using extensively at the moment—even when DJing in a club! The tunes I generated with this special method aren’t minimal techno in the classic sense of the genre; they’re limited techno.

For me, techno was always related to technology in an almost scientific way. The first inspiration I ever got for a track was the experience of disassembling and reassembling a VHS-recorder as a kid, quickly switching channels on TV or radio or modding game consoles and altering the sound. I never got much inspiration from warehouse raves, beach parties or open-air festivals—but hey, I’m totally aware of the fact that most people listening to techno don’t have the same “technologic” approach that I do.

My first memories of holding physical music are actually more linked to video games than to recorded music. My parents bought me a Commodore C64 home computer when I was five years old, and I have fond memories of dozens of floppy disk games that I loved mainly for their soundtracks. It was often tedious work to get these games and the music to run; after typing several lines into a blue screen and long loading-times, I would finally be rewarded with a running program. Working on something and getting rewarded in the end when you see and hear something—that procedure still turns me on.

Later on, my dad introduced me to cassette tapes. He had some obscure acid house mixes in his car, all of which were pretty hissy and distorted. I loved the imperfect sound aesthetics and handwritten labels, like “BOOM, in your face house music!” or “Hard stuff 1988”. I wouldn’t say that I grew up in a very musical household—none of my family members were musicians—but my parents always encouraged me to dive deep into technology, synths and computers and the things I love. They let me be a nerd, and I’m really thankful for that.

Funnily enough, I was introduced to vinyl and CDs quite late in my teenage years and never developed a very deep emotional bond to these formats. Vinyl is a charming and amazing collector’s item that sounds awesome. But I never was a fan of CDs. I like formats that force you to put in some effort to get them to run, like floppies, cassettes and vinyl. The CD was always just too easy and trivial for me.

I was collecting floppy disks with games and music on them for a very long time before I ever entered a record store. Some I bought; others I shamelessly pirated with my friends. We downloaded a lot of data from the early incarnation of a brand-new thing called the internet. At beginning of the ’90s, when the internet was slow, ugly and mostly text-based, a handy music-file-format called “.mod” was the way music could be shared without waiting hours to download. They could be played back on all contemporary PCs and home computers, and were so small that many of them could fit on a floppy disk.

When I started making music at around 13 or 14 years old, the scene was way smaller than it is today. But it was already highly commercialized and organized—a not-too-big, very well-run system with some very powerful gatekeepers, like labels and record companies. You had to send out a lot of demos in order to get heard. By the end of the ’90s, when the MP3 format hit the mainstream, I was able to showcase my recorded music to a wider audience in the internet. Specialized forums and pages like mp3.de or technoforum.de had very dedicated community networks that provided amazing platforms to share ideas and meet other artists and labels. And that was all nearly a decade before Facebook, YouTube, SoundCloud and billions of bought likes and plays. So it took several years for me to get signed. I finally put out my first record, Hypnoconsole, in 2002. I was 18 years old.

I worked with many free music programs when I was starting out, including a bunch of trackers and early, clumsy emulations of Roland synths. These programs were quite restrictive, and I had to find a way to work around issues in order to create the sound I want to. Memory was also always a huge issue. The size of a common hard disk back then was around 200 megabytes—that’s the size of a short mobile phone video you make today when you’re wasted in a club! So I had to compress and decrease the data size of the samples I used a lot, which made them sound gritty and raw. The music projects were saved in memory-saving formats because hard disks were too small and MP3 hadn’t been invented yet. CD recorders were too expensive, so I ended up recording my demos on cassettes.

I always loved to archive my music on floppy disks. I love the sound it makes when it slips into the drive and makes the infamous click. I love the little handy boxes I put them in. While others may have a heavier emotional bond to their record bags, I stick to my little floppy boxes. Sure, the floppy disk cannot hold up to today’s data sizes, as the 1.44 MB provided on one aren’t even enough to save a contemporary digital album cover. But it was enough to save five or six average .mod files created with tracker music programs, which generate music in real time and therefore save a lot of memory. I use floppy disks and trackers for my dirty and gritty tunes that need to sound raw, hard and banging.

I also like fellow musicians and labels that harbor a similar love for various formats. Take, for example, Trevor Jackson, who put out his last album on 2-inch, 10-inch and 7-inch records, cassette, DAT, VHS, 8-track, and reel-to-reel tapes, 5- and 3-inch CDs, MiniDisc and USB drives. Or check out labels like CPU or DataDoor. They release some tunes on floppy and cartridge, too.

Jeff Mills once said that techno wasn’t designed to be dance music—it was designed to be a futurist statement. I kind of agree with that, but for me it’s also a retro statement. I also get my kicks out of exploring old technology and putting it into a new context. So even today, I’m constantly curious about interacting and communicating with technology. I don’t like to be the passive consumer or use perfect-sounding, streamlined sample libraries, and I usually avoid gear that forces you to go the preset way. I always ask myself “How does it work?” and “What’s behind the curtain?” This curiosity is my main impulse when making music. I like to master technology—I don’t like to get mastered by technology.

Read more: 10 retro video games that inspired Credit 00’s new LP

The post Why Release An Album On Floppy Disk? Remute Explains appeared first on Electronic Beats.

Pics Or It Didn’t Happen: See The Best Spots To Dance In Brussels

Delivered... By Nelody Melson. | Scene | Fri 3 Nov 2017 11:16 am

The post Pics Or It Didn’t Happen: See The Best Spots To Dance In Brussels appeared first on Electronic Beats.

Played Out: Charlotte de Witte Constructs A Banging Techno Set

Delivered... By Charlotte de Witte. Photo by Renaud Salmon. | Scene | Thu 2 Nov 2017 11:10 am

The post Played Out: Charlotte de Witte Constructs A Banging Techno Set appeared first on Electronic Beats.

Mentors: What Hieroglyphic Being Learned From House Pioneer Adonis

Delivered... By Sven Von Thülen. Photo by Celeste Sloman. | Scene | Mon 30 Oct 2017 12:22 pm

I met Adonis by coincidence. It was 1992, and he had just gotten back from the UK, where he had lived for a while. Somebody I had business dealings with back then used to hang out with him. When things fizzled out between us, she told me that she was hanging out with Adonis and asked if I’d like to meet him. Sure, I wanted that. I had seen him around at parties, but I never felt like walking up to him and introducing myself. He did his own thing, and I didn’t want to bother him.

But when we eventually met, we kinda clicked right away. We chatted about life and stuff. At first we didn’t talk about music production or anything like that, but I thanked him for his creations and contributions to house music. Eventually we started hanging out in his apartment, where he also had his studio. I was really curious about the process of creating music. I wanted to learn how to use the mixing board, how to program basslines, everything.

Adonis told me to start with something simple and to work myself up from there. He gave me a big bulky drum machine that was sitting in the corner of his studio, and I walked around with it for almost a year. It was a Korg DDD-1. He said I had to really learn it inside and out. “If you can program any interchangeable rhythm, measure or drum pattern on this, we will graduate to something else,” he told me. To him, being able to create an endless variation of rhythms would eventually help when we’d move on to chords and strings. He said it would help me create better melodies later. So that’s what I did. But after a while I really wanted to get my hands on something other than a drum machine.

At the end of the day, his mentorship was more on the spiritual side: how to deal with certain things in life. Before there was the music business, there was the individual being living in the physical world and dealing with the self. Everything else is just semantics and falls under that. He mentored me on how to survive in the music business and how to approach it. I was 19 and living so much in the moment, having fun, that I didn’t have a regard for the long-term.

He kept himself informed about the new generation, but he didn’t feel the need to try and stay relevant. He stayed connected to see what was new and fresh. But apart from that, he stayed autonomous and did his own thing. I was the complete opposite. I was out nearly every night, taking everything in, self-absorbed, driven by ego. I was young. I was learning. And I did report back to him afterwards.

He told me not to take the business too seriously. If you do, it’ll swallow and suck all of your energy out of you. He said the music industry can be a very depressed and lonely place—especially if things aren’t really working out for you. He was adamant that I always had something else to fall back onto, something other than music to share my energy with. In every industry or business, you have people who are out to use and abuse. I have been fortunate enough to have been insulated from certain events—especially while on the road touring. If something happens, I don’t take it personally. I don’t get emotional to the point that I start ranting about it online.

The bullshit waves ride themselves out. Always. That’s also something Adonis told me and that I’ve validated over time: every five years there’s a new generation. Things move quickly. So if there are things that I’m uncomfortable with right now, chances are good that they’ll fade out in a couple of years. I just have to stick to my guns and keep my head down.

1992 was a very precarious year for house music culture in Chicago. In a way, it felt like the end of something, but at the same time a lot of brand new things emerged. It felt like a new seed was sown. It was a time of transformation. Ron Hardy was dead, Frankie Knuckles had left Chicago for New York. There was special vibe in the city. You had Derrick Carter and his Rednail crew; you had Cajmere with Cajual and Relief Records; China Club; Shelter. There were a lot of crews and clubs that kept the culture alive.

After taking the drum machine practically everywhere, I went for nearly a year constantly working on beats, I knew that I was ready to do the next step. At that point, it wasn’t even about if he agreed with me anymore—I just knew. I could’ve started to focus on other things besides the drum machine six months earlier, but I stayed dedicated. I was very much invested in the moment and the process.

Adonis and I had the same idea and understanding about the process of creation. People can have the same feelings or energy, but they can’t fully explain it because they don’t have the knowledge or experience necessary. That was me back then. But somebody else can feel what’s going on with you and can express it because they’re in tune with you. Adonis was able to feel what I was trying to express and break it down to me intellectually.

We come into this existence as beings, and then we put other things into existence through creation. That’s what I learned from him: this whole thought process. If everybody had that mentality of honoring creation, then people wouldn’t be so keen to honor and hold up destruction and chaos.

People put so much energy, faith and worship into these machines that they totally forget about the human experience. Adonis made what he made because of his human experience. The human makes the machine—not the other way around. Some experiences in my life caused me to be the way I am. So when I started to create with his machines, I turned into a conduit of all these emotional and mental and spiritual experiences to transform them into a physical experience.

You can’t let the machine override your humanity. The result would be watered-down, fake. It would feel empty. So when I create, it’s basically like a sonic diary. I’m emulating and bringing into the universe. It’s an ongoing process. I’m still learning, still evolving. That will never stop. And musically, that journey started for me in 1992.

By the end of 1994, I self-released my first cassettes. In 1996, I put out the first vinyl releases on Mathematics as white-labels. After that I took a break until 2000, when I restarted the label. There were times where I was frustrated about not being heard. I was struggling. But Adonis’ advice helped me to keep pushing. Some people get burned and they walk away and feel bitter and defeated. But you shouldn’t complain about something and then just walk away. If you do that, chances are that nothing will change for the better. What you can do is mentor the next generation so that things can improve. If you start to teach the young hopefuls a new and unifying way to pursue their dreams in the music industry, things can shift in this culture. I think dance music is in a very chaotic and very fractured state at the moment. But look at Mike Huckaby; he didn’t complain about how things are. He took his resources and planted seeds and made a change. I look up to him for all the great work he’s doing teaching young black kids to produce music at Youthville in Detroit.

A while ago I got involved in my own mentoring adventure called Chicago Phonic. The facility is there and we’ll open soon—most likely in early November. The stage is pretty much set: the gear is there and we’re ready to go. The people I’m dealing with for this are private investors who don’t want to have their names out in public. They don’t care about facetime. So I’m kind of the face of the operation because we’re dealing with poor kids from Chicago. I come from that.

I don’t want to complain anymore. I want to give something back. And hopefully my involvement will encourage others to get involved, too. It’s not that hard to set something up—especially if you have a sponsorship with a gear company. Don’t fill up your crib with Moogs and whatnot just for yourself. Open up a facility for kids to use the equipment. Chicago Phonic will be very different from my time with Adonis, though. With him it was very personal: one-on-one. In a facility like Youthville Chicago Phonic, it becomes a classroom, and you have to refine your teachings. And you shouldn’t try to be their parent. You want to be able to convey a clear message—especially about the music business, but also about how their experiences in life will affect them. It won’t be all hands-on-gear right away. I’ll talk and explain my experience, and then I’ll ask each individual to explain hers or his up to that point in their lives. And then I will let them know: the conversation we are now having is the same you’ll be having with the machines.

Read more: Mentors columns with Robert Hood, Jlin and more

The post Mentors: What Hieroglyphic Being Learned From House Pioneer Adonis appeared first on Electronic Beats.

Why Are Berlin’s Gay Parties Trendier Than Lesbian Nights?

Delivered... By Elissa Stolman. Cover photo by Isaiah Lee. | Scene | Fri 27 Oct 2017 10:33 am

The post Why Are Berlin’s Gay Parties Trendier Than Lesbian Nights? appeared first on Electronic Beats.

Played Out: How Ciel Uses New Age And Trance To Make Dance Floors Move

Delivered... By Ciel. | Scene | Mon 23 Oct 2017 11:35 am

The post Played Out: How Ciel Uses New Age And Trance To Make Dance Floors Move appeared first on Electronic Beats.

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