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… » Video


«Sampling kann politisch sein»

Delivered... norient | Scene | Wed 17 Oct 2018 5:30 am

Wie und warum benutzen Musiker*innen Samples? Welche Positionen stecken hinter der Wahl ihrer Samples? Können diese Samples sogar die Funktion eines gesellschaftlichen Kommentars haben? Solche Fragen stellt der Berner Musikwissenschaftler und Norient-Editor Hannes Liechti in seiner Doktorarbeit. Dieses Video ist Teil zwei der achtteiligen Reihe «Musikethnologie in der Schweiz».

Hannes Liechti studierte Musikethnologie, Musikwissenschaft und Geschichte in Bern und München. Er doktoriert seit 2016 zu kreativen Sampling-Strategien in experimenteller elektronischer Popmusik an der Universität Bern und der Hochschule der Künste Bern HKB und ist Mitglied der Graduate School of the Arts (GSA) Bern, wo er im Herbst 2018 in Zusammenarbeit mit Norient die Tagung «Pop–Power–Positions» organisierte. Hannes Liechti ist Teil des Kernteams von Norient (Bio hier).

Die achtteilige Videoreihe «Musikethnologie in der Schweiz» ist entstanden im Rahmen des Agora-Wissenschaftsvermittlungsprojekt «Communicating Music Research» (gefördert vom Schweizer Nationalfonds), das Norient gemeinsam mit dem Seminar für Kulturwissenschaft und Europäische Ethnologie der Universität Basel durchgeführt hat.

Video: Valentin Mettler
Interview: Elisabeth Stoudmann
Redaktion: Theresa Beyer
Produktion: Norient 2018

«Musikethnologie hilft gegen Vorurteile»

Delivered... norient | Scene | Sun 14 Oct 2018 6:00 am

«In Europa wird afrikanische Musik immer noch sehr eindimensional gesehen» sagt die Musikethnologin Anja Brunner. Für sie hat die musikethnologische Forschung die Aufgabe, solchen klischierten Bildern entgegenzuwirken. Im Video spricht Bunner darüber, wie sie ein Aufenthalt in Senegal zur Musikethnologie gebracht hat, wie stark Musik und Politik in afrikanischen Ländern verschränkt sind und wie sich die Macht des Forschenden in der heutigen Zeit verändert. Dieses Video ist der Auftakt zur sechsteiligen Reihe «Musikethnologie in der Schweiz».

Die sechsteilige Videoreihe «Musikethnologie in der Schweiz» ist entstanden im Rahmen des Agora-Wissenschaftsvermittlungsprojekt «Communicating Music Research» (gefördert vom Schweizer Nationalfonds), das Norient gemeinsam mit dem Seminar für Kulturwissenschaft und Europäische Ethnologie der Universität Basel durchgeführt hat.

Video: Valentin Mettler
Interview: Hannes Liechti
Redaktion: Theresa Beyer
Produktion: Norient 2018

Dr. Anja Brunner ist Ethnomusikologin und derzeit als assoziierte Wissenschaftlerin am Institut für Musikwissenschaft an der Universität Bern. Sie hat ihre Dissertation an der Universität Wien zur Entstehung des Popularmusikgenres Bikutsi in Kamerun verfasst. Ihre derzeitige Forschung beschäftigt sich mit syrischen Musikerinnen im deutschsprachigen Raum. Ihre Forschungsschwerpunkte sind Musik und Migration, Veränderungen von Musikpraktiken im globalen Kontext, Weltmusik/World Music und Postkolonialismus.

Max 8: Multichannel, mappable, faster patching is here

Delivered... Peter Kirn | Scene | Tue 25 Sep 2018 8:15 pm

Max 8 is released today, as the latest version of the audiovisual development environment brings new tools, faster performance, multichannel patching, MIDI learn, and more.

Max is now 30 years old, with a direct lineage to the beginning of visual programming for musicians – creating your own custom tools by connecting virtual cables on-screen instead of typing in code. Since then, its developers have incorporated additional facilities for other code languages (like JavaScript), different data types, real-time visuals (3D and video), and integrated support inside Ableton Live (with Max for Live). Max 8 actually hits all of those different points with improvements. Here’s what’s new:

MC multichannel patching.

It’s always been possible to do multichannel patching – and therefore support multichannel audio (as with spatial sound) – in Max and Pure Data. But Max’s new MC approach makes this far easier and more powerful.

  • Any sound object can be made into multiples, just by typing mc. in front of the object name.
  • A single patch cord can incorporate any number of channels.
  • You can edit multiple objects all at once.

So, yes, this is about multichannel audio output and spatial audio. But it’s also about way more than that – and it addresses one of the most significant limitations of the Max/Pd patching paradigm.

Polyphony? MC.

Synthesis approaches with loads of oscillators (like granular synthesis or complex additive synthesis)? MC.

MPE assignments (from controllers like the Linnstrument and ROLI Seaboard)? MC.

MC means the ability to use a small number of objects and cords to do a lot – from spatial sound to mass polyphony to anything else that involves multiples.

It’s just a much easier way to work with a lot of stuff at once. That was present in open code environment SuperCollider, for instance, if you were willing to put in some time learning SC’s code language. But it was never terribly easy in Max. (Pure Data, your move!)

MIDI mapping

Mappings lets you MIDI learn from controllers, keyboards, and whatnot, just by selecting a control, and moving your controller.

Computer keyboard mappings work the same way.

The whole implementation looks very much borrowed from Ableton Live, down to the list of mappings for keyboard and MIDI. It’s slightly disappointing they didn’t cover OSC messages with the same interface, though, given this is Max.

It’s faster

Max 8 has various performance optimizations, says Cycling ’74. But in particular, look for 2x (Mac) – 20x (Windows) faster launch times, 4x faster patching loading, and performance enhancements in the UI, Jitter, physics, and objects like coll.

Also, Max 8’s Vizzie library of video modules is now OpenGL-accelerated, which additionally means you can mix and match with Jitter OpenGL patching. (No word yet on what that means for OpenGL deprecation by Apple.)

Node.JS

This is I suspect a pretty big deal for a lot of Max patchers who moonlight in some JavaScript coding. NodeJS support lets you run Node applications from inside a patch – for extending what Max can do, running servers, connecting to the outside world, and whatnot.

There’s full NPM support, which is to say all the ability to share code via that package manager is now available inside Max.

Patching works better, and other stuff that will make you say “finally”

Actually, this may be the bit that a lot of long-time Max users find most exciting, even despite the banner features.

Patching is now significantly enhanced. You can patch and unpatch objects just by dragging them in and out of patch cords, instead of doing this in multiple steps. Group dragging and whatnot finally works the way it should, without accidentally selecting other objects. And you get real “probing” of data flowing through patch cords by hovering over the cords.

There’s also finally an “Operate While Unlocked” option so you can use controls without constantly locking and unlocking patches.

There’s also a refreshed console, color themes, and a search sidebar for quickly bringing up help.

Plus there’s external editor support (coll, JavaScript, etc.). You can use “waypoints” to print stuff to the console.

And additionally, essential:

High definition and multitouch support on Windows
UI support for the latest Mac OS
Plug-in scanning

And of course a ton of new improvements for Max objects and Jitter.

What about Max for Live?

Okay, Ableton and Cycling ’74 did talk about “lockstep” releases of Max and Max for Live. But… what’s happening is not what lockstep usually means. Maybe it’s better to say that the releases of the two will be better coordinated.

Max 8 today is ahead of the Max for Live that ships with Ableton Live. But we know Max for Live incorporated elements of Max 8, even before its release.

For their part, Cycling ’74 today say that “in the coming months, Max 8 will become the basis of Max for Live.”

Based on past conversations, that means that as much functionality as possibly can be practically delivered in Max for Live will be there. And with all these Max 8 improvements, that’s good news. I’ll try to get more clarity on this as information becomes available.

Max 8 now…

Ther’s a 30-day free trial. Upgrades are US$149; full version is US$399, plus subscription and academic discount options.

Full details on the new release are neatly laid out on Cycling’s website today:

https://cycling74.com/products/max-features?utm_source=press&utm_campaign=max8-release

The post Max 8: Multichannel, mappable, faster patching is here appeared first on CDM Create Digital Music.

DU-NTSC is a modular visualizer, AV toy, and video generator

Delivered... Peter Kirn | Scene | Tue 14 Aug 2018 10:35 am

From hyper-nerdy label Detroit Underground comes a new tool that both visualizes signals and acts as a modular visual instrument – a new way of looking at what you’re doing in modular sound, and an object for visual creation.

Eurorack may be saturated with modules that do sound, but get ready for the next frontier: more visuals. Boutique label Detroit Underground has been a retro-futuristic hub for just those sorts of audiovisual fascinations. Label head Kero is an audiovisual artist himself, and has gravitated to music with visual elements – not to mention he’s put out a glitchy app and website and even started a series of album releases on VHS. (Yes, VHS. Full disclosure: I somehow wound up on this series; my VHS tape drops in September. I’m still shopping around flea markets for a deck before the tapes arrive.)

DU-NTSC is really two modules in one. It’s a visualizer/oscilloscope – so you can look at signal in your patches. And it’s a hackable, creative visual module, capable of outputting visuals and visual signals. (Not everyone is interested exclusively in their rack doing sound; some also want to stimulate sight.)

Plus since it’s analog, it’s time to dig up all your analog ins and outputs again. Edirol video mixer? Sega Genesis? CRT tubes? Half-broken projectors? Yes, yes, yes, yes!

Watch (with some Richard Devine sounds, of course):

The whole thing is based on Arduino nano, making it easy to hack your own patterns through some simple coding, for more of these wild black-and-white creations:

Highlights:

  • Input video – there’s a composite (analog, natch) video input
  • Input audio – it’s a one-channel oscilloscope with wide sample rate spectrum (228 Hz – 700KHz), just with unusually cool visualizations
  • Generate video patterns via multiple presets (or make your own with Arduino code!)
  • Control patterns with CV and gate control of visual parameters
  • Output video – video generator can be routed to composite, as can video signal and sync (with a hack) through Video Cinch feature

That patch-ability extends in all directions: you can use control voltage both to generate and control visuals, and gate keeps everything in time.

Here’s a video (via Kero / DU) of the module getting connected:

The project was built in collaboration with Razmasynth, a video modular maker based in France specializing in open source kits. And if you like this, you should definitely also check out their Telewizor.

Full specs:

  • One channel AV Display for Eurorack Modular, PAL, NTSC Video Generator and One Channel Oscilloscope
  • CV Input controls Video Generator (Jack Mono 3.5)
  • Universal CV from modular, bipolar (+5/-5V) and unipolar (+5V)
  • Gate Input: resets the current pattern and turns the screen black when a positive signal is applied (Jack Mono 3.5)
  • Chaos Button: inverts on-screen colors in all patterns; use this button to decrease the sample rate on an Oscilloscope sub-program in order to display signals from a LFO
  • Video In: supports PAL/NTSC; it can connect with DVD, VCD, TFT Camera, Super Nintendo, VHS Tape, etc. via Cinch input
  • Composite Video Out: exports the video generator signal via the Cinch output
  • DU-NTSC is based on the Arduino Nano platform, allowing you to easily hack and create your own video patterns.
  • Over 16 video patterns (demo available)
  • One Channel Oscilloscope; with a sample rate from 700KHz to 228Hz

Like Razmasynth’s Telewizor, DU-NTSC is based on Arduino Nano, so you can easily hack and create your own video pattern (making your own 120×96-pixel image) or upload code.

And that hardware:

  • Digital TFT Chimei LCD
  • Display size: 3.5″
  • Display Format: 4:3
  • System: PAL/NTSC
  • Pixel: 480(W)X272(H)
  • 10P Eurorack bus connector
  • 191ma power draw (+12/-12V)
  • Reverse polarity protection
  • Depth: 16hp
  • Skiff Friendly
  • Optional solder pads on the PCB back, for powering display with an external power supply 12V DC, without causing main power supply to drop down

More video action – this video from Kero gives you a sense of what it’s like to use:

And Richard Devine accidentally teased this over the weekend with this tripping-in-space video using the module:

Here’s more. Dig the pink lighting:

There are only twenty of these units, but I suspect this may be a sign of more to come in visual modules – both from Detroit Underground and in the scene generally. US$250 per module, available from Bandcamp (and including a free Richard Devine music download, of course):

https://detund.bandcamp.com/merch/du-ntsc

Previously:

This Eurorack module was coded wrong – and you’ll like it

Speaking in signal, across the divide between video and sound: SIGINT

The post DU-NTSC is a modular visualizer, AV toy, and video generator appeared first on CDM Create Digital Music.

Watch five hours of one of SONAR’s best stages in video

Delivered... Peter Kirn | Artists,Scene | Mon 18 Jun 2018 5:13 pm

Got some festival envy? Relax, sit back – one of the best stages from SONAR Festival in Barcelona last week is now online.

Of course, there’s no substitute for checking out live music. On the other hand, there’s also no substitute for partying at home, with no queues when you get thirsty and no one around but you. It’s all balance.

CDM will be bringing you a bit of SONAR Festival, but having scoped out the place myself, the Resident Advisor-sponsored night stage – and specifically this particular night of programming from said state – was one of the best programmed. And it seems that’s what our friends at RA chose to put online. So whether you know these artists or not or are getting a first introduction, full endorsement.

Octo Octa’s hair swinging back and forth while she killed that set is actually one of my enduring visual memories of this festival. I think things are currently truncated from the live stream but I’ll ask. Certainly this Saturday night on the RA stage was ideal – like a dream lineup.

The artists – DJ sets from Octo Octa on, but the rest live – with more links to more music and resources:

JASSS

Lanark Artefax

Errorsmith (interview with him coming soon to CDM, finally!)

Ben Klock B2B [back to back] with DJ Nobu

DJ Nobu official Facebook page

Motor City Drum Ensemble B2B Jeremy Underground

http://motorcitydrumensemble.com

The post Watch five hours of one of SONAR’s best stages in video appeared first on CDM Create Digital Music.

Debate: Archive and Sampling

Delivered... norient | Scene | Wed 23 May 2018 6:00 am

Today the copying and sampling of not just sound but of all material from infinite sources challenges the «spectacular aura» of the pre-recorded original in order to claim autonomy. We asked musicians from the Norient network: How Does the Digital Availability of Sources Change Music? A virtual debate from the Norient exhibition Seismographic Sounds (see and order corresponding book here).

Abandoned School Archive (Photo © by publicdomainpictures/Lode Van de Velde, 2018)

Complete Debate: The Video

Quotes

«My sample library is full of glitchy sounds. I started to build it years ago and I’m continuously updating it. It works like this: I make recordings from prepared instruments or amplified objects, or I record jams with digital instruments. Then I work with these sounds, paying close attention to details. I can spend hours designing just one three hundred milliseconds glitch, or I can build a huge wall of sound out of intersecting layers. These layers create beautiful and dense textures that I’m gradually transforming in my software by changing many parameters at each moment. I edit my samples to the point that they gain a totally new identity — all associations are gone and in the end just their aesthetic qualities count. Success is when I can make thousands of variations from a single sample. These sounds define my library. I think that gives a certain stamp to all of my works.»

Svetlana Maraš, composer and sound artist (Serbia)

«I sample my own music. It helps to exaggerate my egomania. By recombining myself my self-referential cosmos grows day by day.»

Christoph Ogiermann, composer, singer, instrumentalist and conductor in the fields of of contemporary music and free improvisation (Germany)

«Everything is a remix.»

Joe Bennett, Popular Music Scholar (Great Britain)

«Art and music in an archive will function like words in our minds. In the near future we will reuse them at will, just like we create sentences.»

Eduardo Navas, Remix Studies Scholar (USA)

Video Debate Credits

Statements by
Eduardo Navas, Remix Studies Scholar (USA)
Joe Bennett, Popular Music Scholar (Great Britain)
Christoph Ogiermann, composer, singer, instrumentalist and conductor in the fields of of contemporary music and free improvisation (Germany)
Garo Gdanian, Metal Musician (Lebanon)
Svetlana Maraš, composer and sound artist (Serbia)

Video Cut: Stephan Hermann, Coupdoeil

Some quotes from this debate were published in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Eduardo Navas: «Regenerative Culture»
> Hannes Liechti: «Perspectives on Sampling»
> Thomas Burkhalter: «The Sample Shapes the Song»

Debates from Seismographic Sounds

> on Bedroom Producers
> on Power and Positions
> on Music and War

Speaking in signal, across the divide between video and sound: SIGINT

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 16 May 2018 5:58 pm

Performing voltages. The notion is now familiar in synthesis – improvising with signals – but what about the dance between noise and image? Artist Oliver Dodd has been exploring the audiovisual modular.

Integrated sound-image systems have been a fascination of the avant-garde through the history of electronic art. But if there’s a return to the raw signal, maybe that’s born of a desire to regain a sense of fusion of media that can be lost in overcomplicated newer work.

Underground label Detroit Underground has had one foot in technology, one in audiovisual output. DU have their own line of Eurorack modules and a deep interest in electronics and invention, matching a line of audiovisual works. And the label is even putting out AV releases on VHS tape. (Well, visuals need some answer to the vinyl phonograph. You were expecting maybe laserdiscs?)

And SIGINT, Oliver Dodd’s project, is one of the more compelling releases in that series. It debuted over the winter, but now feels a perfect time to delve into what it’s about – and some of Oliver’s other, evocative work.

First, the full description, which draws on images of scanning transmissions from space, but takes place in a very localized, Earthbound rig:

The concept of SIGINT is based on the idea of scanning, searching, and recording satellite transmissions in the pursuit of capturing what appear to be anomalies as intelligent signals hidden within the transmission spectrum.

SIGINT represents these raw recordings, captured in their live, original form. These audio-video recordings were performed and rendered to VHS in real-time in an attempt to experience, explore, decipher, study, and decode this deeply evocative, secret, and embedded form of communication whose origins appear both alien and unknown, like paranormal imprints or reflections of inter-dimensional beings reflected within the transmission stream.

The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The Modular Audio/Video system allows a direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each. The modular system used for SIGINT was one 6U case of only Industrial Music Electronics (Harvestman) modules for audio and one 3U case of LZX Industries modules for video.

Videos:

Album:

CDM: I’m going through all these lovely experiments on your YouTube channel. How do these experiments come about?

Oliver: My Instagram and YouTube content is mostly just a snapshot of a larger picture of what I am currently working on, either that day, or of a larger project or work generally, which could be either a live performance, for example, or a release, or a video project.

That’s one hell of an AV modular system. Can you walk us through the modules in there? What’s your workflow like working in an audiovisual system like this, as opposed to systems (software or hardware) that tend to focus on one medium or another?

It’s a two-part system. There is one part that is audio (Industrial Music Electronics, or “Harvestman”), and there is one part that is video (LZX Industries). They communicate with each other via control voltages and audio rate signals, and they can independently influence each other in both ways or directions. For example, the audio can control the video, and the control voltages generated in the video system can also control sources in the audio system.

Many of the triggers and control voltages are shared between the two systems, which creates a cohesive audio/video experience. However, not every audio signal that sounds good — or produces a nice sound — looks good visually, and therefore, further tweaking and conditioning of the voltages are required to develop a more cohesive and harmonious relationship between them.

The two systems: a 3U (smaller) audio system on the left handles the Harvestman audio modules, and 6U (taller) on the right includes video processing modules from LZX Industries. Cases designed by Elite Modular.

I’m curious about your notion of finding patterns or paranormal in the content. Why is that significant to you? Carl Sagan gets at this idea of listening to noise in his original novel Contact (using the main character listening to a washing machine at one point, if I recall). What drew you to this sort of idea – and does it only say something about the listener, or the data, too?

Data transmission surrounds us at all times. There are always invisible frequencies that are outside our ability to perceive them, flowing through the air and which are as unobstructed as the air itself. We can only perceive a small fraction of these phenomena. There are limitations placed on our ability to perceive as humans, and there are more frequencies than we can experience. There are some frequencies we can experience, and there are some that we cannot. Perhaps the latter can move or pass throughout the range of perception, leaving a trail or trace or impressions on the frequencies that we can perceive as it passes through, and which we can then decode.

What about the fact that this is an audiovisual creation? What does it mean to fuse those media for a project?

The amazing thing about this project are the synchronicities formed between the audio and the video in real time. By connecting with the aural and the visual in this way, one generates and discovers strange, new, and interesting communications and compositions between these two spaces. The modular audio/video system allows direct connection between the video and the audio, and vice versa. A single patch cable can span between the two worlds and create new possibilities for each.

And now, some loops…

Oliver’s “experiments” series is transcendent and mesmerizing:

If this were a less cruel world, the YouTube algorithm would only feed you this. But in the meantime, you can subscribe to his channel. And ignore the view counts, actually. One person watching this one video is already sublime.

Plus, from Oliver’s gorgeous Instagram account, some ambient AV sketches to round things out.

More at: https://www.instagram.com/_oliverdodd/

https://detund.bandcamp.com/

https://detund.bandcamp.com/album/sigint

The post Speaking in signal, across the divide between video and sound: SIGINT appeared first on CDM Create Digital Music.

Einsamkeiten und Verfall

Delivered... Holger Lund | Scene | Wed 9 May 2018 6:00 am

Soziale Gefüge benötigen beides: Zusammenhalt und Platz für den Einzelnen als Einzelnen. Ist diese Balance noch gegeben? Letztlich verhält es sich ambivalent: Vereinzelung wird als Gefahr erlebt, Einsamkeit jedoch auch als Befreiung. Aktuelle Musikvideos zeigen das Ringen um eine soziale Positionierung. Aus dem Norient Buch Seismographic Sounds (hier bestellbar).

Selbst Skulpturen sind manchmal einsam (Photo © by Pxhere, 2018)

Norients Anfrage für einen Text zum Musikvideothema Einsamkeit war mit der Frage verknüpft, ob «Einsamkeit wirklich ein Thema ist, das die Musikschaffenden beschäftigt». Vor Sichtung der von Norient ausgewählten aktuellen Musikvideos schien es mir, das Thema würde womöglich eher das Publikum beschäftigen. Denn die Entsolidarisierungsstrategien des Neo-Liberalismus zielen ja darauf, vereinzelnd jeden gegen jeden loszulassen, zum Wohle des Kapitals. Digitale Egopornobastelstuben wie Facebook und Instagram liefern dafür den traurigen Beweis in Selfieform. Mithin vermutete ich: bei dem Thema könnten sich Musikschaffende sicher sein, ihr Publikum gut abzuholen. Denn es ist schon da: in der Einsamkeit.

Nach Sichtung der Musikvideos ergab sich dann ein entsprechendes und doch etwas anderes Bild. Denn es handelt sich um ganz verschiedene Einsamkeiten. Sie haben unterschiedliche Ursachen und Kontexte. So macht es für die Bewertung des Phänomens einen Unterschied, ob Einsamkeit erwünscht ist oder gemieden werden soll. Zumal Einsamkeit nicht nur ein soziales (Negativ-)Phänomen ist. Einsamkeit inmitten vieler Menschen ist ein Phänomen, dem man ebenso positiv (Video Nr. 33) wie negativ gegenüberstehen kann (4). Und was ist mit Einsamkeiten, die gänzlich ohne Menschen auskommen, wie die Landschaften und Tiere bei Eric Holm (13)? Was ist mit gewünschter Einsamkeit? Dem eigenen Tod, wie bei Mondkopf (25), oder dem Tod anderer, wie bei Willis Earl Beal (34), der eine befreiende Einsamkeit erzeugt?

Partikularisierung als Haupttendenz

Auf den ersten Blick ist eine thematische Zersplitterung der Phänomene zu verzeichnen. Nicht immer ist Einsamkeit dabei das Hauptthema, oftmals handelt es sich nur um einen Aspekt von gewichtigeren Themen wie Liebe, Krankheit oder Tod. Vom albtraumartigen Gejagtwerden von unsichtbaren Feinden (3), dem Sich-Verlieren in sozialen Rollen und Maskierungen (4), den vergessenen Menschen, die erschöpft die Linie einer Mailänder Strassenbahn bevölkern (6), der unheimlichen Einsamkeit auf einer verlassenen Strasse im nächtlichen Wald, changierend zwischen Caspar David Friedrich und Blairwitch Project (11), der zufriedenen Einsamkeit des älteren Mannes auf seinem Board im Meer (9), dem Astronauten, der planetensehnsüchtig auf der Erde herumstreift (24), der sexuellen Einsamkeit im Gender Trouble (17), über die robotische Einsamkeit (12), die imaginierende Einsamkeit (15) bis hin zur minimalistischen Einsamkeit (27) – all diese Einsamkeiten sind unterschiedlich motiviert. Sie werden bereits in den Videos von den Betroffenen oder Agierenden unterschiedlich bewertet, und so mit Sicherheit auch von den Betrachtern. Die Videos spiegeln dabei die diagnostizierte gegenwärtige soziale Vereinzelung sowie das Fehlen von sozialen Bindemitteln.

Zwar lassen sich kleinere thematische Cluster bilden, wie etwa zu den Themen pubertäre Einsamkeit ((16), (21)), Liebeseinsamkeit ((8), (30), (31)) beziehungsweise die Annäherungen und Distanznahmen beim Pas-de-Deux mit dem Auflösen von Einsamkeit in Zweisamkeit und umgekehrt ((10), (26), (29), oder Einsamkeit wegen Drogenkonsums ((1), (2), (18)). Doch umfassendere, klare Tendenzen lassen sich so noch nicht dingfest machen. Eher ist die Absenz von deutlichen Tendenzen als Zeichen von Partikularisierung die klarste Haupttendenz.

Die Einsamkeit des Vergessens

Erst auf einem abstrakteren Niveau könnte man von einsamkeitsrelationierten Tendenzen sprechen. Eine derartige Tendenz wäre die Auffassung von Musik als Gegenwelt oder als Welt in der Welt. Es verhält sich ähnlich wie beim Musikhören in der Stadt mit Kopfhörer: Die natürlichen Geräuschquellen werden ausgehebelt, eine artifizielle und fremde musikalische Geräuschumgebung wird der erlebten visuellen Welt beigestellt. Musik kann hierbei als trennende Kraft wirken, lösend von banalem Alltag, sogar magisierend. Beispiele dafür wären Stromae (30) und Kwab (20). Einwenden liesse sich: Das gilt per se für alle Musikvideos, die akustisches Geschehen von visuellem Geschehen entkoppeln, nicht nur für diejenigen, die Einsamkeiten thematisieren. Nur wird bei letzteren das Phänomen geradezu verdoppelt, weil es strukturell (akustisch-visuell) und thematisch erscheint. Das wäre dann die Einsamkeit des Musikvideos qua medialer Struktur, welche jene der behandelten Themen verstärkt.

Eine weitere umfassendere Tendenz ist jene zur selbstfixierten Einsamkeit. Sie erscheint in mehreren der Videos, oftmals verbunden mit Tanz ((7), (14), (22), (24), (28), (30)). Auch diese Einsamkeit kann unterschiedlich motiviert sein. Was jedoch auffällt, ist das Sich-Drehen um sich selbst, die Selbstfixation, die ein Zugehen auf andere einschränkt oder gar verhindert. Die selbstfixierten Momente in den Videos verweisen dabei wiederum auf die Vereinzelung als Anschlussunfähigkeit in sozialen Gefügen. Vielleicht ist es jedoch auch sinnvoller, sich jener Fälle besonders anzunehmen, die eine spezifische Atmosphäre schaffen oder eine speziell intensive Atmosphäre. Etwa die groteske Einsamkeit einer singenden Reinigungskraft bei August Schram (5). Oder die prollig-tragische Einsamkeit bei Koudlam (19). Hier wird der selbstfixierten Einsamkeit von Menschen in der Menge die Monotonie des Textes beigefügt. Zu sehen sind Menschen, die zusammen sind und doch isoliert, die emotionalen Ausdruck suchen, der doch nur in Leer- oder Klischeeformeln zerfällt. Wir sehen eine Feierkultur mit einer (Selbst-)Vergessenheit, die in einer Einsamkeit des Vergessens – und nicht in einem Vergessen der Einsamkeit – mündet.

Zuletzt sei Max Cooper ((23) herangezogen. Das Video zeigt den Idealmenschen 4.0: vernetzt, selbstoptimiert, überwacht und konsumierend. Der Mensch ist dabei nicht nur Teil eines Räderwerks, er erscheint selbst als Räderwerk. Die Entmenschlichung des Menschen ist dabei die Einsamkeit, um die es hier geht: Die Einsamkeit der scheinbar idealen Maschinerie. Nicht nur diese verweist auf den neoliberalen Kapitalismus, der von Videos wie bei The Bug (32) in eine verfallende post-kapitalistische Dystopie überführt wird. Nimmt der sozial isolierte Räderwerk-Mensch seine Wirklichkeitsdroge in Pillenform einmal nicht, so bricht die Matrix sogleich auf fulminante Weise zusammen, den faulen Zauber in seiner verfallsträchtigen Fäulnis offenbarend.

Erwähnte Musikvideos (alphabetisch nach Vornamen)

[1] Adana Twins: «Strange (Acid Pauli & NU Remix)»
[2] All Leather: «An Insufficient Apology»
[3] alt-J: «Hunger of the Pine»
[4] Ariel Pink: «Picture Me Gone»
[5] August Schram: «August sings M.-A. Charpentier Triste Déserts»
[6] Avatism feat. Federico Rizzo: «Laments»
[7] Baby Alpaca: «Sea of Dreams (Turbotito Remix)»
[8] Bad Blocks: «Circulate»
[9] Christophe Calpini: «Descent»
[10] Colin Stetson: «Who the Waves Are Roaring For»
[11] Cubby: «Steady Now»
[12] Damon Albarn: «Everyday Robots»
[13] Eric Holm: «Stave»
[14] Flume & Chet Faker: «Drop the Game»
[15] Flying Lotus: «Tiny Tortures»
[16] Goldfrapp: «Annabel»
[17] Iceage: «Against the Moon»
[18] Jaloo: «Bai Bai»
[19] Koudlam: «Negative Creep»
[20] Kwabs: «Pray For Love»
[21] Lil Silva: «Mabel»
[22] Lump200: «LaMoon – Beata Version»
[23] Max Cooper feat. Kathrin deBoer: «Numb»
[24] Merz: «Postcard From a Dark Star»
[25] Mondkopf: «We Watched the End»
[26] Oceaán: «Veritas»
[27] Olimpia Splendid: «Jukka-Pekka»
[28] Sia: «Chandelier»
[29] Sigur Rós: «Valtari»
[30] Stromae: «Formidable»
[31] SZA: «Babylon»
[32] The Bug: «Function / Void»
[33] The Gregory Brothers: «DJ Play My Song (No, Leave Me Alone)»
[34] Willis Earl Beal: «Evening’s Kiss» (unofficial video)

Eine kürzere Version dieses Textes wurde erstmals publiziert im zweiten Norient Buch «Seismographic Sounds». Klicke auf das Bild, um mehr zu erfahren.

Mehr zum Thema auf Norient

> Angie Balata: «Escaping Loneliness Online»
> Kaspar Aebi: «Gemeinsam einsam – Laptop-Musikvideos»
> Sandeep Bhagwati: «On Native Aliens»

Debate: Music and War

Delivered... norient | Scene | Mon 23 Apr 2018 10:30 pm

War is the most horrible drama of human kind. Yet the noises of war — everything from swords clanging to modern machine guns and bombs — have fascinated musicians and composers for centuries. We asked musicians from the Norient network how to make a war audible. A virtual debate from the Norient exhibition Seismographic Sounds (see and order corresponding book here).

Complete Debate: The Video

Quotes

«By sampling footage from contemporary sci-fi and action films, the video emphasizes that ‹the world is at war.› It analyses the violence and destructive culture surrounding us. Does life imitate art and are we heading along the path of what is prophesied in these films? Or will we choose a more sustainable mode? Sources are sampled for demonstrational use only.»

Jude MC, visual artist, producer and director of the «Mecca» video for Nguzunguzu (USA)

«I never felt the need or desire to translate war into music.»

Sharif Sehnaoui, a free improvising guitarist from Beirut. Since 2000 he has co-organized Irtijal, the International Festival for Experimental Music in Lebanon. He co-runs several labels: Al Maslakh devoted to «publishing the un-publishable» on the Lebanese musical scene; Johnny Kafta’s Kids Menu dedicated to rock-oriented experimentations; and Annihaya, which focuses on sampling, recycling, and the displacement of various aspects of popular culture.

«Communities can use silence to protest against the omnipresent noise of politics.»

Kamen Nedev aka Acoustic Mirror, Madrid-based sound artist (Spain)

«In western videos you get an exotic and romanticized version of war: the strong army, the beautiful soldier, the massive weapons. I experienced war: the real noise of it, the smell of fire. War is hell. We shouldn’t make it look adventurous and sexy.»

Zeid Hamdan, Beirut-based musician, producer, founder of the duo Soap Kills with singer Yasmine Hamdan, and is a pioneer of alternative music (Lebanon)

«Pop emerged in western liberal societies that haven’t experienced war on their territory in the last seventy years. For these societies war is not a reality, but just an image. Naturally it can be played with, just like any other image. Maybe we need a whole new musical language to construct a musical response to the reality of war and not just to an image of war.»

Nadav Appel, cultural critic and popular music scholar, Bar Ilan University, Open University of Israel and Sapir Academic College (Israel)

«The Khabees are my personal favorite. They are an anonymous noise/industrial act from somewhere inside Pakistan who seek to explore our fetishist fascination with religion and our everyday reality: terrorism. I like The Khabees because of how uneasy they make me feel. It is easier to dismiss Westerners exploring similar themes. The Khabees’ work, on the other hand, is hard to ignore. No edgy BDSM references, no borderline paedophilia, or rape fantasies. Real death and misery.»

Asadullah, Karachi-based musician, part of Lower Sindh! Swing Orchestra, Myosis and Kafir-e-Azam, and co-founder of the now defunct extreme music blog The Iron Markhor (Pakistan)

Musicians and the Revolution

The Egyptian Revolution of 2011 and the political turmoil in the years since have changed the country. How did underground musicians, DJs and songwriters from Cairo react, and how did the events influence their art? Thoughts recorded by Thomas Burkhalter in Cairo.

«I cannot concentrate. I can’t stop thinking. Normally I translate daily life experiences into my songs, at the moment I cannot do so. I’m paralyzed. My role as a musician was more important before the revolution. I provoked and asked questions that were taboo. This was more challenging than today. I don’t even want to try to document the revolution. It is not finished yet, and I don’t want to document it wrongly. In these times I am a citizen of Egypt first.» (4.3.2013)

Maryam Saleh, singer and songwriter from Cairo who tours internationally

«Just because I’m an artist doesn’t mean that I have to make music about the revolution. An artist should just be an artist and create his personal artistic world—without any guidelines.» (6.3.2013)

Hussein El-Sherbini, part of the electronica collective Wetrobots. He co-runs the Epic 101 studio in Cairo

«This was the most emotional time of my life. I did not dare translate these strong experiences into music yet. They were holy in a way, so you cannot just make a track out of it. I brought my recorder to Tahrir Square though. One day, maybe, I’m going to use those recordings.» (7.3.2013)

Mahmoud Refat, experiments with field recordings and electronic music. He runs the label 100copies and the 100copies music space in Cairo

«Many songs were created on the spot. They were not meant for eternity. It was about freedom of expression. This is what made these songs important.» (10.3.2013)

Dina El-Gharib, visual artist from Cairo. She DJs weekly in the After Eight club in downtown Cairo

«With the start of the revolution, international media became fascinated with our female metal band. Now we give loads of interviews and we perform abroad often.» (8.3.2013)

Sherine Amr, front singer of the metal band Massive Scar Era

«My dream is to have a passport. I want to travel, to develop and show my music. I live for my music.» (10.3.2013)

Islam Chipsy, received his Egyptian passport in 2014. Today, the keyboard player tours abroad regularly—he also performed at the 6th Norient Musikfilm Festival in Bern, Switzerland

Video Debate Statements by

Sharif Sehnaoui, musician (Lebanon)
Kamen Nedev aka Acoustic Mirror, sound artist (Spain)
Nadav Appel, cultural critic (Israel)
Asadullah, musician (Pakistan)
Maryam Saleh, singer and songwriter (Egypt)
Zeid Hamdan, musician (Lebanon),
Yasmine Hamdan, singer (Lebanon)
Hussein El-Sherbini, musician (Egypt)
Dina El-Gharib, visual artist (Egypt)
Sherine Amr, musician (Egypt)
Islam Chipsy, musician (Egypt)

Video Cut: Stephan Hermann, Coupdoeil

Some quotes from this debate were published in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Norient: «Who Is Being Heard in Global Music?»
> Arie Amaya Akkermans: «Fantasies of War»
> Norient: «Debate:Bedroom Producer»
> Norient: «Sonic Traces: From the Arab World – Release»

Debate: Bedroom Producer

Delivered... norient | Scene | Wed 24 Jan 2018 8:00 am

In the 21st century, the world’s musical hits and trends are often created in bedrooms, where musicians exchange files online without meeting and jamming together. Therefore we asked people from the Norient network: can a bedroom producer change the world? A virtual debate from the Norient exhibition Seismographic Sounds (see and order corresponding book here).

Bedroom inside Castle Howard in Yorkshire (Photo © by Mdbeckwith)

Complete Debate: The Video

Excerpt: Quotes

«Bedroom, toilet. Mega studio, dungeon. It doesn’t matter. It all starts and ends with the head. The problem stays with the platform on which the materials are being projected. YouTube, SoundCloud and such… this is not enough. Realtime physical interaction is the crucial generator of change. You all know that.»

Meira Asher, Sound Artist (Israel)

«I don’t think so, if you stay in your bedroom. Making a bedroom production is like making a CD or a vinyl release; it is just one step. So, if you upload a video do not expect – as some people do – to have done all your work; do not wait for success, or wait for the world to change.»

Geert-Jan Hobijn, Founder of the Label Staalplaat (the Netherlands)

«The question is: can there be seven billion different forms of expression? I guess so. The bedroom is a great and safe place to test this out, so go ahead.»

Antye Greie-Ripatti aka AGF/Poemproducer, Musician (Finland)

Antye Greie-Ripatti performing at Queen Elizabeth Hall in London with Gudrun-Gut (Photo © by GanMed64, 2010)

«You might worry your song is not being heard, that it's just a little grain of sand. But think about what the beach is made out of.»

Minuit De Lacroix, Singer, Producer and Multidisciplinary Artist (Mexico/Germany)

«With enormous talent, perseverance, and lots of luck, a bedroom producer can change the world. Most of the evolution I notice in music stems from the work of bedroom producers. Often they are very young with little or no experience with professional music, no concern for how their music should sound or where it might fit. They just create what they want to hear. However I don’t believe anybody can change the world alone. The greatest beat is most likely to get immediately lost in the shuffle online unless a core of people, or better yet, an influential figure, sheds light on it.»

Benjamin Lebrave, Producer (Ghana)

«Change happens from the most insignificant things and bedroom producers can do insignificant things. So, change is not just a big bang. It’s usually kind of a phased change.»

Jesse Samba Wheeler, Ethnomusicologist (USA/Brazil)

«Maybe they can’t change the world, but they give more details to it.»

Effy B, Radio Producer (France)

«Change comes locally and individually. And that will hopefully have a butterflyy effect and change the world for the better.»

Salome MC, Rapper (Iran/Japan)

Video Debate Statements by

Meira Asher, Sound Artist (Israel)
Effy B, Radio Producer (France)
Giacomo Bottà, Scholar (Finland)
James Costello, Artist (Ireland)
Minuit De Lacroix, Composer and Singer/Songwriter (Mexico/Germany)
Rona Geffen, DIY Musician & Artist (Germany)
Gregg Michael Gillis aka Girl Talk, Mashup Artist (USA)
Antye Greie-Ripatti aka Poemproducer/AGF, Musician (Finland)
Geert-Jan Hobijn, Founder of the Label Staalplaat (the Netherlands)
FrankJavCee, Blooger and Musician (USA)
Benjamin Lebrave, Producer (Ghana)
Wayne Marshall, Technomusicologist (USA)
Salome MC, Rapper (Japan/Iran)
Merz, Artist (Switzerland/UK)
Javier Polo, Director (Spain)
Marilou Polymeropoulou, Graduate Student University of Oxford (UK)
Cande Sánchez Olmos, Music Scholar University of Alicante (Spain)
Bit-Tuner, Musician (Switzerland)
Jesse Samba Wheeler, Ethnomusicologist (USA/Brazil)

Video Cut: Stephan Hermann, Coupdoeil

Some quotes from this debate were published in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jesse Samba Wheeler: «Directed by Forty-Five Directors»
> Portia Seddon: «MP3 Blogging and the Urban Soundscape»
> Thomas Burkhalter from Norient, Dejot and Bit-Tuner: «South African Gqom Pushes Limits»

Watch Moogfest kick off with epic 50-hour livestream, lineup – minus men

Delivered... Peter Kirn | Artists,Events,Scene | Wed 6 Dec 2017 6:20 pm

Women and transgender artists have too often seen their work in electronic music pushed to the margins. Moogfest’s launch this year puts them first.

Moogfest this year promises to have the mix they’ve been brewing in the latest editions: part music festival, part conference, with music and music technology meeting up with larger themes around science and innovation. The difference is, instead of the presence of female and transgender artists being just another box for curators to tick — “hey, look, we booked some women” — here, they’re leading the announcement. That includes both a 50-hour livestream of back-to-back sets from a pretty amazing and diverse set of artists, plus the first wave announcement of artists.

Here’s Madame Gandhi explaining the idea:

The result is a mixture of people you know really well (legends like Suzanne Ciani, Moor Mother) alongside a lot of artists who are almost certainly new to you – particularly as they’ve been drawn from disparate genres and geographies. Indeed, these are the kind of people who have been quietly pushing music in new directions, but who might get lost in the fine print of music programs, or pushed to the side in music headlines. In fact, I think the upshot is a potential victory not only for gender equality, but for independent and out-of-the-mainstream music, too. And knowing CDM readers, irrespective of your gender, I think that’s a value you’re likely to enjoy seeing represented.

As Ciani tells The New York Times:

For Ms. Ciani, the theme for Moogfest 2018 is only natural. “Women have long been intimately connected to electronic music, perhaps because it offered a path outside male-dominated conventional music worlds,” she said. “What has changed is an awareness of women in the field historically as well as a huge influx of contemporary talent.”

Moogfest Shines a Spotlight on Female, Nonbinary and Transgender Musicians

To that I’d add that it’s worth noting that the “influx” and “contemporary” parts are also closely tied to international artists. Our own CDM contributor will have a conversation with a fellow Romanian woman in the Bucharest scene for one link to that; I’ve also had conversations recently with a some Iranian artists about the situation for women making music there (and the resulting international scene as they travel), and … well, look down the list of countries below.

Moor Mother, the ground-breaking experimental project of Philadelphia’s Camae Ayewa, is one of many people deserving of first-wave headliner recognition – and now getting it.

We’ll have some interviews with artists shortly, so Moogfest’s lineup is your gain, wherever you are.

To watch the livestream:

You can watch from anywhere beginning at 12pm ET on Wednesday December 6 until 2pm ET on Friday December 8.
http://AlwaysOn.Live

Or watch here:

I’m also cross-posting to our CDM Facebook page.

The beginning is – starting very radical, in a nice way! Unfortunately, upstream bandwidth / encoding looks … very choppy. Hoping some of the artists sort that out better. (This is a real roadblock of livestreaming, but that’s a topic for another time.)

Livestream artists:

Admina
(Bucharest, Romania)
Adriana T
(Athens, GA, USA)
Alissa Derubeis
(Asheville, NC, USA)
Amy Knoles
(Valencia, CA, USA)
Ana Paula Santana
(Guadalajara, Mexico)
Andrea Alvarez
(Buenos Aires, Argentina)
Annie Hart
(Brooklyn, NY, USA)
Awaymsg
(Durham, NC, USA)
Aseul
(Seoul, South Korea)
Bells Roar
(Albany, NY, USA)
Caz9
(Dublin, Ireland)
Club Chai (8ULENTINA & FOOZOOL)
(Bay Area, CA, USA)
Despicable Zee
(Oxford, UK)
DJ Haram
(Philadelphia, PA, USA)
Dot
(Los Angeles, CA, USA)
Ela Minus
(Bogota, Columbia)
Elles
(London, UK, USA)
Emily Wells
(New York, NY, USA)
Fari B
(London, UK)
FOSIL
(Chile, Santiago)
Galcid
(Tokyo, Japan)
Jil Christensen
(Durham, NC, USA)
KALONICA NICX
(Bandung, Indonesia)
Kandere
(Melbourne, Australia)
Katie Gately
(Los Angeles, CA, USA)
Kim Ki O
(Istanbul, Turkey)
Lauren Flax
(New York, NY, USA)
Lilith Ai
(London, UK)
Lucy Cliche
(Sydney, Australia)
Lya “Drummer”
(London, UK)
Madame Gandhi
(New Delhi, India)
Mileece
(Los Angeles, CA, USA)
Moor Mother
(Philadelphia, PA, USA)
Nazira
(Almaty, Khazakhstan)
Nesa Azadikhah
(Tehran, Iran)
Nicola Kuperus
(Detroit, MI, USA)
Nonku Phiri
(Johannesburg, South Africa)
OG Lullabies
(Washington, DC, USA)
OTOMO X (Fay Milton & Ayse Hassan)
(London, UK)
PlayPlay
(Durham, NC, USA)
Pulpy Shilpy
(Pune, India)
SARANA
(Samarinda, East Borneo)
Sassy Black
(Los Angeles, CA, USA)
Stud1nt
(Asheville, NC, USA)
Sui Zhen
(Melbourne, Australia)
Suzanne Ciani & Layne
(Bolinas, CA, USA)
Suzi Analogue
(Miami, FL, USA)
Therese Workman
(New York, NY, USA)
Vessel Skirt
(Hobart, Tasmania)
Zensofly
(Durham, NC, USA)

Of course, even better than live streaming is – being there in person. (No buffering issues! Or… if there are, seek medical attention!)

Here’s the first-wave lineup announcement, including a couple of friends (and a couple of idols)!

Amber Mark
Annie Hart
Armen Ra
Aurora Halal
Bonaventure
Carla Dal Forno
CEP (Caroline Polachek)
Caterina Barbieri
DJ HARAM
Ellen Allien
Emily Sprague
Fatima Al Qadiri
Fawkes
Gavin Rayna Russom
Helen Money
Honey Dijon
Jamila Woods
Jenny Hval
Kaitlyn Aurelia Smith
Karyyn
Katie Gately
Kristin Kontrol
Kyoka
Lawrence Rothman
Madame Gandhi
Maliibu Miitch
Midori Takada
Nadia Sirota
Nicole Mitchell
Noncompliant
Pamelia Stickney
Sassy Black
Shanti Celeste
SOPHIE
Stud1nt
Umfang
Upper Glossa

The post Watch Moogfest kick off with epic 50-hour livestream, lineup – minus men appeared first on CDM Create Digital Music.

Rapping the News in Senegal

Delivered... Aisha Deme | Scene | Wed 15 Nov 2017 7:00 am

Since 2013 the Senegalese news show «Journal Rappé» merges rap with daily news. The concept of the two hip hop pioneers Keyti and Xuman is innovative and creative, as our authors think. The means of parody has thereby become a crucial piece: powerful aesthetics whereby the artist goes even further into the derision of national polictics. A commentary from the Norient book Seismographic Sounds (see and order here).

Film still from Journal Rappé (Music) and Xuman (Video): «Formidable comme Karim Wade» (Senegal 2014)

In Senegal, hip hop is a sentinel for the social and political interests of the people. It does so via committed activism, the actions of its participants on the ground, and what it does best: the music and its messages. From «Fass», a popular area in Dakar, Xuman is one of the pioneers of this movement, a key player for over twenty years, and quite popular among Senegalese youth. His success comes from his dedicated activism, his eloquence in denouncing a perverted system, his brilliant capacity to describe the society, and his distinctive way of doing it all with humor, subtlety and fine details of his own.

Appropriating the Political Debate

With such an explosive cocktail, the hip hop star initiated the «Journal Rappé» (JTR) in April 2013, with another hip hop pioneer Keyti. JTR is an innovative and creative concept in which the two artists produce a show that covers a selection of national and international news. Born on YouTube with no sponsors, and before being aired on the second TV channel in Senegal (2STV), the JTR has gained the support of the Open Society Initiative for West Africa (OSIWA) and has been launched in the Ivory Coast in 2015. Institutional politics in Senegal generally don’t aim at laying the ground for an informed political debate; rather, they are more preoccupied with and focused on partisan interests. As such, the JTR uniquely fills in a considerable gap between the official politics and a great part of the population by providing a fun and alternative political reflection. Appropriating the political debate and informing the broader population through distinctive critical lenses, it renders public debates accessible, especially to the youth (in Senegal and abroad) that are huge hip hop lovers.

The Derision of National Politics

Xuman’s parodies have become crucial pieces of the JTR: powerful aesthetics whereby the artist goes even further into the derision of national politics. This episode is about Karim Wade, the former President Ablaye Wade’s son who, appointed «super minister» by his «powerful» father, was recently sentenced to six years in prison for wrongfully acquired properties. Xuman couldn’t have chosen a more powerful song than the one of Stromae to tell the story of a «fallen prince», to whom the father dreamt and literally planned to offer the country on a silver platter. It was unthinkable for son and father that one day the people could hold him accountable. His astonishment, his unconsciousness, and his arrogance, are wonderfully staged in this parody, a parody that is just formidable!

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jenny Fatou Mbaye & Aisha Deme: «Xuman: Mocking the Powerful»
> Jenny Fatou Mbaye: «Five Video Clips from Senegal»
> Georg Milz: «Politrap aus dem Senegal»
> Maxime Pasques: «A ‹Formidable› Hype in Brussels»
> Wanlov The Kubolor: «In Ghana, Stromae Wouldn’t Be Lonely»

Xuman: Mocking the Powerful

Delivered... Jenny Fatou Mbaye | Scene | Fri 10 Nov 2017 7:00 am

With his rapped news show «Journal Rappé» (currently in its fourth season) Senegalese hip hop pioneer Xuman mocks the powerful. In this clip from 2014 he used the famous hit «Formidable» by Stromae and turned it into a parody on a fallen local politician. Our two authors consider that as «a thoughtful critique of the persisting disconnect between people and their governing representatives». A commentary from the Norient book Seismographic Sounds (see and order here).

Film still from Journal Rappé (Music) and Xuman (Video): «Formidable comme Karim Wade» (Senegal 2014)

How can popular music move citizens in an aesthetically appealing, though still critically engaging way? Parodia: Greek term for a counter- (para) song (oide). To resonate with the general public’s sense of humor, satiric imitations need familiar references. The recipe that Senegalese rapper Xuman uses in this parody is a mix of global sounds with a discursive and body performance distinctively situated in time and place. Hence he resorts to the musical product by the internationally-acclaimed Stromae: the métisse figure of pop music, an unintentional subject of African pride, a reflection of its diaspora and composite European heritage. Stromae’s song in particular, whose video clip went viral, shows him wandering and drunk, lamenting the loss of his girlfriend. The soundtrack is popular and its chorus is now familiar to many (see here and here).

The Fall of Karim Wade

But for a parody to be effective, the context must be recognizable. Appropriating the global hit about a fallen man, Xuman polemically references a quite local and specific reality: the one of a fallen political prince (we still have those on our dear continent!) on his way to his trial for «wrongfully acquired properties» during his mandate as minister under his father’s presidency. The performer uses past events in his discourse: Karim Wade’s fall was real, and the ingratitude and lack of understanding from Senegalese people, as well as the jealousy of a previous political opponent – now president – are the reasons behind his descent. Dressed up as a businessman after a nightlong party, with archival footage surrounded by Wade’s «great works» (hotels and roads), Xuman humorously mocks the once-upon-a-time political heir, blaming Senegalese people for forgetting about him and what he accomplished for Dakar: the city «looked like trash and, thanks to me, it’s more beautiful now.» They should not have judged him on the amount of money he spent, for «what matters is the result» and as such, he should be rewarded. The fallen prince, son of a presidential king, was wonderful, formidable, but misunderstood, as the parody ironically states.

Film still from Journal Rappé (Music) and Xuman (Video): «Formidable comme Karim Wade» (Senegal 2014)

Denouncing Political Legitimacy and Accountability

Xuman’s performance shows how humor is key here. He is fun to be serious, light to be deep, and through the joking about the absurdity of that delusion lies a thoughtful critique of the persisting disconnect between people and their governing representatives. The powerful aesthetics of a satiric video clip – it’s a wonderful parody – effectively denounce derailed political legitimacy and accountability.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jenny Fatou Mbaye: «Five Video Clips from Senegal»
> Georg Milz: «Politrap aus dem Senegal»
> Maxime Pasques: «A ‹Formidable› Hype in Brussels»
> Wanlov The Kubolor: «In Ghana, Stromae Wouldn’t Be Lonely»

Xuman: Mocking the Powerful

Delivered... Jenny Fatou Mbaye | Scene | Fri 10 Nov 2017 7:00 am

With his rapped news show «Journal Rappé» (currently in its fourth season) Senegalese hip hop pioneer Xuman mocks the powerful. In this clip from 2014 he used the famous hit «Formidable» by Stromae and turned it into a parody on a fallen local politician. Our two authors consider that as «a thoughtful critique of the persisting disconnect between people and their governing representatives». A commentary from the Norient book Seismographic Sounds (see and order here).

Film still from Journal Rappé (Music) and Xuman (Video): «Formidable comme Karim Wade» (Senegal 2014)

How can popular music move citizens in an aesthetically appealing, though still critically engaging way? Parodia: Greek term for a counter- (para) song (oide). To resonate with the general public’s sense of humor, satiric imitations need familiar references. The recipe that Senegalese rapper Xuman uses in this parody is a mix of global sounds with a discursive and body performance distinctively situated in time and place. Hence he resorts to the musical product by the internationally-acclaimed Stromae: the métisse figure of pop music, an unintentional subject of African pride, a reflection of its diaspora and composite European heritage. Stromae’s song in particular, whose video clip went viral, shows him wandering and drunk, lamenting the loss of his girlfriend. The soundtrack is popular and its chorus is now familiar to many (see here and here).

The Fall of Karim Wade

But for a parody to be effective, the context must be recognizable. Appropriating the global hit about a fallen man, Xuman polemically references a quite local and specific reality: the one of a fallen political prince (we still have those on our dear continent!) on his way to his trial for «wrongfully acquired properties» during his mandate as minister under his father’s presidency. The performer uses past events in his discourse: Karim Wade’s fall was real, and the ingratitude and lack of understanding from Senegalese people, as well as the jealousy of a previous political opponent – now president – are the reasons behind his descent. Dressed up as a businessman after a nightlong party, with archival footage surrounded by Wade’s «great works» (hotels and roads), Xuman humorously mocks the once-upon-a-time political heir, blaming Senegalese people for forgetting about him and what he accomplished for Dakar: the city «looked like trash and, thanks to me, it’s more beautiful now.» They should not have judged him on the amount of money he spent, for «what matters is the result» and as such, he should be rewarded. The fallen prince, son of a presidential king, was wonderful, formidable, but misunderstood, as the parody ironically states.

Film still from Journal Rappé (Music) and Xuman (Video): «Formidable comme Karim Wade» (Senegal 2014)

Denouncing Political Legitimacy and Accountability

Xuman’s performance shows how humor is key here. He is fun to be serious, light to be deep, and through the joking about the absurdity of that delusion lies a thoughtful critique of the persisting disconnect between people and their governing representatives. The powerful aesthetics of a satiric video clip – it’s a wonderful parody – effectively denounce derailed political legitimacy and accountability.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jenny Fatou Mbaye: «Five Video Clips from Senegal»
> Georg Milz: «Politrap aus dem Senegal»
> Maxime Pasques: «A ‹Formidable› Hype in Brussels»
> Wanlov The Kubolor: «In Ghana, Stromae Wouldn’t Be Lonely»

A Bad Copy of Serbia

Delivered... Shonegrad O'Connor | Scene | Wed 1 Nov 2017 7:00 am

«Esi Mi Dobar» by Serbian rap group Bad Copy tackles issues of contemporary Serbia head-on by providing us with an image of contrast and contradiction. The 2013 video resembles a moussaka dish: a layer of meat, a row of potato, a layer of meat, covered with… more potato. It is simple and easy to swallow, but you need to have a stomach for it. A commentary from the Norient book Seismographic Sounds (see and order here).

Film still from Bad Copy (Music) and Djolodjolo (Video): «Esi mi dobar» (Serbia 2013)

Kotez, the location of the shooting, is the actual neighborhood where two of three members of Bad Copy live. The gipsy cardboard houses and the kids you see in the video are true and real. The trashy paintings showing politicians and folk singers are the same as you see on every wall here. Fake tattoos and handmade vehicles are an everyday thing too. These elements from daily life receive new meanings when shown in the video. Director Djolodjolo plays with the imagery of gangsta rap as well as with the exotic Balkan representations of Emir Kusturica movies, and he comments ironically on everyday politics in Serbia. The effect is striking: seeing cute poor kids carrying big guns around and acting cool is a message that is very disturbing when true (remember the movie City of God that was shot in the favelas in Rio De Janeiro), but it is also a laughing matter when looked at as fiction. So what Bad Copy do is create drama where there was none in the beginning.

Form without Function

«Esi Mi Dobar» (How you doin’?) is a shout-out, a greeting, that usually carries absolutely no weight or meaning. Now take that and put it in the ghetto, add kids with guns, SWAT teams and wannabe gangsters. You get a sort of philosophy that relates not only to local politicians and turbo-folk musicians featured on the graffiti stencils, tattoos and t-shirts, but it speaks to a global phenomenon as well: form without function. Everyday talks and political promises without substantial content. Love songs of despair and lives full of disappointment, all empty and unfulfilling.

In hip hop today, most performers try to present themselves as macho and over-masculine in an attempt to disguise their own sexual and lyrical insecurity. Bad Copy has always seemed different: In «Esi Mi Dobar» they criticize Serbia, but also themselves – they are a Bad Copy of Serbia. It is a statement of the marginalized and it is nothing at the same time. It is an ode to simplicity, both in life and music, but also, it is only hip hop. Raw and uncompromising.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Shonegrad O’Connor: «Sarcastic Rap Experiments from Belgrade»
> Vladimir Lenhart: «Bad Copy: Serbian Satire»

Next Page »
TunePlus Wordpress Theme