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Post by pieter on Jul 17, 2012 17:28:19 GMT -7
MinilogueMinilogue was a Scandinavian melodic Techno music group consisting of Sebastian Mullaert and Marcus Henriksson. The name is a blend of minimal (the musical style) and dialogue, which refers to music as a form of communication.
Beside their music production as Minilogue, they were both involved in the group Son Kite, Trimatic and IMPS (with Ian Chaplin and Philip Rex), Since 2014, their collaboration as Minilogue has ended.History Sebastian Mullaert and Marcus Henriksson came from opposing backgrounds.
Sebastian was trained as a classical musician playing the organ, piano and the violin among other instruments. He even became involved in teaching them until his coming of age at 18 when he formed a band and began experimenting with the sounds in a more contemporary way.
Marcus lived on a diet of Kraftwerk and the Human League until realising his true calling in the techno parties of the 1990s. Through promoting parties he moved on to become one of the bigger DJs in Southern Sweden. It was in a party where they met and decided to combine Sebastian’s musician’s perspective and knowledge with Marcus' DJ skills and experience from the scene.
They got together in 1996 and after 10 years in the music business under successful guises such as Son Kite and Trimatic, Marcus & Sebastian begun to be Minilogue.
They hail from Malmö, a city situated in south Sweden. Through the years their music has expanded and moved through a variety of sounds appealing across the board of electronic music.
Their recent material touches on influences from a simplistic early 1990s sound of electronica, filled with warped and wondrous sounds creating textures with true depth and portraying a true sense of the duo’s vision.
Marcus & Sebastian decided to stop Minilogue in 2014 to focus on their own projects.
Source: en.wikipedia.org/wiki/Minilogue
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Post by pieter on Jul 28, 2012 16:39:32 GMT -7
Autechre (/ɔːˈtɛkər/) are an English electronic music duo consisting of Rob Brown and Sean Booth, both from Rochdale, Greater Manchester. Formed in 1987, they are one of the best known acts signed to UK electronic label Warp Records, through which all of Autechre's full-length albums have been released beginning with their 1993 debut Incunabula. They have also worked closely with the label Skam.
The music of Autechre has shifted gradually throughout their career, from their earlier work's roots in techno, electro, and hip hop to later albums often considered experimental in nature, featuring complex computer-based drum programming, subdued melodies, and few stylistic conventions. Their work has been heavily associated with the 1990s electronic genre later known as intelligent dance music (IDM).
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Post by karl on Aug 13, 2012 13:05:02 GMT -7
Nictoe Interesting machine...with a great deal of potential in the worlds of music, and industry. An extension of the human senses in creation and accuracy. As demonstrated, it reads the music sheet as composed and translated this into the desired musical notes. If changes needs be applied, there is little time lost in rearrangement, for as it would appear. This technology is/has been in existence for some years at present in the design and stress engineering of mechanical components of a machine, just in a different format of application. Another feature of robotics in practical application. Karl
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Post by pieter on Oct 13, 2012 15:09:32 GMT -7
Underworld are a Welsh electronic music group formed in 1980 in the Welsh capital, Cardiff, and the principal name of Karl Hyde and Rick Smith recording together. Prominent former members include Darren Emerson, from 1991–1999, and Darren Price, as part of the live band from 2005–2016.
After initial incarnation as a funk and synth-pop band, resulting in two albums between 1988–1989, Underworld gained prominence, after reshaping in 1993, into the progressive house and techno act, and releasing seven subsequent albums, including critically acclaimed dubnobasswithmyheadman (1994), Second Toughest in the Infants (1996), and the signature 1996 single "Born Slippy .NUXX". Known for visual style and dynamic live performances, Underworld have influenced a wide range of artists and been featured in soundtracks and scores for films, television, and the 2012 Summer Olympics in London.
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Post by pieter on Oct 13, 2012 15:27:07 GMT -7
JimpsterJimpster (a.k.a. Audiomontage, a.k.a. Franc Spangler, real name Jamie Odell) is a British deep house producer and DJ. Together with Tom Roberts, he founded the labels Freerange Records and Delusions of Grandeur.[1] While producing his own tracks and playing live shows, Jimpster has also worked on remixes, including a remix of the song 400 years by Bob Marley.History Born into a musical family, Jimpster was influenced and encouraged by his father Roger Odell who is the drummer in the jazz-funk band Shakatak. It was there that he was first exposed to electronic synthesizers and recording equipment at around age 10. He started Freerange records in 1996, a label that has since found a niche in deep house with artists like Shur-I-Kan and Milton Jackson.[3] Jimpster played in a live electronica band, The Bays, from 2002 until 2007, but eventually decided to focus on djing and his record label.
In 2007 his label Freerange was voted Best British Label by Dj Mag, in 2010 he won the Beatport titles: Best Deep House Producer and Best Deep House Remix of the year.
Source: en.wikipedia.org/wiki/Jimpster
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Post by pieter on Oct 18, 2012 11:47:12 GMT -7
The Chemical Brothers are an English electronic music duo composed of Tom Rowlands and Ed Simons, originating in Manchester in 1989. Along with The Prodigy, Fatboy Slim, The Crystal Method, and fellow acts, they were pioneers at bringing the big beat genre to the forefront of pop culture. In the United Kingdom they have had six number one albums and 13 top 20 singles, including two number ones.
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Post by pieter on Nov 21, 2012 17:49:17 GMT -7
This is really old school ninetees techno sound. The beat continues and goes on, very montomous sound, with electronic noise or sound wave affects in the background.Techno fans also called Techno heads in Europe love this sound!Mark BroomMark Broom (born 6 May 1971)[1] is a British techno DJ and music producer. He was born in Oxford, UK.Life and careerDuring the Second Summer of Love in 1989 Broom was travelling to Tenerife, where he first heard music genres like Chicago house and Acid house. At his return to the UK he bought his first turntables and started his musical career. He regularly visited the London record store FatCat Records and was introduced to Baby Ford as well as Ed Handley and Andy Turner from Black Dog Productions. Together with Handley and Turner he released a few records for General Production Recordings.
Broom and fellow musician Dave Hill in 1994 founded Pure Plastic Recordings, at which Broom's debut album Angie Is A Shoplifter was released in 1996. Broom, Hill, Handley and Turner also released one album and several singles under the moniker Repeat.
Hill and Broom also founded the project Rue East and released the albums Summer of Blood (1998) and Indoor Culture (2001). Both continued to released their music as a duo under different project names such as Midnight Funk Association, Sympletic, Visitor, Voyectra, and White Lines.
Broom is also a frequent remixer and reworked tracks by Dubfire, Edit Select, Deepgroove, DJ 3000 and Wally Lopez among others.James Ruskin is a cornerstone of UK techno. He emerged in the mid-'90s as the style was in the midst of a famously fertile period, thanks to trailblazing releases from labels such as Downwards, Peacefrog and Soma Quality Recordings. Ruskin and Richard Polson, who sadly passed away in 2006, arrived with their own label, Blueprint, in 1996. Taking cues from Underground Resistance and the influential Birmingham aesthetic, the pair explored a raw, barrelling sound that immediately caught traction with DJs at home and abroad, cementing Blueprint's place as one of UK techno's key labels. It remains one 20 years later, with a catalogue that includes much-loved work from the likes of Oliver Ho, Surgeon and, more recently, Lakker and Samuel Kerridge.
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Post by Nictoshek on Nov 27, 2012 10:51:46 GMT -7
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Post by pieter on Nov 30, 2012 16:12:50 GMT -7
Acid house
Typical up-beat representative of the Acid house wave of the eightees and ninetees with the Rave parties. Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes.
Acid house is a sub-genre of house music that emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines instead of lyrics. Acid house's core electronic squelch sounds were developed around the mid-1980s, particularly by DJs from Chicago, Illinois, who experimented with the Roland TB-303 electronic synthesizer-sequencer.
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Post by karl on Dec 7, 2012 13:29:13 GMT -7
Pieter
Also do I enjoy these by James Zabiela of Transcendental music..It is very calming and excellent for nerves.
On occasion as time allows, to step out for a short walk and/or locate a very quite, cool place, sit on a cool rock, let the mind wind down to nothing and feel the tension drain into the rock.
Music is in self, a key of relationship in escaping the present to become immersed into a companion world that is of the present, but that also of another. It would so seem, the beat is the skeleton, whilst the melody is the shape and words make up the character.
The above perhaps is the make up of the opera. For often the words are in another language, whilst though, the music is the transport, it is to the body language of conveyance that brings to light, the story.
Karl
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Post by kaima on Dec 16, 2012 18:47:11 GMT -7
Electronic music pioneers Kraftwerk didn't make Rock and Roll Hall of Fame cut, but their influence did
By John Petkovic, The Plain Dealer
Published: Friday, December 14, 2012, 7:00 PM Updated: Friday, December 14, 2012, 11:03 PM
kraftwerk.jpg Kraftwerk will not be inducted in the Rock and Roll Hall of Fame's Class of 2013, but their nomination has opened up a discussion on the role of electronic music in rock. Axel Seiedmann, Associated Press
Who got in. Who was left out. Who got cheated. How did those guys ever get in?
It's a game played every year during induction season.
The Rock and Roll Hall of Fame opens its gates of glory to some and slams it shut on others, leaving the excluded to ponder a Kafkaesque fate: "Please, Jan Wenner, what must we do to gain entry into The Castle?"
The Class of 2013 settled perhaps the biggest public outcry in the history of Western civilization: WHY ISN'T RUSH IN THE ROCK HALL?!?!?!?!?!?!?!
It also opened a debate: Is there a place in the heart of rock 'n' roll for music that beats like a machine?
German electronic group Kraftwerk was one of the nominees that failed to make the cut this year. It's a small wonder the German electronic group was even nominated, and not because Kraftwerk fans emulated Rush fans with a campaign of petitions and pitchforks to get their heroes in.
The Rock Hall has thus far avoided electronic music -- bands with synthesizers and drum machines embracing the sound of the machine.
Yes, they run counter to the blues motifs we traditionally associate with Rock Hall acts. Most are European, an ocean away from iconic Americana motifs. Many crossed the 25-year-eligibility threshold in the previous decade.
It's telling that the door creaked open this year with the induction of Donna Summer. While commonly referred to as the Disco Queen, Summer's greatest contribution to music are her vocals on "I Feel Love."
The 1977 song is an electronic masterpiece and one of the precursors to techno. Unlike most disco tracks, it doesn't rely on acoustic drums, bass and guitars -- the things we traditionally associate with singer-songwriters and bands.
It was produced by Italian Giorgio Moroder, the Italian producer and a master of mechanized beats and swirling synth atmospheres.
"Donna Summer provided the voice to 'I Feel Love' and brought a sound into the mainstream," says John Cellura, owner of Bent Crayon, a Cleveland record store that specializes in experimental and electronic music. "It became a touchstone for dance-music culture, but it's Moroder's channeling of Kraftwerk that makes the song and the sound."
Kraftwerk were the Beatles of that sound.
The Dusseldorf group was formed in 1970 as an aural experiment by Ralf Hutter and Florian Schneider. It was part of the Krautrock scene that featured psychedelic experimenters such as Can, Popol Vuh, Faust and Neu.
But there was something bigger going on in West Germany in the '70s -- a national movement that included filmmakers and novelists searching for a German identity and a new artistic language.
Kraftwerk found its identity and language with the 1974 album "Autobahn."
The title track is an ode to driving, a well-worn tradition in rock 'n' roll. Except that it was totally different from any car-and-road valentine heard before -- one played with synthesizers like the Minimoog and ARP Odyssey.
The man is not Bruce Springsteen on some open road in Jersey. He's part of a mechanized society and a cog in the machine.
Make that a very precise machine.
Albums such as "Trans-Europe Express" and "The Man-Machine" created a sound and strategy that influenced, well, just about everyone who has picked up a synth, programmed a drum machine or struggled to find an artistic response to technology and modernity.
Without them, there would be no synth-pop or techno, and dance music and hip-hop wouldn't be the same.
To traditionalists, the austere band of electronic man-machines sounded cold and foreign.
In some ways, they're right.
Before Kraftwerk, electronic music had been beating around for decades -- with avant-garde experimenters such as Pierre Schaeffer, Pierre Henry and Karlheinz Stockhausen creating landscapes consisting of seemingly random pitches and tones.
"Many of the early musical experiments took place in universities and at the BBC Radiophonic Workshop," says Cellura, referring to a sound-effects unit of the BBC. "So the music was often seen as academic."
Indeed. I was shocked when I took a trip to Asheville, N.C., some years back in a musical pilgrimage to meet electronic music pioneer Robert Moog.
Moog, who passed away in 2005, invented the Minimoog. The pioneering monophonic synthesizer became the instrument of choice for countless musicians and composers, from Wendy Carlos to John Cage to Emerson, Lake & Palmer.
Moog took me back to his work space to show off his pride and joy. He explained how the signal generators and filters worked and how it could go from warm and fuzzy to weepy and noisy.
Then I asked him to play it for me.
"Oh, I don't know how to play this thing," said Moog, who studied physics and electrical engineering. "I'm not a musician. I just designed it."
When I responded with a dumbfounded look, he added: "Just because you invented the hammer doesn't mean you're a good carpenter."
Kraftwerk are more than carpenters. They're architects of a new blueprint, one that found a soul in the machine.
Hopefully, they'll find a home in the Rock and Roll Hall of Fame.
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Post by Nictoshek on Dec 31, 2012 14:04:03 GMT -7
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Post by pieter on Jan 1, 2013 19:14:51 GMT -7
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Post by pieter on Feb 8, 2013 17:09:52 GMT -7
This goes deep!
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Post by pieter on Feb 8, 2013 18:13:18 GMT -7
In Europe people go out earlier and start drinking earlier than in the USA. This music mix reminds me of the atmoshere and music of my teenage discoyears, with smaller disco's and rural mega disco's with a regional function. They stood somewhere in the country and boys and girls, young men and women from villages and towns around would go to such places to dance and drink cola, seven up/sprite, mineral water, bitter lemon, beer, bacardi cola, Pina coladay, dry martini's or whiskey's. The mixed crowd would come with bicylces, motorbikes and cars.
It was the time of green laserlight shows, disco balls, colored lights, smoke machines, black light, and light spots with color filters.
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