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Indian E-music – The right mix of Indian Vibes… » 2010 » September » 24

News : Suede Announces Greatest Hits Record

Delivered... info@filtermmm.com | Scene | Fri 24 Sep 2010 7:50 pm
Suede Announces Greatest Hits Record

Cited as the band that kick-started the Britpop movement, Suede will be releasing a "best of" album titled...wait for it...The Best Of.

Since their reunion earlier this year (after breaking up in 2003), Suede has been continually touring and has decided now would be the best time to release The Best Of, a double-disc collection of hits. The album features singles on the first disc and album tracks and B-sides on the second, all remastered.

The Best Of arrives November 1st.

Track List:


Animal Nitrate
Beautiful Ones
Metal Mickey
New Generation
So Young
Wild Ones
Stay Together
Everything Will Flow
We Are the Pigs
Can't Get Enough
She's in Fashion
Saturday Night


Pantomime Horse
My Insatiable One
Killing of a Flashboy
This Hollywood Life
Europe Is Our Playground
My Dark Star
Sleeping Pills
By the Sea
The Living Dead
To the Birds
The Big Time
The Two of Us
Asphalt World
Still Life
The Next Life

Media : The Flaming Lips, See The Leaves (NSFW)

Delivered... info@filtermmm.com | Scene | Fri 24 Sep 2010 7:17 pm
The Flaming Lips, See The Leaves (NSFW)

Not gonna lie, this video is weird and kind of gross.

The Flaming Lips have unveiled their newest NSFW video for their hard hitting, psychedelic tune, "See The Leaves" from their Embryonic album. The clip features a blindfolded naked woman stomping around the city to the beat of the jam while throwing squiggly yellow stuff from her womanly parts. Eventually there is a fire too.

This video is definitely NOT SAFE FOR WORK.

You have been warned.

The Flaming Lips' Embryonic is out now.

Media : Five O’Clock Heroes, Rough Boys (FILTER Premiere)

Delivered... info@filtermmm.com | Scene | Fri 24 Sep 2010 6:38 pm
Five O’Clock Heroes, Rough Boys (FILTER Premiere)

Five O'Clock Heroes have set a date for the release of their forthcoming album, Different Times, and it's pretty far away. But don't be sad, FILTER has a song to tide you over!

"Rough Boys" is the new single that the NYC based group has offered up from their forthcoming album. The up-beat jam has your head bobbing from beat one and is stuffed with bright pop guitar riffs and features lead singer Antony Ellis and an organ flirting back and forth.
Different Times was recorded in five days with engineer and producer Gus Oberg (The Strokes, Block Party).

Enjoy "Rough Boys" below!

| Five O'Clock Heroes | 'Rough Boys' | MP3 |

Different Times drops February 8th

You can get all of your Five O'Clock Heroes updates here.

What Does This Mean?

Delivered... meemert | Scene | Fri 24 Sep 2010 6:37 pm

News : Jenny & Johnny Announce Pop Up Show at Third Man Records

Delivered... info@filtermmm.com | Scene | Fri 24 Sep 2010 6:23 pm
Jenny & Johnny Announce Pop Up Show at Third Man Records

Hey Nashville, what are you doing this Sunday? How about going to a surprise Jenny and Johnny show at Third Man Records!

Sunday September, 26th @ 6pm ALL AGES

This Sunday, Jenny and Johnny are stopping by Jack White's Third Man Records in Nashville, TN for an All Ages, $3 show. Fans who attend the show should keep their tickets as they can redeem them at the store for a Black and Blue limited edition version of the live show! Upon entry, fan's tickets will be stamped and they will have 3 days to return and purchase a black and blue colored vinyl of the show. Only 300 of these will be available. The live LP should arrive around three weeks after the show and concert goers will be notified to come get their vinyl via the Third Man Records newsletter, website, and social network.

Get your advanced tickets for this great event at the Third Man Records store front Friday and Saturday from 12-4pm. You can also get tickets at the door of the event.

For more information, visit the Official TMR Website.

Jenny and Johnny's I'm Having Fun Now is out now.

DJ Vinnie Esparza’s Friday Five

Delivered... globalnoize | Scene,This & That | Fri 24 Sep 2010 6:07 pm

Friday means five new ditties for you and yours. It’s your Friday Five!

File under “King Crimson gets down wit it.”

RARE Christian (!) record that sounds like Pink Floyd meets Black Sabbath with funky drums at an acid party. This record goes for stupid, stupid money.

Mike James Kirkland = grossly underrated soul singer. Slow & low.

Jah bless Cornell Campbell.

Top Latino boogaloo.

That’s it for this week. Have a great weekend! www.djvinnie.net

In Pictures: Electric Zoo, Fans, and What Touch Means in Performance

Delivered... Peter Kirn | Events,Scene | Fri 24 Sep 2010 6:04 pm

Summer has ended, but that leaves time to look back. Among the many parties around the world, Electric Zoo was New York’s biggest electronic festival, with headliners from Moby to Flying Lotus, descending on a dusty, sunny Randall’s Island just east of the island Manhattan.

At top, I took my new Diana mini (lo-fi film camera) out for a spin amongst the music lovers, who gravitated moth-like to the camera. Never let it be said that Americans don’t like electronic music; families and a new, young generation of ravers flooded into the park. Since Moby’s set was off-limits for photography, it seemed to me only appropriate to go hang out with the music fans. And it’s good to remember that, whatever your musical genre, there’s someone whom you can make happy with your work. (Having spent the same weekend on a rooftop and in a barn with monome practitioners and lovers, yes, there’s a place for everything.) Feel free to page through the sets, especially if it’s a rainy, cloudy day.

When you face a crowd of eager fans, the desire to deliver real performance becomes all the greater. In an age of pre-configured DJ sets, it’s a chance to have the same enthusiasm as those in the audience, and yes, to actually sweat a bit. As a study in what’s possible with computer performance, I took in live, non-DJ sets by Jon Hopkins and The Glitch Mob.

Both artists use touch in their performance. The interaction with the music is reasonably limited, but that means the effect is easy to read. As it happens, we’ve profiled the setups of each of these acts before. For Jon Hopkins, multiple KAOSS Pads facilitate quick access to dramatic effects. Ableton Live is just the sound-source; the outboard gear handles both touch control and signal processing. For The Glitch Mob, Lemur multi-touch displays, tilted toward the audience, control parameters in Ableton Live.

More details:
Behind the scenes of The Glitch Mob’s Lemur setup

Jon Hopkins tells CDM about his studio, live rigs and playing the KAOSS Pad

I have to notice that the KAOSS Pads fare a bit better than the Lemurs in regards to tactile access to what you’re doing. The Glitch Mob had to make its touch areas on the Lemur fairly large just to find them; because they’re all on an undifferentiated screen, you have to find the right location by feel. But for both acts, creating big gestures is important, partly so that it reads to the audience, I imagine, but also so that it’s the kinds of gestures that feels good as a player and are easily reproduced. And even with a touchscreen, it’s possible to begin to tap into muscle memory, as was clear as The Glitch Mob used their consistent control layout in their set.

Touch alone, in each case, is augmented by tactile controls. The Korgs have physical encoders and controls, and Hopkins uses MIDI input and computer control for tactile control over sets. The Glitch Mob use Akai drum pad controllers, as well. And fun as the touchscreens are, they can’t compete with good, old-fashioned drumming: the highlight of The Glitch Mob’s new set is when they break out drumsticks and explode into lines worthy of a drum corps. (The Glitch Mob need to meet Caity at Georgia Tech.) You can tell the guys are just having a great time doing it. We talk about all the ways computer performance can become more like instruments, but, of course, there’s no reason not to simply use the traditional instruments we love alongside computers.

There’s still a sense of a divide between the virtual and the physical, the digital interface and the kinetic gesture, and maybe that’s natural. Rather than try to entirely reconcile the two, they can sit side by side – just like my digital Olympus and analog Diana.

I could say more, but I think in this case, the pictures tell the story, a little microcosm of the many musical events of this summer.

The ancient, the futuristic; an instrument you might play in a cave, and one on the Starship Enterprise. Drums and Lemurs side by side at The Glitch Mob.

Flying Lotus

There’s something to be said for the good, old-fashioned MIDI controlled and laptop combo. FlyLo makes an Akai MPD32 his axe of choice – and it makes it look damned good. Photos courtesy the festival.

Flying Lotus. Scott Kowalchyk for ElectricZooFestival.com; used by permission.

Scott Kowalchyk for ElectricZooFestival.com.

Scott Kowalchyk for ElectricZooFestival.com.

The Gear

Rockstars get a lot of speakers. Photo: Bennett Sell-Kline for ElectricZooFestival.com

Rockstars get a lot of toys. Photo: Bennett Sell-Kline for ElectricZooFestival.com

The Fans

All of this would be meaningless if fans only responded to DJ sets. On the contrary; live sets in electronic sound live and connect in a way that’s special.

All photos (CC-BY-SA) Peter Kirn, unless otherwise noted.

Weekend Weapons: Marco V

Delivered... Posted by Kornel Koch | Scene | Fri 24 Sep 2010 4:59 pm
This month, the Netherlands' trance/progressive mainstay Marco V launched his new venture, TAO. Short for "The Art Of," TAO combines a record label, event promotions company, and social-media platform under one roof. The label's first release, "Reaver," appeared at the beginning of the month; it's a massive, anthemic progressive number backed with an equally rocking Save the Robot remix. Read on for Marco's complete Weekend Weapons picks, including tunes from Toolroom, Mau5trap, Marco's own In Charge, and more.

Read more on Beatportal

BerMuDa takes over Berlin in November

Delivered... electronic beats NEWS as RSS-Feed | Scene | Fri 24 Sep 2010 3:20 pm

As if Berlin doesn’t have enough on its cultural calendar, the city is the electronic capital of the world, so when Berlin Music Days steps in for the month of November it will take it up a further notch. The event which will run from the 3rd until the 6th of November it will have a multitude of dance and electronic heavyweights, there are so many events and nights its hard to even choose one.

In 2009, the festival kicked off with 30,000 electronic music fans descending on the city to enjoy more than 100 DJs and live acts at the city’s best clubs like Weekend, Watergate, Tresor, Berghain, WMF, Arena Club, RAW, Maria and more.

The Berlin Music Days is the invention of the people behind the Watergate Club crew namely Steffen Hack, Niklas Eichstädt and Ulrich Wombacher. The festival as the website describes it includes, "exhibitions,international labels, club and city showcases right down to special screenings and expert workshops".

One of the biggest events to take place is at Tempelhof Airport where Sven Väth, Paul Kalkbrenner, Tiefschwarz and Richie Hawtin will descend on the 6th of November, a collaboration between FLY Bermuda and Bermuda. Make no doubt about it; this will be 4 days of pure unadulterated partying and insanity. One piece of advice: buy your tickets now!

Beatport’s guide to juke trax

Delivered... Posted by Beatportal | Scene | Fri 24 Sep 2010 2:53 pm
Until recently, there were really only two places to experience Chicago juke music: in the city's clubs and on YouTube, the venues of choice for juke's footworking culture. DJs who wanted high-quality audio were pretty much SOL, unless they were lucky enough to get a CD-R directly from one of the scene's producers. Fortunately, that's changing rapidly, thanks in part to the efforts of London's Planet Mu label. Recognizing the obvious links between juke's frenzied stew of samples and drum machines and the innovative beat structures of dubstep's left wing, Planet Mu has begun releasing EPs from juke mainstays like DJ Nate and DJ Rashad, helping raise the music's profile outside the Windy City. DJ Slugo ("the King of Ghetto House") and his records on Dance Mania are also essential listening, especially for the way that they reveal the roots of old-school Chicago house beneath juke's lickety-split rhythms. DJ Godfather's Databass Online is another source for juke and its Detroit cousin, ghetto-tech, while Chicago's Juke Trax label boasts a Beatport catalog nearly 100 releases deep, stretching back six years, including many from fellow Dance Mania artist DJ Deeon. Like ghetto-tech, juke is dance music at its most quick-and-dirty; it's generally banged out in basic software programs, with 808 samples and hip-hop snippets played out at lightning fast tempos. At its best, as with DJ Nate's Hatas Our Motivation EP and his album Da Trak Genious, it's also some of the most disorienting, wildly experimental music out there, a blur of stuttering vocals and roller-coaster toms. It might not be for everyone, but when you've got a fixing for something fast, furious, and freaking weird, there's nothing else like it. Explore the genre in our selections below. As for those footworking moves? Unless you know a really good chiropractor, don't try them at home.

Watch this video on Beatportal

Reconsideration of White Spaces Decision – FCC Approves Unlicensed Devices for "Super Wi-Fi" in TV Band

Delivered... David Oxenford | Scene | Fri 24 Sep 2010 2:29 pm

The FCC's long-awaited White Spaces decision, revisiting its authorization of the operation of unlicensed wireless devices in the television spectrum (see our summaries of the intial order here and here), has finally been released.  The FCC decision and associated comments of the Commissioners promise Super Wi-Fi, or Wi-Fi on Steroids, and a host of other wireless digital marvels, without significantly interfering with the incumbent users of the spectrum (principally TV stations and wireless microphone users).  In this order on reconsideration, the FCC addresses many issues raised by many parties to the proceeding - some suggesting that the FCC has not sufficiently protected the incumbent users, while others arguing that the limitations on wireless users are too onerous.  For broadcasters, some of the highlights of the decision include:

  • No change in the interference protections given to TV broadcasters.  Some had suggested the use of various alternative propagation methods to be used instead of the standard FCC method of predicting the protected contours of television stations.  The FCC rejected these proposals, finding that alternatives would not be more accurate in predicting potential interference.  One minor correction including in the database that will be used by wireless devices to protect stations from interference will be included - information on a television station's antenna beam tilt.
  • No change in the protection of LPTV station protected contours.  LPTV advocates had suggested that greater protection was required for LPTV stations that were still operating in an analog mode.  This was rejected by the Commission, given the impending digital transition for LPTV (see our summary of the LPTV digital transition, here)
  • Greater protection was afforded to cable headends, TV translator receive sites, and the receive locations for Satellite television providers (like DISH and DIRECTV) and other Multichannel Video Providers (MVPDs), so that existing television reception, no matter how it is received will be protected.  The current rules provide that such sites within 80 km from the edge of a television station's protected contour can register in the database to be used by white spaces devices to determine where they can operate.  The Commission recognized that sites beyond that 80 km distance may also need protection.  Such sites can petition the FCC for waiver of the 80 km distance within 90 days of the effective date of this order, and the FCC will seek comment on whether or not to accord the site protection.  New sites need to register within 90 days of being put into service. 

Some of the other issues addressed by the Commission, including a big change in how these devices will operate to prevent interference, are summarized below.

Perhaps the biggest change was in the requirement that these devices use spectrum-sensing technology to avoid interfering with television stations and wireless microphone users.  The original proposals for these devices were premised on this technology, but this technology was also the most controversial, as broadcasters argued that the devices that had thus far been produced were not reliable in sensing the existence of a signal that was to be protected.  Instead of spectrum sensing technology (which the Commission speculates may be included in future generations of white space devices to allow them to avoid actual interference to their operations), the Commission has decided to rely on the database that it will create of existing users of the spectrum.  The white spaces devices will need to be able to determine where they are and what channels are listed in the database of protected channels in that area, so that the devices will use other channels.  Very specific rules for how often white spaces devices need to assess their location and to access the database were also adopted to make sure that these new interference standards are observed.  Security measures to assure that the communications between the devices and the database are not corrupted were also adopted. 

The Commission also rejected requests to increase the permissible power of these devices and the height from which fixed white spaces devices can operate, and for the operation on channels adjacent to television stations, so as to limit potential interference.  Similarly, requests for more protection for "direct pickup devices" (e.g. the connection between a cable box and a television set that uses a television channel to transmit information from one device to another) were rejected, as the Commission found that manufacturers of such devices could provide more shielding for their connections or otherwise engineer around the issues that might be presented by white space operations.  

On the wireless microphone issue, the FCC decided to set aside certain channels in each market to be dedicated to their use, to establish a specific set of frequencies in each location that can be entered into the database.  Provisions for temporary operations outside of those set-aside frequencies were also established so that accommodations could be made for increased use of such microphones when employed for some big event (e.g. a political convention or major sporting event). 

As is clear from the discussion above, the protection of all current users of these frequencies will rely on the establishment of an accurate and up-to-date database that can be accessed by all of the white spaces devices that may be developed.   The Commission reaffirmed rules that allow for the selection of multiple database operators, and required that their information as to FCC licensees, and other information required by FCC rules, be publicly available so that it can be reviewed for accuracy.  Issues as to fees to be charged to wireless operators by the database operators were left to the discretion of the operator.  Certain other technical rules were adopted.  Of course, before any of these operations can be implemented, the database operators must be selected and approved by the FCC's Office of Engineering and Technology  (see our post here on the FCC's RFP seeking applications for database managers).  The FCC delegated the Chief of that office to oversee the operation of these databases once they are put into use.

When will these devices be operational?  At this point, given the need to establish the databases, and to engineer devices to work with the databases that are established, it is safe to say that the operation will not occur overnight.  When the Commission first approved the concept of white spaces devices, many had predicted operations at points that have long come and gone .  As with everything else in the technology world, when it will happen, and the impact that the rule changes will have in the real world, will only be apparent at some point in the future.  We will all see how this new service develops, and its actual impact on the existing users of these channels but we won't see it tomorrow. 

Introducing Robert James

Delivered... RA - The Feed | Scene | Fri 24 Sep 2010 1:10 pm
Here's an interview with up and coming producer Robert James from Hot Creations in which he talks about hooking up with Jamie Jones and Lee Foss and his thoughts on the recent rise of disco and re-edits.

Pioneers of Dance Music: Detroit

Delivered... Posted by Beatportal | Scene | Fri 24 Sep 2010 1:04 pm
In the annals of electronic dance music, there's no place more iconic than Detroit. Detroit was the crucible and the cradle: a collision of social, economic, technological and (of course) musical factors that launched a new movement worldwide. Without the efforts of a small group of mostly African-American youth from Detroit and its surroundings in the '80s and early '90s, dance music would be very different today. Of course, it's not entirely that simple: the history of electronic dance music is a gloriously messy one, and it can't be neatly summed up in any single, linear narrative. Focusing too narrowly on Detroit leaves out many other crucial elements, from the birth of Chicago house and the legacy of New York disco to other scenes and sounds around the world (Japanese synth-pop, Italo disco, European EBM, UK acid house, and so on). Nevertheless, Detroit deserves its status; it provided the catalyst for electronic dance music's rapid evolution in the '90s, and the city's influence remains powerful, from globe-trotting legends like Derrick May to new-school talents like Omar S and Kyle Hall. Today, the very name of the place is a kind of mystical totem, invoked by artists from all over the globe like a magic word. (Consider everything from Even Tuell's untitled "Detroit, Detroit" track for Workshop to Fedde le Grand's "Put Your Hands Up for Detroit" to Germany's Motor City Drum Ensemble.) For the latest installment of our Pioneers of Dance Music series, then, we turn our attentions to Detroit—its proto-techno innovators, first-wave icons, and successive generations of talent, as well as a host of musicians from around the world whose productions owe an obvious debt to the sound of the Motor City. Explore 60 tracks from artists like A Number of Names, Cybotron, Model 500, Kenny Larkin, Robert Hood, Kevin Saunderson, Dopplereffekt, Moodymann, Theo Parrish, Inner City, Jeff Mills, Daniel Bell, and many more, and from labels like KMS, Planet E, Underground Resistance, FXHE, M-Plant, Moods & Grooves, Echospace, and 430 West. Read on for all the tracks: whether you're a Detroit fanatic or just beginning to dig into dance-music history, you're guaranteed to find something here to move you.

Read more on Beatportal

Gonjasufi announces remix album and competition

Delivered... electronic beats NEWS as RSS-Feed | Scene | Fri 24 Sep 2010 1:01 pm

Gonjasufi has certainly made a name for himself as of late; the experimental hip-hop MC released his album A Sufi and A Killer to critical acclaim. Now the mystical poet will be releasing an album full of remixes, and there are some fantastic names attached to the project.

Titled The Caliphs Tea Party, the album utilizes the talents of ambient maestro Mark Pritchard, electronica producer Bibio, Warp’s most excellent Broadcast & The Focus Group and the new American band Bear in Haven.

There are whole heap of other artists dismantling Gonjasufi’s work, more progressive and experimental, like Oneohtrix Point Never and Shlomo.

What’s even more exciting for all you budding producers out there, is the fact that Gonjasufi has laid down the gauntlet for a remix competition. All you got to do is download the acapellas, upload your remix at: http://remix.sufisays.com

Visitors to the site can vote for their favourites, with the top 10 on Nov 1st being submitted to Gonjasufi to choose a final winner. The winner will be presented the one-off signed, framed screenprint (pic follows) and their remix will be profiled on Warp.net

You can pre-order the record that comes with a free exclusive free foil sticker) here.


01. Ancestors ((Dreamtime) Mark Pritchard Rmx)
02. Candylane (Bibio Remix)
03. Ageing (Dam Mantle Remix)
04. The Caliph’s Tea Party (Broadcast & The Focus Group "DedNd" Remix)
05. Kobwebz (Jeremiah Jae Remix)
06. Love Of Reign (Bear In Heaven Remix)
07. She’s Gone (Oneohtrix Point Never Remix)
08. Holidays (MRR Remix)
09. Change (Shlohmo Remix)
10. My Only Friend (Hezus Remix)
11. DedNd (agdm Remix)
12. SuzieQ (Dem Hunger Bowel Blood Remix)

Gonjasufi ‘The Caliph’s Tea Party’ is Released 4th October 2010 on CD, vinyl and digitally.

Urban art fair STROKE.03 comes to Berlin

Delivered... electronic beats NEWS as RSS-Feed | Scene | Fri 24 Sep 2010 12:46 pm

Calling all illustrators, street artists and urban art enthusiasts get your spray cans ready because the STROKE.ARTFAIR will arrive in Berlin on the 7th through 10th of October.

For the first time, Berlin will be the epicenter of STROKE, as previous events were held in cities such as Munich. Without a doubt, Berlin has established itself as a thriving urban art scene and in the process has become one of the most important cities for art and culture worldwide.

Now STROKE.ARTFAIR will be in its third year and it draws in typically over 20.000 visitors and more than 500 artists. This year, STROKE.03 Berlin will host more than 25 internationally recognized artists along with various homegrown talents. There will be three particular highlights for the show STROKE’s live paintings, AVANTGARDE.DIGITAL and STROKE MURALS.

By moving to Berlin, STROKE.ARTFAIR is bringing its success story to an international audience and we here at Electronic Beats in Berlin couldn’t be happier with their decision.

You can get an impression of the event with the video below:

STROKE.02 inofficial recap from INTOXICATED DEMONS GALLERY on Vimeo.

Date: October 7 – 10 2010

Location: Luckenwalder Strasse 4-6 10963 Berlin
Cost: Day Ticket 8 EUR
Reception: Thursday from 6 pm – 11 pm
Friday and Saturday from 1 pm – 11 pm
Sunday: 1 pm – 6 pm

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