Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced 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 to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. 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 synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial 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 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, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
The New Zealand Herald
The New Zealand Herald is a daily newspaper published in Auckland, New Zealand, owned by New Zealand Media and Entertainment. It has the largest newspaper circulation of all newspapers in New Zealand, peaking at over 200,000 copies in 2006, although circulation of the daily Herald had declined to 115,213 copies on average by December 2017, its main circulation area is the Auckland region. It is delivered to much of the north of the North Island including Northland and King Country; the New Zealand Herald was founded by William Chisholm Wilson, first published on 13 November 1863. Wilson had been a partner with John Williamson in the New Zealander, but left to start a rival daily newspaper as he saw a business opportunity with Auckland's growing population, he had split with Williamson because Wilson supported the war against the Māori while Williamson opposed it. The Herald promoted a more constructive relationship between the North and South Islands. After the New Zealander closed in 1866 The Daily Southern Cross provided competition after Julius Vogel took a majority shareholding in 1868.
The Daily Southern Cross was first published in 1843 by William Brown as The Southern Cross and had been a daily since 1862. Vogel sold out of the paper in 1873 and Alfred Horton bought it in 1876. In 1876 the Wilson family and Horton joined in partnership and The New Zealand Herald absorbed The Daily Southern Cross. In 1879 the United Press Association was formed so that the main daily papers could share news stories; the organisation became the New Zealand Press Association in 1942. In 1892, the New Zealand Herald, Otago Daily Times, Press agreed to share the costs of a London correspondent and advertising salesman; the New Zealand Press Association closed in 2011. The Wilson and Horton families were both represented in the company, known as Wilson & Horton, until 1996 when Tony O'Reilly's Independent News & Media Group of Dublin purchased the Horton family's interest in the company; the Herald is now owned by Entertainment. That company is owned by Sydney-based APN News & Media and the Radio Network, owned by the Australian Radio Network.
Dita de Boni was a columnist for the newspaper, writing her first columns for the NZ Herald in 1995. From 2012 - 2015 she wrote a business and politics column until – after a series of articles critical of the Key government – the Herald discontinued her column for financial reasons. Gordon Minhinnick was a staff cartoonist from the 1930s until his retirement in the 1980s. Malcolm Evans was fired from his position as staff cartoonist in 2003 after the newspaper received complaints about his cartoons on the conflict between Israel and Palestine. Laurence Clark was the daily political cartoonist from 1987 to 1996, continued to publish cartoons weekly in the Herald until 2000. On 10 September 2012, the Herald moved to a compact format for weekday editions, after 150 years publishing in broadsheet format; the broadsheet format was retained for the Saturday edition. In April 2007, APN NZ announced it was outsourcing the bulk of the Herald's copy editing to an Australian-owned company, Pagemasters.
In November 2012, two months after the launch of its new compact format, APN News and Media announced it would be restructuring its workforce, cutting eight senior roles from across the Herald's range of titles. The Herald is traditionally a centre-right newspaper, was given the nickname "Granny Herald" into the 1990s; this changed with the acquisition of the paper by Independent News & Media in 1996, today, despite remaining free enterprise oriented on economic matters such as trade and foreign investment, the Herald is editorially progressive on international geopolitics and military matters, printing material from British newspapers such as The Independent and The Observer but more conservative newspapers such as The Daily Telegraph. It regularly reprints syndicated material from the and politically conservative, right-wing British tabloid the Daily Mail; the Herald's stance on the Middle East is supportive of Israel, as seen most in its 2003 censorship and dismissal of cartoonist Malcolm Evans following his submission of cartoons critical of Israel.
On domestic matters, editorial opinion is centrist supporting conservative values. In 2007, an editorial disapproved of some legislation introduced by the Labour-led government, the Electoral Finance Act, to the point of overtly campaigning against the legislation. In July 2015, the New Zealand Press Council ruled that Herald columnist Rachel Glucina had failed to properly represent herself as a journalist when seeking comment from Amanda Bailey on a complaint she had made about Prime Minister John Key pulling her hair when he was a customer at the cafe in which she worked; the Herald published Bailey's name and comments after she had retracted permission for Glucina to do so. The council said there was an “element of subterfuge” in Glucina's actions and that there was not enough public interest to justify her behaviour. In its ruling the council said that, “The NZ Herald has fallen sadly short of those standards in this case.” The Herald's editor denied the accusations of subterfuge. Glucina subsequently resigned from the newspaper.
In 1998 the Weekend Herald was set up as a separate title and the newspaper's website was launched. A compact-sized Sunday edition, the Herald on Sunday, was first published on 3 October 2004 under the editorship of Suzanne Chetwin and for five years, by Shayne Currie, it won Newspaper of the Year for the calendar years 2007 and 2009 and is New Zealand's second-highest-circulating weekly newspaper after the more established and conservative broadshee
The Independent is a British online newspaper. Established in 1986 as a politically independent national morning newspaper published in London, it was controlled by Tony O'Reilly's Independent News & Media from 1997 until it was sold to Russian oligarch Alexander Lebedev in 2010; the last printed edition of The Independent was published on Saturday 26 March 2016, leaving only its digital editions. Nicknamed the Indy, it began as a broadsheet, but changed to tabloid format in 2003; until September 2011, the paper described itself on the banner at the top of every newspaper as "free from party political bias, free from proprietorial influence". It tends to take a pro-market stance on economic issues; the daily edition was named National Newspaper of the Year at the 2004 British Press Awards. In June 2015, it had an average daily circulation of just below 58,000, 85 per cent down from its 1990 peak, while the Sunday edition had a circulation of just over 97,000. Launched in 1986, the first issue of The Independent was published on 7 October in broadsheet format.
It was produced by Newspaper Publishing plc and created by Andreas Whittam Smith, Stephen Glover and Matthew Symonds. All three partners were former journalists at The Daily Telegraph who had left the paper towards the end of Lord Hartwell's ownership. Marcus Sieff was the first chairman of Newspaper Publishing, Whittam Smith took control of the paper; the paper was created at a time of a fundamental change in British newspaper publishing. Rupert Murdoch was challenging long-accepted practices of the print unions and defeated them in the Wapping dispute. Production costs could be reduced which, it was said at the time, created openings for more competition; as a result of controversy around Murdoch's move to Wapping, the plant was having to function under siege from sacked print workers picketing outside. The Independent attracted some of the staff from the two Murdoch broadsheets who had chosen not to move to his company's new headquarters. Launched with the advertising slogan "It is. Are you?", challenging both The Guardian for centre-left readers and The Times as the newspaper of record, The Independent reached a circulation of over 400,000 by 1989.
Competing in a moribund market, The Independent sparked a general freshening of newspaper design as well as, within a few years, a price war in the market sector. When The Independent launched The Independent on Sunday in 1990, sales were less than anticipated due to the launch of the Sunday Correspondent four months prior, although this direct rival closed at the end of November 1990; some aspects of production merged with the main paper, although the Sunday paper retained a distinct editorial staff. In the 1990s, The Independent was faced with price cutting by the Murdoch titles, started an advertising campaign accusing The Times and The Daily Telegraph of reflecting the views of their proprietors, Rupert Murdoch and Conrad Black, it featured spoofs of the other papers' mastheads with the words The Rupert Murdoch or The Conrad Black, with The Independent below the main title. Newspaper Publishing had financial problems. A number of other media companies were interested in the paper. Tony O'Reilly's media group and Mirror Group Newspapers had bought a stake of about a third each by mid-1994.
In March 1995, Newspaper Publishing was restructured with a rights issue, splitting the shareholding into O'Reilly's Independent News & Media, MGN, Prisa. In April 1996, there was another refinancing, in March 1998, O'Reilly bought the other shares of the company for £30 million, assumed the company's debt. Brendan Hopkins headed Independent News, Andrew Marr was appointed editor of The Independent, Rosie Boycott became editor of The Independent on Sunday. Marr introduced a dramatic if short-lived redesign which won critical favour but was a commercial failure as a result of a limited promotional budget. Marr admitted his changes had been a mistake in My Trade. Boycott left in April 1998 to join the Daily Express, Marr left in May 1998 becoming the BBC's political editor. Simon Kelner was appointed as the editor. By this time the circulation had fallen below 200,000. Independent News spent to increase circulation, the paper went through several redesigns. While circulation increased, it did not approach the level, achieved in 1989, or restore profitability.
Job cuts and financial controls reduced the quality of the product. Ivan Fallon, on the board since 1995 and a key figure at The Sunday Times, replaced Hopkins as head of Independent News & Media in July 2002. By mid-2004, the newspaper was losing £5 million per year. A gradual improvement meant. In November 2008, following further staff cuts, production was moved to Northcliffe House, in Kensington High Street, the headquarters of Associated Newspapers; the two newspaper groups' editorial and commercial operations remained separate, but they shared services including security, information technology and payroll. On 25 March 2010, Independent News & Media sold the newspaper to Russian oligarch Alexander Lebedev for a nominal £1 fee and £9.25m over the next 10 months, choosing this option over closing The Independent and The Independent on Sunday, which would have cost £28m and £40m due to long-term contracts. In 2009, Lebedev had bought a controlling stake in the London Evening Standard. Two weeks editor Roger Alton resigned.
In July 2011, The Independent's columnist Johann Hari was stripped of the Orwell Prize he had won in 2008 after claims, to which Hari admitted, of plagiarism and inaccuracy. In January 2012, Chris Blackhurst
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Soulwax are a Belgian band from Ghent, centred around brothers David Dewaele and Stephen Dewaele. Other current members include Stefaan Van Leuven, they were first noticed after the release of their album Much Against Everyone's Advice, but after that, the Dewaeles started focusing on their other projects, such as 2manydjs. Their album As Heard on Radio Soulwax Pt. 2 was named the best popular music album of 2002 by The New York Times. The brothers have hosted a show on Belgian television, Alter8; the 2004 album Any Minute Now spawned three singles in "E Talking", "NY Excuse" and the title track. The "E Talking" music video was controversial and restricted to post-watershed broadcast on music television channels. Set in London's Fabric nightclub, everyone in the video is depicted as being on a different drug, listed from A through Z; the group produced a number of official and unofficial remixes, including "Daft Punk Is Playing At My House" and "Get Innocuous!" by LCD Soundsystem, "Robot Rock" by Daft Punk and "DARE" by Gorillaz.
They are friends of artists LCD Soundsystem and Whomadewho. The album Nite Versions is a collection of remixes of tracks from the album Any Minute Now. Soulwax played at Ocean View Baptist Church in San Pedro. In January 2006, Soulwax released their second remix album. Titled This Is Radio Soulwax, it was covermounted into the February 2006 issue of Mixmag, their third remix album, Part of NYE Never Dies, was covermounted into Mixmag, in late 2008. In summer 2006, Soulwax completed a "Nite Version remix" of Gossip's "Standing in the Way of Control" as well as their "Ravelight Dub" and "Ravelight Vocal Mix" of Robbie Williams' "Lovelight"; the summer 2006 tour was filmed by director Saam Farahmand, resulted in the documentary "Part of the Weekend Never Dies". Bagpipe player Chris Pyles did not play on this album. In August 2006, Soulwax were working on tracks for the new album from Tiga. In late 2006, it was announced in Belgian magazine HUMO that David and Stephen Dewaele had formed a band with Shane Doran and his brother-in-law Fergadelic, called Die Verboten.
In 2007, Soulwax produced remixes of "Gravity's Rainbow" by Klaxons and "Phantom Pt. II" by Justice. Remixes for "Ice Cream" by New Young Pony Club and "Pogo" by Digitalism had been rumoured, but were never completed. Soulwax, under the guise of 2manydjs, headlined their own "Radio Soulwax" tent at the Rock Ness Festival held on 9 June 2007; the following day at the festival, they played a Soulwax Nite Versions show in the "Clash Arena." That month, they took part in the Wild in the Country event at Knebworth Park on 30 June 2007. In December 2007, they held Radio Soulwax-mas, a massive Christmas party in Flanders Expo, with guests such as Tiga, Erol Alkan, Boys Noize, Riton, Daniele Baldelli, Hong Kong Dong, Das Pop and Milk Inc. Soulwax produced the debut album by fellow Belgians Das Pop, fronted by Soulwax drummer Bent Van Looy, scheduled for 2009 release in the UK. In 2009 December, Soulwax produced a song, for Crookers with Mixhell. In addition, Soulwax produced the song "Talk to Me" by Peaches.
In 2016, Soulwax returned with a new live show entitled "Soulwax Transient Program For Drums And Machinery." The new line up consisted of three drummers as well as Igor's wife Laima Leyton, on synths and backing vocals. This live show was the basis for their album From Deewee, released March 24; the only official compilation As Heard on Radio Soulwax Pt. 2, was released in 2002 and is composed of 45 tracks the Dewaele brothers were able to clear the rights from. They requested rights for 187 tracks and got clearances for 114 of them. 62 were refused and 11 remained untraceable. All the unofficial releases are in fact a compilation of the Radio Soulwax shows 2manydjs did for various radio stations including Studio Brussel, Radio 1, KISS 100 and Eins live; as part of the Vivid Live Festival in Sydney and Stephen Dewaele behind 2manydjs and electro-rock outfit Soulwax presented a one-off series of radio shows on'Triple J' Australian national radio station. The series was broadcast nationally 6 PM nightly from 31 May 2011 to 3 June 2011.
The 2001 track "Theme from Discothèque" is by David and Stephen Dewaele from Soulwax, under the name Samantha Fu. They produced. On February 2, 2009, Soulwax made a guest appearance on BBC Radio 1, playing 420 song introductions in a period of 60 minutes. In 2004 Soulwax compiled the soundtrack for the Belgian movie Steve + Sky. Soulwax contributed three instrumental tracks on this compilation under the name "Kawazaki". Soulwax's remix of the Rolling Stones' "You Can't Always Get What You Want" is the credit song of, featured in the movie 21. Director Saam Farahmand has filmed Soulwax on their international dates, capturing all the excitement and humour of the world tour. Soulwax filmed 120 shows with one camera in Europe, Japan, U. S. Latin America and Australia; this resulted in 2 films entitled "Part of the Weekend Never Dies". As of April 2008, Soulwax's clubbing film/documentary Radio Soulwax is finished, they performed a sold out gig at the London Royal Festival Hall, during which they did a première of the film.
It came out on DVD September 2008. Soulwax composed the so
Tijs Michiel Verwest OON, better known by his stage name Tiësto, is a Dutch DJ and record producer from Breda. He was named "the Greatest DJ of All Time" by Mix magazine in a poll voted by the fans. In 2013, he was voted by DJ Mag readers as the "best DJ of the last 20 years", he is regarded as the "Godfather of EDM" by many sources. In 1997, he founded the label Black Hole Recordings with Arny Bink, where he released the Magik and In Search of Sunrise CD series. Tiësto met producer Dennis Waakop Reijers in 1998. From 1998 to 2000, Tiësto collaborated with Ferry Corsten under the name Gouryella, his 2000 remix of Delerium's "Silence" featuring Sarah McLachlan exposed him to more mainstream audiences. In 2001, he released his first solo album, In My Memory, which gave him several major hits that launched his career, he was voted World No. 1 DJ by DJ Magazine in its annual Top 100 DJs readership poll consecutively for three years from 2002 to 2004. Just after releasing his second studio album Just Be he performed live at the 2004 Summer Olympics opening ceremony in Athens, the first DJ to play live on stage at an Olympics.
In April 2007 Tiësto launched his radio show Tiësto's Club Life on Radio 538 in the Netherlands and released his third studio album Elements of Life. The album reached number one on the Belgian album chart as well on "Billboard Top Electronic Albums" in the U. S. and received a nomination for a Grammy Award in 2008. Tiësto released his fourth studio album Kaleidoscope in October 2009, followed by A Town Called Paradise in June 2014, he won the Grammy Award for Best Remixed Recording, Non-Classical for his remixed version of John Legend's hit "All of Me" at the 57th Annual Grammy Awards. Tijs Michiel Verwest was born in Breda, Netherlands on 17 January 1969, he began to cultivate a passion for music from the age of twelve. At age fourteen, he intensified his commitment to the art, began DJing professionally at school parties. Between 1985 and 1994, Tiësto began a residency at several clubs in the Netherlands at the behest of his manager. At the Spock, a small club in Breda, he fine-tuned his own live style by performing from 10 p.m. until 4 a.m. on weekends.
In the beginning of his career as a DJ he played new beat and acid house. In 1994, he began releasing material on Noculan Records' sub-labels Coolman. During these years, he produced hardcore and gabber tracks under such aliases as Da Joker and DJ Limited. Tiësto was discovered by the general manager of Rotterdam-based Basic Beat Recordings. In late 1994, Tiësto signed to Basic Beat where he met Arny Bink, Tiësto released records on the sub-label Trashcan, founded by Arny, created the Guardian Angel sub-label with Arny in which they introduced the popular Forbidden Paradise series. From 1995–96 he released four extended plays on Bonzai Jumps and XTC, sub-labels of Lightning Records. In 1997, he joined his friend Yves Vandichel on his sub-label, DJ Yves, a division of the now defunct Human Resource label XSV Music. In the fall of 1997, Bink and Tiësto decided to leave Basic Beat and create their own parent label, Black Hole Recordings, Trashcan was discontinued and Guardian Angel continued releasing music until 2002.
Through Black Hole, Tiësto released the Magik series and created two major sub-labels. From 1998–99, he released music on Planetary Consciousness where he met A&R Hardy Heller and invited him to release some records on Black Hole. In 1998, Tiësto joined forces with fellow Dutch deejay Ferry Corsten to create the trance based duo of Gouryella; the first Gouryella track called Gouryella, was released in May 1999 and became a huge hit scoring various chart positions around the world, including a top fifteen position in the UK Singles Chart. Tiësto showcased this track in Magik Three: Far from Earth as well as in his set at the first ID&T Innercity party, his first major breakthrough; the next single, entitled "Walhalla" made it on the charts worldwide, peaking at No. 27 in the UK Singles Chart. Released via Ferry's Tsunami, both singles went on to be certified Gold on record sales. During these years, Tiësto collaborated with Benno de Goeij of Rank 1 under the name Kamaya Painters. In November 1999, he released the first installment of the In Search of Sunrise series.
Since he performed monthly as a resident at Gatecrasher in Sheffield, played a 12-hour set, his longest, in Amsterdam. On 31 December 1999, he performed at Trance Energy 2000, a special party held by ID&T for the turn of the millennium. Together with Armin van Buuren, Tiësto created two projects in 2000. After the release of "Tenshi" in September 2000, Tiësto decided to concentrate on his solo work and left Ferry Corsten to take on the Gouryella project as his own. Through his first compilations and the "In Trance We Trust" series, he ended up introducing Armin van Buuren and Johan Gielen to the mainstream. Summerbreeze marked Tiësto's U. S. debut, a mix album that showcased his remix of Delerium's "Silence", which spent four weeks in the UK's Top Ten chart and reached number three in the Billboard dance chart. In Search of Sunrise 2 was released in November 2000. In 2001, Tiësto created a new sub-label, Magik Muzik, released his first solo album, In My Memory, which contained 5 major hits.
Death in June
Death in June are a neofolk group led by English folk musician Douglas Pearce, better known as Douglas P. The band was formed in Britain in 1981 as a trio, but after the other members left in 1984 and 1985 to work on other projects, the group became the work of Douglas P. and various collaborators. Douglas P. now lives in Australia. Over the band's three decades of existence, they have made numerous shifts in style and presentation, resulting in an overall shift from initial post-punk and Industrial Records influence to a more acoustic and folk music-oriented approach, they are sometimes considered controversial. Douglas P.'s influence was instrumental in sparking neofolk, of which his music has subsequently become a part. Pearce formed Death in June in 1981 in England, along with Tony Wakeford. Pearce and Wakeford had been members of the political punk band Crisis, which formed in 1977. Crisis had gained a substantial following in the UK punk subculture. Crisis performed at rallies for The Right to Work, Rock Against Racism, the Anti-Nazi League.
Death in June soon left the reticent punk scene behind and began to infuse their sound with electronics and martial style drumming, combined with a Joy Division-influenced post-punk sound. A few years to the synth-heavy folk stuff with acoustic guitar; the synths were phased out. The stuff had atmospheric sound loops, dialogue samples, industrial beats, etc added, their lyrics maintained political urgency of the early Crisis recordings. Tracks such as the early single sides "Holy Water" and "State Laughter" demonstrated an ongoing fascination with political systems; the new name of the band is an allusion to the "Night of the Long Knives", when Adolf Hitler had the main members of the SA arrested and some executed by the SS. Douglas P. explained in a Sounds magazine interview, 1985 - "Our interest doesn't come from killing all opposition, as it's been interpreted, but from identification with or an understanding of the leftist elements of the SA which were purged, or murdered, by the SS. That day is important in human history...
They were planning execution or overthrow of Hitler, so he wouldn't be around. We'd be living in a different world, I should imagine..." Further on, Douglas P. would abandon any overt interest in politics in favor of a more esoteric approach to his work. For 1984's Burial LP, Death in June began to adopt a more traditional European folk sound, using more acoustic guitars, references to ancient and contemporary European history, combining heavy percussion with electronic soundscapes and post-industrial experimentation; the Nada! LP introduced a temporary dance sound to Death in June accompanied by other tracks with the introduced folk elements. Douglas P. would state this period was brought about by Patrick Leagas, further justified by Leagas' other work as Sixth Comm and by his joining Mother Destruction, where he would further explore themes of Germanic paganism and historically-inspired music. Patrick Leagas abruptly left the group in April 1985 after a tour of Italy, resulting in many cancelled shows in the UK and Europe due to follow that tour.
Leagas, who began calling himself Patrick O-Kill formed Sixth Comm. Thereafter, Death in June has consisted of the work of Douglas P. and various collaborators. In 1991, Douglas P. helped form World Serpent Distribution. During this period, Pearce collaborated with many artists who had material distributed through the company in various ways. David Tibet formed Current 93 in 1982. After being introduced to Douglas P. by Alan McGee of Creation Records at the Living Room Club, London in 1983, Tibet began working with Death in June. Upon meeting Tibet, Douglas P. began to devote more of his time to a new circle of collaborators, who introduced him to various Thelemic and Hermetic disciplines that markedly affected his approach to composing music. Familiar with the Runic alphabet, Douglas P. introduced them to Tibet. Tibet had been long interested in magic and religion and implemented these concepts in his early recordings with Current 93. Douglas P. introduced a folk influence to Current 93/David Tibet, who in turn contributed to Death in June's Nada!
LP and its remix version titled 93 Dead Sunwheels, as well as the albums The World That Summer, Brown Book, The Wall of Sacrifice. He continued his work with Death in June, ending their collaborations with a contribution to the LP, Rose Clouds of Holocaust before their eventual split. Experimental musician Boyd Rice was a friend of the group and had documented one of their earliest performances back in 1982, he was invited to contribute a spoken word piece to The Wall of Sacrifice LP. From on, a long series of recording collaborations continued between Boyd Rice and Douglas P. which included the albums Music and Misanthropy, In the Shadow of the Sword, Heaven Sent, God & Beast, Wolf Pact, Alarm Agents. Douglas P. made a small appearance acting alongside Boyd Rice in the film Pearls Before Swine directed by Richard Wolstencroft. Les Joyaux De La Princesse collaborated with Douglas P. on the Östenbräun double cassette release. Douglas P. sent LJDLP source material, which LJDLP would send back. Douglas P. would appear live with Les Joyaux De La Princesse for a joint show in 2001.
Douglas P. having moved to Australia, came back into contact with John Murphy of Knifeladder and of SPK. Murphy began playing live pe