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I was thinking about the ways in which music seems to irresistibly provoke a mimetic physical response. Air guitar, air bass, air drumming - these are the big ones. But there's also air piano, air sax, air trumpet, air trombone even For me, it's certain kinds of rock not indie! Music where there's a bit of a swagger, a performative flourish. But also where the music is hard-hitting, has a physicality to the impact as well as the playing. Now this effect on listeners must surely have died out as music has become more digital - less about manually played instruments and more about click-and-drag, shunting information about on a screen. There's no such thing as an 'air' response to hip hop, is there? The mimetic response would be rapping along, which you'll see-hear in the street when someone is listening to rap or grime on headphones. I suppose one could imagine a mimetic impulse to trap drum patterns. But in practice, I think not - somehow the body knows that it's not a human hitting those drums. The physicality of impact, the pull on the body, is not paralleled by a physicality of execution. What got me thinking on this topic in the first place was playing some jungle and succumbing to the urge to mime out drum patterns - to do 'air breakbeats'. Resulting, of course, in an absurd parody of actual drumming, based on things I've seen on TV - wrist-flexing, rimshot cracks, ride cymbal flutters That made me wonder if jungle really is unique among the digital-era musics in that it still has that capacity. For instance, I can't imagine the mimetic impulse being triggered when listening to house or techno - anything propelled by a Jungle - being based on samples of breaks, of hand-played drum patterns - retains a musicality and humanity that can still pull at your limbs in this way. But with jungle, the mimesis is a bizarre distorted form of mirroring. You're responding to the human player still audible within the barrage of chopped-up, resequenced drum breaks - the ghost in the machine. But these are accelerated and hyper-syncopated beyond what the original player would be capable of, let alone flailing failing you. So the element of wish-fulfilment is doubled. Two ghosts inhabit your flesh and take possession: the manual, near-automatized movements of the sampled drummer, and then the producer's edits, treatments and other decisions, which override and re-imprint the original performance. You feel the twin pull of funk and of superhumanization, and fall even further short than with regular 'air drumming'. Nerd dancing - for those too physically awkward to get down Andrew Parker notes that ' Maybe air-playing instruments is favoured by those who have no proficiency - their imaginings are unencumbered by technical knowledge. I'm mindful of the technical demands and what they would require to be developed. He also sends through a video of a drummer doing an authentically hectic and hyper-syncopated simulation of jungle breakbeats, showing that an exceptional human player can equal the 'superhumanization' effect of breakbeat science. After all, it's called drum and bass, not drum and drum The programmable digital keyboard, created by genius electronic synthesist Dave Smith, was remarkably sophisticated. Ra took to it and started playing. A recording of that session, called Prophet, will see release in December \[on Modern Harmonics\]. Not that Ra was inexperienced. From an early age, the artist and composer took to new musical technology. That's the same synth that Keith Levene used on 'Careering'. Actually no, the Prophet 5 was the one he used - the Sun Ra one is a later, digital iteration. A mix by Soulwax that applies the New Beat trick - slowing house tracks down to make them sexy-eerie - to the faster Belgcore sound that came after New Beat. Via Plexitmind at Dissensus. The footage of dancing Lowlands ravers often shirtless from back in the day I presume? No diss intended: Eurorave reactivated folk-dance traditions deep-buried and dormant in the youth population of Northern Europe, a kind of kinaesthetic race memory. Which is why jumpstyle for instance reminds me of jigging around the Maypole and Irish step dancing all the action below the knee - kicky moves for kick-drummy music. At the time this was the devil's music for us, but we have learned to listen through the claps and distorted kicks and discovered that if you slow these really dark and heavy techno records down all the way to about bpm, it suddenly makes them sound less frantic,ballsier and a lot sexier. Belgium at its best when pitched down. Yves Deruyter - Animals Remix 2. J'N'J - The Ballet 4. X-Change - Ready To Rock 7. Mackenzie - Cyclotron Atomic Kick Mix 8. X-Change - Let's Go 9. Space Trax - Vivisection The Postman -?? Sonik Expander - Omega Ace The Space - 9 Is a Classic Krid Snero - Freedom Next - Out There Bam Bam - La Casa Dream Your Dream - Soushkin Next - Transformed Temple Remix Casa Nostra - Insomnia Final Exposure - Vortex Insider - Dreams Dreamland - Mind Penetration Ramirez - La Musika Tremenda Krid Snero -?? Modular Expansion - Cubes Groove Reactor - Magick Synthadelic - I'm a Secretary Yves Deruyter - Guess Who? Trigger - Stratosphere Aqua Contact - La Sirena The Future - Locked In Madness Second Phrase - Mentasm Remix Yyou had otherwise sensible people, who'd loved acid house, likening it to fascism Older worn-out ravers couldn't decide if the vibe was Castle Donington or the Nuremberg Rally soundtracked by a lobotomized Carl Orff! Here also is Joey Beltram in Melody Maker espousing a dark future techno whose spiritual homelands are Belgium and Brooklyn - and confessing to a love for actual heavy metal especially Sabbath so perhaps hardkore tekno's spiritual homelands are Belgium, Brooklyn and Birmingham. When I interviewed Beltram in early '92, he claimed he was in the running to produce the next Metallica album! Tuesday, November 29, AoN versus Prodigy x 2. Of course that doesn't mean the publishing is divided equally - but even so, it's a nice thought that a steady flow of royalties think of the radio play, globally would be chuntering in to Ann D and Paul M et al for years to come. Kim Deal too for the riffage nicked from this Breeders tune. Sometimes I think I got involved in the wrong end of this business! Mind you, most musicians, it's a pathway to penury. Still, there is always that hope, that dream, that chance of scoring the one big smash, a radio regular in perpetuity. I read somewhere that the woman who co-wrote the lyric for 'Don't Fear the Reaper' received a check for 50 grand a year for decades, it being such a classic rock staple. However, checking now, it appears Buck Dharma wrote the words and music on his tod. And given that the B-side gets 50 percent of a single's proceeds - she would have made some dough there. But it wouldn't be an annual harvest, given nobody plays the B-side. In America I think I've got this straight radio plays remunerate to the writers of the song and the song publisher , but not to the performers who recorded it. So nobody else who played on the record gets a dime, no matter how often it gets played. That seems extremely unfair. Think of all the pleasure - one example out of countless - the drummer in the Steve Miller Band has given me and millions. He should have a river of dosh irrigating his bank account in perpetuity. In the UK, the writers and the performers both get paid per radio spin, I believe. Much more equitable. In the US system, does the orientation towards songwriters and songpublishing company, again mean that the record company - who put out the record, developed the artist, promoted etc etc - gets nothing from radio play? Again, that seems unfair. How did this way of do things ever get set up? What about MTV etc - does anyone get paid when a video gets played, or are they supposed to be grateful for the promotion? Talking back in the day, obviously - MTV should be renamed TV without the M given how it's dispensed with the music bit. Sunday, November 20, air breaks. Well, for some of us. Certain kinds of music are particularly triggering. A pal of mine who shall remains nameless owns a Prophet 5. So I have actually touched one. He's a vintage synth junkie who actually had to conceal his habit from his wife, hiding the gear in closets and then pulling it out for a jam when she was off at work. Sunday, November 6, slowcore when Belgium ruled the world pt. Mark Archer still doffs to the cap to K-werk and the Belleville 3 while acknowledging that the genre has now escaped from ancestral clutches - 'no-one can claim to have invented this monster called Techno'. Subscribe to: Posts Atom.
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Welcome to the new format of the annual report. This year, rather than providing a comprehensive report of all work at the. Ruđer Bošković Institute (RBI).
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