Posted in Uncategorized on April 11, 2008 by electronicstandards
O gênio por trás de Harmonic 313 e Link: Mark Pritchard
EP 1 De Harmonic 313 Desponta Como Um Dos Melhores De 2008
Quem conheceu a belíssima “Amenity“ de Mark Pritchard como Link, clássico de Techno atmosférico de 1992 amplamente tocado pelo duo do The Future Sound Of London em seus repertórios durante os anos noventa, vai se emocionar ao ouvir o EP 1 do projeto Harmonic 313 que acabou de sair pelo selo inglês WARP Records.
Antes de tudo, porque não só o Pritchard como a WARP demonstrraram uma capacidade incrível de se renovar, de seguir em frente com o passar dos anos. Com Dave Brinkworth, Mark lançou o seu primeiro EP como Harmonic 313 com faixas codificadas através de cores e o ‘decodificador’ localizado em algum local do EP.
Entre as principais referências estão as bases quebradas do Hip Hop, Detroit Techno, Acid House (presente em ‘Flash Back’), vocoders retrô em ‘Solve It’ e ‘World Problems’, influências de Dub em ‘Call To Arms’…………….. hey! Acabei de lembrar que não era para ter falado o nome das faixas!
Então boa sorte: com o seu decodificador em mãos, ouça as faixas e confira um dos EPs mais incríveis da atualidade, e veja como Mark Pritchard e WARP souberam se reinventar eternamente……………….
Those who had the opportunity to listen to Mark Pritchard‘s early nineties classic “Amenity“ will certainly be impressed (again) with the brand new EP from his new project with Dave Brinkworth. Largely influenced by Detroit Techno and the atmospheric (and aesthetic) side of Techno since the early nineties, Mark was acclaimed since 1992 when his early masterpiece Amenity“ became a regular on The Future Sound Of London’s radio stations repertories.
With Harmonic 313, Mark Pritchard and one of the longest surviving quality dance labels through where his newest EP was released – WARP Records – stood the test of time. Both of them knew the importance of renewing themselves and keep stepping forward with focus on quality music, no matter how hard it is to reach any kind of innovation on electronic music. The EP’s tracklist is encoded on colors with a decoder located on the EP’s spine.
Among its main influences the listener can notice a combination of Hip Hop break beats, Detroit Techno and Acid House elements (more particularly through ‘Acid’ vocals on ‘Flash Back’), eighty-style vocoders on ‘Solve It’ & ‘World Problems’, Dub bass esthetic on ‘Call To Arms’…………….. hey! I just realized I could not reveal the tunes’ names!
So good luck then: as soon as you find the decoder on it, listen to the tunes and enjoy one of the year’s greater EPs and check out how Mark Pritchard and WARP kept things rolling!
Posted in Uncategorized on April 4, 2008 by electronicstandards
Indigenous Resistance 14 (Direct Action Dubmissions): Chega de assistir, é hora de agir
Fruto de uma colaboração de engajados artistas Afro-Americanos do Underground Resistance, alguns dos quais de descendencia indígena, participantes das tribos Krikati do Brasil, Dr. Das do Asian Dub Foundation e da tecnologia Jamaicana, foi lançada a edição quatorze do CD ‘Indigenous Resistance– Direct Action Dubmissions‘. Os mixes das faixas do tracklist foram feitos por Steve Stanley em Kingston, Jamaica, o mesmo engenheiro de ‘Tom Tom Club – Genious Of Love’, Grace Jones, Talking Heads, B52s, entre outros standards.
Por trás das incríveis influências musicais, do Dub Jamaicano aos elementos da música indígena da região Norte do Brasil e do Techno de Detroit, o ‘IR 14 – Direct Action Dubmissions’ assume a postura de alerta em relação aos Direitos de Liberdade e Igualdade das tribos indígenas Brasileiras e em especial da manutenção dos direitos de preservação das suas reservas garantidos pela Constituição Nacional.
From the result of a collaboration between African-Americans from Underground Resistance, some of which of Indigenous origins, members of the Krikati tribe from Brazil, Dr. Das (Asian Dub Foundation) and the Jamaican technology came out the I.R. volume fourteen – ‘Indigenous Resistance– Direct Action Dubmissions’. The mixing part was done by Steve Stanley in Kingston, Jamaica, the same engineer behind ‘Tom Tom Club – Genious Of Love’, Grace Jones, Talking Heads, B52s, among other standards.
Behind the amazing music backgrounds, from Jamaican Dub to the Indigenous Music from north Brazil, Detroit Techno and Asian Dub Foundation, the ‘IR 14 – Direct Action Dubmissions’ has an engaged behavior and claims an alert the Indigneous tribes rights granted by the Brazilian Constitution (1988), and specially most specially the Liberty and perservation of the Indigenous properties.
Indigenous Resistance 14 – The Krikati Mixes: Homenagem aos índios brasileiros Krikati
Os Direitos Humanos, considerado o mais importante documento político da história, têm carater Universal e valem para todos. Portanto, se você preza a Liberdade que tem e o fato de estar em uma sociedade de Igualdade de Direitos, não perca de vista que os demais povos e raças também merecem respeito e devem ser protegidos sob a égide dos mesmos Princípios.
Ao lado de parceiros como o DubReality, o projeto IR traz através de sua música um alerta para a condição e a situação das tribos indígenas de regiões do Maranhão, cuja barragem hidroelétrica que está sendo construída na cidade de Estreito (perto de Imperatriz) irá encher de águas terras indígenas. Muitos índios se acamparam no canteiro de obras para impedir os trabalhos, o que causou uma reação por parte do Governo, que pressionou por um acordo. Em Roraima, entre outros Estados do Brasil, as tribos indígenas também têm enfrentado problemas por conta da falta de tolerância e respeito.
The International Human Rights Declaration (France, 1789, USA, 1946), considered the most important political document on the history of mankind has a Universal range, which means it applies to all races and people. If you defend the ideal of Liberdady and the fact that you live in a society based on Equalty of Rights, it’s important to remind that those Principles should be the same to everyone, and that all the races should be respected.
With the partnership of DubReality, the IR project brings through its Music an alert to the condition and situation of the Indigenous tribes in Brazil on the States of Maranhão, where the hidrelectric station construction on Estreito village (near Imperatriz city) may cause the floods of Indigenous lands. Several Brazilian indians grouped themselves on the construction place in order to stop it, a fact which caused an imediate reaction from the part of the Brazilian Government, which pushed for a settlement. In other Brazilian States such as Roraima, the Indigenous tribes have been facing problems due to lack of tolerance and respect.
“As vezes é mais fácil para as pessoas lidar com os problemas através da música”
“Sometimes it’s easier for people to deal with problems through the music”
Confira com exclusividade três das versões dos Krikati Mixes do Indigenous Resistance 14: (3 versions of the IR 14 are available to download. Check out below)!
Posted in Uncategorized on March 29, 2008 by electronicstandards
Radical G (Bélgica) apresenta seu live hoje no clube Clash (SP)
Sem sombra de dúvidas, Glenn Keteleer (mais conhecido como Radical G) é uma das sensações da nova geração de lives de música eletrônica. As suas faixas são alvos de reviews e charts de grande parte dos DJs de seu país. Iniciou a sua carreira aos dezesseis em um clube chamado Bacardi, e dali em diante, foram mais de quinze anos de carreira que incluiu importantes clubes do continente Europeu. A sua perspectiva musical é aberta e eclética, o que significa que Radical G transita por diversos estilos de forma singular, da fusão entre o Electro, EBM, Techno e os gêneros mais contemporâneos, como o Minimal.
Os lives de Radical G fazem uso de tecnologia de ponta (do Ableton Live à sua combinação com os sintetizadores análogos Nordlead e Virus) e são totalmente direcionados para música de pista. O seu mais recente projeto Dirty Jackers com Frank Struyf foi um grande sucesso no verão de 2006 e incluiu participação de músicos e projeções de vídeo. Entre as suas músicas mais tocadas, estão “Chateau”, “Supersonik” e “Darkstepper”, que fazem parte de repertórios dos mais diversos DJs, a exemplo de Laurent Garnier e Dave Clarke. Glenn foi responsável por lançar em diversos selos conhecidos de música eletrônica, a exemplo de Future Frontier, Subsounds, Karrak, In-Cycle, Genetic, Traction, Enterprise, Magura, Croma, entre outros que estão por vir. Através do seu projeto solo, Radical G tem como missão trazer lives diferenciados que fogem dos tradicionais parâmetros focados em loopings e produções em série e trazer uma performance única apimentada por eletrizantes vocais retrô, frutos de sua influência por gêneros dos anos oitenta, como Industrial, Synth Pop e EBM.
Seu live aconteceu no clube Clash em São Paulo, hoje a noite. Não percam, ontem no Rio de Janeiro foi muito ovacionado.
FMAM Crescendo & Clash Club Presents: Radical G live (Belgium)
Slowly but surely the new electronic live talent Radical G(Belgium) is going to the top. Producer, live performer, A&R manager of his brand new in-cycle label, Glenn Keteleer gave the Belgian electronic scene an extra impulse. This saturday March 29th, he will perform at Clash club in Sao Paulo, just one day after his acclaimed live at Fosfobox in Rio de Janeiro. You can expect a hot blend of EBM, Industrial, Electro, Synth Pop and the contemporary genres of electronica.
‘Radical G – Higher State’: blend of EBM, Synth Pop & Electro
His released tracks such as ‘Paradox’, ‘Higher State’, ‘Mander’, ‘Flarash’ & ‘Cheesylickers’, & ‘Darkstepper‘ were charted by national and international artists like Tomazz, Jack de Marseille, among others. ‘Darkstepper’, his release on the French underground label Karrak was charted on Laurent Garnier’s top 10.
Dirty Jackers Promo Video Featuring Radical G. (Belgium)
Posted in Uncategorized on March 25, 2008 by electronicstandards
DMC Brasil Official Logo
O mais importante campeonato de DJs do Mundo terá a partir de 2008 uma edição Brasileira. Nesta terça-feira, acontece o coquetel de pré-inauguração no Clash, cujas atrações são Grandmaster Roc Raida (EUA), campeão do DMC, o Britânico DJ Pogo (diretor do DMC Brasil e autor da série ‘Block Party Breaks‘), além dos residentes Primo, ZéGon e Dubstrong e o MC Kamau. Para saber maiores detalhes do torneio no Brasil, acesse www.thedmcbrasil.com.
Grandmaster Roc Raida, atração desta terça no Clash
A presença do DMC no Brasil é uma das melhores notícias no que diz respeito ao universo dos DJs e à sua cultura. Através da edição do campeonato no nosso país, os Disc Jockeys terão uma fortíssima fonte de inspiração e seus olhos se abrirão para além das fronteiras da obviedade e da mesmice que vêm assolando a categoria nos últimos anos.
Entre os seus benefícios mais diretos estão o upgrade cultural e técnico dos DJs, empurrados pelo desejo de fazer parte da geração dos campeões. Espero sinceramente que o campeonato mantenha a sua tradição de severidade nos critérios, privilegiando os mais habilidosos e musicalmente sábios, afinal, ostentar um título que pertenceu ao Chad Jackson e o DJ Kraze não é para qualquer um. (Confira no final da matéria a lista dos Campeões ano a ano).
Abaixo, alguns vídeos do Grandmaster Roc Raider, que foi campeão mundial pelo DMC
Brazil has been included on DMC Worldwide Championships. The 2008 edition on the Brazilian territory will take place in june and july, and the winner will be on the DMC World Finals in England.
The Disco Mixing Club (DMC) is considered the most important DJ Championship organization in the World. Through a twenty five year journey, DMC had collaborated for the DJs’ technical and cultural upgrade, as well as for the profession’s credibility.
1987 World DMC Champion Chad Jackson
The direction of the Brazilian edition belongs to the well-known English Hip Hop DJ Pogo and Valeria S., which will be in charge for the execution of all the parts of the Brazilian DMC Championship. Pogo was the author of the famous ‘Block Party Breaks‘ series with repertory made of the original Soul-Funk classics whose drum breaks has been largely sampled by Hip Hop, Jungle, Drum n’ Bass, Hardcore Techno, Hip House, among other types of Breakbeats artists.
On this Tuesday March 25th there will be an official DMC Cocktail Party at Clash Club in Sao Paulo featuring DJ Pogo himself and Grandmaster Roc Raider (USA), together with the Brazilian talents Dubstrong, ZeGon, Primo & the MC Kamau. You can find more information about DMC Brazil on www.dmcbrasil.com.br.
DJ Pogo, 3rd Place On DMC World Championship (1997)
DMC reaching the Brazilian Scene seems like a blessing. Despite the undeniable rule by Blockbuster trends and the triumph of the digital mp3 domain these last years, there is still hope left for a cultural upgrade of the professionals, specialyl under the influence of a championship based on credibility, history and reputation such as DMC.
DJ Craze Live Showcase: Breakbeats DJs Always On The Top
A Música Eletrônica Necessita De Representação Mais Criteriosa Nestas Votações De Portais e Revistas
Que tipos de critérios você espera ao votar em eleições de ‘melhores da música eletrônica no ano anterior’? No mínimo, que boa parte dos artistas, álbuns e EPs do ano passado estejam presentes entre as opções. Fiquei novamente decepcionado com estas votações, desta vez no caso da eleição do Beatport Awards, votação de um dos portais de downloads mais conhecidos da atualidade. Sugiro que você mesmo entre no link e confira a ‘seleção’ feita por eles para cada gênero musical, e dê a sua própria opinião. Para alguém que leva Música Eletrônica a sério, é no mínimo decepcionante. No final do post de hoje, segue na íntegra o meu COMMENT enviado ao board de discussão do Beatport Awards sobre a eleição deles (em inglês). Se este tipo de eleição é baseada apenas e tão somente em campeões de vendas, então qual o motivo da votação? Dê o seu comentário!
ENGLISH
* Polemic On Beatport Awards *
Electronic Music Still Needs To Be More Seriously Represented On Most Of The Current Websites & Magazines Awards
What do you expect when you have to vote some website’s awards on the recent year? At least to see some of the most important names from the previous months, including artists, albums and EPs. I was deeply deceived by Beatport Awards selections. Take a look at their names for each genres, give your personal opinion.
If this type of votation should be based solely on the most purchased tracks, then why creating an election for it? Who was the responsible for the genres’ lists of artists?
Here was my message on their Awards’ discussion board:
COMMENT: “With all the respect, WHO is the responsible for this Awards suggestions? There are some mistakes on these Awards categories. Some names appear at the same time for totally different genres, other are wrong placed. I’m Brazilian, and guarantee that Gui Boratto is NOT techno. Electro-House or Progressive should be more honest. The deep House selection is terrible. Where is Larry Heard? How about his ‘Sceneries Not Songs Volume 2’ release from 2007? We don’t see good House names as well, there is no Masters At Work on it, and Little Louie Vega released ‘In The House’ I and II last year which should be at least on House or Deep House; The Techno selection should certainly respect the 3 brilliant albums by Arne Weinberg, Quince & Kirk Degiorgio from 2007, and the fantastic EPs of Mark Archer, Taho and B12, and we don’t see ANY of their names in there. What happened? Drum n’ Bass without Marky among the names? It’s not fair. Marky, Random Movement and Makoto should be there, ‘Innerground’ is surely one of the most respected labels in the World today. On the Minimal side, you don’t see Robert Hood which just released a wonderful compilation, there is not even Plastikman/Richie Hawtin on it.
I’m really sorry, but this awards should be taken more SERIOUSLY, with more people responsible for the genres’ list of names.Yours, sincerely”
Posted in Uncategorized on March 17, 2008 by electronicstandards
(Drum Breaks By Vitor Drums)
Se você também nunca concordou com esta idéia de que Techno tem que ser necessariamente associado a fórmulas imutáveis do tipo de bate-estaca quatro por quatro, ou se percebeu isso com o passar do tempo, contente-se: tudo está em constante mudança, e seguindo este predicado, o paradigma de batidas retas associado ao gênero nos últimos anos poderá vir por água abaixo nos próximos tempos. Ou pelo menos, grande parte dele.
É só lembrar o quanto é absurdo ouvir as pessoas cobrarem criatividade dos artistas de Techno no tocante às partes melódica, harmônica, de desenvolvimento de timbres e de perspectiva de número de elementos usados, deixando de lado um pilar fundamental na concepção de qualquer gênero chamado ritmo.
Independente da concepção que eu, você ou eles venham a ter, uma nova revolução virá (para trazer a exploração em maior profundidade de algo que sempre existiu, até então deixado às margens). Tomará lugar, de forma diferente, fazendo uso das novas tecnologias. Afinal, ritmos mais complexos sempre estiveram presentes na vida do Techno. Quem duvida, pesquise. Os exemplos estão aos montes por aí – e não apenas no período Fourth Floor / Bonesbreaks e Hardcore.
Espero que o texto abaixo traga novas idéias a essa discussão. As transformações não param nunca!
Em ‘Cameo – Money (Reese Revamp Mix)’ (1992), Kevin Saunderson fez uso dos brilhantes beats de “N.T.” do Kool & The Gang, de 1971
Já Juan Atkins optou pelo famoso solo de batera do Clyde Stubbelfield em trecho de ‘The Passage’: homenagem aos J.B.s com os beats do “Funky Drummer” (1969)
TECHNO: CHANGING FOREVER TO MORE COMPLEX AND CHALLENGING MODELS
It’s Time For Techno To Abandon The Outdated 4×4 Straight Beats Pattern And Look For More Challenging, Complex Rhythms
I have the feeling that a new revolution will happen one day on the World of Techno: the genre’s international production scene will be assaulted by a new level of Breakbeats-Techno Fusion. It will be based on a new concept, with the help of the newest technologies, through more challenging and complex rhythms than the ones used these last fifteen years.
To understand better about this, we brought a resume of the history of Techno under the influences of Soul-Funk beats (considered the essence of Breakbeats).
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The First Wave: The Samplemania Era (1986-1988) It was during a short period of months, between 1986 and 1987 that the whole dance music scene changed forever. From mid 1986 when the ‘Ultimate Breaks & Beats‘ compilation series came out first to few months later when the electronic equipements such as Akai S-1000 and EMU SP-1200 became really popular (and at the same time affordable) that took place a new era called the Samplemania.
Based on new concepts and amazing combination of oportunities, the movement in question took place on two major centers – New York (USA) and England. This massive movement of production gave us standards like “Pump Up The Volume” from M|A|R|R|S, “Beat Dis” by Bomb The Bass, “Paid In Full (Coldcut Rmx)” by Eric B. & Rakim, all from 1987 and on the following year, “King Of The Beats” by Mantronix – whose side effects would affect the rest of the World since then. Among the kids affected by it, one from Coney Island, Brooklyn, decided to bring the B-Boy culture to the House Music universe. His name is Todd Terry.
Eric B & Rakim – Paid In Full (Coldcut Mix, 1987): beat from Soul Searchers – “Ashley’s Roachclip” (1974)
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The Second Wave: United States And The Brooklyn Scene (1988-1991)
In the 1988 to 1991 period, the 2nd Wave of Breakbeats-fusion reached the House and more particularly the Techno-Rave domain. Right in the New York scene, more particularly Brooklyn, Todd Terry melted the esthetic of Break Dance with House Music, using samples and raw beats and changed the course of the dance music scene, which would at the same time inspire other producers.
On the same neighbourhoods, under the surveillance of Silvio Tancredi, two young producers named Leonardo ‘Lenny Dee’ Didesiderio and Tommy Musto released an underground dance standard called ‘Fallout – The Morning After (Sunrise Mix)’ based on broken snares which would set standards (1987); on the next couple of years they would get together with DJ and producer Frankie Bones, the man behind the legendary ‘Bonesbreaks‘ series and settle their own revolution with Breakbeats, Techno & House fusion.
They would put out Breakbeat-Techno hits with electronic and sampled drum breaks bases such as ‘Apachie’, ‘Funky Drummer’ and ‘Amen Break’ and hit the whole Techno scene, from USA to the Rave generation in Europe on the end of the Eighties to the early Nineties.
“At My House” on Bonesbreaks 2 (1988) with a sample from “Apachie” (1973)
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The Third Wave: Hardcore Waves Hit England (1989-1993) After the early works of Frankie Bones, Lenny Dee and Tommy Musto called the attention of the English underground electronic scene, specially the Orbital M25 Raves during 1988-1989, Bones was called to play at Energy rave for a twenty five thousand audience, and on that year, he was the first to play an accelerated Amen Break based tune for an English crowd called ‘Roll It Up (Rmx) Bass Kickin’ Beats’ from Success-N-Effect, which would make a deep impact and inspire all the future Hardcore, Jungle and Drum n Bass artists.
On the Techno-House domain, people from Brooklyn inspired their colleagues from the other side of the Atlantic through labels such as Underworld Records, Nu Groove, Breaking Bones and Fourth Floor Records. The result of all these mentionned influences was certain: Shut Up & Dance and their DJ Hype, 4 Hero, Rob Playford, Fabio, Grooverider, LTJ Bukem and later Rebel MC brought the British to the Hardcore. During the years of 1992-1993, the paths of Jungle and Drum n’ Bass were founded from this Hardcore scene, and the rest is history…
Shut Up & Dance’s “£20 To Get In” (1989) brought Kool & The Gang’s “Give It Up” Beats (1971), just like Chad Jackson
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From 1994, The Breakbeats And Separation Why Techno got primarly dissociated from the Breakbeats since 1994 is a fact I never understood really why happened. Of course we understand and respect the minimal school that came through the hands of people such as Jeff Mills, Robert Hood, Moritz Von Oswald and so many other genious.
All the credits and respect must be given for what they did, as well as to the heroes of Aesthetic & Soulful side of Techno like B12, Black Dog, Kirk Degiorgio, Carl Craig, Russ Gabriel, Ian O’Brien. Not by accident, some of the aesthetic-driven artists (or if you prefer to call Hi-Tech-Soulers) ventured through Breakbeats and Techno fusion, just like Carl Craig, Kirk Degiorgio and The Black Dog, despite not being from the Hardcore Rave era or Brooklyn. They all had Jazz, Soul & Funk influences and were influenced by the Breakbeats, and remained only few to continue on the genre’s rhythmic experimentations.
However, most of the Techno productions since 1994 applied to four-by-four straight beats and trapped the genre into a limited range of rhythm conception, instead of being based on several influences including Jazz, Soul & Funk which by the way are essential to understand the development of Dance Music since the Eighties, from Hip Hop, to (Hip) House, Techno, Hardcore Techno, Jungle, Drum n Bass, and other types of Breakbeats.
The Fourth Wave Is Coming. And finally, the Techno genre will lead as a whole to more complex and challenging types of rhythms, as it should have never ceased to be. One day or another, someone will realize that these two Universes (Breakbeats and Techno) must meet again, on a new context, on a new perspective. Not to do what the previous artists did, but something on another level, maybe with the use of all the new technologies and freakin out like Paradox did hundreds of drum breaks research.
Posted in Uncategorized on March 12, 2008 by electronicstandards
Underground Resistance: respect
After getting compliments from Underground Resistance‘s leader Mad Mike, the ‘Electronic Standards’ blog got a mentionning on Submerge‘s news. The reason behind it was the ‘Aesthetic Soul’Podcast that we sent to them with a repertory of sixties and seventies Soul-Funk originals, sampled by several genres since the eighties, from Hip Hop to House, Techno, Hardcore, Jungle, Drum n’ Bass, among other types of Breakbeats.
The podcast in question will have soon a second episode that will keep the commitment of revealing the sampling-aimed originals that changed the course of dance music, because of its rhythms, vocals or arrangements. The second chapter will feature a top secret about the history of Ultimate Breaks & Beats compilation on Street Beat Records. Don’t miss it!
Posted in Uncategorized on March 10, 2008 by electronicstandards
Davi Killa: Old School Mastery featuring………………
One of the most talented DJs from Brazil, Davi Killa started his Old School sets series with no limit repertories. The series will be called ‘Old School Aesthetic’, and the first chapter is about eighties underground electronic music, from Electro to Freestyle, Industrial, EBM to Breakbeats, House and Techno.
‘Old School Aesthetic’ with ‘Riot In Lagos’……….
Davi Killa was born on a culturally splendid environment. Baptized ‘The Doctor’ for his artistic perspective & DJs skills, Davi Killa has an unparalleled ability to build up open-minded repertories of the most different genres.
………..Cybotron – Clear 12″ ………..
His Old School gigs are highly estimated by the audiences, and granted him the chance to be the resident on the conceptual FFWD (Fast Forward), Disco Fair, Liquid Aliens and Killa Syle events. Davi Killa was considered among the most talented DJs in 2007. Owner of a unparalleled musical background and huge DJ techniques, Davi Killa’s set will be an invitation to our so precious electronic music history which is behind everything we have today.
Posted in Uncategorized on March 10, 2008 by electronicstandards
Clark’s new treasure…….. ‘Turning Dragon’
Se você nunca ouviu falar dele, corra atrás. Chris Clark, artista que lança pela WARP Records, chegou com tudo em 2008: acaba de ser lançado o seu novo álbum ‘Turning Dragon’ que traz uma amostra da perspectiva underground que sempre permeou a sua carreira. Longe dos clichês e fórmulas desgastadas, o inglês prefere dar vazão a combinações diferentes, trazendo juntos elementos do Techno, IDM, Electro, entre outros.
Um dos aspectos mais interessantes de ‘Turning Dragon’ é a mudança de atmosfera no decorrer das faixas, estética quase incompatível com o tradicional status quo da música eletrônica minimal. ‘Gaskarth / Cyrk Dedication’ são cercados de mistério e introspecção, ‘Ache Of The North’ traz estética de timbres bem compatível com a perspectiva de Aphex Twin em Analord 10, ‘Beg’ sai do caos da obscuridão aos timbres aestéticos, a abstração é nitidamente reverenciada em ‘For Wolves Crew’ que traz excelência ao transitar por diferentes moods, e essas são apenas algumas das preciosidades do novo LP.
Clark não tem qualquer espécie de afinidade com o ‘hype do momento’, blockbusters ou ‘movimentos dominantes’. Se você quiser ter conhecimento mais amplo a cerca das idéias e da trajetória do artista, confira a sua entrevista para o Barcode Zine.
If you never heard about Chris Clark or any of his releases on the full-quality dance label WARP Records, you definitely should go after his new album ‘Turning Dragon’, a standard of his amazing underground perspective. Far away from predictable formula and outdated cliches, Clark clearly prefers other combinations and experimentations, joining together abstract, out-of-the-usual moods with Techno, IDM and Electro elements.
One of the most interesting aspects of ‘Turning Dragon’ lies on the moods changes within the tracks – an almost uncompatible esthetic with the traditional status quo of minimal electronic music based on repetition. ‘Gaskarth / Cyrk Dedication’ are surrounded by mystery and introspection, ‘Ache Of The North’ brings synthesizer timbres that reminds us of Aphex Twin’s ‘Analord 10’, ‘Beg’ goes from the chaos of obscurity to the aesthetic timbres and melodies; the abstract concept is honored on ‘For Wolves Crew’ that also travel through different moods, and these are only some of the treasures of Clarke’s new LP.
Clark is completely a part from ‘hypes of the moment’, blockbusters or mainstream rules. If you want to learn further about his ideas and journey, take a look at his recently interview for Barcode Zine.
Posted in Uncategorized on March 7, 2008 by electronicstandards
Genious Mind: Carl Craig (Photo by Timothy Saccenti)
Em matéria de ousadia e criatividade, Carl Craig é gênio do futurismo musical-aestético. Gigante sem paralelos, é capaz de lançar obras-primas como ‘At Les’ (1993), ‘A Wonderful Life’ (1995), ‘Mind Of A Machine’ (1995), ou ainda produzir remixes incríveis para obras de outros artistas, dando-lhes seu toque único e pessoal.
A impressão que dá ao ouvir suas músicas é de estar dentro de uma nave espacial em pleno vôo pela metópole futurista em noite de chuva ácida. Nos remete a perspectivas futuristas, arrojadas, ousadas, mas ao mesmo tempo emocionais, profundas e pulsantes.
Além de extraordinariamente criativo, Carl Craig soube como ninguém recorrer à arte de samplear e recorrer à rica história que o formou. A sua eclética perspectiva abrangeu diversos segmentos, e aqui citaremos alguns:
. Arranjos sensuais da Disco, como o caso de fragmentos de First Choice – ‘Love Thang’ (1979) em ‘The Climax’, assim como as linhas de baixo de ‘Floor‘ vêm de ‘Bombers – Everybody Get Dancin’ (1979);
. Em ‘Think Twice’, há arranjos idênticos aos do clássico de Jazz-Funk homônimo de Donald Byrd de 1975 (caso em que é difícil ter certeza se foram mesmo sampleados ou regravados), e em ‘Ladies & Gentlemen’ como 69, há pequenos arranjos do clássico de Soul ‘Little Child Runnin Wild’ do Curtis Mayfield;
. Do outro lado do Atlântico, Carl Craig foi buscar no original ‘Peut Être… Pas’ do Liaisons Dangereuses (1981) o ritmo usado no drop de ‘B.F.C. – Galaxy’;
. Como Paperclip People, fez uso das linhas de sintetizador de ‘Yello – Bostich’ (1980) em ‘Paperclip Man’, e de trechos de ‘Gypsy Woman (She’s Homeless)’ da Crystal Waters em ‘Gypsy Man’;
. Por fim, usou em ‘Shop – Niwit’ um trecho mínimo do remix de seu amigo Derrick May para ‘Sueño Latino – Sueño Latino’ (1992).
Em entrevista para a gravadora responsável por lançar ‘Sessions’, Carl Craig falou da sua vida e contou curiosidades interessantes que permearam a sua carreira artística. Respire fundo e não deixe de comprar a coletânea, que tem entre suas faixas e remixes a sua incrível versão para ‘Revelee’ de Delia Gonzalez e Gavin Russom. (O tracklist e o link para comprar a coletânea estão no final da matéria)
‘Sessions’, Carl Craig’s Amazing New Release on !K7
Carl Craig’s Interview Celebrates ‘Sessions’ Official Release on !K7 Studio
In terms of creativity and boldness, Carl Craig is a genious of futuristic-aesthetic music. A giant behind masterpieces such as ‘At Les’ (1993), ‘A Wonderful Life’ (1995), ‘Mind Of A Machine’ (1995) among countless other treasures, as well as amazing remixes for other producers that have his personal & unique touch.
While listening to his music, you get sometimes the impression of being on a spaceship flying a future metropolis during a midnight acid rain, on the middle of bold, wild, deep and emotional arrangements with pulsating rhythms.
Not only he has been extraordinarily creative as a producer, but also a sharp-minded Soul in the art of sampling and revisiting the past. Among the major samples and old school inspirations, we found out that his eclectic mind goes from the hottest Disco (‘The Climax’ has a sample from First Choice‘s ‘Love Thang’ (1979) and the basslines from ‘The Floor’ comes from Bombers – Everybody Get Dancin’ (1979);
to Jazz & Jazz-Funk (The Detroit Experiment’s “Think Twice” has samples from Donald Byrd‘s homonym tune – part of his ‘Steppin’ Into Tomorrow’ LP, (1975); Soul (‘Ladies And Gentlemen’ contains a nearly continuous arrangement from ‘Little Child Runnin Wild’ by Curtis Mayfield); Industrial which has always been one of Carl Craig’s faves genres as well (B.F.C. – ‘Galaxy’ has that synthesized bass groove from ‘Liaisons Dangereuses – ‘Peut Être… Pas’ (1981);
Italo-Disco (for the connaisseurs, 69’s Rushed may sound familiar since the main synth line has been taken from ‘My Mine – Hypnotic Tango’ (1983); Synth Pop (on 69’s ‘Frequency Finale’ you can notice the accelerated arrangements of ‘Visage – Frequency 7′ (1979) on the drop), and on ‘Paperclip People – Paperclip Man’ you hear the main synth of ‘Yello – Bostich’ (1980);
House also influenced Carl (Paperclip People’s ‘Gypsy Man (He’s A Hobo)’ main synth comes from Crystal Waters – Gypsy Woman (She’s Homeless)’ from the same year of 1991;
and even his mates productions were used: Shop – Niwit has tiny synths from Derrick May‘s remix for ‘Sueño Latino – Sueño Latino’ (1992);
The list of samples and influences brought by Carl Craig is unbeliveable. On an interview for the label !K7, he spoke about his life and also very interesting curiosities concerning his artistic career. Take a deep breath, have a nice interview and do not miss the chance to buy ‘Sessions’ and its amazing music, including his version for ‘Revelee’ from Delia Gonzalez & Gavin Russom.
TracklistSession 0101 Directions – Busted Trees (Carl Craig ‘Sessions’ Remix)
02 Junior Boys – Like a Child (Carl Craig Remix)
03 Rhythm & Sound – Poor People Must Work (Carl Craig Remix)
04 Chez Damier – Help Myself (Reconstructed By Carl Craig)
05 Paperclip People – Throw (Unreleased Version)
06 Beanfield – Tides (Carl Craig ‘Sessions’ Remix)
07 Paperclip People – Clear and Present
08 Theo Parrish – Falling Up (Carl Craig Remix)
09 Cesaria Evora – Angola (Carl Craig’s Mix)
10 Francesco Tristano – The Melody (Carl Craig Remix)
11 Delia Gonzales & Gavin Russom – Revelee (Carl Craig ‘Sessions’ Remix)Session 0201 69 – Rushed (Original Version)
02 69 – Psychobeat (Previously Unreleased)
03 Xpress2 – Kill 100 (Carl Craig ‘Sessions’ Remix)
04 Tres Demented – Demented (Or Just Crazy) (Original Version)
05 Faze Action – In the Trees (Unreleased Carl Craig Remix)
06 Tres Demented – Brainfreeze (Carl Craig ‘Sessions’ Remix)
07 Carl Craig – Futurelovetheme (Carl Craig ‘Sessions’ Remix)
08 Carl Craig – Sandstorms (Original Version)
09 Innerzone Orchestra – Bug in the Bass Bin (Carl Craig ‘Sessions’ Remix)Carl Craig’s ‘Sessions’ official release on !K7 took place February 25, 2008.
Genious Mind: Carl Craig (Photo by Timothy Saccenti)
‘Sessions’, Carl Craig’s Amazing New Release on !K7
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