tate.org.uk: In context of the d_culture Online Panel Discussion and Public Forum, this archive of Diedrich Diederichsen sets out an historical perspective on the evolution of Sample Culture from the 1920's to the 1990's.
Since the advent of collage in the early twentieth century artists have sought to reprocess cultural residue from the past to create new systems of representation. Emerging forms of art practice increasingly cannibalize fragments of sound, image, music, dance, and performance to create new spaces of possibility. These hybrid projects use sampling, collage and recombination to generate live or time-based events that complicate our notions of time and space, artist and audience, virtual and actual.
Whereas much of the discourse around sampling still relies on theories of appropriation developed twenty years ago, sampling can be distinguished as a distinct aesthetic strategy, and one more relevant to many cultural practices today. Sampling both quotes and challenges notions of authorship, originality, and intellectual property, while creating new narratives and new ways of reactivating the cultural archive, and representing the everyday.
Diedrich Diederichsen was [the editor] of German music magazines Sounds and Spex and is one of the most important critical voices internationally on art, music and pop culture. Professor at the Merz Academy in Stuttgart and at Art Center College of Design in Los Angeles, he is a frequent contributor to Artforum and Texte Zur Kunst. He has edited Yo! Hermeneutics: Black Cultural Criticism/Pop/Media/Feminism and Loving the Alien: Science Fiction, Diaspora, Multi-Culturalism.
Note: The speach is availible as a streaming real audio file only. If you want to download it, the easiest way would be to use the Flashgot download manager
shef.ac.uk: "After studying classical flute at secondary school, at the age of sixteen Tony Bevan began playing the soprano saxophone, inspired by the dislocated rhythms of Captain Beefheart and the endless repetitions of Terry Riley (for good or ill, influences that have stayed with him to this day), and encouraged by Aylesbury town boy Lol Coxhill, who was kind enough to give him his first soprano lesson and point him in roughly the right direction . A year later he bought a tenor saxophone, and quickly added Sonny Rollins, Ornette Coleman and Warne Marsh to his list of influences. Around this time he also discovered the music of Derek Bailey, Evan Parker and Han Bennink via Topography of the Lungs and was drawn haplessly into the world of Improvised music." Read more
Vital Weekly, the CD-review mailinglist from the staalplaat label now comes with a podcast.
staalplaat.com "Vital Weekly is an e-mail magazine, which appears 48 times a year and has the latest cd-reviews and news on concerts and festivalsVital started in 1987 as magazine on paper. It's simple xeroxed form ensured a free copyright and everybody was encouraged to make copies and distribute them freely. Up until 1995 44 issues were made and with the arrival of the Internet, Vital changed into a pure review newsletter and since then it appears weekly. Still as a free service and still without copyright. In the future we hope to get the old paper issues online too."
There was a big update at the official Faust homepage. Now Faust is offering many MP3 files to download!
Allmusic.com: There is no group more mythical than Faust," wrote Julian Cope in his book Krautrocksampler, which detailed the pivotal influence the German band exerted over the development of ambient and industrial textures. Producer/overseer Uwe Nettelbeck, a onetime music journalist, formed Faust in Wumme, Germany, in 1971 with founding members Hans Joachim Irmler, Jean Hervé Peron, Werner "Zappi" Diermaier, Rudolf Sosna, Gunther Wusthoff, and Armulf Meifert. Upon receiving advance money from their label, Nettelbeck converted an old schoolhouse into a recording studio, where the group spent the first several months of its existence in almost total isolation, honing its unique cacophonous sound with the aid of occasional guests like minimalist composer Tony Conrad and members of Slapp Happy." Read more@ almusic.com
archive.org: "Often billed as the worst movie ever made, and not entirely undeserving of the title, this is a masterpiece of Ed Wood's making.
Bela Lugosi was cast in the role of "Ghoul Man" but passed away before filming really started.
So what happens? The producer's wife's chiropractor (Mr. Reynold's was the executive producer) takes over as "Ghoul Man" and holds his cape in front of his face THE ENTIRE MOVIE.
Add to this numerous plot inconsistencies, horrid acting, and masses of stock footage - some of which we see several times and you have a terrible but funny movie.
A highly advanced alien culture is determined to destroy Earth before our scientists discover a bomb which will explode sunlight, the description Eros gives of this is quite funny.
In order to destroy our world, of several billion people, they raise three zombies from the dead. :-)" Download here
bangonacan.org: "The long-awaited followup to their acclaimed all-Steve Reich debut, ALARM WILL SOUND, the young 22-piece new music band featuring voices, strings, brass, woodwinds, and percussionists, takes on twisted techno master APHEX TWIN in ACOUSTICA.
Alarm Will Sound, who the NY Times calls "the future of classical music," has, with a cadre of 10 arrangers, painstakingly recreated and rethought Aphex Twin's legendary electronic work for an all-acoustic ensemble. From creative new transcription ideas to using non-standard "classical music" instruments to ensuring that all four drummers are kept busy with Aphex Twin's unimaginably intricate beats, this sounds like no CD you've heard before. With bonus remixes of the remixes by the emerging Berlin-based techno master Dennis DeSantis."
onlinejournalismus.de: "Wolfgang Harrer, freier Korrespondent und Online-Journalist in San Francisco, ist ausgewiesener Experte für die Integration von Audio-Inhalten in Netzangebote. Im Gespräch mit onlinejournalismus.de berichtet Harrer über seine praktischen Erfahrungen mit Podcasting – und warum sich deutsche Medien bei neuen Technologien gerne taub stellen." Mehr
Francine Stock talks to film makers and fans, including Ollie Bader, of animation magazine Neo; David Sin, of the British Film Institute; Helen McCarthy, co-author of The Anime Encyclopaedia; film makers Michio Harada and Joji Koyama; critic Joe Cornish and author Stephen McGinty.
Fiend Magazine: e.p.a is Darrin Verhagen aka Shinjuku Thief, who as a sound composer has always infused a certain intelligence into his recordings. Albiet with e.p.a, Darrin has shunned the more considered & academic aspects of his trade by releasing an album (black ice) of unadulterated harsh noise. Forming the first part of the "black | mass" trilogy, this aggressive little number contains an unrelenting sonic barrage to incinerate your eardrums, & literally pound your internal organs if the listening suggestion is adhered to ("play loud - no headphones!"). Utilising layers of furious high frequency distortion & incessant feedback, the tracks present an aural aesthetic that flits between being barely controlled, through to chaotically free form. With 7 tracks at 45 minutes, this is an unforgiving sonic ride not for the faint of heart. Constituting an all out assault on the senses, the final question is: are you game enough to take this on?!
drjimsrecords.com.au: "Tim Catlin is a Melbourne based guitarist & sound artist. His guitar practice focuses on extending the sonic possibilities of the guitar in live and studio settings. As a performer he uses customized effects, guitar preparation and constructed playing devices in conjunction with live looping and improvisation to produce finely textured and slowly shifting fields of sound. Recently he has performed at the What is Music and Next Wave festivals and his sound works have been included in the Variable Resistance Exhibition at the San Francisco Museum of Modern Art, and the Totally Huge and Liquid Architecture festivals. His sound works have also been included in the Immersion surround sound concert series, Cinesonic film sound conference and exhibited at the Westspace and First Site galleries in Melbourne."
quamusic.com: an unrepntantly gorgeous and nostalgic mix ofsunlit electronics and guitars, buoyed by complex arrangemnts, and crafted by a gentle iconoclast - bringing to mind the playfulness of Mouse on Mars, the sophistication of ENo Morricone and the warm hush pop of Architecture in Helsinki
Thembi Soddell is a Sound Artist from Melbourne, Australia. Her work focuses on the abstract and textural nature of sound, intricately sculpting field recordings and generated sounds into dark, suggestive sonic landscapes. From sounds on the threshold of perception to rupturing bursts of noise, her particular focus on dynamics aims to suggest narrative through generating anticipation and suspense. The result is an evocative and tense sonic journey, which at the same time is quite beautiful. She does work for CD, gallery installation, and live performance. In 2002 she graduated from Media Arts at RMIT where she specialised in sound.
Bucketrider.com: "Bucketrider have distinguished themselves as one of the most innovative and challenging contemporary music ensembles in Australia.
Founded nearly a decade ago by David Brown, Sean Baxter and Tim O'Dwyer, the group has been at the forefront of experimental music in Melbourne since its inception.
As adept in the rarefied realms of improvisation and new music as they are with the raw energy of free jazz and punk rock, bucketrider fuse these disparate styles into a coherent and exciting whole. Intent on breaching the artificial boundaries that exist between so-called serious and popular music, they have successfully introduced rock audiences to the energy of free jazz, jazz audiences to the vibrancy of punk, and classical audiences to the delights of contemporary improvisation." Read more
From a review of his latest CD Multiply:"Jamie Lidell sounds like everything you’ve ever heard, and yet nothing. More specifically, all the soul and rhythm and blues you’ve ever heard, and yet none of it. Curtis Mayfield, Stevie Wonder, even the aloof brilliance of Gil Scott Heron, they’re all here in spirit on this resplendent album, but they never interrupt.
The sound of street-corner harmonies, the drive of funk, the slappiest of slap bass, doo-wop to the power of ten, and everything else in between, it’s all here in spades. Yet where R ‘n’ B has become distinctly lacking in soul over the years, homogenised and trapped, Lidell injects it with the vibrancy and the urgency that it was always meant to have. In a way, and partly because of its heritage, Multiply can sound a little old-fashioned at times. But in another, more significant way, the hand-made and off-kilter feel to his arrangements ensures that Lidell’s music is timeless, perhaps even futuristic. Put it this way - if you think you know what to expect, you don’t." Read more at Pixelsurgeon.com
In Heidelberg kann man neuerdings Bubble Tea kaufen. Dieser ist eine Mischung aus Tee mit kleinen Perlen die aus der Stärke der Maniok Wurzel hergestellt werden. SUPER LECKER !!!
archive.org: Robert Bereznyei is a prolific and highly consistent electronic musician hailing from Budapest, Hungary. Highly regarded as one of the best eastern european producers of experimental music, his music has taken him all over europe, playing at festivals and clubs alongside the likes of Autechre, Kid606, Keith Fullerton Whitman, Leafcutter John and many more. He has released a number of past albums on smaller european labels, and is currently working on his debut album for Highpoint Lowlife records, scheduled for release in late 2005."
mystified: "Music For Infants" was created by mystified ( www. mystifiedmusic.com ). Filled with quiet bell-like and percussive variations, the piece was written with small children in mind-- but is not exclusive to kids and can be enjoyed by adults, as well.
Quiet morphing phrases twinkle like the stars of the sky, affording the brain with music both comforting and challenging. Listeners will be inclined to let their minds wander, staying alert yet creative, visualizing what nice things occur to them.
Swen: If I had children, I wouldn't play it for them. Sounds more like a soundtrack for old SciFi movies like "The Omega Man" or "Logan's Run"
shef.ac.uk: "After studying classical flute at secondary school, at the age of sixteen Tony Bevan began playing the soprano saxophone, inspired by the dislocated rhythms of Captain Beefheart and the endless repetitions of Terry Riley (for good or ill, influences that have stayed with him to this day), and encouraged by Aylesbury town boy Lol Coxhill, who was kind enough to give him his first soprano lesson and point him in roughly the right direction . A year later he bought a tenor saxophone, and quickly added Sonny Rollins, Ornette Coleman and Warne Marsh to his list of influences. Around this time he also discovered the music of Derek Bailey, Evan Parker and Han Bennink via Topography of the Lungs and was drawn haplessly into the world of Improvised music." 
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