1.
Mixtape
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A mixtape is a home-made compilation of music recorded in a specific order, traditionally onto a cassette tape, though later replaced by CD or MP3 playlist formats. The songs can be sequential, or by beatmatching the songs and creating overlaps, compilations may include a selection of favorite songs, or music linked by theme or mood, perhaps tailored to the tapes intended recipient. Writing in 2004, essayist Geoffrey OBrien called the mix tape perhaps the most widely practiced American art form. Homemade mix tapes became common in the 1980s, but improvements in fidelity finally allowed the cassette to become a major player. The growth of the mixtape was also encouraged by improved quality and increased popularity of audio players in car entertainment systems. These recordings tended to be of technical ability than home-made mixtapes. One 12 October 1974 article in Billboard Magazine reported, Tapes were originally dubbed by jockeys to serve as standbys for times when they did not have disco turntables to hand, the tapes represent each jockeys concept of programming, placing, and sequencing of record sides. The music is heard without interruption, one- to three-hour programs bring anywhere from $30 to $75 per tape, mostly reel-to-reel, but increasingly on cartridge and cassette. Club proprietors, as well as DJs, would often prepare such tapes for sale, throughout the 1980s, mixtapes were a highly visible element of youth culture. The high point of traditional culture was arguably the publication of Nick Hornbys novel High Fidelity in 1995. Some mix enthusiasts also appreciate the potential of the mix CD for extended, continuous mixes, MP3 players have further enhanced track accessibility, though ones without a screen defeat that purpose. Today, websites concerned with electronic music provide mixes in a digital format and these usually consist of recorded DJ sets of live, beat-matched mixes of songs, which are used by DJs seeking to demonstrate their mixing skills to an online audience. Some radio shows worldwide specialize in mix series, including The Breezeblock on BBC Radio 1, The Solid Steel Show, and Eddy Temple-Morris/The Remix on Xfm. Additionally, DJs such as Grandmaster Flash, DJ QBert, DJ Spooky, DJ Z-Trip or DJ Shadow, The Avalanches, and Rjd2 have gained fame for creating new songs by combining fragments of existing songs. This practice is derived from the use of song loops as musical backdrops for an MCs rhymes in hip hop music. Frank Creighton, a director of anti-copyright infringement efforts for the Recording Industry Association of America and this requires the mixtape creator to consider the transitions between songs, the effects caused by juxtaposing a soft song with a loud song, and the overall narrative arc of the entire tape. It also came with an actual CD featuring ten of the songs discussed in the text, many have been so widely distributed that the CDDB has logged and can identify ID3 tags when a disc mix tape is inserted into a PC. In hip hops earliest days, the music existed in live form, so performers music was spread via tapes of parties
2.
Arca (musician)
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Alejandro Ghersi, better known by his stage name Arca, is a Venezuelan electronic producer, consultant, mixing engineer and DJ based in Dalston, London. Arca was born in Caracas, Venezuela into a wealthy family and his father was an investment banker and his mother studied International Studies. His family moved to Connecticut for a time, before returning to Venezuela to live in a gated community and he describes his childhood as kind of in a bubble, and had difficulty accepting the fact that he was gay. He later attended the Clive Davis Institute of Recorded Music at NYU, in 2012, he released three EPs on the UNO NYC label, his debut as Arca, Barón Libre, Stretch 1, and Stretch 2. He self-released the &&&&& mixtape for free, and was involved in a performance of &&&&& alongside Jesse Kanda. His debut album, Xen, was released on November 4,2014 via Mute Records, Arca made significant contributions to Björks ninth studio album, Vulnicura, released in 2015. He was credited as co-producer of seven of the tracks, arcas second studio album, Mutant, was released on November 20,2015. In early 2017, Arca announced his third album, Arca. Xen Mutant Arca Baron Libre Stretch 1 Stretch 2 Baron Foyel MoMA PS1 Warm Up Mix &&&&& Sheep Entrañas Official website Arca discography, forum, and marketplace at Discogs Arca biography
3.
Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
4.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
5.
Hip hop music
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It developed as part of hip hop culture, a subculture defined by four key stylistic elements, MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, while often used to refer solely to rapping, hip hop more properly denotes the practice of the entire subculture. Hip hops early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. The Sugarhill Gangs 1979 song Rappers Delight is widely regarded to be the first hip hop record to gain popularity in the mainstream. The 1980s marked the diversification of hip hop as the genre developed more complex styles, prior to the 1980s, hip hop music was largely confined within the United States. However, during the 1980s, it began to spread to scenes in dozens of countries. New school hip hop was the wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. The Golden age hip hop period was a period between the mid-1980s and the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, and A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that often focuses on the violent lifestyles, in the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s. I. G. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap, at the same time, hip hop continued to be assimilated into other genres of popular music, examples being Neo soul and nu metal. Hip hop became a pop music genre in the mid-1990s. The popularity of hip hop music continued through the 2000s, with hip hop influences also increasingly finding their way into mainstream pop, the United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics. Starting in 2005, sales of hip hop music in the United States began to severely wane, during the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. Creation of the hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash. However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap. Cowboy later worked the hip hop cadence into a part of his stage performance, the first use of the term in print was in The Village Voice, by Steven Hager, later author of a 1984 history of hip hop
6.
Dub music
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Dub is a genre of music that grew out of reggae in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Other techniques include dynamically adding extensive echo, reverb, panoramic delay, Dub was pioneered by Osbourne King Tubby Ruddock, Lee Scratch Perry, Errol Thompson and others in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and is also among the pioneers and creators of the genre, similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock, pop, hip hop, disco, and later house, techno, ambient, electronic dance music, the verb dub is defined as making a copy of one recording to another. The term dub had multiple meanings in Jamaica around the time of the musics origin, in concert, the order dub this one. Meant put an emphasis on bass and drums, drummer Sly Dunbar points to a similar interpretation, relating the term dubwise to using only drums and bass. Another possible source was the term dub plate, as suggested by Augustus Pablo, the word duppy also relates to dub through Jamaicas history of intra-racial terror, violence, and murder that is often overlooked in favor of Jamaican ideologies of racial solidarity. The ghosts of these victims, or duppies, are thought to be captured best within the dub instrumentals, a version is a record with the vocals removed, the alternative cut of a song made for the DJ to toast over. These versions were used as the basis of new songs by rerecording them with new elements, the instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar, the music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be augmented by live DJs. There is usually an organic feel to the music, even though the effects are electronically created. Often these tracks are used for toasters rapping heavily rhymed and alliterative lyrics, in forms of sound system based reggae, the performer using a microphone is referred to as the DJ or deejay, and the person choosing the music and operating the turntables is called the selector. A major reason for producing multiple versions was economic, a producer could use a recording he owned to produce numerous versions from a single studio session. A version was also an opportunity for a producer or remix engineer to experiment, Dub music and toasting introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other, in 1968, Kingston, Jamaica sound system operator Rudolph Ruddy Redwood went to Duke Reids Treasure Isle studio to cut a one-off dub plate of The Paragons hit On The Beach. Engineer Byron Smith left the track out by accident, but Redwood kept the result
7.
Hippos in Tanks
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Hippos in Tanks is a record label founded in 2010 by Barron Machat and Travis Woolsey. The label specializes in music, and was named the best label of 2011 by the website FACT. It was named after the novel by Jack Kerouac and William S. Burroughs And the Hippos Were Boiled in Their Tanks, in 2009, Machat and Woolsey—who met while working at an online company in Los Angeles—were asked to host a radio show on KXLU called Hippos in Tanks. After leaving the company to work on their label full-time, HIT released their first EP from Von Haze in June 2010, in 2011 Woolsey left the label with Machat staying on as CEO. Steven has ventured in the creative and business process in theatre, movies, Steven Machat announced his candidacy as Independent US Senate candidate for the state of Florida in Miami in September 2015. It was confirmed Hippos In Tanks founder Barron Machat died in a car crash in Miami, the label continues under the leadership of his father Steven Machat
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