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circuit-music · 20 years

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My musical Top 10's of 2003

My musical Top 10's of 2003. Yes I did make it out last night. More on that later perhaps. Did not make it to CC, had a rather low-key evening, but certainly a VERY FUN evening nonetheless. As expected here is my Top 10 CD lists of 2003. Enjoy

Top 10 CD’s – Full lengths

1. This Morn Omnia - Le Serpent Blanc / Le Serpent Rouge A stunning follow up to ''7 years of Famine''. Ant-Zen presents the first part of This Morn 'Omnia's ''Nyan'' trilogy. This disc just floored me with it’s combination of hard techno, four-to-the-floor rhythms, ritual-tribal percussion and breaks, overwhelmed by voice samples. This music is powerful and aggressive, but not overtly nihilistic. Something you can put on at anytime and instantly fall into the addicting rhythms and song structure. Disc 2 ''Le Serpent Rouge'' focuses more on the ritual-influenced side centered around the themes of the Zodiac. The music comes off much quieter and more introspective but never calm or soft –more like dark-ambient. CD artwork is phenomenal as well holding some beautiful images shot by (my friend) Alan McClelland of Se7en e-zine http://www.nezzwerk.com/seven/. Musically diverse, comparable to no other bands out there really. I hear new elements each time I listen to it. Easily made #1 for the year.

2. [SITD] – Stronghold Shadows In The Dark seemed to have come out of relative obscurity (save for a compilation appearance on Septic II in 2001) to shoot straight to the top of the elektro genre and straight onto dance floors worldwide!!! The German duo took the formulas of harsh ebm, futurepop, trance and more, then created their own unique signature on it all. ''Stronghold'' makes for a fascinating soundtrack of enormous versatility and variety - mixing apocalyptic electro with underground anthems. Tracks like ''Hurt, “Snuff Machinery'', ''Venom'' or ''Rose-Coloured Skies'' have altered and forever changed the blueprint for other acts to follow! Add to [SITD]’s credit the fact that they can write a killer instrumental as the title track ''Stronghold'' (a chilling conclusion to a perfect CD), firmly illustrates and no elektro fanatic should be without this CD.

3. Warp Brothers – Warp Factor Another dynamic German duo who released their CD “Warp Factor” in March of 2003. Early on in the year, but still mighty memorable. Big Beat meets Trance – yet it should appeal to elektro-industrial fans as well as there’s some serious OOntz included. Every single beat HARSH and punishing!!! Every synth, every bassline, every arp-line, everything effected and mangled to a jaw dropping end product that’s instantly addicitve.

4. Seize - The Other Side Of Your Mind Ltd 2CD This UK based bands CD “Lunacy” – released on their own label, effectively caught my attention in 2000. Preparing their new release Seize also caught the attention of Alfa-Matrix who (with all label releases) issued a Limited edition version of ''The Other Side Of Your Mind'' album ( in a DVD sized box ). Included are the normal CD version, postcards, stickers, and a full length BONUS CD album featuring exclusive tracks. Their new album reveals a much more mature, up-tempo and club orientated sound, rich with lush modern EBM synths, top rate production and soaring female vocals. This CD DEMANDS the listeners attention and fans of elektro, futurepop, trance, synthpop, and 80’s influenced euro-dance will quickly get into what is offered across both disc. And definantly get the limited edition because the bonus remixes from the likes of Implant, Delobbo, Colony 5, Neikka RPM and more are NOT TO BE MISSED! Completely captivating with the potential to reach just about every electronic music market (save for the hopeless goth scene) , Seize could also have the potential to crossover into more mainstream markets as well, there just that good and that appealing.

5. Suicide Commando - Axis Of Evil Always knew Johan Van Roy had it in him. A full-on killer release was inevitable – “Hellraiser” was just a teaser for what was to come. ''Axis Of Evil'' has been three years in the making and offers 10 tracks of vintage, classic dancefloor assaults that deliver the most grueling of all SC releases, mixing thunderous electro expressions infused with harsh vocals and punishing beats! I Totally missed out on the limited edition version (which included a DVD) but listeners still need to get their hands on whatever version of this they can. Sincerely raw, brutal, minimal, and caustic programming. Johan Van Roy makes great angry music.

6. Glis - Balance Limited Box I found myself constantly listening to this throughout the year. Diverse, superb, full of emotion, great programming, great production, decent lyrical content , … it’s hard to find any flaws in this disc whatsoever. The limited edition contains exclusive postcards, a poster, and a bonus CD including exclusive remixes. special guests include Assemblage 23 (additional vocal production & remix), Jennifer Parkin (Ariya), Dominique (Neikka RPM) as well as featured remixes from Delobbo, Implant, Z Prochek and more. Glis’ music is instantly infectious taking on varied influences that even include IDM and noize, which propels the project beyond JUST the all-to-common sounds of the ebm and future pop genres. Glis provides something more advanced in its quest to explore new territory yet still remains modern sounding enough to hang with the big names like Covenant, A23 and the like. Glis had a phenomenal year in 2003 with a Euro tour as well as a US tour. Oh yeah if you didn’t get enough of Glis in 03, well Shaun also contributed music and production duties to Ariya as well.

7. Lights Of Euphoria - Krieg Gegen Die Maschinen Ltd CD The single “True Life” certainly was an attention-getter, marking a return for Lights of Euphoria. Torben Schmidt is a musician that has immersed himself deeply within the electronic scene from so many angles that he has boundless directions in which to pursue. The LIMITED TO 1000 COPIES ONLY edition of the new album features 18 TRACKS ! ( 13 songs from the regular album and 5 BONUS TRACKS). Whats interesting about this release is it collects some songs from a varying range of time in the Lights of Euphoria discography, for example “Show me your Tears (Apoptygma Berzerk vs. Industrialheads RMX)” was released 7 cd’s ago on “Beyond Subconsciousness”. Theirs also Torbens remix of God Module’s “Dyskonnect” included. Odd as these song inclusions may seem, listening to the CD from beginning to end still makes for a very cohesive whole. Songs show a variety of influence from straight-ahead nearly simplistic EBM to more intricate future pop stylings. Also included is the song ''Consequence ( Face Yourself )'' featuring the vocal contributions of Ronan Harris from VNV Nation. A great CD of varied ideas, tempos and moods making for essential listening.

8. T.O.Y. - White Lights limited edition Always distinctive and unique, they’ve really nailed the whole electro-synth-pop genre and can produce quality results on every release. They’ve done it again on “White Lights” which includes a bonus cd containing remixes for such bands as In Strict Confidence, 18 Summers (ex Silke Bishoff) and !Bang Elektronika. Also Steffen Keth (DE/VISION) contributed guest vocals for the song "The sky is the limit". And yeah getting to meet and hang out with Oliver Taranczewski in Detroit this year doesn’t sway my opinion one bit (yeahhhhhh right J )

9 Re.Work - Coma Almost a casualty of the defunct Bloodline label, I was left to wonder if Germany’s Re:Work was ever to release a follow up to their stunning 2001 debut ''Impulse''. There was tours, remix work (Decoded Feedback, Noisex, etc… ) and then finally the eagerly awaited second album ''Coma'' released on the German Scanner label (who also signed Stromkern early on). Moving further away from the Funker Vogt comparisons (the band was discovered by Funker Vogt) the album focuses more on constructing VERY memorable songs that are both melodic and dance orientated with an edge.

10 Negative Format - Cipher Method Where elektro-ebm-trance merge into one - ''Cipher Method'' brings back the cyber element that bands like Clock Dva, Lassigue Bendthaus, and Electro Assassin explored. Negative Format continues to push the boundries on every release. “Cipher Method” will work on the more adventurous dancefloors offering more complex beat and rhythm structures, dark atmospheric overtones, and a mixture of vocoded and effected vocal passages. Also great just to sit and listen to as a further exploration into sound. For body and mind!

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popmusicu · 3 years

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Why Rain on me (remix) is the latin music we deserve.

Within the not so new controversy about the Latin Grammy, the question once again emerges ¿What is good latin representation in music?.

Lady Gaga and Ariana Grande are one of the biggest and highest grossing stars on the US pop charts. Both signed a feat in the dance pop song "Rain on me" for last year's Gaga's album "Chromatica".

Breaking nº1 in many countries, collecting 338M views on Youtube and earning them a grammy for the best pop duo by the time of this post, there's no doubt about the single's comercial success, but honestly the combination of both names is pretty much one of the safest blueprints for a industry hit you could make. The interesting part came this year with the announcement of a remix album dramatically named "Dawn of chromatica".

Renovating itself in spirit, Dawn of chromatica became so much more than the usual remix album. During the first listen it became apparent how Gaga gave the newest feat artists almost full liberty to alter her originals.

Within strong names associated with the hyperpop genre such as Charli XCX, Shygirl, Dorian Electra and one spectacular display of "brega pop"(a northern brazilian/caribean rythm) by Pabllo Vittar at the "Fun Tonight" remix, the aclamed producer and venezuelan artist Alejandra Ghersi, better known as "Arca", made herself a spot in history with one of the bravest and most challenging mainstream remixes of all time.

"Rain on me (Arca remix)" first seconds came with a instant clash of one of Arca's last year collabs with Bjork, "Time", featured in her 2020 experimental/industrial pop album "Kick I". I think for the most part of Arca fans, that mixing would have been enough for a pleasant experience, but around the minute or so, between the well known Grande and Gaga's vocals an almost raw sample from Dj Yirvin "Metelo sacalo" starts playing, displacing the expectations of any latin person listening, and maybe surprising one smart US citizen or another.

Dj Yirvin is one the biggest exponents of "Changa Tuki" (also known as "Raptor House"), a homegrown electronic dance subgenre that became esential part of the club scene around the 2000's in Venezuela.

With a width of influences ranging between 90's techno, house and tribal music, "Changa Tuki" found a way to create a club music identity in the Caracas ghetto culture. Eventually dispersing as colateral damage for the Venezuelan political agenda, the subgenre is still relevant at some niche club parties around Peru and some other south american countries.

To quote Arca's "Mequetrefe"; "ella vino caminando desde su casa, ella no toma taxi, que la vean, que la vean en las calles", Arca once again showed her discomfort not only with gender normativity but also musical taboos.

Often related with classism, ghetto music tends to be looked down in mainstream music and rarely finds their way up, usually trough some pop star that found something "cool" in a latin culture, see by example "Llorando se fue", a single by bolivian folclore group Los Kjarkas, brutally exploitated (originally without giving any sort of acknowledgment) to make the world hit known as "Lambada" and a posterior top billboard song sampling it as big as "On the floor" by Pitbull and JLO.

Arca even closes her statement with flourish and another iconic well known latin mantra; "a mover el culo" repeteadly says by the end, an iconic sentence originally popularized in 1999 in the song "Coolo" by a popular argentinian hip hop, pop rock duo called "Illya Kuryaki and the Valderramas", but then used around the 2000's as a popular catchphrase for reggaeton and latin pop verses.

Latin music at it's worst can be first world artists harnessing latin culture for it's exotical appeal, in ways as simple as Billie Eilish appearing at the cover of top latin mixes in Spotify, or as harmful as the unacknowledgment of The Kjarkas. But at it's best it can be a way to give empowerment to our often "mirada a huevo" latin american culture, a way to realize the richness between our daily creative ways of dealing with precarization, the aftermaths of colonization and our maybe economically but never culturally underdeveloped countries.

Post by Alejandro Montecinos Spotorno.

#Albums #Song of the year #I love this

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1albumaday · 3 years

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2020

The Chats - The Clap

Easy-peasy punk rock album

Loving - If I am only my thoughts

Charming sun-dappled folk-pop, clean, gentle melodies

Steve Spacek - Houses

iPhone/iPad recorded, latino and jazz accented dance/house beats

Ghali - DNA

Total Flop and failed expectations. Mishmash of bland and frivolous lyrics and arrangements.

King Krule - Man Alive!

Alienating, violent, romantic, anguishing, doomed, noir / jazz, post-punk, soul, dubstep, electronic, garage rock, hip-hop

Justin Bieber - Changes

Disappointing comeback - boring r&b with zero sex appeal and cheesy lyrics and all-the-same songs

Guided by voices - Surrender your poppy field

Unusual time signatures, song lengths, and baroque-prog structures - mature rock and sometimes pixie / 80s dreamy

Corrections - Simply Activities

80s new wave and post punk nostalgia - cheesy vocals at times - first half more solid than second

Swim Mountain- If

A lovely mix of indie and funktronica, synth pop, r&b

Caribou - Suddenly

Sly and sofishticated sound design flits between uk garage disco and more - some tracks way less strong than others

Grimes - Miss Anthropocene

Mix “Ethereal nu metal”, ambient, dance, electronic, drum’n’bass, country - is violent and dark but sexy, delicate and dreamy

Porridge Radio - Every Bad

A dissonant lush indie rock sometimes dreamy sometimes dark and ironic with mantra-litany dusky lyrics from peaceful to desperate

Four Tet - Sixteen oceans

Wind instruments, synths and drum patterns gradually fade to calming ambient sounds, intense and meditative but also danceable and powerful

Kamaiyah - Got it made

Short, stripped-down, bubbling keyboards and drum-machine handclaps. NO current rap trends. windows-down bass-rattle record of one person’s confidence in her own sound and charisma

Poolside - Low season

Funk percussions, retro synths, pop and disco influences + indie vocals

Morioh Sonder - Is this psychedelia?

Surf pop and psych rock, dreamy post punk influences, danceable and whimsical

KEYAH/BLU - Sorry, I forgot you were coming

Perfect blend of rap, rnb, experimental pop, dark rhythms textured electronics, intimate tales

TOPS - I feel alive

Pop, radiant and 80s romantic with a contemporary experimental palette

The Chats - High risk behaviour

Classic old-school pure punk / cheerily undemanding fun

NIN - Ghosts V: Together

Buzzy ambient, melodic hooks, emotional palette of sounds

NIN - Ghosts VI: Locusts

Together’s opposite, anxiety-inducing, despairing horns, breathing and devouring sounds.

Roger and Brian Eno - Mixing Colours

Feels like a balm for these anxious times

Fiona Apple - Fetch the bolt cutters

Handclaps, chants, makeshift percussion, echoes, whispers, screams, breathing, jokes, dog barks, rattling blues. Contains no conventional pop forms. freeing and powerful.

The Weeknd - After Hours

Satisfying collision of new wave, dream pop, R&B, synth-pop nostalgia

BC Camplight - Shortly After Takeoff

Jazzy eighties rock with some icy funk and electronic pop, painfully personal and uneasy but so self-deprecating it speaks like your best friend

Rone - Room with a view

Deft splicing of beats-based electronics and dance music with classical influences. 21st century baroque chords, snatches of conversations, speeches, children’s voices

Other Lives - For their love

Bluesy acid-rock, dreamy meditation sounds, eerie string-crescendos, music for the afterlife

Lil Uzi Vert - Eternal Atake

Drill-influenced rapping, melodic crooning, trends-aware hip-hop beats, untouchable pop sound production

Squarepusher - Be up a hello

Frantic breakbeats littered with echoes of classic jungle, hardcore, and drum’n’bass, ’90s drill’n’bass, glitchy 8-bit chaos

The Orielles - Disco Volador

Cosmic, playful, funky dreamy indie pop, shuffling organs, woozy guitar, shimmy-shimmy hand percussion

Portico Quartet - We welcome tomorrow

Perfect dreamy sequel of ‘Memory streams’

Charlie XCX - how i’m feeling now

Quarantine creation / 2020 romance manifesto of club-pop, trap, k-pop, video game sounds, fuzzy synths and crackling bass

Holy Fuck - Deleter

Trippy, psychedelic tapestry of euphoric escapism, ‘90s dance, glitchy beats, airy vocals, experimental electronics

Luge - Luge

Energetic and playful avant-garde and quirky math rock, zolo?

Good With Parents, Triple Stephens - Comments & Reflection

Playful indietronica synth pop + classical instruments

Wishing - None of this was your fault

Lo-fi indie, ambient, slowcore w/ fragile lyrics

Bibio - Sleep on the wing

Indie folk treated like ambient / a gorgeous soundscape of strings, guitars and flutes, feelings of loss, hope and escape. Perfect picture of tranquil countryside memories

Piotr Kurek - A Sacrifice Shall Be Made / All The Wicked Scenes

Electroacoustic experimental, meditative-ritualistic atmospheric music / conceived for theatrical performances

Military Genius - Deep Web

Meditative ambient, retro-futurist soundscapes / hypnagogic pop, dark, abstract and mysterious / early ‘70s folk interjecting jazz-brass sections

Jockstrap - Wicked City

Melancholy waltz and winsome ballads, fluttering strings, soft piano glissandi mixed with gnarly and distorted hip-hop beats, buzzing guitars and synths / cherubic vocals, pcmusic-style manipulated at times

Georgia - String Token

Experimental ambient electronic, minimal, melodic, futuristic, hypnotic and grim

EVOL - Madball Manners

Lingering experimental rave electronic, hardcore, techno

Upsammy - Zoom

Playful, sampling, abstract IDM, ambient techno, melodic and rhythmic, surreal, futuristic, sparkling synths and billowing pads

Tomasz Kunicki - Muzyka dla Świątyń

Playful and abstract IDM, glittering synths, obscure pads, glitchy and bleepy

Tomasz Kunicki - The sound is gone, where did it go, I have no idea

Very bassy and very dubby IDM, atmospheric ambient and loopy electronics

Kate NV - Room for the moon

80s new wave, progressive electronic, synth pop, cornucopia of melodies and genres. Wriggling synths, chirping flutes, warm baselines, jazzy sax, woodwinds, marimba. Russian girly vocals cartoon theme-song-like.

Khruangbin - Mordechai

Psychedelic / funk rock with some soul, dub, lounge, poolside disco - exotic and atmospheric

Dalai Lama - Inner world

Chanted mantras rhythmically woven into wafting new-age flutes, chimes, strings and free-form guitar picking.

K-Lone - Cape Cira

Tropical ambient house, warm, lush, soft. Zen yet bouncy rhythms. Digital and analogue recordings, at times feels like you’re underwater.

Arca - KiCk i

Experimental industrial club rhythms with reggaeton and folk influences

The Beths - Jump Rope Gazers

Sleek and personal indie rock, romantic ballads, more sentimental and slow than the previous album

J Lloyd - Kosmos

Tasteful soul and funk pop in 25 tiny tracks, charming low-key, rich textures, good vibes

Julek Polsk - Tesco

Dissonant, ominous, dense, post industrial ambient, noise, sound collage, deconstructed club music

Taylor Swift - folklore

Folk/chamber pop, indie folk, bittersweet, mellow, melancholic ballads

Bill Callahan - Gold Record

Contemporary folk, warm and deep vocals, pastoral, peaceful and melancholic

Mura Masa - R.Y.C.

Indietronica, post-punk revival, catchy indie/synth pop, early 2000 EMO, lots of hip collabs

Fontaines D.C. - A Hero's Death

Post-punk, indie rock, art punk, gothic rock, raw deadpan male vocals, darkish and melodic

RAMzi - cocon

Tribal House, ambient dub, balearic beats, downtempo, hypnotic and tropical

Auguste - Indust

Experimental ambient electronic + field recordings, glistening and splintered sounds

Paul Blackford - Betamax

Dreamy and hypnotic trip hop, downtempo, synth wave

A.G.Cook - 7G

49-track archival collection of sketches, cover versions, volatile lab experiments, divided into 7 discs. a glimpse at the whirring cogs beneath hyperpop’s pristine casing.

Clap clap - Liquid Portraits

Experimental musical tapestry and collage / high-energy concoction of unpredictable and wavy rhythms, exotic vocals and heavy, relentless bass and drums / UK Bass, ambient dub, footwork + far-flung field recordings

E.M.M.A. - Indigo Dream

Progressive electronic, ambient house / 80s melodic atmospheres, goosebump-inducing synths, whimsical melodies and classical leanings

Leif - Music for screen tests

Performed live @ Barbican as a 54min session ambient / drone film soundtrack (Andy Warhol's Screen Tests)

Crack Cloud - Pain Olympics

Post/art/dance punk, experimental rock - energetic, anxious, apocalyptic, dark, male vocals

Document - A Camera Wanders All Night

Post-punk, noise rock, past-hardcore, distorted and raw male vocals

Keisuke Matsuda - Clumsily Back Up

Experimental electronic with playful hummed vocals, lo-fi beats, melodic, youthful, dreamlike

Coi Leray - Now or Never

Gen-Z superstar, melodic flows, bouncy trap, energetic killer lyrics

The Ophelias - For Luck

Artful, string-laden indie-pop EP, grungy dream-pop, a quarantine remake and a Joni Mitchell cover

Romare - Home

Deep house, UK Bass, groovy and detailed sonic palette + soul and funk influences - dancefloor highs and after party wind-downs

Mulatu Astatke, Black Jesus Experience - To Know Without Knowing

Ethio-Jazz, Cuban, funk, reggae workout + rapid-fire rap or Afrobeat drums

Good Doom - Spider Temple Valley

Experimental psych-wave, gentle and peaceful lo-fi, dreamy and oozy with flute, sax and field recordings

Ralph Kinsella - Abstraction

Dark ambient experimental / instrumental electronic

IDLES - Ultra Mono

Post-punk, garage punk, hardcore, noise rock, raw male vocals, dense, energetic, angry, political

Mild Orange - Mild Orange

Alternative, Indie rock, dream pop,

Skinshape - Umoja

Experimental psychedelic rock - afro beats - afroswinig - funky - world music

Vulfpeck - The Joy of Music, The Job of Real Estate

Mixed bag of funk, jazz, soul, self-indulgent? classical reworks, progressive electronic, melodic and uplifting, groovy drums and bass lines

OPN - Magic OPN

Manipulated and sequenced archive radio and sounds collages as interludes, uncanny processed voices, poppish trope ballads, art pop, sentimental and surreal, dense, progressive hypnagogic electronic and more

Pa Salieu - Send them to coventry

Combined dancehall, Afrobeats, hip-hop and grime. Scattered drums, stop-start energy, handpicked words and rhymes. skips from trap trills to baile breakdowns.

Mama Ode - Tales & Patterns of the Maroons

Classic hip-hop album with jazz, funk, blues and reggae influences. Creole Sega Rap Roots music, afro-drum patterns and grooves

Tony Allen, Hugh Masekela - Rejoice

Live sessions of unique fusion of afrobeat and swing-jazz with lyrics in English, Yoruba and Zulu

Miley Cyrus - Plastic Hearts

Pop rock, 80s synth-rock, grit and freewheeling sense of fun, rough-hewn panache of vocal performance, bittersweet eclectic and sentimental / collabs with rock idols

2019

LCD Soundsystem - Electric lady sessions

Live recording with some new wavy covers

Harry Styles - Fine line

Not catchy / mediocre pop

Boothe - 8 or 9 Walled Room

10 minutes of playful electronic and soft vocals

Good with parents - Good with parents

Clever indietronica synth pop, fun + ironic + millennial + sax

Taylor Skye - Kode fine & sons

Synth, beats and pop vocals

Famous - England

Wonky pop punk mixed to electronic sounds and raw spoken vocals

Orville Peck - Pony

Simple pop rock Johnny Cash style ballads and 80s

Sassy 009 - Kill Sassy 009

Distorted electro pop with strong vocals + post-punk notes

J-Walk - Mediterranean Winds

Jazzy electronica with glassy synth pads cheesy and chilled out

Mattiel - Satis Factory

Punky garage rock strong female vocals

Ross Backenkeller - Come Around

Country dreamy and melancholy guitar and vocals

Legss - Writing Comedy

Art rock and a dark underbelly of post-punk + topnotch spoken track and electronic sounds

BEA1991 - The Lost Demo EP

Trip-hop with Bjork-style vocals

BEA1991 - Brand New Adult

Chamber folk and yacht rock meld with R&B and trip-hop

Matt Maltese - Krystal

Lo-fi flowy bedroom pop breakup album

Faye Webster - Atlanta Millionaires Club

Folk-pop, mellow and melancholy soul with an r&b tinge

Infinite Bisous- Period

Soothing and warm bedroom night album

Achille Lauro - 1969

Trap changed into rock with romanticised lyrics

Jerkcurb - Air Con Eden

Indie-psych and retro Americana, atmospheric, sensitive, wobbly

Octo Octa - Resonant Body

Breakbeats and house bangers

ALASKALASKA - The Dots

Jazz fusion, disco rhythms and high-gloss art rock

Orphan - Yijoda

Glitchy and sharp electronics + ambient-atmospheric sounds

Honeymoan - Body

Avant-garde pop tapestry of beats and synths with playful vocal

U-Bahn - U-Bahn

Traditional new wave DEVO-moulded, Hypnagogic pop, art-punk, some vaporwave synth sounds

Hail Conjurer - Erotic Hell

Obscure and raw Finnish black metal

Ride for revenge - Chapter of alchemy

Quality black metal with long and short tracks pretty smooth

Boys Age - Neverchanging, Neverending

Lo-fi, slow-tempo, soul, r&b, mellow tracks with sad very low vocals

MorMor - Some place else

Indie-pop with sweet synths and delicate vocals

Felicita - hej!

Overproduced pop dance hits broken down into harsh and jarring staccato melodies, hissing ambient and screams

Nick Cave & The Bad Seeds - Ghosteen

Endlessly giving and complex meditation on mortality and our collective grief, scored by synths, pianos, and electronics

Portico Quartet - Memory Streams

Ethereal keyboards, hypnotic grooves, layered post-rock textures mixed with electronic, ambient and magnetic jazz build-ups

Charles Rumback + Ryley Walker - Little common twist

Mellow and pastoral folksy guitar melodies and soft drums + ambient tones, drone electronic

Shadowax - Nikolai Reptile

Effervescent techno and mutant bass jams

The Rhythm Method - How do you know I was lonely?

Ostensibly witty and warm pop songs from hip hop to indie and electronic about romance and millennial youth

Martin Dupont - Accident of Stars

80s kinda goth new wave full of electronics, guitars synths and clarinets

Raime - Planted

Latin American and Chicago footwork influences merged with alien sounds, half-heard voices, dark and rhythmic bass and percussions

Sunn 0))) - Pyroclasts

Sunn 0))) - Life Metal

Slow-motion drone feels like a religious ritual / pipe organ and cello, guitars webbing together the space between notes

Special Request - Vortex

Breakbeat barnstormers and house epics, with room for bleep, electro and gabber

Caterina Barbieri - Ecstatic Computation

Oscillating sequencers, rhythmic pulsations, cascades of synthesiser melodies echoing dance music/new age

Battles - Juice B Crypts

Playful electronic wizardry, dense array of beats, bleeps and squelches, loopy keyboards and guitars, ecstatic vocals

Haruomi Hosono - HOCHONO HOUSE

Home-recorded aesthetic, funk shaped into minimalist space-age lounge music

Florist - Emily Alone

Thoughtful, calming and melancholic, full of hushed, enveloping guitar sounds and gentle vocals

Spencer Radcliffe - Hot Spring

Alt-country, indie falk americana, very relaxed,pastoral and wry poetics

Ciamkam - Play-doh Dog

Noise ambient / screeching, dissonant, surreal, ominous

Equiknoxx - Eternal Children

UK soundsystem style, reggae groundings, earthy dancehall with a vast range of puzzling vocalists

Eh hahah - Fissure

Experimental deconstructed electronic, sound collage, glitches and post-club music

Upsammy - Wild Chamber

Lucid shades of IDM, bleep techno, perky synths and frazzling hi-hats, polyrhythmic drum patterns

Otik - Blasphemy

Fresh, vibrant, dark experimental club music, techno + dance + electronic

Shanti Celeste - Tangerine

Tech / ambient / deep house, breakbeat, rhythmic and mechanical yet dreamy

Bez - Banki Mydlane

Dream pop, shoegaze, noise pop, space rock, reverberated female vocals + spoken word

Yu Su - Roll with the punches

Ambient dub, downtempo, tribal ambient, sampling, mellow, atmospheric with female vocals

Drive45 - Dried up

Bitpop, Artpop, indietronica, quirky and playful, androgynous vocals

Lala &ce - Le son d’apres

French hip hop, trap, cloud rap, alternative b&b, dancehall / sparse dark and ominous, warm female vocals

Leif - Loom Dream

Tribal ambient / ambient techno + field recordings / pastoral, ethereal, atmospheric

deathcrash - Sundown (a collection of home recordings)

Slowcore, drone ambient, post-punk, fragile male vocals

FEET - What’s inside is more than just ham

Post-punk, indie-rock, dance-punk, sarcastic, playful, technical, male vocals

Coi Leray - EC2

Trap, hyphy, pop rap

Ariwo- Quasi

Dub techno, afro-cuban jazz, ambient techno, chants, programmed beats, pulsating relentless rhythms and percussions, loud sax

Floating Points - Crush

Strikingly melodic and elegant, cinematic, frantic and distorted rhythms, shuddered synths, vibrant breakbeats, sampling, UK garage nodding

Jacques Greene - Dawn Chorus

Bittersweet, sad but triumphant, mix of experimental electronic and lightweight techno + field recordings, hazy sampled textures, distorted drones + disco house + percussions + spoken word

Men I Trust - Oncle Jazz

Indie electronic, minimal, chillout downtempo, dreamy female vocals, jazzy

Raveena - Lucid

R&B, soul, experimental, pop, groovy, jazzy and dreamy, with some field and spoken words recordings

2018

Shit and Shine - Very high

Lazy hippie funk with slowed rnb vocals

Saloli - The deep end

New Age-inspired delicate only-synth music

Adrianne Lenker - abysskis

Guitar and sweet and warm vocals

Ever ending kicks - Ideas relayed

Sweet lo-fi similar to the previous two

Negative Gemini - Bad Baby

Solid synth pop with dreamy intimate vocals

Okay Kaya - Both

melancholy bedroom-pop sarcastic and harsh lyrics

Trust Fund - Bringing the Backline

Witty yet melancholy self-aware pop-rock

Jockstrap - Love is the key to the city

A fusion of Bossa Nova, 1930s Disney-esque orchestra, and coarse electronica

Noah Cyrus - Good Cry

Pop and rnb debut album with a bit of gospel and melancholy

Carla dal Forno - Top of the pops

Alternative indie electronic, subtle instrumental backdrops with plaintive vocals

Lala Lala - The lamb

Alternative/Indie rock with grunge tones and personal and warm vocals

Diamond Thug - Apastron

Progressive but dreamy pop, graceful vocals

Denh Izen - Storage Solutions

Dark and charming sounds with warm and distorted vocals, desperate but calm

Imperial Triumphant - Vile Luxury

New York Jazz mixed with top-notch black metal great for a sci-fi dystopian movie - especially Cosmopolis

Oliver Coates - Shelley’s on Zenn-La

Beat-oriented electronic music, sublime cello and synths

Dylan Carlson - Conquistador

drone-metal imaginary Western mostly solo electric guitar

Project Pablo - Come to Canada you will like it

Dozy laid back deep house with jazzy chords and subtly swinging drums

Ryley Walker - The Lillywhite Sessions

Dave Matthews Band tribute with proggy folk, primitive guitar, free improv, Chicago jazz-rock on darker tones

Grouper - Grid of Points

Empty room, piano and voice slip through your fingers like water

Kali malone - Cast of Mind

Glacial synth tones mapped to acoustic woodwind and brass

Likes - New Pedal

Short tracks of fun glitch / hypnagogic pop

Jake Tobin - Fifth Thought

Fun and whimsical take on classical sax sounds and guitars

Jake Tobin - 135

Avant-prog / jazz fusion / romanticism / off-kilter melodies / psychedelic chords with the emotion and aesthetic of bedroom pop

Twig Twig - Darkworld Gleaming

Experimental pop, whimsical instrumentation, lo-fi uplift, beats and loops

George Clanton - Slide

Cult 2020s electronic born from vaporware influences mixed with whispery chillwave and downtempo R&B, feels like a 90s rave in an open field, no irony

Good Doom - Mood Life

Unique, very chill, dreamy sound, incorporates world music, trip hop beats, lo fi bedroom pop, krautrock and noise

Ex:Re - Ex:Re

Husky and mellow ambient pop, dream pop? Lethargic and melancholic

Zaumne - Emo Dub

Minimalistic ominous and repetitive ambient house with ASMR-like spoken words

Ehh hahah - And the weather so breezy, man, why can’t life always be this easy?

Progressive experimental electronic, deconstructed club music, EDM, bubblegum bass, playful yet dark

Kate NV - для FOR

Progressive electronic, ambient, new age, minimalist, surreal, otherworldly and playful. wet, fleshy bleeps; bubbly, liquid noise

Leon Chang - re:treat

Mellow lo-fi hip hop, downtempo, electronic, future bass, sampling

Coi Leray - Everythingcoz

Pop rap, trap, hyphy tunes, powerful + well produced

Domenique Dumont - Miniatures de auto rhythm

Sophist-pop, balearic beat, chillwave, dreampopish, soft female vocals, lush, summery and rhythmic

Big Joanie - Sistahs

Pretty standard textbook indie-rock, post-punk with female vocals

Darto - Fundamental Slime

Haunting and spacious, deep male vocals, intriguing eerie melodies, dream state lullabies + sax and spoken word bit

Old Maybe - Piggity Pink

Chaotic post-punk, unusual time signatures, strong shouted female vocals

Brad Mehldau Trio - Seymour Reads the Constitution!

Elegant and melodic modal jazz - post-bop album, fragmented but coherent, ever changing time signature and tempo

2017

Ross Backenkeller - Bardo

Folk indie guitar melodies with honest and gentle vocals

Maruego - Tra Zenith e Nadir

Italian trap with disillusioned and ironic lyrics + cool collabs

Nervous Condition - Untitled

Forceful drums, wails of sax and commanding vocals - mix of experimental rock, post-punk, no wave, jazz

Powerplant - Dogs Sees Ghosts

Synth punk, garage punk fast and fun

Wool & The Pants - Wool & The Pants

Experimental r&b / soul / hiphop vibez pretty smooth and lo-fi

TOPS - Sugar at the gate

Soft rock tunes, vintage atmosphere, fuzzy, honey-dipped songs

Slothrust - Show me how you want it to be

Covers album with grungy sounds and good arrangements

Rone - Mirapolis

Misty synths and heavy bass lines, dreary and melancholic industrial electronics, packed with doomed vocals of all sorts of guests.

Ada Babar & Kasra Kurt - Nino Tomorrow

Weird pop and experimental DIY with MIDI keyboards and guitar, playful lyrics, video game menu music

Good Doom - New Shapes for you

Evocative, dreamy and atmospheric melodies, warm at times, chilly, spooky, grungy, dark at others, synth buzzes, glitchy drums

Phoebe Bridgers - Stranger in the alps

Atmospheric ballads for sad times, deeply personal stories of heartbreak and loss

Florist - If Blue Could Be Happiness

Indie folk, soft and atmospheric, pure gentle quiet and soft female vocals about understanding light and darkness. Swooping guitar, dots of piano notes, gentle beats that recall Simon and Garfunkel

Wishing - Heat Death

Ambient pop, lo-fi indie beats w/ soft vocals that make you feel things you haven’t felt in a while

Martyn Heyne - Electric Intervals

Ambient in the broadest sense, calm instrumental downtempo guitar-centric with electronic flourishes

Equiknoxx - Colón Man

Vivid and tactile masterful sound design, syncopated loops, wonky and scintillating rhythms

American Pleasure Club - I blew a dandelion and the whole world disappeared

Lo-fi acoustic guitar with raw male vocals

Andrea Laszlo De Simone - Uomo Donna

Progressive pop, baroque/psychedelic pop + field recordings / bittersweet and pastoral

Drive45 - Have you seen me?

Bitpop indietronic, glitch pop, sequencer, dance pop

Drive45 - System Format

Bitpop indietronic, playful video game sounds

Leon Chang - bird world

Bitpop electronic, sequencer, videogame music, future bass / uplifting mellow and playful

dynastic - SPACE/SUMMER

Glitch hop, electronic bubblegum, kawaii future bass, mellow and uptempo, cheesy sax, chaotic sounds + dance floor dnb

Darto - Human Giving

Spacey experimental electronic mixed with post-punk, warm tones, 80s synths, soft melodic vocals + spoken bits

Pregnant - Duct Tape

Indie/art/soft rock, electronic, brilliant pop tunes, dreamy yet rhythmic

2016

Ever Ending Kicks - Music World

DIY colourful dreamy hazy songs

Mild Eye Club - Skiptracing

Low-key folk dreamy with 60s 70s vintage links

Loving - Loving

Easy and dreamy pop melodies, wavy, warm and mellow

Lala Lala- Sleepyhead

Alternative/Indie rock with grunge tones and personal and warm vocals

Gruff Rhys - Set fire to the stars

Soundtrack to the homonym 2014 film set in the 50s - soft romance rock, jazz-inspired, elegant and familiar

Oliver Coates - Upstepping

Deep house, techno, footwork blended with sharp and experimental classical strings

Garden Center - Garden Center

Erratic pop music, fun and playful electronic sounds, silly vocals

Raime - Tooth

Ominus and gloomy sound of dub, electronic and post-rock / stripped down to the flesh

Amiina - Fantomas

Violin, cello, drums, percussion, metallophone, harp, ukulele and electronics fused in a contemporary classical post-rock gentle melody-focused experimentation

Jake Tobin - Sorta Upset

Short tracks of experimental rock, avant-prog - eclectic and dissonant, technical and manic

Jake Tobin - Accidentally on Purpose

Post-modern experimental pop, jazz influenced sounds, off-kilter saxophone, silly humour

Vanishing Twin - Choose your own adventure

Swathes of percussion, exotic drum beats and funky guitars merge into a cosmic blend of reverberating bleeps with jazz skits / heady voyage across sound influences

Good Doom - Hug

Good Doom - Naps

Both off-beat lo-fi with a rock twists, spacey, fuzzy, grainy sounds

Zeal & Ardor - Devil is fine

Top notch black metal merges African-American spiritual slave music and some electronic beats and sounds

Shield Patterns - Mirror Breathing

Haunting vocals and sensual cello, clarinet and piano, all wrapped up in ethereal synths

Ashley Henry - Ashley Henry’s 5ive

Complex and uplifting post-bop jazz, imaginative flare, delicate and soothing piano

Florist - The Birds Outside Sang

Lo-fi indie, ambient-dream pop,sparse, minimalist keyboard leads bordering on chilly drones + intimate and personal songwriting

CBMC - OOR

Acustic lo-fi bedroom pop with an airy tone and somber feel but still feels fresh and lighthearted

Told Slant - Going By

Slowcore indie pop/folksy emo, ‘intimate spaces in which small town kids write memories of touch, togetherness, loss, love, depersonalisation’

Kate NV - Binasu

Art pop, progressive electronic, sequencer, joyful grooves but also atmospheric and ethereal sounds, eclectic and dense, melodic female vocals

Zaumne - Przezycia

Minimal ambient techno with a couple of spoken word bits

Mauno - Rough Master

Enticingly and eclectic indie rock, smooth vocals, strings and moody guitars, delicate piano, powerful drums

Susso - Keira

Tribal house, tribal ambient, folktronica, Mande music, rhythmic and powerful chants

Phern - Cool Coma

Psychedelic pop, lo-fi, mellow and playful

Hellier Ulysses - Ulysses Hellier

Experimental rock, math rock, jangle pop mixed with post-punk, technical, lo-fi, uncommon time signatures

Brad Mehldau Trio - Blues and Ballads

Deceptively sweet-sounding jazz album, songs are played with variations and every phrase is a cliffhanger - gracefully executed + bonus of my fav song <3

2015

Adeodat Warfield - Pacific, Missouri

Synth pop with electronic beats, vaporware notes

Ross Backenkeller - Rare Please

Folk indie guitar melodies with honest and gentle vocals

Grimes - Art Angels

Immaculate and authentic, synthetic and unreal but also super pop, folk, and dance / POST-art pop?

Jake Tobin - Third and Fourth Thoughts

Short tracks of weird avant-prog where the vocals follow the melodies all the time

Florist - Holdly

Vocals move slowly and sweetly through gentle meditation sound and soft guitars

Starry Cat - Starry Cat

Indie pop, lo-fi indie, wavy and shaky, bitter-sweet and personal male vocals

CBMC - FOOTWEAR

Acustic lo-fi bedroom pop with a somber feel but still feels fresh and lighthearted nearly asmr-like vocals

Wishing - To Forget

Lo-fi indie slowcore, fuzzy synths + acoustic sounds mixed with short electronic tracks / lyrics are whispered and very intimate

Oren Ambarchi - Live Knots

Two very long live recorded tracks of propulsive drumming full of tensions and releases + droning notes, plucked strings and mournful guitar

Juxta Phona - we will not be silence

Ambient, electronic, minimal melodies over crisp, tactile beats

Khruangbin - The Universe Smiles Upon You

Psychedelic / Funk rock, rhythmic and jazzy, tropical warm and peaceful

Red Sea - In The Salon

Indie experimental rock, psychedelic pop, math rock, melodic yet uncommon time signatures

Eyeliner - Buy Now

Synth-pop/funk - vaporwave / instrumental, melodic, uplifting, lush, futuristic / great bass lines!

2014

Ricky Eat Acid - Three love songs

First half found sounds, experimental electronics, fuzzy piano loops. Second half IDM beats and keys, choir-like vocals / “might be the sound of music having a dream within a dream about music”

Jake Tobin - Torment

Jake Tobin - Life as a Clerical Error

Weird dissonant mix of avant-prog, art punk and jazz fusion but in an amazing way

Richard Dawson - Nothing Important

Brittle, crudely amplified nylon-string acoustic guitar, experimental drones, folk sketches, imitation field cries, and free jazz diversions

2013

Ever Ending Kicks - Weird priorities

Sentimental chill instrumental and colourful with gentle vocals

Gruff Rhys - American Interior

John Evans-themes concept album - witty folk oriented retro-futurist music

Michael Andrews - Spilling a rainbow

Well-crafted pop tunes, nostalgic and lighthearted memories of folk rock with a dash of avant-garde electronic haze

Pill Friends - Blessed Suffering

Lo-fi indie/emo noisy and raw with existential and stark male vocals

2012

Told Slant - Still Water

Lo-fi/bedroom-punk with folksy guitars and delicate vocals as if they could break down in tears at any moment

2010

Hype Williams - Find out what happens when people stop being polite and start gettin reel

Ypnagogic vortex of incredibly canny hard to pinpoint music with distorted spoken vocals

Zach Hill - FACE TAT

Constant restless drumming, squiggly melodic instrumental hooks, mosaics of disconnected noises, fuzzy sounds and vocals

2008

Amplifier Machine - her mouth is an outlaw

Half-improvised ambient - drone - experimental - electronic - post-rock

E. Bandel, Victory & Good Hunting - s/t

Classical, piano, folk, melancholic, haunting

2007

Seabear - The ghost that carried us away

Indie/folk multi-instrumental dynamic floating sound, warm melodies, calm and gentle vocals

HEALTH - HEALTH

A masterful noise/experimental rock with elements of post-punk, drone and electronic - disorienting rhythms, tempo-shifting, noisy outbursts

2005

The Darkness - One way ticket to hell

Hard / glam rock ballads and pop tunes

2004

The Emperor Machine - Aimee Tallulah is hypnotised

Mix of electro euro disco, post-punk, krautrock, sci-fi scores, jazz-funk. Thick dance rhythms and mind-altering synths

2002

ESG - Step Off

Sweet soul with a punk attitude, jazzy sassy vocals

Hella - Hold your horse is

Non-stop, indie-audio assault / Nintendo music / midi and electronic beats / head-spinning leading drums, very fast guitars

1998

Eels - Electro-Shock Blues

elegantly sad grief and death themed album, deeply personal, yet brilliant pop tunes, post-grunge, jazzy arrangement, archive sounds, electronics

Duster - Stratosphere

Bashful slowcore lo-fi experimental space/indie rock

1975

Bobbi Humphrey- Fancy Dancer

Funky jazz with forms of world music, soul, club music and pop

1973

Kevin Ayers - Bananamour

Progressive pop, art rock with mix of soul, r&b, reggae - choirs and country type ballads

1972

Kevin Ayers - Whatevershebringswesing

Experimental new age prog rock, semisweet tunes, lighthearted, skewed sounds

1970

Kevin Ayers - Shooting at the moon

Experimental, progressive, avant-garde, rock with jazz influences, sound recordings, excellent songwriting

6 notes · View notes

nnjzz · 5 years

Text

ANDY ORTMANN + VIKI + DEEAT PALACE + EVIL MOISTURE /

DIMANCHE 13 OCTOBRE]

ANDY ORTMANN / us VIKI / us DEEAT PALACE / fr EVIL MOISTURE / uk 20 : 00 portes 20 : 36 début lives please/ LES NAUTES 1 Quai des Célestins 75004 M° Sully-Morland 6€ P.A.F. ========================

ANDY ORTMANN / us chicago

artiste sonore / visuel / conceptuel pratiquant depuis une solide trentaine d'années une approche éclectique et abrasive du son, brassant musique concrète / noise / synthèse modulaire & co. Actif aussi à travers diverses collaborations plus ou moins ponctuelles ou régulières (avec notamment John Wiese, Reglani, COCK ESP, Metalux...),leader (?), co-fondateur du magnifique- et "historique"! - noise-combo PANICSVILLE.

Également "tête pensante" et gérant du succulent label Nihilist Recordings (dont il assure également l'identité visuelleainsi qu'animateur de l'émission "The Eternal Now" chez l'excellente radio WFMU dont chaque épisode (proposant un savant cocktail à base de musique concrète / noise / indus / post-punk / B.O obscures / lounge etc. ...) est un régal. Pratiquant une certaine noise pince-sans-rire, ayant bien absorbé ses influences ("Futurism/Musique Concrete/Collage/60's-70's Electronic music"), et se définissant comme "trans-media artist", il tâte de l'électronique, aussi bien sur le plan sonore que visuel,explorant les possibilités des combinaisons entre synthés modulaires (vidéo + audio), ordinateur, cassettes préparées, mélangeant le lo- et le high (plus ou moins) tech…

https://www.youtube.com/watch?v=cjHTmCDV8Yw

https://www.musiquemachine.com/articles/articles_template.php?id=87

https://nihilistrecordings.bandcamp.com/

https://www.youtube.com/watch?v=EboNgBMbxV0

https://nihilistrecordings.bandcamp.com/album/andy-ortmann-pataphysical-electronics-nihil-100

https://wfmu.org/playlists/AO

VIKI / us detroit aka Lindsay Karty aka VIKI Viktoria,'artiste pluridisciplinaire / improvisatrice / compositrice a navigué dès le début des années 2000, dans les mêmes eaux troubles et trempé ses circuits électroniques dans la moiteur des mêmes repaires interlopesque ses amis de Wolf Eyes ou Nautical Almanac, tout en poursuivant un cursus universitaire des plus respectableset obtenant son diplôme des beaux-arts sous la houlette de Pauline Oliveros.

Elle continue à organiser / "curater" à Detroit des événements dans la lignée des expériences de "Deep Listening", initiée par celle-ci.

"VIKI moves fluidly between sound worlds, street-smart as well as school-smart.She is also a member of SLIKI, a duo with Stallone the Reducer. She actively practices and collaborates in live multi-channel speaker performance in acoustically interesting spaces and club situations." A son propos Sonic Protest écrivait ceci en 2006 :" One-girl band Putain d'electro-no-wave crados à faire pâlir tous les fans hype d'electroclash!!L'univers de Viki est à rapprocher plus du son minimal post-indus de Wolf Eyes et des éructations hallucinées de Suicide. Viki, ne serait elle pas la soeur cachée d'Alan Vega avec ses boîtes à rythmes trafiquées et ses mélodies synthétiques hypnotiques?"

http://lindsaykarty.site/ems/

https://www.youtube.com/watch?v=aZJ10mdzP6Q

https://www.youtube.com/watch?v=y03Y8BVbPYM

DEEAT PALACE / fr paris

Projet solo de Marion Camy-Palou, musicienne touche-à-tout, moitié du duo (EDM + post punk) OKTOBER LIEBER et un tiers du trio "post punk + hard core + no wave” OFFICINE. Usant sauvagement et aléatoirement de deux ou trois machines et d'un micro, DEEAT PALACE assène une sorte de no-wave primaire, abrasive et rentre-dedans, concassant et broyant - avec bruit et brio - les codes de la techno originelle à coups de cris, rythmiques martiales / tribales et orgues aux pourtours stridents, fermentant dans des ambiances “dark”, "psyché" et "indus", (im)pur jus. On pense - ou pas - à Genocid Organ, Military Position, à Pharmakon ou Puce Mary. https://soundcloud.com/deeatpalace

https://vimeo.com/316165598

https://www.youtube.com/watch?v=AYkYrCCgUac https://inverted-audio.com/review/deeat-palace-deeat-palace/

https://next.liberation.fr/musique/2018/02/14/le-son-du-jour-244-inconfortable-comme-deeat-palace_1629639 EVIL MOISTURE / uk paris [ sort of ] Depuis une solide trentaine d'années - tout comme l'autre Andy - celui-ci, originaire de Brighton, développe "sous forme de collages audio ses créations aux sources multiples : circuit bending, synthés, effets et toute sorte de dispositifs faits maison, bandes magnétiques remodelées. (Vice de Forme)

Il “nous donne à voir et à entendre un monde en marge ou des collages, peintures et dessins aussi criards que terrifiants fusionnent salement avec un étalage de sons uniques, circuits bending hors circuits et hors tout, tout simplement.” (Instants Chavirés)

Sous son apparence “drôlatique”, sa (non)musique - incroyablement variée et échappant souvent au simple étiquetage “noise” - ressemble de plus en plus à une forme de “musique concrète” larvée, évoluant et s'inventant en temps réel, devant nous, avec à chaque fois un dispositif différent, fabriqué maison, ressemblant à une entité organique, mutante, à base d'un galimatias de circuits électroniques modifiés, gadgets inquiétants, bandes magnétiques, et invariablement - avec force accidents - plus ou moins contrôlés - sonores...(Le Non_Jazz)

https://www.youtube.com/watch?v=RPr62ii0luw

http://evilmoisture.free.fr/rs.html

https://www.youtube.com/watch?v=EMkXHcaLl2A&t=7s

https://www.youtube.com/watch?v=zAFDVbiILns

https://evilmoisture.bandcamp.com/https://soundcloud.com/evil-moisture/andy-moisture-au-treize-le-vendredi-20-septembre-2019

Fly - Jo L'Indien

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fluidsf · 5 years

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Sonic Picks 11

aRF: attic (2018)

Reviewed format: Self-released Digital Mini Album

I'm onto the next Sonic Pick in 2019 already with this self-released Mini Album by aRF titled attic. This Mini Album was released last year and it was recommended to me by aRF after I received a positive reply from him when I sent him my review of the field recordings album Stambuł (2018) under his name Rafal Flejter which I posted yesterday. Unlike Stambuł attic is an album of music, in this case cinematic, droney and glitchy experimental music and all of the 5 tracks on attic are created using samples from the film Attic by Henry Tod which gives it quite a unique abstract but also deep sound. In the download of this Mini Album you can find the 5 tracks in above CD quality 16-bit/48kHz files as well as a good resolution file of the album (in a rectangular format, similar to a cassette tape cover).

attic is again a pretty short album at only 31 minutes but it uses the time rather well and all 5 tracks develop and progress musically and sonically in rather immersive, captivating and unique ways. First track opus_027 also has a music video attached to it (which you can find here: https://www.youtube.com/watch?v=m009ZRUuv64), I couldn't find who made it in the description but it's definitely a pretty nice visual accompaniment to the music featuring occult-themed mirrored and filtered images of a girl moving creating new mysterious shapes in an orange tint as well as images of skulls and masks. Definitely more like music visuals rather than a storytelling video but it works well in that manner. The music itself is a curious mixture between sound collage, glitch and Industrial Techno influenced bass and distorted Noise that does feel influenced by some parts of the post-internet and manipulation techniques used in Vaporwave and its many subgenres as well deconstructed club music. opus_027 switches between whishing chopped and mangled glitched up music samples and a part in the second half that features mysterious high pitched swishy synths and glockenspiel tingling sounds. Despite the highly fragmented aesthetic of the sound and abstract rhythm and composition of the music it still carries a lot of atmospheric cinematic ambience with it and the sampled melody is recognizable even with the heavy glitching and post-2000s Autechre styled heavy rhythmic pumping sidechain compression used on the sample. The track also features some rather low pitched saturated industrial sounding drums, falling into that contemporary tape culture kind of lo-fi vibe that I really like as well as rumbling very low bass. This low bass is audible on pretty much all 5 tracks on attic adding an additional thumpy cinematic sub bass to the mixture. opus_05 dials up the Industrial Techno influence a bit in its bassy kicks and minimal noisy synth percussion and features some great vocal sampling in the first half adding a great creepy ambience to the music. In the second half of the track there is a nice distorted and reverberated synth melody adding some more dramatic tension to the music. Indeed, all 5 pieces on this Mini Album actually also sound like tracks on a film soundtrack with their continous ambience and tense progression throughout, making attic also meta in a way (Mini Album using samples from a film sounds like a film soundtrack again). opus_024 is also tense in its atmosphere featuring sharp distorted reverberated drones as well as strangely manipulated nature field recordings and dialogue samples (which sound English a bit but I can't quite discern the language exactly). In the second half the music goes into this psychedelic kind of tribal ambient vibe with overtone like sounds as well as a continous strong drone carrying the music forward, great stuff. opus_025 is the most abstract and minimal track on the Mini Album, I'd say it's a "Glitchy Drone" piece, based around various reverberated glitched up music and voice samples. It's the longest piece on the album and does perhaps require a bit more patience to get into, but its slow and gradual progression is rewarding and the second half features a nicely mysterious but also brighter sounding mixture of "cleaner" music samples combined with warm synth tones. opus_026 is the closing track and it features more straight sampling and glitching, looping buzzy music samples that also feature electric piano as well as manipulating them further overtime, this track's got a bit more of a classic Glitch style in it as well as Noise effects too, great music again and a nice finale of this mini album.

attic by aRF is a great Mini Album of surreal experimental music that over its 31 minutes playing time achieves to create a great deep and imaginative cinematic journey that feels like somewhat like a mashup of a soundtrack and its own deconstruction in new music. A great and unfortunately overlooked release (I was the only person who's bought and added to their collection on Bandcamp at the time of writing it seems) that definitely deserves to be discovered by anyone looking for quality unique experimental electronic music as well as anyone feeling in the mood for surreal cinematic instrumental music.

Digital Mini Album available from the aRF Bandcamp page here: https://arfnoise.bandcamp.com/album/attic

#digital download #independent music #self-release #underground music #2018 #glitch #sound collage #drone #ambient #Industrial Techno #tribal ambient #mini album #arf #attic #sonic picks #experimental music

0 notes

igazikutya · 7 years

Text

Zajok a nappaliból - 2017 március

Március dacára itt most a tavasz még nem rúg labdába. Bekapcsolt radiátorok, süvítő szelek, beborult egek, sál és sapka – már ha nem hagytuk el – mer feledékenyeknek az élet kemény, mormolja maga elé a sapkátlan legény. Ha már nem lesz olimpia, kezdeném a majdnem a győztessel, aki épp, hogy lemaradt az aranyról. Az On-U-Sound tulajdonosa, maxirespect Adrian Sherwood, akinek hála, már annyi jóság áradt szét a zene világában a klasszikus és modern dub-reggae mentén, újra Rob Ellis-szel (Pinch) karöltve jelentetett meg új albumot. Nem tudom emlékszik-e a kedves olvasó a 2015-ös Nagy Leftfield Várásra, amit többen azóta se hevertek ki. Nos, némi csúsztatás, de jó hírem van, megjött az a Leftfield lemez, csak ez a Man vs. Sofa Sherwoodék-tól. Azért csúsztatás, mert Leftfield technot és houset és hasonló 4/4-eket is tol, és csak néha dub, ez meg végig az. De mindaz, amit 2017-ben egy korszellemmel maradéktalanul haladó iránymutató lemeztől el lehet várni, az a Man Vs. Sofa. És hogy értsük, miről is van szó, párhuzamot vonnék a szintén új lemezzel érkező – és bár eltérő jellegű, de szintén a jamaicai vonalat képviselő – Dreadzone kárára. Dread Times albumukat a Rootsman-ben a „Rootsmusic can never die” jeligével illetik, és lehet, hogy ennek a dallamos, kicsit egyenes reggaenek is van létjogosultsága, és amúgy jól is szól, meg utalnak az örökifjú gandzsanyugger Perry bácsira is, ha mellé teszük a SherwoodPinchet, szakadéknyi a disztansz. Visszaülve a kanapéra, azt hallhatjuk, hogy a már jól ismert sherwoodsound 2017-es update-je nyomokban dubstep-et, bass-t és mindenféle korszakos hangzáskiegészítőket tartalmaz, de nem nyomja el a klasszikus alapízt, sőt megtámogatja azt. Tegyük gyorsan hozzá, hogy Sherwood olyan epizódistákkal egészíti ki csapatát, mint a Primal Scream szintis Martin Duffy, a Sugarhilles, Tackhead-es Skip Mc Donald, najó őt csak áthívta a másik szobából. A lemezt Kevin „Careful” Metcalfe keverte, amit csak azért említek meg, mert irtó jól szól a lemez, veretes mérnöki munka van mögötte. És mivel Lee Scratch Perry bácsi megint stúdióra gyűjt – 2015 decemberében leégett neki (másodszor, és most nem direkt! azakurvagyertya!) – ő is kapott egy dalocskát a Lies-t. Amúgy meg szemét vagyok, tutti megvan már az a stúdió, ez már reluxára lesz.

https://soundcloud.com/on-u-sound-records/sherwood-pinch-ft-lee-scratch-perry-lies?in=on-u-sound-records/sets/sherwood-pinch-man-vs-sofa A Lies mellett kiemelném az Itchy Face, Midnight Mindset, Juggling Act, Retribution, Gun Law felvételeket, de nem teszem, mert #egybenyeljele! Ennyi dicséret után nehéz lesz az élen tartani az elsőt, de megpróbálom. Sigha, aka James Shaw Metabolism albuma csak azért nem szól akkorát, mert az eleve szürkés tónusokból, kobaltból meg karbonból öntött művét elrejti a szürke februári londoni köd. Csak semmi villogás, ez lopakodó techno. Kifinomult kristályszerkezet, nanotechnológiás politúr. Tisztelet az aranymetszésnek!

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A techno, experimental, absztrakt és néhol downtemp vagy akár trance vonásokat harmonikusan variáló mű egy pillanatra se zökken ki, ideális hallucinogén transzporter, bár nem ettől fogsz felvidulni, hanem attól. Az általam nagyra tartott Inigo Kennedy kiadójánál, a belga Tokennél jött ki a lemez, és ha már Inigo Kennedy, tagadhatatlanul közös részükről az IDM szentség és filosz értékóvása. Mindig hangsúlyozom, hogy szubjektíve innen nézve, minden trend, piaci elvárás és egyebek dacára a művészeti érték az elsőrendű, és ez az album ennek egy tökéletes megtestesítője. Emellett nélkülöz minden hivalkodást, belülről felfelé épitkező, tere van és kivételes egyensúlyt hordoz, mindezt alázattal és feszes figyelemmel a nagy IDM elődök nyomában. Bronzot érő helyen dübörög a berlini Stroboscopic Artefacts hangárjából kigördült Hyper Opal Mantis Kanding Ray-től. A zsinórban 90%-os töménységű albumokat (Or[2011], Solens Arch[2014], Cody Arcane[2015]) szállító David Letellier csak azért harmadik, mert kicsit úgy érzem, annyira rajtamaradt a saját hangzásán, hogy a felsorolt hanghordozókhoz képest nem igazán van új ismérv. Az is lehet ám, hogy pusztán csak David annyira elvolt a kütyüivel (hogy utálom én ezt a szót kedves Cronenberg), a takarítónéni bezárta, a Berghain alagsorában bolyongva alkotta meg ezt az ideit, ettől kissé klausztrofóbiás, pinceszaga van és már nem is keresi a kiutat. Messze van még a péntek, üldögél a hideg kövön, néha kinéz a moziképarányra igazított ablakon, s köldöknézve agyában a led kigyúl, eladom a szintik felét, mert ugyanazadal. Nagy Önismétlők sorozatunk következő főhőse a detroiti technoisten Jeff Mills. Neki se ártana felmennie a micsigeni vaterára. De tényleg! Itt is tapasztalható némi – legyek már kicsit jóindulatú – kontinuum (Kontinuum lehet bármi, ami nem hirtelen, hanem folyamatos változású, wikipedia). 2016-ból még idecsusszant a Kill Zone EP, valamint idei az 1902-es A Trip to the Moon francia némafilm klasszikus címét és arculatát viselő album, ami valamiféle némafilm megzenésítés akar lenni. Nem ismerős? Ugye de! Jeff Mills – Metropolis (2000). Igen, de az tényleg egy unikum volt (a cédét szarrá hallgattam anno). Nem zrikálom tovább az öreget, mert egyébként TE, aki az első Jeff Mills lemezt hallgatod, érdekesnek fogod találni, azt meg furcsának, hogy majd minden dal nyolcvanasévekesen van elúsztatva. Összefoglalva: kontinuum, ami remélhetőleg halad, de közben törik. Mi az? Dzsefmilsz. Miért? Mert a detroiti technoisten malmai is lassan őrölnek. James Clemence az idei évet három EP-vel nyitotta (Internal Software, és most a Return Of The Emissary és a Zone of Avoidance), és ha már kontinuumkodás, akkor az ASC-re végképp kijelenthető valamiféle felismerhető védjeggyé alakult forma, ami EP-ről LP-re érdekfeszítően alakul. Na ebbe a történetbe remekül passzol ez a mostani két EP. A Clemence-medicina amúgy igen bátran mozog a drone-ambient-trance-techno négysebességes mentén. Érezni, hogy mindezt eleganciával teszi, az hagyján, nála valahogy nem uralkodnak a sötét tónusok, akármennyire van jelen a basszusdominancia, vagy merül mélyre a háló, fényből mindig marad, ergo vagy pörget, vagy ápol. Ha nem hiszed, hallgasd meg ezt a két lemezt, és mondjuk tegyél mellé egy tetszőleges 5 éven belüli Monolake-et, majd vesd össze! Ugyanis nagyjából közös vizek ezek, de a súlypontjuk egészen máshol van, ettől pedig természetesen eltérő hatást is gyakorol az emberre (homoempátiás IDM). Nem is tudom miért nem az övé a bronz? Paradinas (µ-Ziq) Planet Mu kiadójának fiatalja a Herva néven experiental vonalon ténykedő Hervè Atsè Corti. Néha elég paraszt, meg talán bolhapiacos sokszínűség is jellemzi, közben meg a háttérben a mester (Paradinas) figyel Yoda. Ha bárkit megzavart ez a túlzott kavalkád, kezeltesse magát James Murray vadiúj Földanyaföld illatú és zavarbaejtően Killing Ghosts címet viselő lemezével. Horizontot fürkésző, ködös tekintetű James barátunkat az azóta Langolierek martalékává vált em:t recordings (nomen est omen) em:t 0004 (2004) zseniális válogatásáról ismertem meg, akkor Sub néven követte el a Nautilus című zsenijét (erre még később visszatérünk). Mivel évente kiad egy-két albumot, én nem vagyok olyan kifinomult, hogy ezen drone-ambient-minimal felhők között jelentős különbségeket tudnék tenni, ám szépek, pont mint a felhők és kellemes mint a tavasz szellő. Mindeközben a diszkóban az elfunkysult Jamie Lidellt remixelte Matthew Herbert houseépítő nagyvállakozó, majd ha már a kétszámos maxira írták ki a tendert, mellérakta saját szerzeményét (Megaphone). Minden vállakozónak maga felé hajlik a vagyonyilatkozata, bár a két építmény azonos technológiával készült, a Megaphone szól jobban, lehet bólogatni meg ropni az aljzatbeton. Egy pillanatra hagyjuk a hanyatló nyugatot, irány dél, mert a Gyodán túl is történnek franya dolgok.

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A két nándorfehérvári klubarc Nebojsa Bogdanovic and Goran Simonosk duója a Tapan nekem új. Friss Tarantella maxijuk egy techno-house-industrial-tribal-leftfield ötszögben bolyong, miközben az összhatás meglehetősen pszichedelikus, ami az egyedi és kreatív hangszerhasználat eredménye. A héten a Juno listáján is beverekedték magukat a Top10-be, ami nem véletlen. Érdemes lenne élőben is elkapni őket, mert van bennük kraft. Orbék megjelentették a The Cow Remixes - Sin In Space, Pt. 3-t, tehát a sorozatban harmadik remixcuccot. A papírforma szerint a The Field újraértelmezése sikerült a legjobban. Itt domborodik ki a remixelés lényege. Amikor a The Orb különleges morzsáiból rendeződik a The Field elképzelése mentén valami, ennek köszönhetően egyfajta hibridet kapunk, ami visszatükrözi mindkét alkotó erényeit. ASC - Return Of The Emissary [Auxiliary, 2017] ASC - Zone Of Avoidance [Veil, 2017] Dreadzone - Dread Times [LP][Dubwiser, 2017] Herva - Hyper Flux [Planet MU, 2017] James Murray - Killing Ghosts [LP][Home Normal, 2017] Jamie Lidell, Matthew Herbert - When I Come Back Round (Live) (Matthew Herbert's Long Night Dub) [Accidental Jnr, 2017] Jeff Mills - A Trip to the Moon [LP][Axis, 2017] Jeff Mills - The Kill Zone [EP][Axis, 2016] Kangding Ray - Hyper Opal Mantis [LP][Stroboscopic, 2017] Masomenos - Les Acolytes Anonymes [EP][Welcome to Masomenos, 2017] Om Unit & Sam Binga - Transsiberian [EP][Bunit, 2017] Sherwood & Pinch - Man vs. Sofa [2xLP][On-U Sound, 2017) Sigha - Metabolism [Token, 2017] Tapan - Tarantella [EP][Malka Tuti, 2017] The Orb - The Cow Remixes - Sin In Space, Pt. 3 [Kompakt, 2017] VA - 25 Years Of Clone Records Vol. 1 [Clone, 2017]\

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Hadiqa Kiani

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Hadiqa Kiani

Hadiqa Kiani (Urdu: حدیقہ کیانی ‎) is a Pakistani singer, songwriter, and philanthropist. She has received numerous local and international awards and also has performed at the most prestigious venues in the world, including Royal Albert Hall and The Kennedy Center.

In 2006, Kiani received the highest Pakistan civilian award, the Tamgha-e-Imtiaz, for her contributions to the field of music. In 2010, she was appointed as a United Nations Development Programme Goodwill ambassador, making her the first woman in Pakistan to a Goodwill ambassador to the United Nations

In 2016, Kiani was titled as one “Pakistan’s Most Powerful and Influential Women” by the country’s leading news group, Jang Group of Newspapers, as part of their “Power” edition.

Contents

1Early life and career

2Albums

2.11995: Raaz

2.21998: Roshni

2.32002: Rung

2.42007: Rough Cut

2.52009: Aasmaan

2.62017: WAJD

3Playback singing and musical contributions

4Notable performances

5Philanthropy and social causes

6Pakistan Idol

7Recognition

8Personal life

9Discography

10Awards and nominations

11References

12External links

Early life and career

Kiani was born in Rawalpindi as the youngest of 3 siblings, her older brother (Irfan Kiani) and sister (Sasha). Her father died when she was 3 years old. Her mother, poet Khawar Kiani, was the principal of a government girls’ school. Seeing her musical ability, Khawar enlisted Kiani in the Pakistan National Council of the Arts. She received early education in music from her teacher, Madam Nargis Naheed. While studying at Viqar-un-Nisa Noon Girls High School, Kiani represented Pakistan at international children festivals in Turkey, Jordan, Bulgaria, and Greece, winning various medals along the way and performing for thousands around the world. Kiani was also a part of Sohail Rana’s children’s program “Rang Barangi Dunya,” a weekly musical on PTV. As an eighth grader, Kiani moved from her birthplace Rawalpindi to Lahore where she continued her classical training by Ustad Faiz Ahmed Khan and Wajid Ali Nashad. Kiani went on to graduate from Pakistan’s top institutions, earning her bachelor’s degree in Psychology from Kinnaird College for Women University and her Masters in Psychology from the historic Government College University (Lahore). In the early 1990s, Kiani came onto TV to host a children’s music program called “Angan Angan Taray”. In the 3 1⁄2-year-long run, she had sung over one thousand songs for children while hosting the show alongside renowned music composer Amjad Bobby and later on with music composer Khalil Ahmed. Owing to the sheer number of songs Kiani sang during this program, she was presented with the title of “A+ artist” on behalf of PTV joining the likes of Noor Jehan, Naheed Akhtar, and Mehnaz. Kiani also appeared as a VJ for a music charts program called Video Junction on NTM. Kiani began to sing songs as a playback singer for movies in the early 90s, most notably was the hit Pakistani movie called Sargam, which was starring and being composed by Adnan Sami Khan. The same year, she received various awards for her playback singing including the prestigious Nigar Awards for Best Female Playback Singer.

Albums

1995: Raaz

In 1995, Kiani received the “NTM Viewer’s choice award” for the Best Female Singer of Pakistan. In the same Award show, Nusrat Fateh Ali Khanwas awarded as the Best Male Singer of Pakistan. The following year, Kiani released her debut album Raaz (Secret) in 1996. The album spawned a string of radio-friendly hits and received positive reviews. Some argue that the reason the album did well was because it was not common for female singers (from educated/non-musical backgrounds) to release albums in Pakistan. Also, she was the first female singer to release a pop album after the former pop singer, Nazia Hassan, gave up her musical career. Kiani’s ability to sing in other dialects was also presented to the country through the hit Kashmiri folk song “Maane Di Mauj. Her increasing popularity was further highlighted in January 1997, when Kiani became the first Asian singer to perform at the British National Lottery Live on BBC One (a program with an estimated viewership 16.6 million at that time). Afterwards she worked on two more shows with Bally Sagoo for BBC and ITV before going on her first U.S. tour in 1997. Her U.S. tour covered 15 states and a few cities in Canada.The same year Kiani performed many other international events in the United Kingdom, Australia, and China. By the summer of 1997, Kiani was representing Pakistan as the only Pakistani singer to perform at “Celebration Hong Kong 97” at Happy Valley Race Course, alongside other International singers like Lisa Stansfield, Wet Wet Wet, Michael Learns to Rock, All 4 One and The Brand New Heavies, an event to celebrate Hong Kong’s freedom from the United Kingdom. Kiani is the first mainstream Pakistani singer to ever perform in Hong Kong. By the end of the year she became the first Asian female singer ever to be signed by Pepsi Cola International. She was the second international female artist in the world to be signed, the first being Gloria Estefan.

1998: Roshni

In 1998, Kiani recorded the official theme song for the 1999 Cricket World Cup. The Pepsi sponsored song was titled Intehai Shauq, written by Kiani’s mother, Khawar Kiani, and composed and produced by the famed Nizar Lalani. The song was filmed by Jami and Imran Baber and proved to be an instant success that captivated the country with what was noted as incredibly motivational imagery and lyrics. Amidst the World Cup recording, Kiani released her second album, titled Roshni. The third single from the album was Dupatta. The video was inspired by the sci-fi film The Matrix. The song is listed in the Twenty Best Pop Songs Ever for Pakistan, where it is positioned at number 15. The success of the song was attributed to its quasi-bhangra rhythm with “fat, funky techno beats” and Kiani’s “dreamy-meets-husky vocals” which made the results “stunning”. In the wake of “Dupatta”‘s, success Kiani became widely accepted as the country’s leading female vocalist. Capitalizing on “Dupatta’s” success, Kiani went on to release two other moderate hits, “Roshni”, and “Woh Kaun Hai”. Her sixth single off the album, “Boohey Barian” went on to become an even bigger hit for her than “Dupatta”. To date, “Boohey Barian” is widely accepted as Kiani’s best single ever and noted as one of the most prominent Pakistani songs of all time. Roshni sold over a million copies in Pakistan alone, certifying it as “Platinum”. The album is listed in “The 20 Best Local Pop Albums Ever” for the country, positioned at No.15. Kiani is just one of two female singers in the entire list. Kiani’s success led to her being signed by Unilever for celebrity endorsement of Lipton in 2001. In 2002, she is signed again by Unilever for SunsilkShampoo after the results of Unilever’s national survey to find the “Most Popular Woman of Pakistan”. Throughout the early 2000s, she performed live concerts in the US, Canada, UK, Middle East, Far East, Australia, Norway, Greece, Bulgaria and Turkey.

2002: Rung

Kiani released her third album Rung in September 2002. She returned to promote the album in June 2003, almost 10 months after she’d released “Yaad Sajan” with a new single “Ranjhan” and several stage performances and tours around the country. She then released other singles off the album throughout 2003 and 2004. These included “Jogi Bun Kay Aa”, “Mahi” and “Dholan”. In “Jogi Bun Kay Aa” Kiani plays various women’s roles, including a traditional Japanese, an Arab, and a tribal woman. She played a vampire in her video for “Mahi” which was directed by top director Asim Raza. The video showed that it is harmful to judge people of different faiths and castes, and also bad to stereotype. It was the highest budgeted video of the year 2003. During this time, Kiani was in the midst of her first divorce, however Kiani’s album sales continued to pick up through 2003 and 2004. In 2004, she received the Best Female Pop Singer Award by Indus Music, the first 24-hour music channel of Pakistan. Asim Raza won an award for best video for directing her critically acclaimed video Mahi. Shortly after the release of Rung, Kiani was mentioned in “Pakistani Pop’s 10 most Influential Acts Ever”, in which she was ranked ninth. She is also one of just two female singers in the list, the other being Nazia Hassan. A UK-based Magazine declared Kiani the 22nd greatest music maker of South Asia out of a total of fifty artists, also mentioning how she raised the standard of music videos in the country. Several years after the release of Rung, leading Indian Sufi singer “Harshdeep Kaur” covered Kiani’s self composed “Jogi Bun Kay Aa” on a leading Indian television show. The lyrics of the song were originally written by Kiani’s mother and poet Khawar Kiani.

2007: Rough Cut

In 2007, Kiani released her fourth studio album, Rough Cut, a collaboration with Aamir Zaki. With the release of Rough Cut, Kiani became the first mainstream Pakistani artist to release an album completely in English. Prior to the release of the album, Kiani and Zaki teamed up for an Urdu song, written by Zaki, titled “Iss Baar Milo”. The video was directed by Jami (director) and starred Humayun Saeed opposite of Kiani. “Iss Baar Milo”‘s video production and acting performances, notably Kiani’s portrayal of a “schizophrenic” patient in a Pakistani mental hospital received a great response. The video was a major milestone in the Pakistani music industry, winning Kiani and Jami the title of “Best Video” by MTV Pakistan. In April 2007, Kiani released the first official single for the album, titled “Living This Lie”. The same week, Kiani was named “Hotstepper of the week” for The News by Jang Group. The article also stated that ultimately, “as long as Hadiqa is around, there is still hope for women in the patriarchal music world of Pakistan.” “Living This Lie” was nominated and won for “Best English Song” at “The Musik Awards” in 2007. Kiani was also nominated for Best Female Singer in the same award show.

2009: Aasmaan

In June 2009, Kiani switched record labels to Fire Records and released her fifth studio album, titled Aasmaan. In the album, she sang in Urdu, Punjabi, Hindko, Pashto, and Persian. The first single of the album was “Sohnya”. The official video of “Sohnya” premiered a day before Kiani released the album. Following the release, the song+video stayed on the Aag top 10 Charts for over a month resulting in Kiani receiving a Shield from Aag10 for being the Artist of the Month.[39] The album itself stayed Number One on the Vibes Charts of INSTEP Magazine for the entire year. By the end of 2009, Aasmaan was named the Best Album of 2009 according to sales volume, popularity and internet downloads. Every single released from Aasmaan reached number one. “Sohnya” was number one AAG10 Charts for over a month and was titled the best Pop Song of 2009 according to The Nation. “Tuk Tuk” was number one on Prime TV Charts. “Az Chashme Saqi” went number one on PlayTv Charts and by the end of 2009 it was declared the third best music video of 2009.[34][40] In February 2010, Kiani released “Janan”, for which she collaborated with relatively unknown Pashto singer Irfan Khan. The song has become Kiani’s biggest hit till date and some say that it has even topped the popularity of “Boohey Barian”. The song became the first Pakistani pop song to be mentioned by the Los Angeles Times, where the newspaper said that “Janan” was what the whole country was listening to. Kiani’s rendering in the Pashto language was critically acclaimed. Some Pakhtoons even started to call her “Hadiqa Pathani,” Kiani is credited with bringing back a trend in Pakistan of embracing Pashto culture, girls started to wear Pashto style dresses imitating Kiani’s looks on the red carpet and more mainstream singers began singing in the local language. The song’s widespread popularity was credited to the fact that it broke barriers in Pakistani music, Kiani being a Punjabi singing a Pashto song and appealing to not only Pakistani Pashto audiences, but to audiences worldwide. Kiani’s “Janan” has been covered by many international singers, most noticeably by the Chinese singer Hou Wei at the grand South Asia Expo in 2014. The Chinese cover was done as a tribute to Pakistani culture which elevated the Pashto community in Pakistan while, what many say, cementing the song as a national treasure

2017: WAJD

In 2017, Kiani teamed up with her brother to launch the visual album titled “Wajd.” The album consisting of five renderings of folk songs was critically acclaimed and led Kiani to receive her first “Album of the Year” award from the Lux Style Awards 2018. Kiani’s distinct wardrobe during this album’s era were noted by the press and led her to win “Most Stylish Singer” at the Hum Style Awards 2018. Her style led her to be the muse for high street brands such as Generation[48] and Bonanza and coutiers like Ali Xeeshan.

Playback singing and musical contributions

In 1995, Kiani signed a string of Pakistani films as a playback singer, most notably the Adnan Sami Khan film Sargam (1995). Sargam went on to win various awards for Kiani, including that of “Best Female Playback Singer” at the prestigious Nigar Awards. Since Sargam however, Kiani has been mostly absent from playback singing in Pakistan. The exception came in 2011 when she became one of the primary playback singers for Shoaib Mansoor’s film Bol (film). The film featured four of Kiani’s songs, two of which were collaborations with Atif Aslam. The soundtrack of the film saw positive reviews and received four Lux Style Awards nominations for Kiani and Aslam. In 2006, Kiani was featured on UK based producer Khiza’s album “Loyal To The Game”‘s lead single, “Mehr Ma”. The song was an instant success in Pakistan, and was seen as a great return to pop music for Kiani after her ballads in Rung. In the video, Kiani was seen with different hairstyles and outfits. The reviews for the song were favorable, one source said that “Mehr Ma”, which starts off the album, is easily the best track on it. With Kiani showcasing her top-notch vocals and the music, which remains hip-hopish yet very desi, thanks to the usage of sitar, tabla makes it an excellent number.” Kiani also performed the song at the 2006 Lux Style Awards. Over the years, Kiani has provided vocals for a select list of TV Dramas such as the critically acclaimed 2011 Drama Zindagi Gulzar Hai’s title track with Ali Zafar and the 2006 “Aas Pass” with Atif Aslam. In May 2012, Kiani appeared on the 5th season of Rohail Hyatt’s Coke Studio. Performing renditions of Bulleh Shah and Amir Khusro to positive reviews. In 2016, Kiani lent her voice to the character of Meeran, portrayed by Urwa Hocane, on the HUM TV drama “Udaari.” The title track of the drama was sung by Kiani, featuring Farhan Saeed and production by Sahir Ali Bagga. The title track topped the music charts while the drama was critically acclaimed and an instant hit for viewers. The drama was a first for Pakistani television, In 2018, Kiani joined the cast of 3 Bahadur: Rise of the Warriors for the title song . The animated film was produced and directed by Pakistan’s first Academy Award winner Sharmeen Obaid-Chinoy.

Notable performances

Apart from studio recordings, in 2005 Kiani was appointed by the government of Pakistan as an official representative of the country. On 11 August 2005, Kiani performed in Nagoya for the Prime Minister of Japan Mr. Junichirō Koizumi . Kiani then performed in Toronto on 14 Aug 2005 by request of The Pakistani Consulate. She performed in Houston on 13 August 2005. The show was at Sam Houston Race Park, and it was attended by over 15000 people. Chief guest of the show was Sheila Jackson Lee who is a member of the US House of Representatives. In the same month, she performed at the Mets Shea Stadium New York on 18 August 2005. She closed the month of August with a performance at the Pakistan Parade in New York on 28 August 2005. On 2 October 2005, Kiani performed in Malaysia at the newly built Convention Centre in Kuala Lumpurdowntown. The Honorary Prime Minister of Pakistan Mr.Shaukat Aziz was the chief guest of the show. The show was part of Expo 2005 in Malaysia. Important business and political personalities from both countries attended the show. Kiani sang a song in Malay to show respect to the Malaysian people. Kiani represented Pakistan on the 25th Anniversary of the Organization of Islamic Conference (OIC) Research Centre for Islamic History, Art and Culture (IRCICA) in Turkey. Islamic Countries such as Azerbaijan, U.A.E, Iran, Qatar, Kazakhstan, Kyrgyz Republic, Kuwait, Lebanon, Egypt, Sudan, Syria, Saudi Arabia, Tanzania, Turkey, Pakistan and Yemen took part in the celebrations. The event was organised by Istanbul Metropolitan Municipality. She performed at the AKM Opera House on 23 November 2005. Among the audience were musicians from various countries. The biggest surprise for the audience was said to be when Kiani sang “Sanalama” (Turkish song of Living Legend “Sezen Aksu”). She told the audience that as Turkey stood beside Pakistan in good and bad times, she wanted to convey the love of Pakistani people for the Turks. She also told the audience that she visited Turkey as a child star in 80s and represented Pakistan in the International Children’s Festival in Turkey so she had beautiful childhood memories associated with Turkey. The audience gave her a standing ovation at the end of her performance, The Mayor of Istanbul appreciated her and presented a bouquet of flowers to her. After her performance she received invitations to participate in the upcoming Art festivals in various countries such as Iran, Syria, Qatar and Lebanon. During her stay in Istanbul she officially visited various historical sites in Turkey and conveyed the love of Pakistan for Turkey. Her performance in Istanbul made headlines in various Turkish Newspapers. Kiani performed in China for the Chinese Premier on 21 Feb 2006. The following month, she performed for President George W. Bush on 4 March 2006. Commenting on her performance, Bush said “Ms. Hadiqa Kiani is extremely talented and should sing here (United States) more.” She then performed for the Crown Prince of Brunei Al-Muhtadee Billah Bolkiah on 29 May 2006. Kiani performed as per the request of former First Lady of the United States, Laura Bush on 21 September 2006 at The Kennedy Center, in Washington, D.C. She closed the year by performing for Prince Charles of the United Kingdom and Camilla, Duchess of Cornwall on 30 October 2006, and again in China for the Chinese president on 23 November 2006. On 19 May 2007, Kiani performed at Dead Sea in Jordan for 28 Heads of States at the World Economic Forum on the Middle East and North Africa. Her performance took place on the second day of the three-day event while American singer Lionel Richie performed the first day. Among Kiani’s setlist for the night was the Arabic song titled “Ah W Nos” by Nancy Ajram which Kiani covered and then sang again the following year in Pakistan. In August 2007, Kiani was one of the headliners for the London Day Parade at Trafalgar Square, London which was broadcast by Geo TV to celebrate 60 years of Independence for Pakistan.] Kiani was the only singer who sang completely live that day. She was also part of closing the show with the popular patriotic song “Jeevay Pakistan” alongside Ali Zafar. Kiani has continued performing throughout Pakistan for various companies, including Pepsi and Samsung. Most notably, in 2016 Kiani performed to positive reviews at the Inter Provincial Games in Pakistan, initiated by President Mamnoon Hussain as a sporting event to support the male and female athletes of Pakistan. At the end of 2016, upon the Turkish President Erdoğan’s arrival to Pakistan, Kiani was invited to perform at the historic Lahore fort, performing along with folk legend Arif Lohar to welcome the world leader. Kiani’s performance was noted as “enthralling” and “melodious.”

Kiani performing live at Mohatta Palace in 2016

Philanthropy and social causes

In March 2007, Kiani was one of the many artists featured in a widely popular track called “Yeh Hum Naheen”. In this song, various Pakistani artists joined to send out a message that the stereotype of Pakistanis is not correct and that they oppose Terrorism. The song also conveys an anti-terrorism sentiment in the music video and supported the anti-terrorism campaign, Yeh Hum Naheen, which Kiani is heavily involved with. Other artists in the song include Ali Zafar, Shafqat Amanat Ali and the Strings duo. The song was picked up by international networks such as Fox News and BBC and amassed a significant number of downloads. In August 2010, Kiani and her siblings worked with local Pakistanis along with the Pakistan Army to provide clothing, water, food and shelter to the flood victims of Pakistan following the devastating 2010 Pakistan floods. Kiani also appeared in Geo Tv’s telethon “Pukaar” along with Pop starAli Zafar to appeal for donations. In collaboration with Pakistan Army, Kiani made visits to Multan Relief Camp, Basti Kalraywala, Muzaffarabadand other flood hit areas, personally distributing goods to the affectees. On 8 November 2010, Kiani was appointed United Nations Development Programme Goodwill ambassador after being recognized for her individual philanthropic efforts. Following being appointed, Kiani continued to construct housing facilities in Nowshera, Khyber Pakhtunkhwafor the flood victims till she completed over 250 houses. Nowshera was one of the worst flood hit areas in the country. In the beginning of 2015, Kiani was chosen on to be one of Pond’s Miracle Mentors as an initiative to highlight and support strong women in the patriarchal Pakistani society alongside nine other renowned and influential women. Later that month Kiani stood up again to voice her views on women in leadership at the Women Leadership Summit 2015 with then wife of former cricketer Imran Khan, Reham Khan and various other women who had achieved success in their respective fields including Muniba Mazari and Nadia Jamil. The summit brought international and local voices together as an act towards shedding light to the issue of gender discrimination in the workplace. Kiani works regularly with the Edhi Foundation and has been involved with many other charitable organizations, including Muslim Hands, SOS Villages and UNICEF. She has also campaigned and been the ambassador for Shaukat Khanum, OXFAM International, and since 2010 the United Nations. In November 2015 it was announced that Kiani would speak at TEDXKinnaird on the role of women in Pakistani society. After taking a stance with the award-winning project, Udaari that highlighted the social issue of sexual abuse against children in the Pakistani community in 2016, Kiani took a stance against the issue again in 2017. Kiani gained attention when criticizing actor Yasir Hussain at the 5th annual Hum TV Awards for joking about child molestation. In a statement on social media, Kiani stated that the comments made by Hussain were “disgusting,” while also taking a stance against the entertainment industry for supporting the actor. In July 2017, Kiani teamed up with Nestlé to introduce socially responsible initiatives in Pakistan regarding early childhood delelopment.

Pakistan Idol

Pakistan Idol is a Pakistani reality singing competition that is part of the Idols franchise created by Simon Fuller and owned by 19 Entertainmentand FremantleMedia.It is the 50th adaptation of the familiar reality competition format introduced in the British series Pop Idol in 2001. It was developed for the Pakistani entertainment market by Geo TV. The show brought together Junoon front man Ali Azmat, comic Bushra Ansari, and Kiani. The first season of the show was heavily controversial but proved to be the most watched entertainment show in Pakistani history.

Recognition

In March 2006, Kiani was presented with the Tamgha-e-Imtiaz by the Government of Pakistan, one of the highest civil awards of the country, in acknowledgement of her services in the field of music and for shining an encouraging light on the country for over a decade. The award was announced on 14 August 2005 but the ceremony was performed on 23 March of the next year. In 2015, Kiani was declared as one of “Pakistan’s Most Powerful and Influential Women” of all time by The News International under the Jang Group umbrella. On 15 August 2015, Daily Times (Pakistan) listed Kiani as the 15th part of their 30 name list of celebrated Pakistanis who have brought a great deal of pride for their country, other names on the list titled “Pride of Pakistan” included Academy Award winner Sharmeen Obaid-Chinoy, Malala Yousafzai,[and national hero Abdul Sattar Edhi. In April 2015, Kiani headlined the Music Mela and introduced her new Qawwali sound at the 3-day festival arranged by the U.S. Embassy in Islamabad, Pakistan. The “Pop Queen” of Pakistan debuted herself as a Qawwali artist to positive feedback Upon the end of the Mela, Kiani announced that she would be working on her sixth studio album titled “Wajd”.

Personal life

Kiani resides in Pakistan with her mother, who has been paralyzed since 2006. She has adopted a child as her son in 2005 from the Edhi Foundation after the 2005 earthquake. Later, she married a UK-based Pakistani businessman, Syed Fareed Sarwary. In 2008, she divorced Sarwary.

youtube

Discography

Raaz – 1995

Roshni – 1998

Rung – 2002

Rough Cut – 2007

Aasmaan – 2009

Wajd – 2017

Awards and nominations

YearCategoryNotesResultNigar Awards1995Best Playback SingerSargamWonWaheed Murad Award1995Best New Talent –WonBest Singer (Female) T.V. –WonNTM Awards1995Best Female Singer by Viewers’ ChoiceNusrat Fateh Ali Khan awarded “Best Male Singer” at same show.WonPakistan Music Industry Awards1996Best Female Singer –WonBest Selling Album“Raaz”WonPTV Awards2000Best Female Singer –Won2010 –Honoured for contributions to PTV and to Pakistani musicHonouredIndus Music Awards2004Best Female Singer –Won2005Best Female Singer –WonWomen’s Excellence Awards2005Excellence in Pop & Light Music –WonGovernment of Pakistan2006Tamgha-e-Imtiaz (Medal of Distinction) –AwardedThe Musik Awards2008Best English Song“Living This Lie” feat. Amir ZakiWonMost Wanted Female –WonAag TV2009Artist of the Month –WonPakistan Style Awards2010Stylish Singer Female –WonMTV Pakistan Awards2009Best Video“Iss Baar Milo” (Awarded to Director, Jami)Won2012Best Music Act –NominatedBest Song of the Year“Dil Janiya” from Shoaib Mansoor’s “Bol”NominatedTV ONE2009Best Female Singer –WonBrit Asia Music Awards2010Best Female Act –NominatedBest International Act –NominatedIndus Style Awards2010Most Innovative Singer –WonMost Stylish Female Pop Singer –WonLux Style Awards2012Song of the Year“Hona Tha Pyar” feat. Atif AslamNominatedBest Original Soundtrack“Bol” SoundtrackWon2013Best Original Soundtrack“Zindagi Gulzar Hai” (Awarded to Ali Zafar)Won2017Best Original SoundtrackUdaari (Hum TV)Nominated2018Album of the Year“WAJD”WonBig Apple Music Awards2014Best Female Singer of Pakistan –Won2015Best Female Singer of Pakistan –WonMost Popular Female Singer (International)First Pakistani singer to ever be nominated in this category.Nominated2016Best Female Singer of PakistanWonPakistan Media Awards2010Best Female Singer –Nominated2014Best Drama Original Soundtrack“Zindagi Gulzar Hai”NominatedHUM Awards2013Best Solo ArtistNominated2014Best Original Soundtrack“Zindagi Gulzar Hai”Won2017Best Original SoundtrackSajna ve Sajna – UdaariNominatedInternational Dynamic Women’s Day Award2015The Dynamic Award –WonDaily Times Pakistan2015Pride of Pakistan –AwardedHum Style Awards2018Most Stylish Performer – Female –WonIDEAS Pakistan2018Icon Singer of the Year –Won

#BestofHadiqa #Hadiqa_Kiani #Songs

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thebeardedbuddha738 · 5 years

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Music is the true language

Music has always been an expression of the soul; certain songs can fill you with happiness, while others can do the opposite. For as long as music has existed, it has been a way to show the world thoughts, ideas, feelings and emotions.

Prehistoric times are always shown to have tribal beats with no real notes. There are fast-paced beats, the sounds of thunder from various percussion instruments, and those times are always portrayed as survivalistic, primal and connected heavily to the animalistic side, the rawness of nature, offering up the same feeling from the music.

Through the middle ages, music was creative; it flowed with passion, each note carrying the emotions effortlessly to the listener. The operatic sounds still influence us today, as they did in those times. That time was one of renaissance, of invention, and we gained so much from that era.

The early 1900's brought big band sounds, barbershop and lounge singers. The sounds were loud and boisterous, meant to shake you up, but they could also be smooth and sensual, bringing a sense of lust and want. Life was big-time, then, with the wars being fought, and so the music was meant to pick up your spirits and help you forget the troubles around you.

In the 50's, 60's and 70's, music was free-flowing, spiritual and loving, and it matched the feeling of the time. It was a time of warmth, of love and kinship with your fellow man. The music had the ability to be easy to listen to while delivering a powerful, emotional message.

The 80's and 90's were a time of rebellion, of fighting to keep hold of what we were losing from the previous era. The children of the psychedelic days wanted to keep that free-spirited sense of life that they grew up with, and the music tells the story, with songs of love and laughter as well as heartache and loss.

Today's music, from 2000 on, is a re-emerging of that creative side of us. Something magical is beginning again, and we as a people are starting to take back our freedom to think, to feel, and to be anything. The music of today is expression of self, the delight of knowing no boundaries. Its freeform structure in dubstep, it's heart-pounding beats in dance and techno, the soft, warm emotions of love songs, the rejection of norms in punk and rock... it all connects us back to the world we had before. It keeps us one with our roots, of where we came from.

Music is the true language. It is the language of life.

#music #oldies #dubstep #jazz #big band #barbershop #love #spiritual #spirituality

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randomvarious · 1 year

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Today’s compilation:

Montreal Basement CD2 2000 Techno

Alright, folks, this release here marks the end of my little foray into both the tiny and fleeting Distr!ck of Montreal label and turn-of-the-millennium Montreal club music, in general. This journey started some months ago with a look at a progressive house and trance promo mix for 2000's Swirl event, which attempted to house both dance music and hip hop under the same Olympic Stadium roof; then it turned its ears towards a five-year anniversary mix for the popular Sona club; and most recently, it's been rounded out with a trio of these Distr!ck comps.

And out of those three Distr!ck CDs that I've now checked out, this Montreal Basement CD2 release from 2000 is by far the most engaging one. And it's the most varied of them all too. Everything's techno, but it presents a solid spectrum of different techno sounds, from the deep and atmospheric type to the more primal and ravey stuff. I didn't end up really digging most of it, but it kept me on my toes and managed to entertain from start to finish, which is a whole lot more than I can say about the two other Distr!ck CDs I listened to 😅.

So, the best track on here is definitely the first one, which comes courtesy of Misstress Barbara—someone I heaped a bunch of praise upon in my last Distr!ck of Montreal post from about a week ago. And in that post, I specifically marveled at her tribal techno prowess, but with "Endless Passion A2," she manages to craft a sweet techno tune that's not tribal at all. Instead, it's a slightly mechanical thing that has this nicely bonging and softly pulsating synth layer at the bottom and then gets crowned with a bevy of ring-jing-jinging hi-hats. A really lovely, hypnotic, and well-oiled techno groove there. My favorite techno tunes tend to be the ones that feel like they have a lot of cogs in them that are each doing their own little part to make the whole song function, and this one makes for a pretty good example of it. Plus, I also love a constant hi-hat that rustles or jingles too 😌.

But that's really the only song that I think is worth highlighting here. The rest of these are better than what's on the vast majority of the other Distr!ck comps, but I wouldn't call any of them all that excellent. Good efforts, though; nothing listless, at least.

Au revoir to this late 90s-early 2000s Montréal dance fare. Another multi-post electronic trip on the way. Stay tuned for more!

Highlights:

Misstress Barbara - "Endless Passion A2"

#techno #dance #dance music #electronic #electronic music #music #2000s #2000s music #2000's #2000's music #00s #00s music #00's #00's music #90s #90s music #90's #90's music

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dancewithmeplano · 6 years

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Groove Terminator talks 30 Decades of Australian dance music

This season sees Simon Lewicki celebrating three decades of mischief since Groove Terminator.

Starting out as a hip-hop DJ in his hometown of Adelaide from 1987, Lewicki made his way to the climbing club scene of Sydney in the mid-’90s. From there he swerved into building a couple of artist records with Virgin/EMI — 2000’s Road Kill along with 2002’s Electrifying Mojo— who cemented the GT title and made him a local festival circuit.

The two Groove Terminator LPs came in a formative time. Even though Road Twist nodded to Fatboy Slim with a sample-driven big beat sound, its own follow up featured digital maestro Andy Page as an studio collaborator. The mid-2000s watched up Lewicki team with Sam Littlemore for the project Tonite however there was room for standalone GT about the bar circuit.

30 years on from Lewicki, that awakening and his alter ego are specialists of the arena. In his life, the DJ-producer repetitions house music on the weekends and performs his 9-5 as A&R Manager for Publishing and Recordings for TMRW Music Group (previously Ministry of Sound Australia.)

Lewicki can also be on board as the Director of Orchestrated after seeing the MOS Reunion Tour’s sold-out success. The displays in Melbourne and Sydney will reimagine dancing classics with a live symphony orchestra, together with GT also joined by Daniel Merriweather and Owl Eyes. The toughest part is determining which particular anthems make the trimoff.

“We’ve got a working set-list that’s true to what Australian classics have been,” Lewicki informs inthemix. “You whittle it down out there to what is likely to sound great with an orchestra behind it. I could’ve easily done a four-hour show with this much stuff.”

Sinking into the spirit of celebrating the past of Orchestrated, inthemix requested us to walk .

What’s life like as a DJ before you made your very first album, Road Kill?

It’ll seem weird to people however I did that the very first. It was completely illegal but I sold thousands and thousands of duplicates. I get people hitting me up on it. It was a time in a community of a couple thousand people. Everyone was really in it and super-critical of their standard of mixing.

I transferred to Sydney so I grabbed the tail-end of the expat celebrations. Subsequently with guys like Phil [Smart] and [Sugar] Ray doing Tweekin’ to a Friday night , there was an extraordinary party vibe. I really don’t know when the medication had something to do with this, however, the music in Adelaide was a ton quicker than Sydney, so it took me some time to slow down it! That’s when I started getting more into that very first wave of filter house, which occurred together with the arrival of Daft Punk.

I signed about two years. I was the first DJ and they had no clue what to do with me personally.

Can it be a surprise for you as well that you were suddenly an artist with a record deal?

Josh Abrahams Paul Mac and I got picked up around exactly the exact same moment. And a wave of executives came in and everybody got dropped together with me. Obviously Josh then proceeded to make ‘Addicted To Bass’ and Paul had the biggest listing of his career [3000 Feet High] two decades after that.

Kathy McCabe, who’s currently in the Tele, was A&Ring afterward, and I believed it was eyesight on their own behalf. I can not even begin to imagine the type of discussions she had been having with EMI in the moment, who had activated their having anything that is not done for most of the ’90s. They proceeded to get an wonderful run.

Was there a specific release out there in the time that turned EMI onto you?

I had a record out on Dance Pool [‘It’s On’] and I had done a remix for [UK dance-pop group] Dead or Alive that had gone gold. I had been given an advance, so I did everything you’d usually do if you’re granted a whack of money get onto a plane and go to Europe. I ended up with most of an album thank god, but it still took me a year and a half.

“I really don’t know if the medication had something to do with this, however, the audio in Adelaide was much quicker than Sydney”

It was to make a record back then — I delivered it fairly cheaply but to get a sampler was 8000 back. I started off as a hip-hop DJ and that I approached things with this particular magpie sensibility. I was fortunate they coughed up.

Were the advances then unlike anything that an artist would see now?

Well, here’s a good example. I had been signed to Virgin to make a listing. Most folks would have gone off and purchased a house and still exercised a way. I chose to utilize it all to make the record. You get to a point where you’re running out of money.

“I really don’t think people have an opportunity on documents as much nowadays.”

Fortunately my buddy Tim [McGee] worked in Central [Station Records]. Also he went and I told him I had so I flicked that off to him and sold it in the united kingdom to Ministry. We got roughly a $50,000 advance for this. This was the kind of money that floated about back then. I thought, ‘Oh, this is fairly easy, I could definitely keep doing so!’

And those sorts of numbers dried up. I really don’t think nowadays people have an opportunity on documents as much. If you’ve got every label on the planet is going to be knocking down your door to throw money at you. However, no one’s going to take a chance.

Can Road Kill take its cues from what was occurring internationally with digital music at the moment?

You can certainly hear the effect of ol’ Norman Cook on that record. I was a fan. To me it was really important to take everything I had been into — punk, hip-hop, breakbeats, house audio, and also the pop up I climbed up on — and then mash it all together.

‘Here Comes Another One’ was based on an MC5 riff. Subsequently [The Fifth Dimension’s] ‘Let The Sunshine In’ [sampled on GT’s ‘One More Time (The Sunshine Song)’] is such a ’60s anthem of the moment. I had been hanging out with Fatboy Slim a little, and I truly wished to make a record that he would play in his collection. This was my intention for that one. After it was heard by the label, they were like, ‘No, ‘ that’s your only.’

I had been looking back at some older Big Day Out line-ups, and I first saw your title in 1996.

I did in a row like ten Big Day Outs, and now I feel the previous four or five I had been in the touring party. It had been me and Paul and Bexta Mac — it was a community with the people about the line-ups everywhere. I’m still friends with all those people now.

I recall playing [the ‘ Chemical Brothers’] ‘Block Rockin’ Beats’ at the Boiler Room when that record was huge, and the reaction was just over the top. In 1997, The Prodigy was the very first digital action to perform the main stage, and I remember thinking ‘Oh yeah, we have arrived, we are taking over today.’ It was a great moment.

“The 2006 era needed The Presets, Cut Copy, Sneaky Sound System; I believe time stood up any place on the planet and always will.”

The line-ups was crazy, since you’d have then and Aphex Twin OMC [of ‘How Bizarre’ celebrity]. It would not be merely techno all day. I believe that the diversity was super-important and informative. There was a lot of tribalism happening with genres ‘I like techno’ or ‘I just like happy hardcore’. You’d see it with all the tribes dressed in their way in Central Station Records. But everybody comes together in the Boiler Room.

From the early 2000s, when Road Kill came out, there is a groundswell of other Australian digital groups: you’d Pnau, Sonic Animation, Resin Dogs, The Avalanches…

Yeah, you noticed it when it was time to collect a tour to get a record. I toured with Sonic Animation and I toured with Grinspoon, you understand? It was like, ‘They both play Big Day Out, they could go!’

I know that the songs the Pnau boys had been making before they found nightclubs was full-on psytrance. And they had this moment, found Derrick Carter and DJ Sneak, and went stateside. Then the Avalanches album is just one of the best to ever come from this country stop. I recall that being the soundtrack of summer hanging out with…oh, I’m not even going to name-drop, however a few touring DJs! That album was being played with nonstop.

In that 2005-2008 period once you started Tonite Just, the audio coming from Australia felt very connected to an worldwide phenomenon.

From the early 2000s everybody was in their own lane setting out their records. Then I think that the advent of having the ability to record in-the-box and not go into studios attracted the cost of production right down.

This 2006 era had Cut Copy, The Presets, Sneaky [Sound System]; I think will and always that moment stood up any place in the world. Those documents had a large influence. I recall seeing DJ AM do an open format hip-hop/rock/party set and going to LA, playing [the Just remix of Sneaky Sound System’s] ‘Pictures’ in its middle. That wave of electro — with a clean sawtooth wave, a snare and a kick — only sounds great loud. You can not beat it.

As a young DJ, you’re Australian runner-up from the DMC DJ competition. The tools of the trade have changed quite a great deal since then…

When I started DJing, I did not even see [Technics] 1200s for two decades. It was this idea that there! It had been like, what? These were the types of discussions.

You are able to learn to DJ in about 90 minutes so the bar has lowered. The thing that’s not likely to change is that the art of DJing is understanding what tune to play next. That is any time period, any genre, ever. That’s how you rock a celebration: understand what tune to play following the one that’s playing.

Orchestrated together with the Ministry Of Sound Orchestra strikes Melbourne’s Hamer Hall on Friday August 11 and Sydney’s State Theatre on Friday August 18. Tickets are now on sale.

Jack Tregoning is an independent writer based in New York. He’s about Twitter.

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