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Intelligent Dance Music

Intelligent dance music

Intelligent dance music (IDM) refers to a style of experimental electronic music with an emphasis on unconventional sequencing and processing. Notable IDM artists include Aphex Twin, Squarepusher, Autechre, Boards of Canada and Venetian Snares. The term IDM may have originated from the creation of an electronic mailing list called the IDM list in August 1993, originally intended for discussion of Rephlex Records. Thus the actual musical definition of the genre evolved as the artists it originally described evolved (a similar thing happened with apocalyptic folk). The term subsequently gained a life of its own, and became popular around the world as a means of referring to the then-novel mainstream success of certain kinds of experimental electronic dance music. Prior to the adoption of "intelligent dance music" as a blanket term for this music, terms such as electronic listening music, intelligent techno, listening techno, art techno, and experimental techno were common. Rephlex poked fun at this pigeonholing of music by coining the word "braindance" as a parody. The use of the term is somewhat contentious, owing to the inherent assumption that all non "IDM" electronic music is then "unintelligent". IDM is not any one genre in particular, but rather an umbrella term for a variety of genres of which the main unifying idea is a desire to make music derived from any of those many genres (such as drum and bass, ambient, house, glitch, hip hop, UK garage, and even jazz) which deviates from the standard template for that genre through an experimental and/or novel approach.

Overview

IDM refers to a style of experimental electronic music with an emphasis on unconventional sequencing and processing which sets it apart from traditional dancefloor techno and house. Some IDM is influenced by earlier styles; for example, the music of B12, Kirk DeGiorgio, and others incorporates elements of jazz. Other influences include musique concrète and avant-garde classical composers such as Karlheinz Stockhausen and Iannis Xenakis; and early hip hoppers like Mantronix. The initials IDM appeared in music magazines during the genre's first wave in 1992 – 1993, but the term caught on with the formation of the IDM electronic mailing list in August 1993. Initially, the discussion list focused on the music of Richard D. James (Aphex Twin) and the Rephlex Records label, as well as various forms of electronic dub by artists such as The Orb, Richard H. Kirk, and Future Sound of London. In fact, any form of new, percussive electronic music that was not easy to categorize as pure house, trance, electro or techno was fair game for discussion; it was not unusual for artists such as System 7, William Orbit, Sabres of Paradise, Orbital, Plastikman and Björk to take equal footing as IDM alongside Autechre, Atom Heart, and LFO. In the mid-1990s, the definition of IDM solidified and narrowed, especially after the 1994 release of Warp's second Artificial Intelligence compilation, which featured various postings from the mailing list incorporated into the typographic artwork in the sleeve notes. IDM became increasingly identified with the quirky, experimental brands of electronic music produced by Warp Records artists such as Polygon Window (an alias of Richard D. James), Autechre, LFO, B12, Seefeel and Black Dog Productions. Lesser-known artists on the Likemind label and Kirk Degiorgio's A.R.T. and Op-Art labels, including Degiorgio himself under various names (As One, Future/Past, Esoterik), Steve Pickton (Stasis), and Nurmad Jusat (Nuron) also took the label of IDM. The music of other artists, however, such as Björk and Future Sound of London, continued to be upheld as IDM as well. The majority of IDM's pioneers during this era were based in Britain, but a few artists, such as Sun Electric from Berlin, hailed from other countries.

Spread of IDM

In the late 1990s and early 2000s, as the genre began to mature, its definition expanded again, with artists and labels from around the globe pushing electronic 'listening music' in new directions. Notable influences at the beginning of this period include the music of Boards of Canada, the Skam Records label, and artists using software synthesis, a technology that had recently become possible to use on ordinary personal computers. In particular, during this period, IDM production greatly increased in the United States. One of the more notable hubs of activity was Miami, Florida, with labels like Schematic, Merck Records, and The Beta Bodega Coalition sprouting up and releasing material by artists such as Phoenecia, Dino Felipe, Machinedrum, and Proem. Another burgeoning scene was the Chicago/Milwaukee area, with labels such as Addict, Chocolate Industries, Hefty, and Zod supporting artists like Doormouse and Emotional Joystick. Developed out of the IDM community was a filesharing program called Soulseek. The influence of IDM has even infiltrated the rock scene. In particular, Radiohead named Aphex Twin and Warp Records as influences. Much of the post-rock scene owes an obvious debt to the innovations of IDM as well. A branch of IDM based mostly on the influence of Warp Records began in about 1999, mostly centered around internet forums dedicated to the genre. The widespread popularity of Warp artists resulted in a subgenre of IDM which is highly derivative of artists such as Aphex Twin, Boards of Canada, Plaid, and Autechre.

Criticisms of IDM

The term "intelligent dance music" is often criticized for grouping other music genres while not being a specific description of the music genre itself. Whether or not intelligence or dancing are involved, or whether everybody else's music is not intelligent is irrelevant as the name is now in common usage. IDM as a genre name is criticized because it wasn't created by the artists whose work it named, and those artists may not particularly want their work associated with their genre name peers. The IDM genre name is a third party creation by the high volume IDM mailing list and some British music magazines printed around 1991, and the genre name was apparently more memorable than other competing phrases. The term "intelligent" is believed to have derived from the often cerebral qualities that the music holds. Detractors of the phrase have occasionally used the term "dolphin music" as a disparaging alternative to "intelligent". Otto Von Schirach ironically aided the replication of the "IDM" meme in 2003 by mockingly shouting "IDM" repeatedly on the first track of the EP compilation album "Chopped Zombie Fungus", released by Schematic Records. In [http://www.furious.com/perfect/aphextwin.html a September, 1997 interview], Aphex Twin commented on the 'Intelligent Dance Music' label: "I just think it's really funny to have terms like that. It's basically saying 'this is intelligent and everything else is stupid.' It's really nasty to everyone else's music. (laughs) It makes me laugh, things like that. I don't use names. I just say that I like something or I don't." The famous electrical recording engineer Steve Albini says of IDM "As the idiom developed, the music became more and more about the novelty of certain sounds and treatments, ridiculously trivial aspects like tempo and choice of samples, and the public personae of the makers. It became a race to novelty. I find that kind of evolution beneath triviality. It is a decorative, not substantive, evolution."

Sound production in IDM

Early IDM was produced in much the same way as other forms of electronic music at the time, using hardware drum machines and rackmounted equipment. The advent of the MIDI musical intrument protocol in the mid-1980s gave IDM musicians the power to easily control their hardware. Since the late 1990s, however, IDM has been primarily produced on computers, using advanced sequencing and synthesis software such as Cubase, Reaktor, Logic Pro and Max/MSP. The limited number of music production software suites popular among modern IDM musicians has led to the widespread use of certain trademark audio effects (though purists might argue that an artist failing to explore and create new sounds in their music is contradictory to the 'ethos' of the genre). One such example is digital distortion (also called "bit reduction"), a technique in which the artist manipulates the sampling rate and bit depth of the playback. Live IDM performances are commonly played entirely on laptop computers, using software like Ableton Live or programming languages like Max. "Groove boxes" such as the Roland MC-909 are used as well. The amount of pre-sequenced and pre-recorded material versus real-time production generally varies from one performance to the next. In many cases, live performance is a combination of the two.

Notable IDM artists


- 2 Lone Swordsmen
- Astrobotnia aka Ovuca
- Atom Heart
- Amon Tobin
- Aphex Twin
- Arovane
- Autechre
- Black Dog
- Boards Of Canada
- Bogdan Raczynski
- Bola
- Capitol K
- Cex
- Enduser
- Four Tet
- Gescom
- Datach'i
- The Flashbulb
- Funkstörung
- Jega
- Kid 606
- Khonnor
- Machinedrum
- Matmos
- Monolake
- Mouse on Mars
- µ-ziq
- Ochre
- Otto Von Schirach
- Pan Sonic
- Phoenecia
- Plaid
- Prefuse 73
- Proem
- Richard Devine
- Speedy J
- Squarepusher
- Telefon Tel Aviv
- To Rococo Rot
- Venetian Snares Many mainstream rock artists have experimented with IDM influences. Björk worked with Mark Bell of LFO and Matmos on Homogenic and Vespertine, respectively. Radiohead began toying with electronics on OK Computer and has continued to draw from the genre, especially on Kid A.

Intelligent dance music samples


- Download Sample "Deep Field View" - Watershell
- Download Sample "Aquiline" - Paranonia
- Download Sample "Room 208" - Future Sound of London
- Download Sample "Com" - Floex
- Download Sample "Telephasic Workshop" - Boards of Canada
- Download Sample "Outland" - Biot
- Download Sample "Sprint (A87 Mud)" - Beaumont Hannant
- Download Sample "Alpenrausch" - Monolake
- Download Sample "Slip" - Autechre
- Download Sample "T.T.V." - Telefon Tel Aviv

See also


- Drill n bass / breakcore
- Glitch
- Microhouse

External links

Streaming audio


- [http://www.live365.com/stations/idmradio IDMradio]
- [http://everyone.doesntexist.com/ everyone.doesntexist]
- [http://www.mishkas.com/ Mishkas.com]

Community


- [http://music.hyperreal.org/lists/idm/ IDM-L] - the IDM mailing list
  - [http://elists.resynthesize.com/idm/1993/ Archive of posts to IDM-L]
  - [http://groups-beta.google.com/group/alt.rave/msg/af70a963a5002ddd?hl=en&fwc=1 original list announcement] on alt.rave, August 8, 1993
- [http://www.groovesmag.com/ Grooves magazine]
- [http://www.watmm.com/ We Are The Music Makers]
- [http://www.em411.com/ EM411]
- [http://xltronic.com/ XLTRONIC IDM community]
- [http://www.dreamdaze.org/idm%20ring.htm IDM Web Ring]
- [http://www.idm-net.lv/ IDM-net.lv community]

Labels

Major


- [http://www.warprecords.com/ Warp Records]
- [http://www.skam.co.uk/ Skam Records]
- [http://www.planet-mu.com/ Planet Mu Records]
- [http://www.rephlex.com/ Rephlex Records]
- [http://www.schematic.net/ Schematic Records]
- [http://www.tigerbeat6.com/ Tigerbeat6 Records]
- [http://m3rck.net/ Merck Records]
- [http://www.sublightrecords.com/ Sublight Records]
- [http://www.ninjatune.net/home/ Ninja Tune]

Other


- [http://www.arepaz.com Arepaz] (formerly The Beta Bodega Coalition)
- [http://www.basskamp.com/ Basskamp Records]
- [http://www.batona.com/ Batona Music]
- [http://darsrecords.com/ Dars Records]
- [http://www.fourthcity.net/ Fourthcity Art Crew 200
- ]
- [http://www.isolaterecords.com/ Isolate Records]
- [http://www.kracfive.com/ Kracfive Records]
- [http://www.lacedmilk.com/ Lacedmilk Tech]
- [http://www.mono211.com/ Monotonik Records]
- [http://www.nophi.net/ Nophi Recordings]
- [http://www.rednetic.com/ Rednetic Recordings]
- [http://www.reducedphat.com/ Reduced Phat Records]
- [http://www.earstroke.com/ Earstroke Records]
- [http://records.watmm.com/ WATMM Records]
- [http://xltronic.com/ XLTRONIC Records] Category:Electronica Category:Electronic music genres ja:インテリジェント・ダンス・ミュージック

Experimental music

Experimental music is any music that challenges the commonly accepted notions of what music is. There is an overlap with avant-garde music. John Cage was a pioneer in experimental music and defined and gave credibility to the form. As with other edge forms that push the limits of a particular form of expression, there is little agreement as to the boundaries of experimental music, even amongst its practitioners. On the one hand, some experimental music is an extension of traditional music, adding unconventional instruments, modifications to instruments, noises, and other novelties to orchestral compositions. At the other extreme, there are performances that most listeners would not characterize as music at all.

Keywords

Aleatoric Music- Also called 'chance music' (Cage's habitual usage). Music in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. Graphic Score- Music which is written in the form of diagrams or drawings rather than using “conventional” notation (with staves, clefs, notes etc). Microtones- A pitch interval that is smaller than a semitone. This includes quarter tones and intervals even smaller. Composers have, for example, experimented in dividing the octave into 31 and 53 microtones, and using this scale as a basis for composition.

Techniques

Some of the more common techniques include:
- Extended techniques: Any of a number of methods of performing on a musical instrument that are unique, innovative, and sometimes regarded as improper. :
- "Prepared" instruments—ordinary instruments modified in their tuning or sound-producing characteristics. For example, guitar strings can have a weight attached at a certain point, changing their harmonic characteristics (Keith Rowe is one musician to have experimented with such techniques). Cage's prepared piano was one of the first such instruments. :
- Unconventional playing techniques—for example, strings on a piano can be manipulated directly instead of being played the orthodox, keyboard-based way (an innovation of Henry Cowell's known as "string piano"), a dozen or more piano keys may be depressed simultaneously with the forearm to produce a tone cluster (another technique popularized by Cowell), or the tuning pegs on a guitar can be rotated while a note sounds (called a "tuner glissando").
- Incorporation of instruments, tunings, or scales from non-Western musical traditions.
- Use of sound sources other than conventional musical instruments such as trash cans, telephone ringers, and doors slamming.
- Playing with deliberate disregard for the ordinary musical controls (pitch, duration, volume). While much discussion of experimental music centers on definitional issues and its validity as a musical form, the most frequently performed experimental music is entertaining and, at its best, can lead the listener to question core assumptions about the nature of music. The London based independent radio station Resonance FM, founded by the London Musicians Collective, frequently broadcasts experimental and free improvised performance works. The Experimental Music Catalogue, founded in 1968 by Christopher Hobbs, publishes scores and recordings of experimental music. David Cope (1997), describes experimental music as that, "which represents a refusal to accept the status quo." He describes a "basic outline" from "simple to...complex":
- Situation and circumstance music
- Soundscapes
- Biomusic
- Antimusic

Notable composers and performers of experimental music

:Main article: List of experimental musicians
- David Behrman
- Captain Beefheart
- Buckethead
- John Cage
- Henry Cowell
- Cornelius Cardew (early career)
- Wendy Carlos
- Coil
- DAC Crowell
- Kurt Doles
- The Envy Project
- Autechre
- Merzbow
- Philip Glass
- Kronos Quartet
- Richard D. James
- Tom Jenkinson
- Daniel Patrick Quinn
- Morton Subotnik
- The Synthetic Dream Foundation
- Phill Niblock
- Luigi Russolo

See also


- 20th century classical music
- Aleatoric music
- Computer music
- Contemporary music
- Electronic art music
- Electronic music
- Extreme music
- Free improvisation
- Free jazz
- Intelligent dance music
- Noise music
- Noise rock
- Power electronics

Further reading


- John Cage, "Experimental Music" and "Experimental Music: Doctrine", in Silence (Wesleyan University Press, 1961)
- Michael Nyman, Experimental Music, Cage and Beyond (Cambridge University Press, 1974)
- Thomas B. Holmes, Electronic and Experimental Music: Pioneers in Technology and Composition (2002)

Source


- Cope, David (1997). Techniques of the Contemporary Composer. New York, New York: Schirmer Books. ISBN 0028647378.

External links

Radio


- [http://everyone.doesntexist.com/ everyone.doesntexist] - experimental request radio stream
- The R Duck show [http://www.happyguy.org/rduck radio archives] - Free Radio Santa Cruz (FRSC) 101.1 FM in Santa Cruz, the only experimental live improvised electronic music pirate radio show.
- [http://www.resonancefm.com/ Resonance 104.4FM] - Resonance 104.4fm is London's first radio art station, brought to you by London Musicians' Collective. Category:Musical genres

MISC


- [http://yat.ch/emacm/ EMACM] - The Experimental Musicians and Artists Co-op Malaysia.
- [http://www.experimentalmusic.co.uk/ Experimental Music Catalogue] - Experimental Music Catalogue has been publishing American and British experimental music scores and recordings since 1969. This site sponsors the Journal of Experimental Music Studies (JEMS), a peer-reviewed online journal devoted to experimental music.
- [http://www.hertz-lion.com/ Hertz-Lion] - Hertz-Lion is a digest of links to websites devoted to those involved in the creation of leftfield and avant-garde music, with different pages devoted to venues, labels, artists and culture. Eclectic and wide-ranging.
- [http://www.infinitesector.org/ Infinite Sector Collective] The Infinite Sector is a non-profit collective and netlabel dedicated to sharing and promoting free experimental music, noise music, and electronica. Members include musicians, bands, and artists from all corners of the globe.
- [http://www.lampo.org/ LAMPO] Founded in 1997, LAMPO is a Chicago nonprofit organization that promotes and supports artists working in electronic and electroacoustic music, free improvisation, sound art and other new forms. LAMPO has been described as "one of North America's premier venues for experimental music."

Music sequencer

In the field of electronic music, a sequencer was originally any device that recorded and played back a sequence of control information for an electronic musical instrument. Nowadays, the term almost always refers to the feature of recording software which allows the user to record, play back and edit MIDI data. This is distinct from the software features which record audio data. Early analog music sequencers used control voltage/trigger interface, but were replaced by digital hardware- or software-based MIDI sequencers, which play back MIDI events and MIDI control information at a specified number of beats per minute. As computer speeds increased in the 1990s, audio recording, audio editing, and sample triggering features were added to the software. Software so enhanced is called a digital audio workstation (DAW). DAWs almost always include sequencing features but, strictly speaking, go beyond what a sequencer is. Many sequencers have features for limited music notation, or are able to show music in a piano roll notation. (For software designed specifically for music notation, see the scorewriter article.) Though the term 'sequencer' is today used primarily for software, some hardware synthesizers and almost all music workstations include a built-in MIDI sequencer. There are also standalone hardware MIDI sequencers. Music can be sequenced in a sense using trackers such as ModPlug Tracker, and a drum machine can be viewed as a specialized music sequencer.

Software sequencers / DAWs with sequencing features

drum machine drum machine VST]] In alphabetical order:
- Ableton Live
- Acid Pro [http://mediasoftware.sonypictures.com/products/showproduct.asp?pid=928]
- Anvil Studio
- Ardour
- Audacity
- Babya Logic
- Cakewalk range of software (e.g. Sonar)
- CheeseTracker
- Cubase range of software from Steinberg
- Digital Performer
- EnergyXT [http://www.xt-hq.com]
- FL Studio
- GarageBand
- Jazz++ [http://www.jazzware.com/zope]
- Logic Pro from Apple
- Magix Music Maker [http://site.magix.net/index.php?21043] (also supports video sequencing)
- Magix Music Studio [http://site.magix.net/index.php?id=21461]
- MIDI Maker
- MidiNotate Composer
- MusE (not to be confused with MuSE, the streaming audio engine)
- MusicPhrase music sequencer [http://www.musicphrase.com]
- PowerTracks from PG Music
- ProTools from Digidesign
- Reason from Propellerhead
- Rosegarden
- Sagan Technology Metro
- SawStudio [http://www.sawstudio.com]
- Schism Tracker
- Seq24 [http://www.filter24.org/seq24/]
- Tracktion [http://www.rawmaterialsoftware.com]
- Yamaha SOL2
- Yamaha XGworks ST
- Zadok Audio & Media Products' WinAudio

Hardware music sequencers

In alphabetical order:
- Fairlight CMI
- Roland TB-303
- Yamaha QY10
- Yamaha QY700
- Yamaha RM1x

External links


- [http://www.emulatorarchive.com/AM/AnalogArticles/RolandSeq/rolandseq.html Early Roland sequencers (1977–1984)]
- [http://www.vintagesynth.com/misc/sequencers.shtml Early sequencer controllers from the Vintage Synth Explorer] Category:Musical software Category:Electronic music ja:ミュージックシーケンサー

Audio signal processing

Audio signal processing, sometimes referred to as audio processing, is the processing of a representation of auditory signals, or sound. The representation can be digital or analog. An analog representation is usually electrical; a voltage level represents the air pressure waveform of the sound. Similarly, a digital representation expresses the pressure wave-form as a sequence of symbols, usually binary numbers. The focus in audio signal processing is most typically an analysis of which parts of the signal are audible. For example, a signal can be modified for different purposes such that the modification is controlled in the auditory domain. Which parts of the signal are heard and which are not, is not decided merely by physiology of the human hearing system, but very much by psychological properties. These properties are analysed within the field of psychoacoustics. Processing methods and application areas include storage, level compression, data compression, transmission, enhancement (e.g., equalization, filtering, noise cancellation, echo or reverb removal or addition, etc.), source separation, sound effects and computer music.

Glossary

Category:Signal processing

Aphex Twin

:"Aphex" redirects here. For the audio signal processing equipment company, see Aphex Systems. Aphex Twin (born Richard David James, August 18, 1971, Ireland) is a UK-based electronic music artist, credited with pushing forward the genres of techno, ambient, acid, and drum and bass. He has been described as "the most inventive and influential figure in contemporary electronic music" ([http://www.guardian.co.uk/friday_review/story/0,3605,563163,00.html]).

Biography

Richard David James was born to Welsh parents Lorna and Derek James in 1971 in Limerick, Ireland. James spent his childhood in Cornwall, United Kingdom. As a teenager, he became a DJ and musician on the local rave scene, taking on the moniker "Aphex Twin". James formed the Rephlex Records label in 1991 with his friend Grant Wilson-Claridge and released his first records on this label, as well as Mighty Force and R&S Records of Belgium. After success with his early work, James relocated to London and released a slew of albums and EPs on the Warp Records label, under a bewildering set of aliases (from AFX and Polygon Window to the lesser known Gak and Power Pill). In 1996, he began releasing more material composed on computers, and embraced a more drum and bass sound mixed with a nostalgic childhood theme and strange computer generated acid lines. The early adoption of Native Instruments' softsynthesizers predated the later popularity of using computers to make music. The late 1990s saw his music become more popular and mainstream, as he released two singles, "Come to Daddy", and "Windowlicker", which were shown on MTV and the covers of music magazines including NME. NME In 2001 Aphex Twin released his most personal album yet, drukqs, a 2-CD album which featured Prepared Piano songs under the influence of Erik Satie and John Cage. Also included were abrasive, fast, and meticulously programmed computer-made songs. The level of detail and artistry was so high, that reviewers and fans complained that the music was less in the style of innovative pop music, and more about detailed beautiful and personal musical art. drukqs is perhaps Richard's most controversial album to date; the album lacked the novelty found in his other albums, so reviewers guessed this album was released as a contract breaker with Warp Records - a credible guess, as James' next big release came out on his own Rephlex label. In late 2004, rumours of James' return to a more acid techno based sound were realised with the Analord series. For these records, James used his extensive collection of Roland drum machines which he bought when they were still at bargain prices. Also he used one of the rarest, and most desirable synthesizers of his generation, the [http://www.soundonsound.com/sos/feb99/articles/syntonfenix883.htm Synton Fenix], and the notoriously difficult to program Roland MC-4 sequencer (a sequencer with a reputation for excellent timing), as well as the infamous Roland TB-303 for his trademark acid melodies. Apart from music, Richard D. James is a talented photographer, having done his own artwork direction for many of his albums. On the "Windowlicker" single, James hid a picture of his face in the second track (commonly referred to as "[Formula]", "[Symbol]", or "[Equation]"), which can be seen in a [http://www.wired.com/news/culture/0,1284,52426,00.html spectral analysis] of the track.

Aphex Twin's influences

James has stated in numerous interviews that he has no musical influences other than himself. [http://www.guardian.co.uk/friday_review/story/0,3605,563163,00.html] He claims to have listened rarely to songs on the radio as a child and that he is unable to read sheet music. Conversely, James has said that he has listened to many bands and artists for inspiration and sampling (notably Pink Floyd and Led Zeppelin for their breaks (used as break beats), but he has also expressed appreciation for The Fall). He signed fellow musicans and personal friends Tom "Squarepusher" Jenkinson and Mike Paradinas (µ-ziq) to his Rephlex record label, as well as Luke Vibert. Other debated influences include:
- 808 state for whom he has done remix work.
- Amnesia
- John Cage and his prepared piano technique (itself inspired by Henry Cowell and Erik Satie independently) in the piano pieces on Drukqs
- Coil
- Tod Dockstader An electronic musician who worked with tape, mangling sounds into music of the frequency and dynamics spectrum.
- Mike Dred Acid Techno pioneer and Techno Electroacoustic hybrid pioneer (together with Peter Green) on Dred's "Machine Codes" label. James is quoted as saying that he listened to Dred & Green's Virtual Framer LP 21 times in a row when he first heard it.
- Brian Eno pioneer of ambient music, and for the artwork of his ambient records.
- Larry Heard (One song on Analord is called Laricheard, an obvious pun on the names Larry Heard and Richard, as the song resembles Larry Heard's techno style.)
- Kraftwerk and their electropop styles.
- Reese
- Derrick May Techno pioneer.
- Erik Satie whose melodic style was borrowed on Drukqs.
- Squarepusher and Luke Vibert for their extreme versions of drum and bass.

Influence of Aphex Twin on others

Fans and journalists coined the genre names IDM and drill and bass to describe Aphex Twin's novel approach to dance music. Aphex Twin countered these genre coinings with his own Braindance genre from his Rephlex Records label. These labels have proven useful for upcoming artists looking to find a genre name for their own music, influenced by Aphex Twin and Warp Records. In Aphex Twin's words on the 'Intelligent Dance Music' label: "I just think it's really funny to have terms like that. It's basically saying 'this is intelligent and everything else is stupid.' It's really nasty to everyone else's music. (laughs) It makes me laugh, things like that. I don't use names. I just say that I like something or I don't." Aphex Twin tends to distance himself from rock/pop music, yet he has still had an influence on the rock bands like Radiohead, Nine Inch Nails and Peace Burial at Sea. Aphex Twin dismissed going on tour with Radiohead: "I wouldn't play with them since I don't like them."[http://www.kludgemagazine.com/interviews.php?id=82]

Aphex Twin's press

Aphex Twin press interviews are generally entertaining, eccentric, and confusing. Aphex Twin has a reputation for lying in interviews, which he has [http://www.guardian.co.uk/friday_review/story/0,3605,563163,00.html admitted] to the Guardian newspaper. Hard to verify 'facts' often mentioned in the press are Richard owning a tank (actually a 1950s armoured scout car, the Daimler Ferret Mark 3), a submarine bought from eBay, composing ambient techno at age 13 (contradicting most music history), having "over 100 hours" of unreleased music (including songs on his answering machine that could be wiped away by leaving a message), being able to incorporate lucid dreaming into the process of making music and living in a converted bank. A lie confirmed by his friend and label mate Mike Paradinas is Richard building his own synthesizers and samplers from scratch in his early years. Richard once built a fake sampler box, and a photograph and article of it was taken for a UK electronic music magazine. Although this was a hoax, Richard is experienced in electronics and electricity, and has modified and circuit bent his equipment from a young age.

Discography under Aphex Twin

Albums


- Selected Ambient Works 85-92 (1992)
- Selected Ambient Works Volume II (1994)
- ...I Care Because You Do (1995)
- Richard D. James Album (1996)
- drukqs (2001)

EPs and Singles


- Digeridoo (1992)
- Xylem Tube EP (1992)
- On/On Remixes (1993)
- Ventolin/Ventolin Remixes EP (1995)
- Donkey Rhubarb (1995)
- Girl/Boy EP (1996)
- Come to Daddy EP (1997)
- Windowlicker (1999)
- Analord 10 in the Analord Series (2004)

Promos and Compilations


- Words & Music (1994) (Interview and tracks from Selected Ambient Works Volume II)
- Classics (1994) (Compilation of early singles, rare and live tracks)
- 51/13 Singles Collection (1996) (Australia and Japan -only release)
- Cock 10/54 Cymru Beats (drukqs promo)
- 26 Mixes for Cash (2003), Compilation of material "remixed" for other artists (plus four original tracks)
- 2 Mixes on a 12" for Cash (2003), a 26 Mixes promo
- Falling Free, Curve Remix (2005), a 26 Mixes LP

Discography under Various Aliases

AFX
- Analogue Bubblebath (1991)
- Analogue Bubblebath 2 (1992)
- Analogue Bubblebath 3 (1993)
- Analogue Bubblebath 4 (1994)
- Analogue Bubblebath 5 (1995 unreleased)
- Analogue Bubblebath 3.1 (1997)
- Hangable Auto Bulb (1995, re-released 2005)
- Hangable Auto Bulb 2 (1995, re-released 2005)
- 2 Remixes By AFX (2001)
- Smojphace EP (2003)
- "Mangle 11 (Circuit Bent V.I.P. Mix)" (appears on Rephlexions compilation album (2003))
- Analord (EP series, mostly as AFX) (2005)
- AFX/LFO (split 12" between AFX/LFO) (2005) Bradley Strider
- Bradley's Beat (1991)/(1995 re-issue)
- Bradley's Robot (1993) Caustic Window
- Joyrex J4 (1992)
- Joyrex J5 (1992)
- Joyrex J9 (1993)
- CAT 023 (unreleased, only 4 copies pressed)
- Caustic Window Compilation (1998) Gak
- GAK (1994) Universal Indicator In the Universal Indicator series:
- Universal Indicator: Red (1992)
- Universal Indicator: Green (1993)
- Universal Indicator "Blue" (1992) & "Yellow" (1992) are by Mike Dred Polygon Window
- (Surfing On Sine Waves) (1993, re-released 2001)
- (Quoth) (1993) Power Pill
- Pac-Man (1992) Q-Chastic
- Q-Chastic EP (1992 unreleased) Various others
- Melodies From Mars (1995, this is an unreleased RDJ album that was given to friends at Rephlex and Warp Records on C-90 cassettes) This release supposedly includes selections from over 200 tracks James offered video game companies to use as soundtracks.
- Together with Mike Dred as The Universal Indicator, (Mike Dred also known as The Kosmik Kommando).
- With Squarepusher, contributed "Freeman Hardy & Willis Acid" to the Warp compilation WAP100.
- As "Rich" of "Mike and Rich" on the album Expert Knob Twiddlers ("Mike" being Mike Paradinas, also known as µ-ziq)
- A remixed version of afx237 v7 from the album drukqs was used as the soundtrack to the short film, "Rubber Johnny", directed by Chris Cunningham.
- The AFX logo was featured in the video games 'Worms Armageddon' and 'Worms World Party'.
- "The Diceman" - Polygon Window (Track 1) - Artificial Intelligence - (Warp 6) - Compliation released by Warp Records - 1992)
- Acoustica: Alarm Will Sound Performs Aphex Twin (2005), performed by Alarm Will Sound

See also


- Rephlex Records
- Warp Records

External links


- [http://xltronic.com/discography/artist/1/aphex-twin Complete Aphex Twin discography]
- [http://xltronic.com/nostalgia/aphextwin.nu/v4/ The Aphex Twin Community]
- [http://www.discogs.com/artist/Aphex+Twin Aphex Twin discography] at Discogs
- [http://dmoz.org/Arts/Music/Bands_and_Artists/A/Aphex_Twin/ Aphex Twin links] at Open Directory Project
- [http://www.bastwood.com/aphex.php The Aphex Face] - spectrogram screenshots of spectral analyses, including that of Windowlicker Aphex Twin Aphex Twin Aphex Twin Category:Cornish people ja:エイフェックス・ツイン simple:Aphex Twin

Squarepusher

right Squarepusher, the performing pseudonym of Thomas Jenkinson, is a British electronic music artist (born in Chelmsford, Essex) signed to Warp Records. He specialises in the electronic music genres of drum and bass, musique concrète (sampled digitally rather than by tape), and acid, albeit with a significant jazz influence. A self-taught expert-level bass guitar player and drummer, his style of extremely fast, cut-up beats mixed with fusion jazz and interlaced with synth lines and samples has gained him a cult following. He is friends with Richard D. James (Aphex Twin), and his albums have been critically acclaimed for their forward-thinking approach to electronic music. Jenkinson performs live, playing with a fretless or freted bass guitar, a laptop, and other hardware. He appeared twice on BBC Radio 1's Breezeblock show. On the 26th June 2005, Squarepusher played at the RFH in London as part of the Show "Songs of Experience" a tribute to Jimi Hendrix. His 12 minute performance was built up of a medley of Hendrix tracks played solely on the bass guitar with the use of effects. His brother, Andy Jenkinson, is also a respected recording artist, under the name Ceephax Acid Crew.

Equipment

Squarepusher sequenced his pre-2000 work on a Boss DR-660 drum machine, which wasn't designed to sequence entire songs. He uses hardware for his electronic music such as King Tubby-style spring reverbs and Akai samplers (950 for early work, s6000 for later work). Around the year 2000, Squarepusher bought a computer with Reaktor and an Eventide Orville for digital processing. Squarepusher claims to know more about his music equipment than the manufacturers of the products themselves.

Philosophy

Squarepusher holds the belief that the machines used to make music hold just as much influence on the users as the users do themselves, and that humans do not control these machines independently; we hold the same mutual creative capacity as them. He says that the restraints musical instruments held in the past were quintessential to music composition and that the insignificance of modern classical music, as a result of new technology, exposes this point. This, he says, is why machines themselves now contribute so much influence to musical composition. In his view, our common delusion that only we humans are the sole cause of the creative process results with the machine resisting the composer's will, hindering the process of creation. When the machine is unable to collaborate, it works against its user. In his view, the violent domination of machines produce "artifacts of human stupidity, not art." He says this originates from our ideal to control everything, even the prevention of death. This desire to be "controllers" works against us in every instance it can be found. The artists become frustrated that their machine will not cooperate, and this, as Squarepusher claims, is the reason why so many artists have died young, gone insane or committed suicide. Artists try to represent themselves in their music in an attempt to live after death. As modern music incorporates technology more and more, Jenkinson observes that musicians are the first group of creative society to represent themselves with machines. Our desire to be superior to machines combined with the reality that we are not creates the jealousy of machines; they become the greatest objects of desire. Jenkinson's view is that the commercialization of machines is merely an attempt to dominate them, by possessing them as mere fashion accessories.

Discography

Albums:
- Alroy Road Tracks [as Duke of Harringay] (1995) - Spymania
- Feed Me Weird Things (1996) - Rephlex
- Hard Normal Daddy (1997) - Warp
- Big Loada (1997) - Warp/Nothing
- Burningn'n Tree (1997) - Warp
- Music Is Rotted One Note (1998) - Warp/Nothing
- Budakhan Mindphone (1999) - Warp/Nothing
- Selection Sixteen (1999) - Warp/Nothing
- Go Plastic (2001)
- Do You Know Squarepusher (2002) - Warp
- Ultravisitor (2004) - Warp EPs and Singles:
- Crot [as Tom Jenkinson] (1994) - Rumble Tum Jum
- Stereotype [as Tom Jenkinson] (1994) - Nothings Clear
- Conumber (1995) - Spymania
- Squarepusher Plays... (1996) - Rephlex
- Bubble & Squeak [as Tom Jenkinson] (1996) - Worm Interface
- Port Rhombus EP (1996) - Warp
- Vic Acid (1997) - Warp
- Maximum Priest E.P. (1999) - Warp
- My Red Hot Car (2001) - Warp
- Untitled (2001) - Warp
- Square Window [Ultravisitor Promo] (2004) - Warp
- Venus No. 17 (2004) - Warp Remixes:
- DJ Food - Scratch Yer Hed (Squarepusher Mix) (1996) (Appears on Refried Food and various Ninja Tune compilations) - Ninja Tune
- Funki Porcini - Carwreck (Squarepusher Mix) (1996) (Appears on Carwreck EP) - Ninja Tune
- East Flatbush Project - Tried By 12 (Squarepusher Mx) (1998) (Appears on Tried by 12 Remixes) - Ninja Tune
- Psultan (Squarepusher Mix) (1999) (On "Braindance" compilation) - Rephlex As Chaos AD:
- Buzz Caner (1998) - Rephlex

References


-

External links


- [http://xltronic.com/discography/artist/4/tom-jenkinson Complete Squarepusher/Tom Jenkinson discography]
- [http://www.warprecords.com/news/?filter=sqp Warp: Squarepusher]
- [http://www.disquiet.com/squarepusher.html Interview (2001)]
- [http://www.furious.com/perfect/squarepusher.html Interview (01/1999)]
- [http://csunix1.lvc.edu/~snyder/em/sq.html Article (05/1999)] Squarepusher Squarepusher Squarepusher

Boards of Canada

Boards of Canada are a Scottish electronic music duo comprised of brothers Michael Sandison (b. 14 July 1971) and Marcus Eoin (Sandison) (b. 27 May 1973). They have released a number of works, most notably Music Has the Right to Children and Geogaddi, with little advertising and few interviews. Their sound has frequently made reference to sounds of the 1970s and the 1980s. It recalls, amongst other things, the warm, scratchy, artificial sounds of 1970s television, and indeed, band members Eoin and Sandison admit to being inspired by the documentary films of the National Film Board of Canada. The duo have recorded a few minor works as Hell Interface.

Early Boards of Canada (1970s-1995)

Michael Sandison and Marcus Eoin experimented with creating music together through their teens. Part of a musical family, they began playing instruments at a young age, and experimenting with recording techniques at around 10-years-old. Using tape machines they experimented with laying cut-up samples of found sounds over compositions of their own. Although they had made music together as children, "Boards of Canada" did not exist until much later. The band would have a nebulous roster throughout its history, encompassing at least fourteen different core members and an unknown number of collaborators. Boards of Canada have said they "began writing and playing music in a more serious way at some point around 1987". They go on to say, "At first, we experimented without setting ourselves any questions, with whatever means were available to us, then we worked a lot with other musicians and with real instruments, which brought more complexity into our music. Five years ago [1993], we sounded a lot more Gothic, much closer to experimental rock, with the occasional vocal. Though it was heading for electronic music; already we were sampling our own instruments. Then we went back to something closer to our original spirit: simple and instinctive, the only difference being that from then on, we could use all the wonders of digital technology, and so it was a lot easier to experiment and to get what we wanted" [VM]. By 1989, the band had been reduced to Michael and Marcus. In the early 1990s, a number of collaborations took place and the band was putting on small, fairly regular shows among the "Hexagon Sun" collective. In early 2000, the official website for the band, Music70.com, has removed the early discography of Boards of Canada, some information has been preserved by fans. The early tape releases of the band include "Play By Numbers," "Acid Memories," "Hooper Bay," and the earliest known release by the band is titled "catalog 3." None of the material from those days is readily available, and judging from the fact that the official BoC sources ignore the very existence thereof, there is little hope for the early music of the band to ever be released in the future.

Boards of Canada from Twoism (1995-present)

Twoism was released 1995 on their own Music70 label. It was a self-financed cassette and LP distributed privately. Though not a widespread commercial release, it was considered of quality to be subsequently re-pressed in 2002 and serves as a demarcation point into more professional releases. Also in that year, their Edinburgh studio was christened Hexagon Sun. The precursor to Music Has the Right to Children was released in 1996. Titled Boc Maxima, it was a semi-private release that is notable for being a full-length album. Boc Maxima's work was later used for Music…, with which it shares many songs, though there were also a number of additions and subtractions. Boards of Canada's first commercial release occurred after attracting the attention of Autechre's Sean Booth of the English label Skam Records, one of many people sent a demo EP. Skam released what was considered their first "findable" work, Hi Scores, in 1996. Prior to that, their distribution had been limited to a small number of releases (mostly cassette-only) passed among friends and family. Another collection of prior and new songs was released as the seminal full-length album that many consider to be their real debut, Music Has The Right To Children, in 1998. Many consider this record to be a masterpiece, while others point out that much of its tone has been obviously inspired from other Warp Records luminaries, such as Autechre. Nevertheless, the popularity of the record was substantial enough to start a wave of "sound-alikes," a few of which went on to find their own sound and become established in their own right. John Peel featured Boards of Canada on his BBC Radio 1 program in January of 1998. The session featured two remixes from Music Has the Right to Children—"Aquarius (Version 3)" and "Olson (Version 3)"—along with the tracks "Happy Cycling" and "XYZ". "Happy Cycling" was later edited and appended to the United States release of Music Has the Right To Children (1999, Matador), and to the subsequent worldwide re-release in 2004 on Warp. Excluding "XYZ", the set was released on a Warp Records CD titled Peel Session. Boards of Canada also performed live a few times, once at the Warp Records 10th Anniversary Party, then the Warp Lighthouse Party and finally during the 2001 All Tomorrow's Parties festival. Boards of Canada released a four-track EP In a Beautiful Place Out in the Country in November 2000, their first original release in two years. The title had come from a recruiting video made by the Branch Davidians. The song "In a Beautiful Place Out in the Country" features the repeated vocals "Come out, and live in a religious community in a beautiful place out in the country." Another, "Amo Bishop Roden", is named after the Branch Davidian member of the same name. The full-length album Geogaddi was released in 2002. It was described by Sandison as "a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again." The album has a darker, more complex, and fuller sound than Music Has the Right to Children. Michael Sandison's first child, a girl, was born in July of 2004. Boards of Canada members Michael Sandison and Marcus Eoin currently live a few miles outside Edinburgh, Scotland. Their third album for Warp, The Campfire Headphase, was released on 17 October 2005 (18 October in the United States).

Influences

"We love artists like Joni Mitchell and The Incredible String Band. There's a sort of purity of sound that they have, and I guess we are striving for that ourselves, in our own way. We actually record a fair bit of music that is in that direction, though it's not been released yet. Most of our musical influences are things like this, not electronic music." Sandison, [OOR]
"We have all the Stringband records! In fact, they come from the same place where we live now. We see them from time to time. So I guess our rural sensibilities are similar. Personally, I think they are one of the most important and underrated bands in the past forty years of music. They influenced so many other artists yet they never get due credit." Eoin, [OOR]
"We've touched upon the theme of lost childhood a few times because it's something personal to me that gives me real inspiration through its sadness. I think sometimes the best way to get inspiration is to face up to the things that make you very sad in your life, and use them." Sandison, [OOR]
"It's important to leave a certain space there for the listener's imagination." Eoin, [OOR]
"The Beatles really became enthralling to us through their psychedelism." BOC, VM
"Psychedelic experiences lead in this direction; they help us to see things in terms of numbers and their forms, of structures, as if the music was made out of crystals." Virgin Megaweb

Sound and methods

Boards of Canada's unique sound is a product of their strong use of analogue equipment, mix of instrumental and synthetic sounds, use of often unrecognizably distorted samples, use of live and radio or film lyrics, and their layering and blending of these elements. "A lot of the synthetic-sounding things you hear are actually recordings of us playing other instruments, pianos, flutes or twanging guitar strings or field sounds we get from walking around with portable tape recorders, like electronic beeps in shops, or vehicles, then they are mangled beyond recognition. We have an arsenal of old hi-fi tricks up our sleeves and we basically destroy the sounds until they're really lovely and fucked up. So we're using sounds that are totally our own thing," Sandison said [HMV]. "The voices are sometimes from old TV shows or tapes we've made. We have a lot of stuff we've collected, going back to the early '80s. But half of the time, it's things we've had friends record especially for us. We create tapes all the time. Practically everyone we know has been roped into recording something for us at some point," said Sandison [http://www.findarticles.com/p/articles/mi_m0KYX/is_2002_July_1/ai_88684002/pg_2]. "Of course we are massive fans of My Bloody Valentine. Loveless is probably one of my top five favorite albums of all time. I think that, even if we don't sound like them, there's a connection in terms of the approach to the music." said Sandison [http://www.pitchforkmedia.com/interviews/b/boards-of-canada-05/]. Brief songs or "vignettes" feature prominently in their music. Such songs are often weaving melodies or speech accompanied by atmospherics to capture a specific moment or mood. They often last less than two minutes, but, as Sandison says, "those short tracks you mention, we write far more of those than the so-called 'full on' tracks, and in a way, they are our own favorites" [OOR]. Boards of Canada have written an enormous number of song fragments and songs, most of which will never be released. It does not appear that music is made exclusively for commercial release. Rather, albums seem to be the result of selecting complementary songs from current work. Geogaddi's development involved the creation of 400 song fragments and 64 complete songs, of which 23 were selected, one of which is silence.

Subliminal messages, symbology, and religion

The band have developed some enigma and controversy. They have only participated in a few tours, and infrequently do interviews or public appearances. Sandison and Eoin enjoy their privacy and the quiet life Scotland affords them, but do instigate on some occasion (unknowingly or not) the perception of themselves as an enigma. They have both expressed a strong interest in the power of subliminal messaging and their work seems rife with cryptic messages. No doubt the sheer amount that can be found in their catalog (not just the scattered and reversed vocal samples, but the mathematical timing of beat structures, song titles, colours, cover art, and track lengths) does much to propagate this enigma. Some critics refuse to listen to their music on account that they are positive the band is trying to brainwash their listeners for unknown motivations, citing references to David Koresh and occult symbols as proof. Others approach these facts from the skeptical angle, saying it is nothing but a bunch of "cute tricks" and an ironic gesture towards people who take such things seriously (and some would say, as a bit of a similar gesture towards their own body of work in later releases, such as Geogaddi). Michael Sandison sought to dispel their occasionally cultish image in an interview, saying: "We're not Satanists, or Christians, or Pagans. We're not religious at all. We just put symbols into our music sometimes, depending on what we're interested in at the time. We do care about people and the state of the world, and if we're spiritual at all it's purely in the sense of caring about art and inspiring people with ideas."

Lyrics and references

:Main article: Lyrics of Boards of Canada There are a multitude of masked, backwards, or otherwise obscured messages in Boards of Canada songs- however there is no official word on the validity of these quotes, which may be incorrect.

Discography

Albums


- Catalog 3 - Summer 1987 (Music70). Limited cassette release. Limited CD re-release in 1997.
- Acid Memories - 1989 (Music70). Limited cassette release.
- Closes Vol. 1 - 1992 (Music70). Limited cassette release. Limited CD repress in 1997.
- Play By Numbers - 1994 (Music70). Limited CD & cassette release.
- Hooper Bay - 1994 (Music70). Limited 12" release.
- Twoism - 1995 (Music70). Limited cassette and LP release. 2002 general re-release on LP and CD (Music70/Warp).
- Music Has the Right to Children - Aug 1998 (Warp/Skam). CD, 2xLP.
- Geogaddi - Feb 2002 (Warp/Music70). 3xLP, CD, Limited Edition CD.
- The Campfire Headphase - Oct 2005 (WarpLP123). 2XLP, CD, digital download (iTunes, Bleep).

Singles and EPs


- Boc Maxima - 1996 (Music70). Limited CD & cassette release.
- Hi Scores - 1996 (Skam). 12" release. Re-pressed on 12" and CD in 1998 and 2002.
- Aquarius - Jan 05 1998 (Skam). 7" EP.
- Peel Session - Jan 1999 (Warp). 12", CD.
- In a Beautiful Place Out in the Country - Nov 2000 (Warp/Music70). Sky-blue 12",CD.
- Roygbiv/Telephasic Workshop 10" limited release (taken from Music Has the Right to Children)

Live and radio appearances


- Peel Session - January 1999, BBC Radio 1 (Released on Warp)
- Warp 10th Anniversary Party: Live @ Warp10 - November 1999
- Warp Lighthouse Party: Live @ Lighthouse - October 2000
- All Tomorrow's Parties at Sussex: Live @ ATP - April 2001
- Helterskelter FM Radio Broadcast - 2002

Collaborations, covers/remixes and soundtrack appearances

Boards of Canada have remixed a number of artists' songs. The work of these artists is generally described as electronic, ambient, experimental, or hip-hop. Most artists come from the United Kingdom or United States. Boards of Canada has additionally remixed two older, popular songs under the alias Hell Interface, detailed below.

Remixes of Boards of Canada


- "An Eagle In Your Mind" by Push Button Objects on Warp 10+3 Remixes, 1999
- "Kid For Today" by Stereolab on Warp 10+3 Remixes, 1999
- "sevenfortyseven" by Helios

Remixes by Boards of Canada


- "Surfaise (The Trade Winds Mix)", on Demon 1, Michael Fakesch, May 1997
- "Dirty Great Marble" on Dirty Great Marble (Remixes), Bubbah's Tum, 1998
- "Prime Audio Soup" on Prime Audio Soup, Meat Beat Manifesto , 1998
- "Sandsings" on Pin Skeeling, Mira Calix, May 1998
- "Poppy Seed (Boards of Canada Remix)" on So Soon, Slag Boom Van Loon, 21 May 2001
- "Last Walk Around Mirror Lake" on From Left to Right, Boom Bip, May 2003
- "Dead Dogs Two" on Dead Dogs Two, cLOUDDEAD, 26 January 2004
- "Broken Drum" on Guero Deluxe Edition, Beck, 28 March 2005 and Guerolito, Beck, 13 December 2005

Remixes by Boards of Canada as Hell Interface


- "Trapped" by Colonel Abrams on mask200 (Skam Compilation), 1995
- "Soylent Night" (Bach's Magnificat BWV 243a) by Hell Interface on Whine And Missingtoe (V/Vm), 1997
- "The Midas Touch" by Midnight Star on mask500 (Skam Compilation), 1999

Soundtrack Appearances by Boards of Canada


- "Everything You Do is a Balloon", on Morvern Callar: Soundtrack to a Film by Lynne Ramsay (Alliance Atlantis under license to Warp Records), 2002
- "Happy Cycling [
- ]", on Six Feet Under: Episode 25 - I'll Take You (Home Box Office), 2001
- "Music is Math", featured on Nathan barley, among others.
- "Turquoise Hexagon Sun", used on several episodes of Monkey Dust.

Aliases

Boards of Canada has also recorded as Hell Interface.

Interviews


- [http://boardsofcanada.bravepages.com/nme%20interview.html The Most Mysterious & Revered Men in Electronica] by John Mulvey, NME
- [http://remixmag.com/mag/remix_northern_exposure/index.html Northern Exposure] by Ken Micallef, Remix
- [http://fredd-e.narfum.org/boc/interviews/hmv/ The Colour & The Fire] by Mark Pytlik, HMV
- [http://fredd-e.narfum.org/boc/interviews/mondosonoro/ Another Miracle of the Post-Modern Sensibility] by David Broc, Mondosonoro
- [http://fredd-e.narfum.org/boc/interviews/vm/ Two Aesthetes of Electronic Music] by Ariel Kyrou & Jean-Yves Leloup, Virgin Megaweb
- [http://fredd-e.narfum.org/boc/interviews/forcefield/ A Bunker Full of Memories] by René Passet, Forcefield
- [http://fredd-e.narfum.org/boc/interviews/jockeyslut/ Boards of The Underground] by Richard Southern, Jockey Slut
- [http://fredd-e.narfum.org/boc/interviews/oor/ Play Twice Before Listening] by Koen Poolman, OOR
- [http://fredd-e.narfum.org/boc/interviews/urb-1/ Children Have the Right to Film] by Daniel Chamberlin, URB Magazine
- [http://fredd-e.narfum.org/boc/interviews/urb-2/ Country Comfort] by Alexis Georgopoulos, URB Magazine
- [http://fredd-e.narfum.org/boc/interviews/xlr8r/ Big Country] by Steve Nicholls, XLR8R
- [http://pitchforkmedia.com/interviews/b/boards-of-canada-05/ Interview: Boards of Canada] by Heiko Hoffmann, Pitchfork

References


- [http://mikeypdiddy.tripod.com/boardspaper.htm Brainwashing, Misanthropy and Society: An analysis of Boards of Canada's Geogaddi]
- [http://www.speakeasy.org/~adbrown/boc.html What the hell is up with Boards of Canada?: Shorter analysis of Geogaddi]
- [http://www.matadorrecords.com/boards_of_canada/biography.html Matador Records' Boards of Canada Biography]

See also


- Warp Records
- Skam Records
- Matador Records

External links


- [http://xltronic.com/discography/alias/20/boards-of-canada Complete Boards of Canada discography]
- [http://www.boardsofcanada.com Boards of Canada official website]
- [http://www.music70.com Boards of Canada - Music70]
- [http://www.hexagonsun.com/ Boards of Canada - hexagonsun.com]
- [http://boardsofcanada.watmm.com Boards of Canada news]
- [http://fredd-e.narfum.org/boc/ Unofficial Boards of Canada Resource Pages by Fredd-E]
- [http://enure.net/music/boards-of-canada/ Boards of Canada compendium by Enure]
- [http://www.warprecords.com Warp Records]
- [http://www.skam.co.uk Skam Records]
- [http://www.matadorrecords.com Matador Records]
- [http://www.bbc.co.uk/dna/collective/A6129065 BBC Collective: Listen to 'Campfire Headphase' album in full]
- Category:Scottish musical groups Category:Electronic music groups Category:Boards of Canada ja:ボーズ・オブ・カナダ

Venetian Snares

Venetian Snares is the performing name of Aaron Funk, an electronic music producer and performer from Winnipeg, Manitoba in Canada. He is known for making experimental IDM, breakcore and glitchcore in non-4/4 time signatures (mostly in 7/8) and for his prolific recordings, having released records on the History of the Future, Isolate/DySLeXiC ResPonSe, Addict, Zod, Distort, Sublight, Low-Res, Planet Mu and Hymen record labels. Musical influences include funk, free jazz, metal, gabba and symphonies. Reactions to Venetian Snares' music are diverse. It proves too erratic or intense for some, although his unique and innovative style is critically acclaimed. Venetian Snares has a rapidly developing cult-like following in the world electronic music scene. Many of his releases feature album artwork by controversial artist Trevor Brown, often depicting bizarre and shocking sexual or violent imagery. Other releases feature benign and even banal artwork, such as pictures of cats, birds, children's toys or even badminton players.

Discography


- Spells, Cassette (1998, self-released)
- Subvert!, Cassette (1998, self-released)
- Rorschach Stuffocate, Cassette (199?, self-released)
- Greg Hates Car Culture (1999, History of the Future)
- printf("shiver in eternal darkness/n"); (2000, Isolate Records) - first CD release
- S.Alt (2000, Zhark International)
- 7 Sevens Med EP (2000, Low Res)
- Untitled [white label] (2001, Hangars Liquides)
- Defluxion / Boarded Up Swan Entrance (2001, Planet Mu)
- Shitfuckers!!! (2001, Dyslexic Response)
- Making Orange Things [with Speedranch] (2001, Planet Mu)
- Songs About My Cats (2001, Planet Mu)
- Doll Doll Doll (2001, Hymen)
- Higgins Ultra Low Track Glue Funk Hits 1972–2006 (2002, Planet Mu)
- 2370894 (2002, Planet Mu)
- Winter In The Belly Of A Snake (2002, Planet Mu)
- A Giant Alien Force More Violent & Sick Than Anything You Can Imagine (2002, Hymen)
- Nymphomatriarch [with Hecate] (2003, Hymen)
- Find Candace (2003, Hymen)
- Badminton (2003, Addict)
- Einstein-Rosen Bridge (2003, Planet Mu)
- The Chocolate Wheelchair Album (2003, Planet Mu)
- Moonglow / This Bitter Earth (2004, Addict)
- Horse And Goat (2004, Sublight Records)
- Huge Chrome Cylinder Box Unfolding (2004, Planet Mu)
- Infolepsy EP (2004, Coredump Records)
- Winnipeg Is A Frozen Shithole (2005, Sublight Records)
- Rossz csillag alatt született (2005, Planet Mu)
- Meathole (2005, Planet Mu)

Notable Appearances


- Venetian Snares performed a livemix on The Breezeblock on BBC Radio 1, 11 November 2003 [http://www.bbc.co.uk/radio1/dance/breezeblock/breezeblock_archive_shtml.shtml?20031111]

Trivia


- On the 2001 album Songs About My Cats, embedded within the last song (entitled Look) are several pictures af Aaron's cats. The images can be viewed directly with a spectrum analyzer; a capture of the embedded images, as well as similar images from Aphex Twin's music, are viewable here [http://www.bastwood.com/aphex.php].
- In 2002, Hymen records released a limited 3" compact disc with a single progressive breakbeat Venetian Snares track clocking in at 15:33 called A Giant Alien Force More Violent and Sick Than Anything You Can Imagine, accompanied by a miniature viewfinder toy shaped like a television with a slideshow of artwork from S.Alt.
- The album title printf("shiver in eternal darkness/n"); is meant to be a line of C-code. Whether the mistake was intentional (the correct escape sequence at the end of the string should be \n with a backslash for a new line) is unknown.
- Another ambitious release from 2002 on Hymen Records was the Nymphomatriarch collaboration with then-girlfriend Rachael Kozak, aka recording artist Hecate and the owner of Zhark Records: "Every sound was synthesized from their privately recorded debaucheries committed while on tour in London, England, Paris, France, Basel, Switzerland, Antwerp, Belgium, and Winnipeg, Canada.
- The 2003 album entitled The Chocolate Wheelchair Album incorporated a number of samples, including the theme from Coronation Street (a popular British soap opera), Sesame Street, Doctor Who, and samples from the Disney film The Love Bug (see List of sampled songs).
- In 2004, he released a remix of the Boom Bip track The Unthinkable (feat. Buck65) on the album Corymb on Lex Records.
- In 2004 the 6 track album "Horse and Goat" for Canadian Label Sublight Records was released with a cover painting by controversial artist Trevor Brown so provocative that 2 manufacturers in north america refused to print it. Finally a removable false cover had to be inserted overtop of the actual cover so it could be sold in stores.
- In 2005 Aaron Funk released the "Winnipeg is a Frozen Shithole" album on Sublight Records, a hate fest about his hometown in Manitoba using samples of local celebrities including Randy Bachman and the Crash Test Dummies, as well as samples of director Guy Maddin's The Saddest Music in the World, starring Isabella Rossellini and Mark McKinney. Snares even used a CKND newscaster's voice saying "a Winnipeg wrestling coach was accused of sexually assaulting one of his athletes".

External links


- [http://www.discogs.com/artist/Venetian+Snares Venetian Snares @ Discogs.org] - venetian snares discography
- [http://www.venetiansnares.com/ Venetian Snares.com] - The official Venetian Snares website : lists upcoming releases and tour dates
- [http://www.vsnares.com VSnares.com] - Unofficial Venetian Snares website
- [http://www.isolaterecords.com/venetian.html isolaterecords.com] - Venetian Snares page at Isolate Records Category:Canadian musicians Category:Electronic musicians Category:Winnipegers

Electronic mailing list

Electronic mailing lists are a special usage of email that allows for widespread distribution of information to many Internet users. Software is installed on a server which processes incoming email messages, and, depending on their content, either acts on them internally or distributes the message to all users subscribed to the mailing list. Popular examples of mailing list software include GNU Mailman, LISTSERV and Majordomo. Today, mailing lists are most often used for collaboration on various projects and as a way of distributing current news and other such information. One very popular mailing list is Bugtraq. Sometimes these take the form of what is termed a "discussion list": a subscriber uses the mailing list to send messages to all the other subscribers, who may answer in similar fashion. Thus actual discussion and information exchanges can happen. Mailing lists of this type are usually topic-oriented (for example, politics, scientific discussion, joke contests), even if the topic can range from extremely narrow to "whatever you think could interest us". In this they are similar to Usenet newsgroups, and share the same aversion to off-topic messages. The term discussion group encompasses both these types of lists and newsgroups. Free web-based services offering an easy way to run and maintain such lists were popular in the late 1990s, but many of these were taken over or went bust, so that the only popular provider is now Yahoo! Groups. This is used by a wide range of groups, including organisations who might at first glance be considered 'rivals' to Yahoo! MSN Groups appears to be pushing hard to catch up to Yahoo!. [http://freelists.org/ Freelists.org] is a web-based service using all-free software, though it may be more difficult for some users to set up. The new version of [http://groups-beta.google.com/intl/en/googlegroups/about.html Google Groups] includes free mailing list services as well as access to Usenet. Some mailing lists are open to anyone who want to join them, while others require an approval from the list owner before one can join. In even stricter mailing lists, every message must be approved by a moderator before being sent to the rest of the subscribers. Moderator approval is usually employed to keep a high average quality of posts and weed out spam. The commands subscribe and unsubscribe are often used to have your name added to or removed from an electronic mailing list.

See also


- Mailing list
- mailing list archive
- Gmane
- GNU Mailman
- The Mail Archive
- Online consultation

External links


- Free mailing list software:
  - http://mailman.sourceforge.net/
  - http://m2f.sourceforge.net/
- Advice
  - [http://websiting.blogspot.com/2005/04/make-great-newsletter_03.html Benefits and uses of an email newsletter]
  -
  - [http://websiting.blogspot.com/2005/04/newsletter-content_04.html Suggestions for the contents of effective newsletters]
  - [http://chiefmarketer.com/online_marketing/email/topstory/build_ezine_list_0428/ How to Build Your Email Mailing List] Category:Email Category:Mailing lists ja:メーリングリスト

Rephlex Records

Rephlex Records is an influential record label started in 1991 by acclaimed electronic musician Richard D. James (aka Aphex Twin) and Grant Wilson-Claridge, without the intention of making large profits. It pioneered "Innovation in the dynamics of Acid", or Braindance as Rephlex prefers to call it.

See also


- List of record labels
- List of electronic music record labels
- Rephlex Records Catalog

External links


- [http://xltronic.com/discography/advanced.php?show=releases&label%5B%5D=2&format=all&B1=VIEW+RESULTS&type=label&sort= Rephlex discography]
- [http://www.rephlex.com Official site]
- [http://groups-beta.google.com/group/alt.rave/browse_thread/thread/2b1d14ae853ba101/7a4d8b6191bb3e55?lnk=st&q=rephlex+manifesto&rnum=1#7a4d8b6191bb3e55 The Rephlex Manifesto] Category:Record labels

Apocalyptic folk

Neofolk is a form of folk music that emerged from European ideals and post-industrial music circles. Neofolk often blends acoustic guitars with varities of sounds such as pianos, strings and elements of industrial music, and encompasses a wide assortment of themes including traditional music, heathenry, romanticism and occultism. Neofolk musicians often have ties to other post-industrial genres such as neoclassical and martial music, or have links with Heathen circles and various other societies.

History

The term "neofolk" originates from esoteric music circles who started using the term in the late 20th Century to describe music influenced by musicians such as Douglas Pearce (Death In June), Tony Wakeford (Sol Invictus), and David Tibet (Current 93). These musicians were part of a post-industrial music circle who later on incorporated folk music based upon traditional and European elements into their sound. Folk musicians as far back as the 1960s were creating music similar to neofolk in terms of sounds and themes. These musicians could be considered harbingers of the sound that later influenced the neofolk artists. However, the distinction must be made that it was the aforementioned artists who were involved in the dark music scene throughout the 1980s and 1990s that contributed specifically to the emergence of neofolk. Neofolk is seen by many as an extension of post-industrial music into the folk music genre which did not occur until the late 20th Century.

Culture

The spirit of neofolk contains parallels to the ideals of American and British folk movements of the 1960s. The basis of this music is built upon principles against commercialization and popular culture. However the themes of neofolk and folk music are drastically different. A majority of artists within the neofolk genre focus on archaic symbols of culture, myths and beliefs. Local traditions and indigenous beliefs tend to be portrayed heavily as well as esoteric and historical topics. Homages and tributes to controversial figures such as Friedrich Nietzsche, Julius Evola, and Leni Riefenstahl as well as the usage of war themes, imagery and runic writings by some musicians have drawn misguided criticisms and links between neofolk and right wing establishments from various sources.

Related terms

Apocalyptic folk is a term that predates Neofolk and was used by David Tibet to describe the music of his band Current 93. The term was applied to most artists on the now-defunct World Serpent Distribution label and music influenced directly by C93's Thunder Perfect Mind era. Hermetic Gnosticism, Thelemic, 1960s psychedelia and/or Crowleyian themes are often hallmarks of these artists. Because of the specific connotations and the collapse of the WSD label the term is no longer in widespread use. Folk Noir was a term originally coined to describe the music of mid-period Sol Invictus. It is generally related to Tursa [http://www.tursa.com/] (music label of Tony Wakeford) bands. It is sometimes found on webzines as a more neutral term, without the specific cannotations of 'neofolk' but the meaning is largely the same but the usage of the term 'noir' hints at an overall dark subject matter relating to historical, often British, subjects. Other vague terms sometimes used to describe artists of this genre include Dark Folk and Pagan Folk. These terms are large umbrella terms that could also describe various other forms of unrelated music.

Related genres

Martial music or military pop shares a lot in common with neofolk and developed very close to it. Some of the artists that could be classified as a part of this field regularly work with, could be classified as a part of, or play shows with artists of this musical genre in particular. Other related genres include dark ambient, neoclassical, Dark Cabaret, industrial and post-industrial music or a mixture of all these, such as music created that fits under the heading of martial music.

External Links

Artists



Drum and bass

Drum and bass (drum n bass, drum'n'bass, DnB, d'n'b) is an electronic music style. Originally an offshoot of the United Kingdom breakbeat hardcore and rave scene, it came into existence when djs and producers mixed reggae basslines with sped-up hip hop breakbeats. Pioneers such as Fabio, Grooverider, Andy C, Roni Size, DJ SS, Brockie, Mickey Finn, Kenny Ken, Goldie, and other DJs quickly became the stars of drum and bass, then still called