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Post by pieter on Jan 6, 2018 21:49:29 GMT -7
This Mix is dedicated to a wonderful woman named Valerie Olukemi A Olusanya (Kemistry) who died in a terrible car accident nearly 19 years ago. You will always be an idol I look up to and you're still in our hearts and minds... R.I.P. Kemistry.KemistryValerie Olukemi A "Kemi" Olusanya (13 October 1963 – 25 April 1999), commonly known by her stage name Kemistry, was a leading English drum and bass DJ of the early 1990s who also produced a number of records on the Metalheadz label, which she co-founded with other artists including Goldie, whom she had introduced to the drum and bass scene.BiographyHaving attended college in Northampton, Olusanya began a career as a make-up artist before giving it up for DJing in the early 1990s. She was half of the DJ and recording duo, Kemistry & Storm, which she formed with an old friend when they both lived in London. With Goldie, they led Metalheadz for two-and-a-half years before leaving the label and later releasing a widely distributed mix album, DJ-Kicks: Kemistry & Storm, which has been described as "paving the way for other, younger, female DJs".
Olusanya died in a road accident at 2:30 AM on 25 April 1999. She was in a car travelling behind a van on the M3 motorway in Hampshire, when she was hit by the steel body of a cat's eye, which had been dislodged by the van and flew through the windscreen of the car in which she was a passenger. The cat's eye hit Olusanya in the face and she was killed instantly. The coroner recorded a verdict of accidental death. A question was asked in the House of Lords about the safety of cat's eyes in light of the incident, and the Highways Agency conducted an investigation into the "long-term integrity and performance" of various types of road stud.
The song "Kemistry" by Goldie on his album Timeless, is dedicated to Olusanya. The song was released originally in 1992, as Goldie was in a relationship with Olusanya.
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Post by pieter on Jan 6, 2018 22:01:11 GMT -7
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Post by pieter on Jan 6, 2018 23:04:34 GMT -7
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Post by pieter on Feb 9, 2018 13:25:37 GMT -7
I love this video, it brings me peace!
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Post by Jaga on Feb 9, 2018 22:36:45 GMT -7
I love this video, it brings me peace! Pieter, yes, it is a nice peace bringing video
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Post by pieter on Feb 10, 2018 8:26:19 GMT -7
Actually in the comments of people it is often considered as a wonderful symbol of the end of life, this Brian Eno peace of music. One of the emotional commentators. BRIAN ENO - AN ENDING (ascent) has something transcedential to me, unearthy, like a connection to above, to the skies, the universe. The abstract, but yet deeply human sound, due Brain Eno's musical soul in it, but yet electronic and thus it has that transcendential, metaphysical sound to me. Very strange and beautiful. To me this peace is also connected to some memory, but I keep that memory to myself. Jude Trahan3 years agoThis very much reminds me of the time I lost my brother. I was 13 and at that time he was very ill, and slowly dying. I missed an entire month of school to stay at his side, didn't care about anything else at the time but him. His last moments with me were the most painful to go through. Before his very last moment in this world he told me that no matter what, he would always be watching over me, no matter what distance was between us. He told me to stay strong, and never forget the memories of him and I. What I'd do to see him again..but he isn't suffering anymore. He is finally in his slumber at peace. R.I.P Axel Trahan..My dearest brother, I love you to the end of this world..and you'd be proud of where I am today..and what I've grown to be. Comment Pieter:I can understand that that music is connected by Trahan to that very intense moment and time in his life. This kind of music brings beauty and consolation to some people. Brain Eno has collaborated with many people. David Bowie, U2, David Byrne (of the Talking Heads), John Cale, Laurie Anderson, Grace Jones, Slowdive, Coldplay, James Blake, and Damon Albarn. With images of 'Christiane F. – We Children from Bahnhof Zoo'.
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Post by pieter on Feb 10, 2018 8:47:38 GMT -7
"Sense of Doubt" is an instrumental piece written by David Bowie in 1977 for the album "Heroes". It was the first of three instrumentals on Side Two of the original vinyl album that segued into one another, preceding "Moss Garden" and "Neuköln".
Cited as "portentous" and "thoroughly foreboding", "Sense of Doubt" is one of the darker tracks of the album, with a descending four-note piano motif juxtaposed with "an eerie synth line like a scrap of sound from a silent expressionist-era soundtrack". Brian Eno suggested that the contrasting themes were the result of him and Bowie each following an Oblique Strategies card to guide them in the track's overdubbing, Eno's directing him to "make everything as similar as possible" and Bowie's to "emphasize differences".
"Sense of Doubt" was performed on the Italian TV programme L’altra domenica in 1977 and throughout the "Heroes" tour in 1978.
"Moss Garden" is an instrumental piece written by David Bowie and Brian Eno in 1977 for the album "Heroes". It was the second of three instrumentals on side two of the original vinyl album that segued into one another, following "Sense of Doubt" and preceding "Neuköln".
The track features Bowie plucking a koto, a traditional Japanese string instrument, the sound of which has been likened to "a banjo half asleep".[1] In contrast to the foreboding "Sense of Doubt" that precedes it, "Moss Garden" is a tranquil, ethereal piece, described by biographer David Buckley as "Bowie and Eno at their most painterly and abstract".
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Post by pieter on Aug 23, 2018 13:46:12 GMT -7
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Post by pieter on Sept 9, 2018 2:47:45 GMT -7
The work of Adam Johnson and especially the album Chigliak is very beautiful, refined, subtle, interesting and different than work of other artists I know. For me Johnson 's music is North American melancholic and in a different way touches deeper layers of emotion like Boards of Canada. Earlier I posted Attack of the Cones in this thread, but this is the real original version of Adam Johnson 's 'Croupier', very beautiful and one of the most beautiful ambient instrumental pieces of music I know.Adam JohnsonAdam Johnson is an American electronic musician, photographer and video artist from Minneapolis, Minnesota, currently living in Portland, Oregon.
His current discography includes releases on Musik Aus Strom, Global Underground, Narita, Warp Records (Bleep Comp 1), and his 2003 full-length album, Chigliak, on Merck Records. His music has been licensed by world class DJs and record producers such as Sasha, John Digweed, John Selway and Way Out West. He has toured extensively and has played events throughout North America and Europe. Music Publishers and advertising agencies have also licensed Johnson's music to clients such as BMW, PBS, and the BBC. In 2009, the design firm AKQA commissioned Johnson to create original music for a series of advertisements for the handheld HD video recorder, "Flip Video Mino." In 2014, Fact magazine included Johnson's track, Anex, in "The 100 Greatest IDM Tracks" list.
In addition, Johnson is a photographer, video artist and editor. He holds a BFA in Photography from the Pacific Northwest College of Art and is the recipient of the William H. Givler Thesis Award for his video entitled, "The Weather Where You're From. (2013)
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Post by pieter on Oct 16, 2018 13:03:11 GMT -7
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Post by pieter on Oct 16, 2018 13:10:00 GMT -7
Luke SlaterLuke Slater (born 12 June 1968, Reading, Berkshire, England) is an English electronic musician, DJ and record producer, who has concentrated on techno since the beginning of the 1990s. Early lifeBorn in Reading and raised in Horley, Slater's early sound dalliances with his father's reel to reel tape recorder and his drumming stints led to work in local record shops, including Jelly Jam in Brighton. By 1988, Slater was immersed in the embryonic acid house scene, DJing in London's Heaven nightclub. MusicSlater began releasing original tracks under various monikers, and his single debut came in 1989 with "Momentary Vision". Releases followed on DJax as Clementine, on General Production Recordings as 7th Plain, and as Morganistic (with Alan Sage), and especially on Peacefrog Records, with nearly a dozen of releases as The X-Tront and as Planetary Assault Systems. After releasing four albums on Peacefrog, he issued 1997's Freek Funk and Wireless two years later. His tracks "All Exhale" (2000) and "Nothing At All" (2002) reached #74 and #70 respectively in the UK Singles Chart. His first volume of the mix series Fear and Loathing appeared in 2001, on the React label. Alright on Top (2002) was an "album of songs" with vocals from Ricky Barrows and others featured on every track. The second volume of Fear and Loathing appeared in late 2004. Slater has released a mix for the Fabric DJ-mix series, and has reinvented innumerable tracks in remixes from artists such as Depeche Mode and Ken Ishii to more recent remixes for Radial and Soul Designer. In 2006, Slater set up his own label, Mote-Evolver, releasing limited 12" records and digital downloads through the Mote-Evolver and N.E.W.S. websites. In January 2013, he toured Australia and was supported by artists such as dxdt. A year later, he launched a new radio show/podcast entitled "The Spaceship" that premiered on 27 January 2014 and was uploaded onto his SoundCloud profile. Selected discography(As Luke Slater) X-Tront Vol. 2 (1993) Freek Funk (1997) Wireless (1999) Alright On Top (2002) (As The 7th Plain) My Yellow Wise Rug (1994) The 4 Cornered Room (1994) (As Planetary Assault Systems) The Drone Sector (1997) The Electric Funk Machine (1997) Atomic Funkster (2001) Temporary Suspension (2009) The Messenger (2011) Arc Angel (2016) References Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 507. ISBN 1-904994-10-5. "LGMS NO BULLSH*T TECHNO EXPERIENCE > LUKE SLATER(UK)". Facebook. Retrieved 2013-03-22. "Lgm's No Bullsh*t Techno Experience > Luke Slater (UK) at Coniston Lane". Retrieved 2013-03-22. Luke Slater (27 January 2014). "Luke Slater 'The Spacestation' Radio Show Episode 1 (27th Jan 2014)" (Audio upload). Luke Slater/`P.A.S. on SoundCloud. SoundCloud. Retrieved 1 February 2014.
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Post by pieter on Oct 30, 2018 17:23:30 GMT -7
Ben RauIt is said that the very first instrument mankind ever used was a drum. The repetitive beat of the primitive instrument was used in tribal ceremonies, to celebrate, bringing tribe members together and unifying their consciousness. Meanwhile the emotive..It is said that the very first instrument mankind ever used was a drum. The repetitive beat of the primitive instrument was used in tribal ceremonies, to celebrate, bringing tribe members together and unifying their consciousness. Meanwhile the emotive responses that stem from classical compositions and string instruments are more closely connected with European ancestry. With German and Ghanaian DNA Ben Rau is blessed with the best of both cultures and the combination of influences from his forefathers permeates into his music. Infectious rhythmic grooves and emotive melodies mix together to form a rich, deep and hypnotic formula that speaks to your very soul... Ben originally fell in love with house and techno simply because he wanted to lose himself in the music and explore his deep-seated passion for music through self-expression - namely, raving. Ben spent many years tearing up dancefloors back home in Germany and in the UK, too. As time went on he became more and more involved behind the scenes, progressing from the dancefloor to the decks and into the studio. Having a solid grounding in club culture from such a grassroots level means Ben's connection with the dancefloor runs deep, likewise his studio endeavours are aimed squarely at those who dedicate their time to dancing the night away. A Berliner born and bred, Ben moved to the UK in 1999 to study Computer Animation in Bournemouth – once there, he fell in love with British culture and decided to make it his home. After a few years on the south coast he moved to London, which really cemented his hunger for music. He immersed himself in the highly influential east London party scene, having made the decision to dedicate his life to pursuing a career in music. Before he knew it Ben was tumbling down the rabbit hole and made long-lasting connections that have helped shape his career. After winning an IDJ Raw Talent competition he caught the attention of Fuse owner, Enzo Siragusa, before the party brand had been conceived. As time went on and Fuse came into being, Ben joined Enzo and the rest of the family as a resident and his career went from strength to strength. While Ben was living in the UK, Berlin had become the global epicentre of house and techno and he felt a strong calling to return home. In 2012 he decided to move back home to build a studio and he returned to Berlin with a fresh outlook, a renewed desire to succeed and the time and space to truly pursue his dreams. As 2014 begins Ben's focus has never been so strong, every waking moment is spent channeling his energy into music – resulting in extended periods in the studio, where he has accumulated an impressive collection of analogue gear. Following the advice of friend and mentor Alex Arnout , Ben has been spending his time getting to grips with his synths which allow him to explore electronic music and sound crafting in a visceral, immediate and spontaneous way – key aspects of the production process. He has also invested his spare time into taking piano lessons and learning music theory, adding a new level of musicality to his output. A long-standing relationship with London-based Save You Records continues to flourish, and his close bond with the ever-growing Fuse outfit has never been stronger. Releases are penciled in for both labels and he continues to build his skills in the studio with a clear focus on future successes. So 2014 looks set to be a pivotal year for the infectiously positive artist. With such a strong foundation, an unerring passion for his craft and so much support, Ben Rau's drum will carry on beating for many years to come...
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Post by pieter on Oct 30, 2018 17:26:16 GMT -7
Kettenkarussell
Insecurity Guard
The electronic duo’s latest is a wonder, a record of ambient house grooves filled with hundreds of tiny, captivating details. It’s also a showcase for the unique allure of their German label Giegling.
There was a club in Weimar, Germany where a group of friends let their imaginations run wild. It was really just a house in a park with two dancefloors nestled within its warren-like maze of rooms. Parties sometimes ran for days; house and techno ran parallel with slower, more abstracted sounds: ambient, dubstep, even jazz. The venue was so fundamental to the collective’s sensibilities that on some of the homemade record sleeves for Giegling—the label they eventually founded—they sprinkled dust swept up after their parties into the drying ink.
That idea of a space apart—an autonomous zone, a utopia—continues to fuel Giegling’s efforts. On a recent world tour, they decked out clubs and theaters with candles, bouquets of flowers, and balloons, freely mixing chillout-room vibes and art-school antics with hedonistic, long-haul parties driven by heavy kick drums. Of all the artists on the label—Edward, Ateq, Vril, Traumprinz and his aliases DJ Metatron and Prince of Denmark—Kettenkarussell might best encapsulate that spirit of duality.
Kettenkarussell—the duo of Leafar Legov and Herr Koreander—were the first act to release a record on Giegling in 2009: I Believe You and Me Make Love Forever, a EP of trippy, minimalist house. But it was their 2014 album *Easy Listening *that really delivered on the label’s unique sensibility with a mixture of twinkling ambient miniatures, moody floor-fillers, and a bookending intro and outro sampling Bruce Lee and Jim O’Rourke, respectively. The Giegling crew can sometimes come dangerously close to self-parody in the pursuit of their sound (DJ Dustin, one of the label’s co-founders, described their aesthetic as “the feeling of seeing a sunset”) but *Easy Listening *proved that they were not without a sense of humor. An obvious Boards of Canada pastiche, right down to the warbly synthesizers, was called “Chords of Banana”—not just a sly pun on the Scottish duo’s name, but also a tongue-in-cheek riff on their psychedelic, synesthetic titling conventions.
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Post by pieter on Nov 2, 2018 18:10:46 GMT -7
Statenhal
Published on 19 sep. 2007 Label: Sonic Records Catalog#: SNC-2008-1 Format: Vinyl, 12" Country: US Released: 1992 Genre: Electronic Style: Trance Credits: Composed By - E. Vanreeth , J. Vanbockryck .
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Post by pieter on Nov 2, 2018 18:12:50 GMT -7
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