From the reviews on the Antenne webpage:
The 8 tracks of their debut album is float with a poignant delicacy and a vibrant intelligence; sparse, repetitive and minimal electro trip-hop, one could think this is boring and cold but this is not and it bears no resemblance to minimal techno or even minimal music. Antenne's composer, Kim Hansen, which can be known for his collaboration with the noise band Grind, breaks the boundaries of what the trip-hop genre has brought us in the last decade with a fearless use of experimental electronics and subtle noise bursts which brings an unique character to his music. Vaporous electronics around an haunting atmosphere with machines-like noises echoing over a thick beat, the instrumental Let Me Ride It is an exemplary example of Antenne's abilities.
Raising yet another controversy, Indian-born writer Salman Rushdie claims that porn is vital to freedom and supports his argument with statistics about the volume of porn traffic on the internet in Pakistan. Read more
Wenn Nacktheit subversiv ist Von Salman Rushdie
In vielen Ländern versuchen die Machthaber, Pornografie zu unterdrücken - und machen Sexfilme zu Ikonen der Freiheit.
Natürlich gibt es überall Pornografie, aber wenn sie in einer Gesellschaft auftritt, in der es für junge Männer und Frauen schwer ist, sich zu treffen und das zu tun, was junge Männer und Frauen oft gern tun, dann befriedigt sie ein noch allgemeineres Bedürfnis. Und solange sie das leistet, wird sie manchmal gewissermaßen zum Bannerträger für die Freiheit, ja sogar für die Zivilisation. Würden die Restriktionen, die derartige Gesellschaften gegenüber normalen sozialen, romantischen und sexuellen Beziehungen aufbauen, zerfallen, ginge das Bedürfnis nach Pornografie aller Wahrscheinlichkeit nach ebenfalls zurück. Zum Artikel (in meinem Furl Archiv)
More and more netlabel are appearing, even good ones! Here is another one from Bulgaria. The number of releases compared to others is still small, but besides "regulary" they also release mp3-mixes, bootlegs and videos.
I listend to two of their releases, first to [MNKM003] iULIANA THE GENIUS //REPLACEMENT KILLER EP, a "Abstract Dance Hall Remixes of Elephant Man's Replacement Killer track" and second to [MNKMX001] IULIANA THE GENIUS// QUEUED a mix wich uses music from Frank Bretschneider, Apparat, Ellen Alien, Nova Huta, Modeselektor, Anders Ilar, O/R, Masami Akita / Merzblow, M. Behreins, Thomas Brinkmann and many others.
"Founded by sound composers themselves, Frank Bretschneider (Komet) and Olaf Bender (Byetone), these gentlemen were joined by multimedia artist Carsten Nicolai (noto) in 1999 creating a powerhouse attention to detail with award-winning minimalist design, both exquisite and practical, based on geometries and various architectural structures. Aurally immersed, Raster-Noton is the house that invented the explosion of microsound. I took some time to catch up with Olaf Bender just prior to a performance at the Sensoralia Festival in Rome. " Read the whole interview
I became aware of this label because of a posting at milieu.alexyoung.org , one of my favourite weblogs. Alex recommended Rui Gato - Chaosmos, and right after I listend to the Rui Gato release, I downloaded all the other 9 releases.
I liked the Rui Gato release very much, If you are into "drone music" get this one. the second release (tube'|002 Pitch Boys), leaves me a bit confused, there are realy good tracks and tracks I just skiped. Release #3 (tube'|003 - Kenneth Kirschner - June 18, 1995 et al.) is the one I am currently listening to.
From archive.org :
New York musician Kenneth Kirschner is known in the scene for his atmospheric electro-acoustic and experimental electronics. He has released with Con-v, Sub Rosa (with Taylor Deupree) and 12k Records truly engaging and excelent works. But this release for test tube leaves the fuzzy electro-acoustics away and gives in to spiraling percussion experimentation.
June 18, 1995 et al. is full of metal-work. Just listen closely and pay attention to all the beautiful details... feel the wood and metal notes articulating together, building up tribal rhythmic structures that appear to go nowhere, leaving the listener behind picking up the pieces and trying to make them fit together.
The apparent cacophony is gently laid on a ambient lo-fi bed, covered with ethereal sci-fi like sound tapestries, reminding us that music is, ultimately, the builder of human dreams.
Bruce Russell, Access to Evil [Thank You For Talkin' to Me, Amerika]
This 2003 radiophonic work by the New Zealand sound artist Bruce Russell is a response to the recent invasion of Iraq by the United States-led forces.
It consists of interview recordings made in 2002, in which ordinary Californians talk about their opposition to the 'War on Terrorism', their disillusionment with their government and their disengagement from the media consequent on the almost universal self-censoring of oppositional voices after 11 September 2001. Mixed with these are recordings from US public radio news, an electronic soundscape by Russell and French artist Jean-Jacques Palix recorded in Paris in February 2003 at the time of the giant anti-war rally in that city, and quotations from the 1991 electro-acoustic piece 'Gloire a...' recorded by Jerome Noetinger in protest against the first Gulf War.
It is an artistic contribution to the growing debate on the US government's unilateralism and disregard of international law, which is at once personal and political. By ventilating the views of ordinary Americans opposed to what their government claims to be doing in their name, Access to Evil tries to redress the impression of American unanimity presented by the major media.
The Lesbians On Ecstasy are a live dance outfit from Montreal, Quebec. Playing a mixture of hardcore breakbeat and house inspired party music, they are known for their shows featuring live drums (sometimes electronic drum pads, sometimes an acoustic kit), a bass player, samples, sequences and a mad dancing front woman. Read more
This article about industrial music apeared in the brilliant magazine EST by Brian Duguid.:
how far is too far? Industrial musicians have been noted for their use of pseudo-fascist imagery since Throbbing Gristle, but is there a thin line between artistic exploration and actual support?
No, not an article on Test Dept., for those of you who expected such a thing! Instead, inspired by Thee Grey Wolves, I'd like to take a look at fascist imagery in "industrial" and experimental music.
As most of you will be aware, this kind of music is riddled with such imagery, both overt and covert. Experimental musicians, most notably Throbbing Gristle, have used the symbology of fascism, claiming that they desired to challenge preconceptions and to create a more open-minded audience. The punks made extensive use of the swastika. As part of their nihilistic rejection of society's established values, they felt the need to espouse the unacceptable, in order to adequately express their disgust with the world in which they lived. Victims of what they saw as authoritarian aggression, they responded instinctively by reflecting back that social violence in the form of an anti-social shock. Read the whole article
Bryn Jones, the sole member of Muslimgauze, hails not from the Middle East, but from Manchester, where he cultivated a truly unique aesthetic by blending the timelessness of Arabic percussion with the digital arenas of sampling and dub trickery. Muslimgauze's early work was dominated by ritualistic instrumentals, in which insistent gusts of arid ambience gracefully sweep through the pulsing complexities of Arabic percussion. In his later work, the binary codes of his digital equipment are allowed to deliberately misfire, offering sharp staccato edits in opposition to the fluidly streaming samples of tablas. While the aural presence of Muslimgauze elicits abstract shimmers of desert imagery, his conceptual agenda is fervently concrete. Every release is an impassioned reaction to specific incidents related to Palestinian politics.
Born in Vienna in 1975, B. Fleischmann got his start as a drummer, touring with bands all over Austria. In early 1998 he decided to dedicate himself wholly to electronic music. Since then, he's carved a niche for himself among a sea of Powerbook wannabes. Using live drums, acoustic instruments, and sublime electronic melodies, Fleischmann creates warm blankets of sound rather than cold industrial landscapes. More
Collected by the Parents Televion Council. Can't remember where I found that link. I guess it was in one of the weblogs from the german newspaper zeit.de
I don't knpw what's the purpose of this collection. But it's a true time saver for kids. I the www allready had existed when I was alittle kid, this would defenetly had been my favourite webpage.
gefunden bei musik und so:
Diese Woche in der ZEIT: Rettet das Radio!– eine Kampfansage an den Dudelfunk, angereichert mit viel Information, insbesondere über aktuelle Versuche, anspruchsvolle Angebote in Äther
und Internet zu etablieren.
Lately lots of metal bands are featured in the WIRE magazine. Pig Destroyer is reviewed in the March 2005 issue. Phil Freeman , from THE WIRE 252 says: "...playing an astonishingly abusive form of grindcore mixed with more traditional metal".
The “Men of Station” 12-inch is the world’s first introduction to the musical monument that is the 13+God LP—the auspicious meeting of minds and bodies that emerged from a German September shared by anticon’s themselves and their friends in the Notwist. 13+God’s debut single bleeds warmth and love out onto riding melancholia. The plain words of Markus Acher steal the spotlight, curling themselves around the band’s music, while B-side “Soft Atlas” showcases some of doseone’s finer neuroses. His poetry calls the earth’s axis into question over a track that pulses with punched-out drums, only to be leveled by subtle guitar pluck and vocal harmony. Read more and stream all tracks
Migala: anarchy, but of a coolly mellifluous, achingly melancholy, lushly instrumental variety. Also of a rather sophisticated, Spanish variety. If that doesn't sound anarchic, wait till you hear the way they combine sweet pop, coffeehouse confessionals, traditional Spanish folk music, bursts of electronics, and snippets of found sound. Perhaps anarchy isn't quite the right word, but you get the idea. Liberated postmodern bricollage that comes across as unified. Unified, perhaps more than anything else, by singer Abel Hernandez's warm, shuffling basso mutterings, which recall no one so much as Arab Strap's Aidan Moffat, though his vocals are a bit less caustic, a bit less vindictive, and often in Spanish.
Born 1976 in Pulau Pinang, Malaysia, Goh Lee Kwang pursued his art studies at the Malaysian Institute of Art (MIA) in Kuala Lumpur, capital city of Malaysia, and graduated in 1997 with a diploma majoring in oil painting.
Over the past ten years he has been involved in both the sound arts and visual arts in his artistic career. He has produced more than six music albums (www.geocities.com) and has been featured in several music compilations.
