Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » Music


Клуб: the St Petersburg rail factory that became a visionary nightclub

Delivered... Brooke McCord | Scene | Wed 19 Sep 2018 3:24 pm

Set in an industrial area far outside the city – and with industrial tracks to match - the nightclub Клуб is putting community before music to create a truly beloved space

Ask Sasha Tsereteli, founder of St Petersburg’s DIY nightclub Клуб, what the most important aspect of his club is and you might be surprised. Despite great success serving nights that span a melange of techno, acid, noise and industrial, he says that community comes first and music second. “It’s always been about getting people together, and seeing what happens,” he explains. “There are enough music clubs in the world so we never really positioned ourselves as one – I think that’s one of our best accomplishments. Although you can only afford to say that when your music programme is impeccable.”

Renowned as the duo who first brought international acts to St Petersburg, Sasha Tsereteli and his partner Julia Si had been running parties for a decade before co-founding Клуб (meaning “klub”) in November 2017. Housed within brutalist infrastructure – a former national railway factory – Клуб is not the kind of club you stumble upon by chance. Much like Berlin’s Berghain, it’s set far from civilisation, in an industrial area just outside the city. “Nobody comes here by accident,” says Tsereteli. “It’s nearly impossible, so we never know how many people will attend an event.”

Continue reading...

Inside Melbourne rave history – including cyberspace, Julian Assange

Delivered... Peter Kirn | Scene | Tue 18 Sep 2018 9:27 pm

Okay, fine, Detroit, Berlin. But don’t forget Melbourne raves: home of the Melbourne shuffle, Internet-loving cyberdelica, and apparently, Julian Assange raving hard back in the 90s.

In these dark days of social media, maybe it’s worth revisiting why the Internet held promise for rave culture, for partying that had some wider awareness. That’s particularly apt in 2018 the Internet has proven a way of binding together scenes in techno and experimental electronic music and even encouraging activism.

Writer Simon Leo Brown of Australia’s ABC sends us this piece he’s just finished, revisiting that early culture. It’s likely to arouse some nostalgia I suspect in our Australian readers, and intrigue for the rest of the world:

Julian Assange was involved in Melbourne’s rave scene in the 1990s, Techno Shuffle book reveals [ABC News]

Remarkably, promoters offered up the novelty of Internet at raves, and even had text-based chat terminals. (Hmm, actually, IRC on some vintage terminals might be cool all over again. In New York we used to have a club called Remote Lounge next to CBGB’s that did this with closed circuit video cameras – but only locally.)

The Internet ethos was part of the ethos and aesthetic of the Melbourne 90s scene, says Paul Fleckney, author of Techno Shuffle: Rave Culture and the Melbourne Underground. And he points to the term “cyberdelic” – part cyberspace, part psychedelic:

“That was something that I think was very exciting, and so the internet just added another dimension to this kind of sensory overload that you already got at a rave.

“You’ve got lights, you’ve got sound, you’ve video visuals and then now we’ve got this global interface with the world.”

Perhaps now as we face the tensions of an over-connected world is an even better time to process this psychedelic quality of connected-ness. In any event, for an emblem of that tension, for the rave’s freedom and the power of the Internet and its dark side, we have … Julian Assange on the dancefloor. Assange evidently went by the alias “Prof” in the Melbourne scene, as a regular of Dream nightclub in Carlton, which Assange himself wired up for the net. We don’t have video of that, but at least we do get some footage of Julian dancing in Iceland:

I, uh, don’t know how I feel if there’s footage of me somewhere, but there you go. I’m not interesting or important. Please don’t look it up. 😉

There’s plenty more to explore for us non-Australians about what Melbourne did. Check out Simon’s story and interview with Fleckney about the book – the plot is familiar, including the shift from an open, no bouncer safe space for the marginalized to the velvet-rope scene later, to the dark side of drug use and mental health.

There are also a couple of documentaries available online, including one from Thump on Melbourne’s early days:

And for anyone who wanted over an hour of feature-length documentary on the Melbourne shuffle, a fast-paced rave dance step, there’s this (the rest of us can watch and practice):

The post Inside Melbourne rave history – including cyberspace, Julian Assange appeared first on CDM Create Digital Music.

‘We did it!’ – behind the decks at Paul Oakenfold’s Stonehenge rave

Delivered... Alexis Petridis | Scene | Mon 17 Sep 2018 5:15 pm

He’s played Everest and the Great Wall of China. So what happened when Oakenfold set out to become the first person ever to DJ at Stonehenge? Our writer grabs his glow stick and heads for the A303

A Holiday Inn by the A303 is not really the kind of place you would expect to meet Paul Oakenfold. He is, after all, the person who almost singlehandedly invented the latter-day notion of the superstar DJ, and whose 30-year career has warranted not only a mention in the Guinness Book of Records (as “the world’s most successful DJ”) but also a a graphic novel. “This book,” reads the blurb, “charts the windy road taken to fame, fortune and musical nirvana.”

Yet here he is, in a business park just off the windy road taken to Basingstoke, dressed in tracksuit bottoms and exuding a surprising degree of nervousness about his next gig. Later today, he will become the first-ever DJ to play at Stonehenge, as the advance publicity has it. In fact, he almost certainly isn’t – someone must have played records between performances by Hawkwind and Gong at the infamous Stonehenge free festivals in the 1970s and 80s. But, technically, those events took place in fields adjacent to the stones, while Oakenfold is doing his stuff right in front of them.

I’ve been in Ibiza practising, timing music to sunsets. How do I build up into it? How can I touch you emotionally?

The event must look simultaneously spectacular and baffling

Continue reading...

Discover the surrealist charm of Kate NV’s music and films

Delivered... Peter Kirn | Artists,Scene | Thu 13 Sep 2018 3:38 pm

It’s Moscow’s quirkier, playful side that’s probably easiest for us foreigners to miss. But Kate Shilonosova (Kate NV) is earning an international audience for her introspective, surrealist whimsy, and one that’s well-deserved.

Kate NV’s music is beautifully minimal and reflective. The Japan tour makes perfect sense – there’s a distinctively Japanese-compatible electronic aesthetic here. (The poppier nods to minimalism and extensive use of percussion remind me a bit of Cornelius, as do the hand-drawn graphics everywhere.) But her approach to found sound and sampling is equally enjoyable when taken in live. Kate was another highlight for me of Synthposium, and emblematic of Moscow’s experimental, open-minded, live performance-oriented electronic scene. Her own background is in punk and guitars, and she brings that musicianship and improvisational spirit even to this very different sonic idiom.

Live, she works with mics and small percussion and sampling (on various Novation gear and Ableton Live), pulling in elements in a way that’s accessible and fluid. And yeah, she’s the kind of producer who keeps a glockenspiel by her computer in her home studio.

She’s been picked up by RVNG Intl, the Brooklyn-based label with a particularly sharp nose for musical inventiveness. And her LP is terrifically charming. It’s also accompanied by cheery, trippy films from Moscow director Sasha Kulak. Watch “дуб OAK” (each is titled in a combination of the Russian and English equivalent of a word):

— or the extended film “для FOR”:

These films are also available in a generative form, which you can watch on her website – click, and you get different variations:

This project is based on works of Moscow conceptualist Victor Pivovarov,
more specifically on his series called “project for the lonely man”, 1975.
This movie is telling a story about one lonely man’s day.
Every time the button is pressed, the new, slightly different day is generated from the common routine actions.
Thus, creating the sense that all regular days are the same, but in its own way very different.

http://katenv.com/

To get a sense of the live set, here’s a representative set from last year: (Though I wish we had the video of this month at Synthposium! Will share if we get that….)

Her songwriting and singing are also exceptional, though; check, for instance:

Why is this woman smiling? She’s hanging out in Red Bull’s massive Cologne studios.

To get a sense of her tastes and DJ skills, here’s a mix created for DJ Mag – featuring Prokofiev, no less. (You know, I charted the guy and it’s like he almost didn’t notice.)

Lastly, of course, everything is better with a Japanese documentary:

I also love her series of illustrations on manuscript paper and glimpses she makes of her studio, which you can find on her Facebook and VK pages:

Postlude:

Mean YouTube trolls are mean. From the video I posted above, there are some angry comments blah blah guys mansplaining minimalist composers. What gives?

Oh, cool, you know who Steve Reich is. Some kind of expert then.

I think you can do better, trolls. You don’t look like you know what you’re talking about. You need to up your game. Let me help:

“I just talked to your mom and she wants your ‘Minimalist Classics for Babies Naptime Compilation’ album back.”

“You know so little about the early roots of minimalism you probably think La Monte Young is a cheap French perfume store!”

“What’s the sound of one hand trying to perform ‘Clapping Music’?”

See? Amateurs.

Anyway, I think she’s great, and I have, like, a really serious music education or whatever. If someone wants to argue with me they’ll have to get past these fightin’ mallets and my marimba.

The post Discover the surrealist charm of Kate NV’s music and films appeared first on CDM Create Digital Music.

Watch futuristic techno made by robots – then learn how it was made

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 12 Sep 2018 5:48 pm

Roboticist, composer, and futurist Moritz Simon Geist has made an entire album using robotic machines. It’s stunning to behold – and he tells you all about how it developed. Let’s watch:

This is more than a gimmick: there’s a real difference in approach and process here. Moritz’s work is truly mechanical-acoustical and electro-acoustic, using mechanical, kinetic machines to produce sounds.

And Moritz has been working on this background for some time, including making an entire oversized TR-808 drum machine that replicates sounds not with analog circuitry or digital code, but by actually hitting percussion. (The claps even required a cluster of stuff to clap together.)

An extended making-of video walks through the behind-the-scenes process of how this came about and evolved.

It’s as much an exercise in kinetic sculpture as music, but then the album organizes those raw materials in an eminently listenable, musical manner. It’s quirky grooves, true to its mechanical-robotic nature – that is, even if you didn’t know what this was, you might quickly imagine dancing bots. The materiality comes through, in subtly off rhythms and precisely-placed organic sounds.

Moritz’ ongoing collaborators Mouse on Mars co-produced both an EP (“The Material Turn”, out October 12) and LP (“Robotic Electronic Music”, on November 16). And Moritz extends the musical role here, by being both inventor/builder/maker and musician – not to mention label head.

It’s great to see Moritz starting a new label devoted to this medium – Sonic Robots Records – but also getting the help not only of Mouse on Mars but legendary German label Kompakt to handle global distribution.

You can preorder the EP already, in both digital and vinyl forms:

… with the LP to follow soon.

Here’s our look at how Moritz is working with Mouse on Mars:

Here’s how Mouse on Mars are using robots to expand their band

And here’s how we first got to meet Moritz, through his robotic TR-808:

A Robotic, Physical 808 Machine Advances Weird Science of Music, Tech Alike

Want to try making your own robotic music? Dadamachines is an easy way to start, and you can explore sound and musical arrangement without having to know about the building side right away:

dadamachines is an open toolkit for making robotic musical instruments

Don’t miss Moritz’ talk, too, for our MusicMakers Hacklab this year, discussing speculative futures for machine learning:

https://moritzsimongeist.bandcamp.com/album/the-material-turn

The post Watch futuristic techno made by robots – then learn how it was made appeared first on CDM Create Digital Music.

The month’s best mixes: Discwoman, Gian Manik, LSDXOXO and more

Delivered... Tayyab Amin | Scene | Wed 12 Sep 2018 9:00 am

The best DJ mixes and radio shows this month feature everything from exhilarating hardstyle to a cappella Farsi – plus a bit of My Humps by the Black Eyed Peas

August’s assortment of the world’s best mixes features musicians delivering distinctly erotic sets in summer heat, while folk-club hybrids, minimal polyrhythms and breathtaking hardstyle are also present.

Related: The month's best mixes: Gigsta, Susumu Yokota and 25 years of Dutch dynamo Clone

Continue reading...

Minecraft music making: watch someone play music with the game

Delivered... Peter Kirn | Scene | Tue 11 Sep 2018 5:48 pm

Minecraft, your latest somewhat bizarre drum machine? Believe it. Gamer meisterjaan sends us this mod of Minecraft into a music tool, and the results are kind of hilarious / terrifying.

Watch, as meisterjann combines an arrangement of Minecraft blocks with some classic Moog Music Moogerfooger and Electro-Harmonix Memory Man stomp effects:

Commentary:

Using note blocks, redstone, repeaters and sounds of montsers in Minecraft in combination with hardware effects to make something similar to music. The gameplay and effects are recorded in one take as a stereo recording. Not quite my new favorite DAW yet but quite fun 🙂

This isn’t the most far-fetched Minecraft – music tool mash-up we’ve seen yet, though. That’ll be the 2010 mod that went the other direction – someone created a Minecraft clone inside Ableton Live, just because.

The post Minecraft music making: watch someone play music with the game appeared first on CDM Create Digital Music.

Peter Theremin’s haunting music, on his great-grandfather’s invention

Delivered... Peter Kirn | Scene | Mon 10 Sep 2018 5:46 pm

Most of us never got to know Leon Theremin (Lev Termen) or hear him play live. But we can take in his great grandson continuing the tradition of playing his invention – and Peter Theremin’s music is just as hauntingly human.

The Theremin has a special role in music history and the birth of electronic sound. Its sounds were among the first to suggest that electronic, not only acoustic, instruments could be expressive, that its electrical utterances could be like a human voice. It’s history is bound up with the history of US-Soviet relations, and the shaky relationship of electronics to espionage (and, in turn, the Communist sphere’s oscillating position on how acceptable electronic music would be). And is if that weren’t enough, the instrument also inspired Bob Moog to create synths, forever altering the course of the synth’s evolution.

But even with so many other choices now, there’s something uniquely pure and arresting about the Theremin’s sound and dead-simple design. And so among various international artists and in particular Russians carrying on that tradition, Peter Theremin (Петр Термен) is the one who literally carries on the inventor’s name. His music lives up to that, and then there’s the fact that he unmistakably carries some of the same DNA.

I got to here Peter play most recently last week at Moscow’s Synthposium, within walking distance of a lot of Theremin history in the Russian capital (not to mention the US Embassy where Maestro Lev once bugged the US Ambassador’s office, Trojan Horse style. (We really need to build one of these in a workshop. Anyone tried that?)

That performance is online:

“The Swan” as played by Clara Rockmore is one of my favorite Theremin performances ever, and Peter comes pretty darn close in his rendition for BBC Music:

Following his VKontakte page is the best way to dig through his music, if you don’t mind a little Russian text here and there – a login isn’t even needed. (VK is a social network mostly popular in Russia, where it’s based.)

https://vk.com/thereminmusic

His TEDx talk covers the history of the instrument (in Russian but with English subtitles):

Russian search engine Yandex posted this beautiful chamber music piece with Peter’s performance:

Oh yeah, and here’s what Peter’s all-Theremin booth at Synthposium was like … in fast forward!

Just be careful using this instrument to serenade the love of your life, you know?

Previously:

Watch Bob Moog play and talk about the Theremin

The post Peter Theremin’s haunting music, on his great-grandfather’s invention appeared first on CDM Create Digital Music.

Yves Tumor: Safe in the Hands of Love review – thrilling plunderphonics

Delivered... Ben Beaumont-Thomas | Scene | Fri 7 Sep 2018 7:00 am

(Warp)

As this year’s Reading & Leeds lineup showed, kids have extremely catholic tastes as a result of growing up with the radical accessibility of streaming, but musicians themselves still usually cleave to one or two aesthetics. Yves Tumor, though, is thrillingly untethered to style, and as such is a bard for our cultural moment.

Having previously released drifting ambient, clattering experimental trap, lo-fi vintage boogie and more, the secretive Tennessee expat continues to swerve from one mood to the next. Honesty is a driving analogue techno number in the vein of Hieroglyphic Being: arid, punchy 808 claps drive a bleating vocal line from a heartbroken Tumor. Then he handbrake-turns into the superb Noid, a piece of Avalanches-style breakbeat pop that perkily addresses police brutality. Then he reverses back into more lovelorn sadness on Licking an Orchid, this time to a trip-hop shuffle.

Continue reading...

Tracey Thorn, Nadine Shah and Peggy Gou top Aim independent music awards

Delivered... Ben Beaumont-Thomas | Scene | Tue 4 Sep 2018 10:00 pm

The awards for the best in British independent music acknowledged a wide-ranging series of names, from Goldie to Idles and Sophie

Tracey Thorn has been awarded the most prestigious prize at the Aim independent music awards, which recognise the best in British music from outside the major label system.

Thorn was presented with the outstanding contribution to music prize, for a career that has featured major chart hits with duo Everything But the Girl, as well as solo work including this year’s album Record. Another award for an entire career’s work, the Pioneer award, was presented to drum’n’bass star Goldie.

Continue reading...

50 great tracks for September from BTS, Marie Davidson, Boygenius and more

Delivered... Ben Beaumont-Thomas | Scene | Mon 3 Sep 2018 10:00 am

From Empress Of’s modern classic to the magnificent angst of Boygenius, here are 50 new tracks you shouldn’t miss – read about our 10 favourites below, and subscribe to the playlists

Continue reading...

Wysing Polyphonic review – explosions in the sonic inventing shed

Delivered... Ben Beaumont-Thomas | Scene | Sun 2 Sep 2018 12:50 pm

Wysing Arts Centre, Cambridgeshire
Moor Mother and Paul Purgas curate an inspirational gathering where electronic artists, dancers and poets freely test the boundaries of expression

‘Noises of spoons!” I’m in an octagonal wooden structure that’s half Grand Designs man-shed, half denouement to a slasher movie, in a field in the Cambridgeshire countryside. Elaine Mitchener is kicking things off at Wysing Polyphonic, delivering scat poetry that’s as light, intricate and unmappable as rain falling on a roof. Alongside her is Neil Charles, tapping his double bass’s body like a faith healer, a tambourine tucked in its neck. Mitchener’s spoon mantra dissolves into stutters. She clicks shells and stones in her hands, as the bass fumbles and shuffles – the pair are trying to put something or other back in one piece.

This is one of the most valuable music festivals in the country – one that refuses, inspirationally, to put anything neatly together. Curated this year by avant-gardists Camae Ayewa (AKA Moor Mother) and Paul Purgas, it’s a loose study of corporeality and groove.

Continue reading...

Tunng: Songs You Make at Night review – a welcome return

Delivered... Neil Spencer | Scene | Sun 2 Sep 2018 8:00 am

(Full Time Hobby)

Sam Genders and Mike Lindsay became the founding fathers of “folktronica” in the 00s with a slew of innovative albums with Tunng. The pair have travelled separate paths over the past decade: Genders forming the band Diagrams, Lindsay moving to Reykjavik, then on to this year’s collaboration with singer Laura Marling as Lump. Here, they reconvene Tunng’s original line-up for an album that builds seamlessly on its predecessors’ strengths; dreamy moods, pastoral landscapes undercut with dark currents, and conjurations of acoustic and electronic instrumentation. It’s lighter on the sampled clicks, whirrs and speech of their early work, and heavier on the beats; Dark Heart has a Kraftwerk-like coda, and there are burbles of Fender Rhodes piano throughout.

The appeal, however, is much the same; Genders’s delicate falsetto (in the manner of Robert Wyatt) is full of lyrical surprises – “fragments of a better life” that rain from the sky, visions of “an army of abandoned souls” – and comes counterpointed by Becky Jacobs’s haunting vocals. The melodies are simple but lovely, often spelled out on tumbling acoustic guitar, as on Like Water, before being taken up by the group. It’s wonderful to have them back.

Continue reading...

Unfettered Irish dance to a brand new tune

Delivered... Tess Reidy | Scene | Sun 2 Sep 2018 6:00 am

Wave of liberalism inspires electro scene that is now conquering Britain’s dancefloors

From Celtic reels to the Cranberries, and Val Doonican to the Pogues, Irish music has long found fame in Britain. Now a new wave of acts from the Irish Republic and Northern Ireland are taking over the British dance scene – this time with electronic music.

The new sounds are rooted in folk music as well as club bangers. Many names will be unfamiliar, such as producer J Colleran from Co Kildare, Dublin’s Seán Mac Erlaine and Galway’s Olan Monk. But there are higher-profile acts, like Bicep of Belfast, who have had millions of streams on YouTube, and Dublin’s Krystal Klear, whose Neutron Dance is of the year’s biggest dance singles.

Continue reading...

The Man from Mo’Wax review – from superstar DJ to rock bore

Delivered... Cath Clarke | Scene | Thu 30 Aug 2018 3:00 pm

This hit-and-miss documentary charting the life and career of James Lavelle feels too much like a promo

The rise and fall of James Lavelle, the record label founder and DJ, is the subject of this celebratory music documentary by Matthew Jones. In the 1990s, Lavelle was music’s Damien Hirst – a cocky upstart with a genius for A&R matched only by a gift for self-promotion. At 18, he opened the hip label Mo’Wax and helped to popularise trip-hop (though signing Tricky and Portishead evaded him). Everything he touched turned to gold, until it didn’t.

Ego, money, drugs: Lavelle’s story has the makings of an entertaining account of the music business. But this film feels too much like a promo for a comeback attempt. Its greatest strength is archive from the personal collections of Lavelle and Josh Davis, AKA DJ Shadow, whose groundbreaking sample album Endtroducing marked Mo’Wax’s high point. The clubbing footage brings back a chemical rush of the 90s London dance scene.

Continue reading...
Next Page »
TunePlus Wordpress Theme