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!
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* 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”
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.
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!
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.
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.
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.
‘Innovator’ (inovador), autor de ‘Strings Of Life’ e ‘Nude Photo’: Derrick May
Considerado um dos maiores artistas da história do Techno, Derrick‘Rhythim Is Rhythim’May está cansado. Tem viajado muito nos últimos anos para apresentações em clubes, eventos e festivais no Mundo todo, mas ao custo disso, a sua atribulada agenda lhe impediu de quaisquer outros objetivos, desde tirar férias em ilhas paradisíacas a presentear-nos com novas obras de arte.
Ele já foi um aficcionado, ou melhor, obcecado por vinis a ponto de uma vez por mês viajar ao Japão apenas com o intuito de comprá-los. Atravessava o Planeta para comprar os mais incríveis títulos em lançamentos exclusivos em algumas das melhores lojas. Hoje (lamentavelmente), até as maiores como a Cisco Records estão pedindo falência ou já desapareceram. Sinal dos tempos.
Some of May’s finest masterpieces: Rhythim Is Rhythim (Derrick May) – ‘Nude Photo’ (1987)…
Preocupado, Derrick May discorreu em uma entrevista em Bucareste para o Beat Factor durante uma de suas incansáveis turnês na Europa sobre a dialética entre vantagens e desvantagens decorrentes da industria fonográfica atual. Falou da facilidade dos mais jovens de produzir e as suas amplas possibilidades de lançamento digital, e por outro lado, a falta de parâmetros, critérios e o desaparecimento de toda uma cultura com a queda do ‘império do vinil’ e a sua substituição pelo ‘digital’. Tudo isso, segundo ele, em nome da conveniência, porém ao custo de grandes profissionais que dedicaram suas vidas à cultura musical. Segundo ele, “não há como interromper os avanços tecnológicos”, porém, estes estão acontecendo “de forma errada”.
Se eu fosse você, não perderia essa entrevista. Não se preocupe, o embora o tema já tenha sido abordado à exaustão, ela é bem divertida……………………….
Derrick May Speaks About The New Phonographic Industry And Its Impacts
Considered one of the greatest artists of the history of Techno, Derrick‘Rhythim Is Rhythim’May is tired after all these years of performances and DJ sets on countless clubs, Festivals and events in general. Unfortunately, that happened on the cost of (since we’re talking on dialetical perspective) wonderful vacations on paradisiac islands or even new masterpieces.
Another of May’s Relics: Rhythim Is Rhythim (Derrick May) – Icon (1992)
He has been considered a vinyl aficcionado, why not say obsessed for it, since he would travel (according to his own words) once a month to the other side of the World – Japan – just to buy amazing records. Now, even the most amazing record shops like Cisco Records are disappearing, and the music market is completely changed. Sign of the times.
On a very nice interview for Beat Factor from Bucarest, Romania, Derrick May confessed he’s worried about the new status quo of the Music Industry and its paradox between the youngsters’ broad access to electronic music production and the disappearance of several professionals involved on the industry vinyl, whose empire is being undeniably substituted by the digital. The advance of technologies are certain, there’s nothing we can do about it, and they are usually for the better, but they can at the same time bring dangers – and Derrick is worried exacly about how these advances have been directed.
O novo LP do Autechre é puro deleite musical. Trata-se do nono do projeto inglês de IDM (ou Intelligent Dance Music, rótulo que hesitamos em abraçar, mas que infelizmente se tornou referência para indicar o gênero) da dupla Rob Brown e Sean Booth. Autores de jóias atemporais como ‘Incunabula‘ (1993), ‘Amber‘ (1994), ‘Basscad EP‘ (1994) e ‘Tri Repetae‘ (1995), fizeram história com a WARP Records (selo britânico lendário de Sheffield por onde saíram os primeiros lançamentos de Bleep Techno e que tem em sua história um casting de dar inveja a qualquer outro), e evoluíram com o passar do tempo para lançamentos cada vez mais complexos, abstratos e difíceis de se ouvir. Segundo declarou um amigo expert, passaram da música com máquinas para a música de máquinas, e no final, para máquinas.
Autechre – Dropp (1999)
‘Quaristice‘ demonstra um retorno a diferentes atmosferas, das mais profundas às experimentais, timbres pra lá de abstratos, compassos fora dos tempos habituais, entre outros deleites não usuais da dance music. Clique no link do MySpace do Autechre para ouvir.
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Autechre Is Back With Aesthetic Experimentalism On ‘Quaristice’
The new album from Autechre is musically delightful. The Manchester based IDM duo composed by Rob Brown & Sean Booth is the author, as well as for the timeless standards such as ‘Incunabula‘ (1993), ‘Amber‘ (1994), ‘Basscad EP‘ (1994) and ‘Tri Repetae‘ (1995) which represent an important part on WARP Records* history. However, on the next following years, Autechre’s music started to be more complex, abstract and difficult to listen, as say the expert’s quote “going from Music with machines to Machines-music, and finally Music for machines“.
(* IDM: A translation for Intelligent Dance Music, a style name that, despite our hesitation in mentionning, have unfortunately became well-known as this kind of genre description).
(* WARP: British legendary label based in Sheffield considered to be one of the longest surviving quality dance labels and the responsible for the first Bleep Techno releases).
Autechre – Grantz Graf (2002)
‘Quaristice‘ is a demonstration of different kinds of atmospheres, from the deeper to the more abstract and experimental, including unusual synthesizer timbres, odd melodies, out-of-the-time compasses, among other out of the ordinary patterns. Listen to Autechre’s MySpace to make your own judgements.
Ontem, logo antes de seguir para o Hertz Fest, tudo parecia dar errado. Vesti uma calça preta social ridícula, tinha um Halls de menta derretido e grudado no bolso direito, os sapatos doíam a beça nos calcanhares. Eu tinha que buscar um casal de amigos no Audio Delicatessen antes de seguir para lá, e não me sobrava muito tempo. Resolvi deixar pra lá, afinal de contas, live do Dirk Ivens não é todo dia.
Fui com os amigos para o evento e ao chegar, logo percebi que a noite seria memorável. O Klinik foi uma banda extremamente diferenciada e além de seu tempo para a época. Entre 1985 e 1990, lançaram faixas que se tornariam clássicos não só do EBM / Industrial, mas de outros gêneros e artistas também, a exemplo do Electro e até do Techno. É só perguntar a artistas como Jeff Mills, Surgeon, Dan Physics, Adam X e DJ Hell o que acham da importância que o projeto belga teve. Suas atmosferas obscuras, introspectivas e mentais se tornaram standards da música eletrônica contemporânea.
Hertz Fest
Localizado em um galpão que funciona como estacionamento durante o dia em plena Rio Branco, Centro de São Paulo, o Hertz Fest proporcionou uma noite especial aos fiéis ouvintes em uma região pela qual eu tenho uma queda inegável, confesso. Não conseguiria imaginar um live do Dive ou do Klinik em qualquer outro bairro menos caótico e apaixonante. O DJ Rodrigo Cyber mandou muito bem no seu set de abertura e relembrou os clássicos de porões como Hoellisch e Armageddon com ‘Revolting Cocks – Beers, Steers & Queers‘ e a “Perfect Crime” do amigo e antigo parceiro do Dirk Ivens, no Klinik, Eric Van Wonterghem do Insekt. O público de amantes de Industrial e Electronic Body Music foi ao delírio, estava tudo pronto para o Dirk subir ao palco. A expectativa era enorme, afinal a última vez em que esteve no Brasil foi há cerca uma década atrás.
“Pain And Pleasure”, clássico do Klinik, fez parte do repertório do live de Dirk Ivens
O ótimo repertório do seu live incluiu produções solo como Dive e alguns clássicos do Klinik em versões retrabalhadas, de “Sick In Your Mind” de 1985 a “Pain And Pleasure” (1986) e a expansiva “Moving Hands” (1988). As bases eram nítidamente diferentes, minimalistas, cruas e agressivas, cuja autoria é muito provavelmente do próprio Dirk Ivens, já que o projeto Dive é solo. A escolha pelo live do Dive em função do seu parceiro de Klinik Marc Verhaeghen ter fobia a viagens de avião.
Sozinho, Dirk Ivens não deixou por menos e arrebentou com uma presença de palco extraordinária, timbres de vocais e interpretações singulares. Quem teve a oportunidade de testemunhar os tempos em que seus clássicos eram tocados em locais como Retrô e Hoellisch, voltou para casa com memórias e flash-backs intensos, e quem não conhecia, saiu impressionado.
Dirk Ivens Live Brings Extra-Dose Of Emotion To The Crowd
Dirk Ivens (Dive live)
Yesterday, all seemed to go wrong. Just before going to the live of Dirk Ivens at Hertz Fest, all of a sudden I realized that a Halls candy stuck to my pants which by the way were ridiculous, my shoes were hurting, I felt uncomfortable all over the way. I had to pick up a couple of friends and go to Hertz with them, we were in a hurry, so I let it go, after all it would be historical night for me.
Klinik was ground breaking, it patterns of introspectiveness, obscurity and mental moods inspired countless generations of artists since them. The event was located in a very interesting place that during the day would function as a parking place, downtown Sao Paulo.
Just before the live performance, the DJ Rodrigo Cyber shot some old classics to the crowd, such as ‘Revolting Cocks‘ “Beers, Steers & Queers” and “Perfect Crime” by Dirk Ivens‘ friend and old partner on Klinik, Eric Van Wonterghem from Insekt. The crowd went mad, and when Ivens came on stage, everyone knew it was meant to be a unique occasion. Last time Ivens came to Brazil was about ten years ago, in 1998.
Dirk’s live included Klinik’s old classic “Sick In Your Mind”
The repertory consisted on some of Dive‘s music and some old re-worked Klinik classics as well, like the early classic from 1985 “Sick In Your Mind“, “Pain And Pleasure” (1986) and “Moving Hands” (1988). The bases were different, more minimalistic and raw, probably done by Dirk Ivens himself, as Dive live do not count on Dirk’s old partner Marc Verhaeghen (the choice for Dive insteado of Klinik took place because Marc doesn’t travel by plane).
The odd, obscure-mental state of introspectiveness of Dirk Ivens’ vocals and his incredible performance on stage gave his live a very impressive result. The public were amazed and went home with ‘memories’…………..
Ele não tem medo de máquinas: Anthony Rother e seu Super-Live
Noite memorável
A noite desta sexta reservou agradável surpresa até para quem esperava um live de nível do mais conhecido nome internacional do Electro atualmente. Eis que o profundo conhecimento da ‘matéria prima’ com a qual se trabalha e a dose de criatividade a todo vapor se juntaram e deram ao live do alemão Anthony Rother uma combinação explosiva de Technopop turbinado e Electro do mais alto nível, no caso do primeiro (dominante neste último live) baseado em timbres trabalhadíssimos, forte senso de harmonia e impulsionado por percussões pulsantes, envolventes e marcantes, tão características do Techno.
Explico melhor: respaldado pelo Sound System de alto nível do clube Clash e pelas incríveis imagens de vídeo e raios laser, o repertório de Rother botou o clube abaixo e mostrou força dentro de uma perspectiva cujo seu país, Alemanha, tem tradição de sobra – o Technopop, conceito igualmente inventado por Kraftwerk, os pais do Electro, ainda na década de setenta através de clássicos como “The Model” (1978).
Technopop e Electro: A Diferença
Como diferenciar Electro de SynthPop/Technopop? É claro que não existem parâmetros absolutos para todas estas definições de gêneros; todavia, euquanto a batida do Technopop é reta, no Electro a seqüência é moldada através de beats, snares e hi-hats eletrônicos quebrados e sincopados. Sugerimos que o leitor clique em todos os nossos links de cada nome citado, para que possa assistir ao vídeo relativo de alguma música de cada produtor. Parece um pouco didático demais, mas a idéia é possibilitar ao leitor ouvir as músicas de cada um, para que ele próprio aprenda a diferençar um gênero do outro.
Atenção! Technopop historicamente não tem nada a ver com a fusão Techno e gênero Pop; trata-se de um Pop tecnológico, produzido através de equipamentos eletrônicos, e não de qualquer híbrido do estilo nascido em Detroit. Mesmo porquê, quando o Synthpop ou Technopop nasceram, na final da década de setenta, o Techno sequer existia. E já nesta época, despontavam bandas de Technopop como Visage, Telex e The Normal (clique e veja os vídeos), anos antes de Juan Atkins (considerado criador do Techno) sequer formar o Cybotron em Detroit, que dirá o Model 500.
Por outro lado, se você quiser saber o que é Electro de verdade, ouça ‘Sex With The Machines’, ‘Describe Reality‘ ou ‘Dualis’ do próprio Rother, ou as coletâneas clássicas responsáveis por difundir o Electro na Europa nos anos oitenta e noventa respectivamente: Essential Electro (1984), primeira lição de casa para quem quer conhecer Electro, e X-Mix – Electro Boogie do Dave Clarke (1996), cujos vídeos estão na seção de links no final da matéria.
Maquinário Envenenado
E grande parte do live do Anthony Rother ontem trouxe o melhor do Technopop atual, porém com um toque todo original: envenenado pelo ritmo marcante do trio ‘bumbo, caixa e pratos’ de Techno, cujos timbres são facilmente reconhecíveis, sedutores e cheios de groove. O resultado não poderia ser outro: Technopop envenenadíssimo, afirmativo, com percussão envolvente, pra cima, e melhor – com timbres e perspectiva do Século XXI.
A diferença: Rother mandando ver no Electro, gênero elaborado por beats eletrônicos quebrados……………….
O curioso é que, apesar de ter sido posto em evidência novamente há pouco mais de uma década atrás pelo movimento ‘Electroclash’, o Synthpop / Technopop invariavelmente envelheceu após os anos oitenta. A priori, ficou datado. Quem conheceu Depeche Mode, Absolute Body Control ou Yazoo na década do neon, terá dificuldades em encontrar paralelos de criatividade no estilo nos dias de hoje. Anthony Rother soube, contudo, trazer qualidade através de uma assinatura pessoal. Através de seu live, Rother mostrou contudo que o Technopop pode sim ser criativo e viável nos dias atuais e ter roupagem compatível a nossa geração de Tecnologia tão desenvolvida. Até mesmo em recursos cujos artistas de Synthpop atuais costumam falhar, como o dos vocais sintetizados, Rother emplacou: no caso do alemão, os timbres combinavam perfeitamente com a atmosfera das faixas em questão, e de forma geral, tudo tinha uma coerência desconcertante.
……………… e o Technopop, que tem beats retos
O Mestre do Electro soube também honrar, por pelo menos duas ocasiões, o gênero que o consagrou, além de algumas criativas variações em outras faixas. No momento em que desfilou suas obras primas de Electro, o fez com competência inigualável, dando mais um toque de categoria ao seu já refinado live. Sua perspetiva pode ter se tornado mais acessível através do Technopop do que com o Electro dos tempos pré-Datapunk de Psi49net, mas isso pouco importa, porque o resultado final continua sendo repertório diferenciado. O aniversário de quatro anos da agência Clunk foi certamente (apesar de não ter ido em todas) uma das duas ou três melhores noites da história do Clash. No Technopop ou no Electro, Anthony Rother mostrou porquê é um dos mais importantes lives eletrônicos do Mundo da atualidade.
. This last Friday night brought an unexpected agreable surprise even for those expecting a high level performance Electro’s worldwide known Anthony Rother.Suddenly, the German’s deep knowledge and exhaling creativity melted together gave the performance an extraordinary explosion of turbo-charged Technopop and high-level Electro, the first being most part of the live, based on well shaped synth timbres, strong sense of harmony and groovy, pulsating Techno beats.Enhanced by Clash Club’s powerful Sound System, amazing video performances & lasers, Rother’s live blowed everbody’s heads off, showing a musical perspective so traditional in his mother land, Germany: the Technopop. A concept invented by the godfathers of Electro, Kraftwerk during the seventies, the Technopop became worldwide known as a genre through classics such as “The Model” (1978), and later other ones from different bands as well.
. Technopop And Electro: The Difference
. How can you differ Electro from SynthPop/Technopop? Obviously there is no exact parameters or formulas to define all these musical genres; even though, Technopop’s beats are straight, while on Electro they are electronically made, syncopated and broken. We strongly suggest the readers to click on the artists’ links in order to watch their videos and listen to their music, so that everyone can learn the differences between each kind of music. Historically, Technopop has nothing to do with Techno and Pop genre fusion; it’s rather a electronic pop type of music made with the use of synthesizers and usually drum machines as well, which means there is no Detroit Techno influence on it at all. While Detroit Techno and Techno as a genre was born in the early eighties according to Juan Atkins, Synthpop / Technopop already existed as a genre in 1978. During this period, Technopop bands such as Visage, Telex & The Normal (click on the links to see the videos) were all setting patterns, years before Cybotron or Model 500.
. If you’re confused and want to elucidate your thoughts about Electro, try to listen to ‘Sex With The Machines’, ‘Describe Reality‘ or ‘Dualis’ from Rother, and most of all the quintessential compilations responsible to spread Electro in Europe: Essential Electro (1984), first step to know about the genre, and Dave Clarke’s X-Mix – Electro Boogie (1996) whose videos are on the links sections on the end of this article.
. Full Power Machinery
. This Friday’s live by Anthony Rotherbrought the hottest Technopop with a very original touch: the tunes are all base on strong rhythms with kicks, snares and hi-hats timbers and compressions so typical on Techno, making the ensemble more seductive and groovy. The result is a bold, affirmative twenty-first Century Technopop.
The Difference: Rother’s Electro productions, made of electronic & syncopated Break Beats……………….
. Submerged during the nineties under the Electroclash movement, the Technopop / Synthpop aged and got undeniably dated. For those who had the chance to listen to standards like Depeche Mode, Absolute Body Controland Yazoo during the eighties, it was pretty hard to find a parallel on the more recent years despite the genre’s increasing popularity. However, Anthony Rotherbrought a personal signature and knew how to make it different. Through his live, he proved that Technopop can be original and compatible with nowaday’s hi-tech society. Even on resources where the other acts fail to succeed like synthesized vocals, Rother’s live improved bringing futuristic timbres and a harmonious compatibility with the ensemble.
……………… and the Synthpop / Technopop beats which are straight
. Anthony knew how to Honor the genre that brought him to the World on a couple of occasions during his live yesterday: he performed his Electro tunes with a touch of class and astonishing talent, broad-siding his live. His perspective may have become more accessible with his Technopop tunes than the Electro ones from the pre-Datapunk era de Psi49net, but it doesn’t matter, because the final result is still quality repertory. Clunk’s fourth anniversary party was certainly one of the three most special nights on Clash club ever. On Technopop or on Electro, Anthony Rother showed why he is one the most respected lives these last years.
Genious Mind: Carl Craig (Photo by Timothy Saccenti)
‘Sessions’, Carl Craig’s Amazing New Release on !K7
