1.
Industrial music
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Industrial music is a genre of experimental/electronic music that draws on transgressive or provocative sounds and themes. In general, the style is harsh and challenging, allMusic defines industrial as the most abrasive and aggressive fusion of rock and electronic music, initially a blend of avant-garde electronics experiments and punk provocation. The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, serial killers and their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Musicians also cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences. These artists expanded the genre by pushing it into noisier and more electronic directions, over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label. Electro-industrial music is a subgenre that developed in the 1980s. These three distinct genres are often referred to as simply industrial, Industrial music drew from a broad range of predecessors. Industrial music was created originally by using mechanical and electric machinery, monroe also argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Kraftwerk, Charles Manson, and William S. Burroughs. P-Orridge also credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of 60s girl groups, Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerks Trans-Europe Express. Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick, Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Daviss On the Corner, many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the industrial musicians preferred to cite artists or thinkers, rather than musicians. Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism, John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade, another influence on the industrial aesthetic was Lou Reeds Metal Machine Music. Pitchfork Music cites this album as inspiring, in part, much of the contemporary avant-garde music scene—noise, the album consists entirely of guitar feedback, anticipating industrials use of non-musical sounds
2.
Noise music
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
3.
Europe
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Europe is a continent that comprises the westernmost part of Eurasia. Europe is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, yet the non-oceanic borders of Europe—a concept dating back to classical antiquity—are arbitrary. Europe covers about 10,180,000 square kilometres, or 2% of the Earths surface, politically, Europe is divided into about fifty sovereign states of which the Russian Federation is the largest and most populous, spanning 39% of the continent and comprising 15% of its population. Europe had a population of about 740 million as of 2015. Further from the sea, seasonal differences are more noticeable than close to the coast, Europe, in particular ancient Greece, was the birthplace of Western civilization. The fall of the Western Roman Empire, during the period, marked the end of ancient history. Renaissance humanism, exploration, art, and science led to the modern era, from the Age of Discovery onwards, Europe played a predominant role in global affairs. Between the 16th and 20th centuries, European powers controlled at times the Americas, most of Africa, Oceania. The Industrial Revolution, which began in Great Britain at the end of the 18th century, gave rise to economic, cultural, and social change in Western Europe. During the Cold War, Europe was divided along the Iron Curtain between NATO in the west and the Warsaw Pact in the east, until the revolutions of 1989 and fall of the Berlin Wall. In 1955, the Council of Europe was formed following a speech by Sir Winston Churchill and it includes all states except for Belarus, Kazakhstan and Vatican City. Further European integration by some states led to the formation of the European Union, the EU originated in Western Europe but has been expanding eastward since the fall of the Soviet Union in 1991. The European Anthem is Ode to Joy and states celebrate peace, in classical Greek mythology, Europa is the name of either a Phoenician princess or of a queen of Crete. The name contains the elements εὐρύς, wide, broad and ὤψ eye, broad has been an epithet of Earth herself in the reconstructed Proto-Indo-European religion and the poetry devoted to it. For the second part also the divine attributes of grey-eyed Athena or ox-eyed Hera. The same naming motive according to cartographic convention appears in Greek Ανατολή, Martin Litchfield West stated that phonologically, the match between Europas name and any form of the Semitic word is very poor. Next to these there is also a Proto-Indo-European root *h1regʷos, meaning darkness. Most major world languages use words derived from Eurṓpē or Europa to refer to the continent, in some Turkic languages the originally Persian name Frangistan is used casually in referring to much of Europe, besides official names such as Avrupa or Evropa
4.
Electronic musical instrument
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An electronic musical instrument is a musical instrument that produces sound using electronics. Such an instrument sounds by outputting an electrical signal that ultimately drives a loudspeaker. An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, all electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are called sound effects, the border between sound effects and actual musical instruments is often hazy. Electronic musical instruments are now used in most styles of music. Development of new musical instruments, controllers, and synthesizers continues to be a highly active. In the 18th-century, musicians and composers adapted a number of instruments to exploit the novelty of electricity. The former instrument consisted of an instrument of over 700 strings. The latter was an instrument with plectra activated electrically. However, neither instrument used electricity as a sound-source, the first electric synthesizer was invented in 1876 by Elisha Gray. The Musical Telegraph used steel reeds oscillated by electromagnets and transmitted over a telephone line, Gray also built a simple loudspeaker device into later models, which consisted of a diaphragm vibrating in a magnetic field. A significant invention, which later had an effect on electronic music, was the audion in 1906. This was the first thermionic valve, or vacuum tube and which led to the generation and amplification of signals, radio broadcasting. Other early synthesizers included the Telharmonium, the Theremin, Jörg Magers Spharophon and Partiturophone, Taubmanns similar Electronde, Maurice Martenots ondes Martenot, only two models of this latter were built and the only surviving example is currently stored at the Lomonosov University in Moscow. It has been used in many Russian movies—like Solaris—to produce unusual, Hugh Le Caine, John Hanert, Raymond Scott, composer Percy Grainger, and others built a variety of automated electronic-music controllers during the late 1940s and 1950s. In 1959 Daphne Oram produced a method of synthesis, her Oramics technique, driven by drawings on a 35 mm film strip. In 1897 Thaddeus Cahill patented an instrument called the Telharmonium, using tonewheels to generate musical sounds as electrical signals by additive synthesis, it was capable of producing any combination of notes and overtones, at any dynamic level. This technology was used to design the Hammond organ
5.
Field recording
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Field recording is the term used for an audio recording produced outside a recording studio, and the term applies to recordings of both natural and human-produced sounds. Field recording of sounds, also called phonography, was originally developed as a documentary adjunct to research work in the field. With the introduction of high-quality, portable recording equipment, it has become an evocative artform in itself. In the 1970s, both processed and natural phonographic recordings, became popular, for this reason, field recordists have favoured high-quality recorders, microphones, and microphone pre-amplifiers. The history of the equipment used in this area closely tracks the development of portable audio recording technology. Field recording is typically recorded in the same format as the desired result, for instance. In contrast, a remote recording captures many microphones on multiple channels, later to be creatively modified, augmented. Field recording experienced an increase in popularity during the early 1960s, with the introduction of high-quality. The arrival of the DAT in the 1980s introduced a new level of recording fidelity with extended frequency response. In addition to these technologies, other means for field recording have included the analog cassette, the DCC. The latest generation of recorders are completely digital-based and it is also possible to use personal electronic devices, with software, to do field recording and editing. Newly developed techniques include the placement of microphones, the diffusion of captured sounds. Field recording was originally a way to document oral presentations, field recording is an important tool in bioacoustics and biomusicology, most commonly in research on bird song. Animals in the wild can display very different vocalizations from those in captivity, the use of field recordings in avant-garde, musique concrète, experimental, and, more recently, Ambient music was evident almost from the birth of recording technology. Field recordings are now a source material for a range of musical results, from contemporary musique concrète compositions to film soundtracks, video game soundtracks. The sounds recorded by any device, and then transferred to digital format, are used by musicians through their performance with MIDI-interfaced instruments. A contemporary artist with great success for his compositions is Christian Fennesz, earlier innovators who are noted for the importance and boldness of their projects are Luigi Russolo, who, in 1913, with his manifesto, Larte dei rumori, gave musical value to environmental noise. He also designed and built the Intonarumori—the first instruments for making noise, francesco Balilla Pratella utilized the Intonarumori in his opera, Laviatore Dro, which was written in close collaboration with Filippo Tommaso Marinetti
6.
Dark ambient
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Dark ambient is a genre of post-industrial music that features foreboding, ominous, or discordant overtones, some of which were heavily inspired by elements of ambient music. The term was coined in the early 1990s by Roger Karmanik to describe the music of Raison dêtre and is associated with the Cold Meat Industry record label. Dark ambient has its roots in the 1970s, with the introduction of newer, smaller, early genre elements can be found on Throbbing Gristles 1978 album D. o. A, The Third and Final Report of Throbbing Gristle. These artists make use of principles such as noise and shock tactics. Many of these artists are eclectic in their output, with much of it falling outside of ambient industrial, dark ambient has vibrated also into contemporary classical music. The example can be some solo works of composer Vladimír Hirsch, for example, entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires. Generally the music tends to evoke a feeling of solitude, melancholy, confinement, however, while the theme in the music tends to be dark in nature, some artists create more organic soundscapes. Examples of such productions are those of Oöphoi, Alio Die, Mathias Grassow, Tau Ceti, List of dark ambient artists List of electronic music genres
7.
Post-industrial music
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Post-industrial music is a collection of related music genres that emerged in the early 1980s, all of which blended elements of varying styles with the then new genre of industrial music. Industrial had first been applied to music in the mid-1970s by the Industrial Records label artists, since then, a number of labels and artists have come to be called industrial. These offshoots include fusions with noise music, ambient music, folk music, industrial rock and electronic music, as well as other mutations. The scene has spread worldwide, and is well represented in North America, Europe. Industrial music comprises many styles of music, including many forms of electronic music. The term was coined in the mid-1970s for Industrial Records artists, the first industrial artists experimented with noise and controversial topics. Their production was not limited to music, but included mail art, performance art, installation pieces, prominent industrial musicians include Throbbing Gristle, Cabaret Voltaire, Boyd Rice, SPK, and ZEV. Test Dept, Clock DVA, Nocturnal Emissions, Whitehouse, Laibach, ambient industrial projects like Coil, Lilith, Nurse with Wound, Lustmord, and Zoviet France, evolved out of industrial music during the 1980s. These artists make use of material and noise, but less abrasively than other post-industrial musicians. The last material that Throbbing Gristle recorded in the studio, In the Shadow of the Sun and Journey Through a Body, was ambient, electro-Industrial draws on EBM, and developed in the mid-1980s. While EBM has a structure and clean production, electro-industrial has a deep, complex. The style was pioneered by Skinny Puppy, Frontline Assembly, in the mid-90s, the style spawned the dark electro and aggrotech offshoots. Other artists include Haujobb, Lab Report, and Leæther Strip, electronic body music combines elements of industrial music and electronic dance music. It first came to prominence in Belgium, the name was coined by Ralf Hütter of Kraftwerk in 1978 to explain the more physical sound of their album The Man-Machine. The term was used in its current sense by Belgian group Front 242 in 1984 to describe their EP No Comment. It denotes a type of danceable electronic music, a mixture of electropunk. Other artists include Armageddon Dildos, Die Krupps, à, GRUMH, a Split-Second, And One, Bigod 20, The Neon Judgement, and Attrition. Industrial hip hop fuses the themes and aesthetics of industrial hip hop music
8.
Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, while guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals. Rackmounted or audio console-integrated reverb effects are used with vocals in live sound and sound recording. Examples of common units include wah-wah pedals, fuzzboxes and reverb units. A stompbox or pedal is a metal or plastic box placed on the floor in front of the musician and connected to the instrument. Pedals are usually the least expensive format, a rackmount device mounts on a standard 19-inch equipment rack and usually contains several types of effects. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects, an effects unit is also called an effect box, effects device, effects processor or simply effects. In audio engineer parlance, a signal without effects is dry, the abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a box, stompbox. When a musician has multiple effects in a rack mounted road case, Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units, rackmount devices are generally more expensive and offer a wider range of functions. An effects unit can consist of analog or digital circuitry or a combination of the two, during a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, the instrument or other sound-sources auxiliary output is patched into the effect, form factors are part of a studio or musicians outboard gear. Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the users feet, pedals are often rectangle-shaped, but there are a range of other shapes. Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on, depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth, some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An effects chain or signal chain is formed by connecting two or more stompboxes, effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp
9.
Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
10.
Sampling (music)
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In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, by the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion. Hip hop music was the first popular music based on the art of sampling – being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer. Historically, sampling was most often done with a sampler — a specialized piece of hardware — but today, however, vinyl emulation software may also be used, and turntablists continue to sample using traditional methods. Often samples consist of one part of a song, such as a rhythm break, for instance, hip hop music developed from DJs looping the breaks from songs to enable continuous dancing. Samples can also consist of words and phrases, including those in non-musical media such as movies, TV shows. Sampling does not necessarily mean using pre-existing recordings, a number of composers and musicians have constructed pieces or songs by sampling field recordings they made themselves, and others have sampled their own original recordings. The use of sampling is controversial legally and musically, in the 1970s, when hip hop was confined to local dance parties, it was unnecessary to obtain copyright clearance in order to sample recorded music at these parties. Aside from legal issues, sampling has been championed and criticized. Hip-hop DJs today take different approaches to sampling, with critical of its obvious use. Some critics, particularly those with a rockist outlook, have expressed the belief all sampling is lacking in creativity, while others say sampling has been innovative and revolutionary. Those whose own work has been sampled have also voiced a variety of opinions about the practice. Once recorded, samples can be edited, played back, or looped, types of samples include, The drums and percussion parts of many modern recordings are really a variety of short samples of beats strung together. Many libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without paying royalties, such libraries can be loaded into samplers. Though percussion is an application of looping, many kinds of samples can be looped. A piece of music may have an ostinato which is created by sampling a phrase played on any kind of instrument, there is software which specializes in creating loops. Whereas loops are usually a phrase played on a musical instrument, Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds, most such samples are created in professional recording studios using world-class instruments played by accomplished musicians
11.
Throbbing Gristle
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Throbbing Gristle were an English music and visual arts group formed in 1976 in Kingston upon Hull. The band comprised Genesis P-Orridge, Cosey Fanni Tutti, Peter Sleazy Christopherson, evolving from the experimental performance art group COUM Transmissions, Throbbing Gristle are widely viewed as early pioneers of industrial music. They disbanded in 1981, but the members went on to participate in other projects. Throbbing Gristle evolved from the art group COUM Transmissions, which was formed in Kingston upon Hull by a group of performers centred on Genesis P-Orridge. The final performance of COUM Transmissions in 1976 was also the debut of Throbbing Gristle, Throbbing Gristles confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, gave the group a notorious reputation. However, the group maintained that their mission was to challenge and explore the darker. They appeared in the fanzine Toxic Grafity, with a condensation of their own propaganda parody series, in 1977, they released their debut single, United/Zyklon B Zombie, followed by an album, The Second Annual Report. This was followed by a series of albums, singles and live performances over a four-year period, on 29 May 1981, Throbbing Gristle performed at the Kezar Pavilion in San Francisco, California, United States. This concert marked the end of the group and its mission, as Cosey succinctly put it, TG broke up because me and Gen broke up. Christopherson later went on to half of the band Coil with his partner and fellow Psychic TV member. Meanwhile, Gen subsequently formed Thee Majesty and PTV3 with the help of their wife, in 2004, Throbbing Gristle briefly reunited to record and release the limited album TG Now. On 2 April 2007, TG released the album Part Two, with the exception of TG Now, it was their first studio album in twenty five years. It was originally set to be released by Mute Records in September 2006 but was delayed for unknown reasons, in March 2007, Side-Line announced Part Twos final release date, adding that a string of special live events would take place in 2007. A seven-disc DVD set, titled TGV, was issued in 2007, the set contains old and new footage of the band. TGV came packaged in a box with a 64-page book. The group performed a re-interpretation of their debut album The Second Annual Report twice in 2008 to mark thirty years since its original release. The performance in Paris on 6 June was issued as a limited edition framed vinyl set entitled The Thirty-Second Annual Report, Throbbing Gristle worked to record an album based on their interpretation of Nicos album Desertshore. In April 2009, Throbbing Gristle toured the United States, appearing at the Coachella Valley Music and Arts Festival and in Los Angeles, New York, San Francisco and Chicago
12.
Tangerine Dream
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Tangerine Dream are a German electronic music collective founded in 1967 by Edgar Froese. The group has seen many changes over the years, with Froese being the only continuous member until his death in January 2015. Noted electronic music artist, drummer, and composer Klaus Schulze was briefly a member in an early lineup. The best known and most constant line-up of the group, which worked during their most influential period, was a trio with Froese, Christopher Franke. In the late 1970s, Johannes Schmoelling replaced Baumann, and this lineup was stable, Tangerine Dreams recorded output has been prolific, having released over one hundred albums. Their Virgin Years, so-called because of their association with Virgin Records and these and later albums were influential in both the development of electronic dance music and also new-age music, although the band themselves disliked that term. From the late 1990s into the 2000s, Tangerine Dream continued to other styles of electronica. Even with their studio and live recordings, many fans were introduced to Tangerine Dream by their film soundtracks. The group created over sixty soundtracks which include those for the films Sorcerer, Thief, Risky Business, The Keep, Firestarter, Legend, Near Dark, Shy People, and Miracle Mile. They also composed the score for the video game Grand Theft Auto V. Froeses most notable association was his partnership with Christopher Franke, Franke joined Tangerine Dream in 1970 after serving time in the group Agitation Free, originally to replace Schulze as the drummer. Franke stayed with the group for 17 years, leaving in 1987 because of exhausting touring schedules as well as differences with Froese. A number of members were also part of Tangerine Dream for shorter periods of time. Unlike session musicians, these also contributed to compositions of the band during their tenures. Some of the notable members are Steve Schroyder, Michael Hoenig, Steve Jolliffe, Klaus Krieger. Throughout the 1990s and into the 2000s, Tangerine Dream was often joined on stage by Zlatko Perica or Gerald Gradwohl on guitars, Jerome Froese left in 2006 after a concert at the Tempodrom in Berlin. Until late 2014, Tangerine Dream comprised Edgar Froese as well as Thorsten Quaeschning, for concerts and recordings, they were usually joined by Linda Spa on saxophone and flute, Iris Camaa on drums and percussion, and Bernhard Beibl on guitar. In 2011, electric violinist Hoshiko Yamane was added to the lineup, in late 2014, Bernhard Beibl announced on his Facebook page that he would stop collaborating with Tangerine Dream. Shortly thereafter, it was announced that Tangerine Dream would no longer be touring with Linda Spa or Iris Camaa, Edgar Froeses death in January 2015, however, left this a short-lived line-up
13.
Zeit
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Zeit is the third studio album by German electronic music group Tangerine Dream. A double LP, it was released in August 1972, being the first release featuring Peter Baumann, Zeit is subtitled Largo in Four Movements. The style of this album is slower and more atmospheric than their previous albums, allMusic wrote, TDs purest expression of space music, this double album ebbs and flows effortlessly from one tone cluster to another. Almost classical in construction, the music is structured so as to evolve in sections as one theme literally melts into the next, Music critics often refer to Zeit as being one of the first examples of dark ambient music. Florian Fricke from the Munich-based group Popol Vuh plays Moog synthesizer on the record, the album cover depicts a solar eclipse. As explained by Paul Russell for the 2002 reissue, Zeit, Zeit was released in August 1972 by record label Ohr. Before the 2002 reissue, there were two releases on CD, a single CD release by Castle Music and a double CD set. The double CD set from Relativity in 1987 is longer by a few seconds, Relativity also put out a single cassette, with the following song timings,20,00,18,00,20,12,17,43. The sound of the two releases is also different, the original Relativity release has a much brighter and more detailed sound. The double CD set has a blue border on the front. The 2011 release includes a second CD with the 25 November 1972 Klangwald concert at Colognes WDR Sendesaal hall in West Germany, previously released as Tangerine Tree 52, Zomba Music Publishers Limited had released five CD series back in 1996. They all had the same front geometrical lines cover but with different colors, if one may carefully mix-add these seconds to the beginning of the Zeit track from the any after-1996 releases, that would get about 17,30 full track. This also means, at a careful listening of the Zomba release, track 4 ends earlier than any of the after-1996 releases
14.
Acoustics
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Acoustics is the interdisciplinary science that deals with the study of all mechanical waves in gases, liquids, and solids including topics such as vibration, sound, ultrasound and infrasound. A scientist who works in the field of acoustics is an acoustician while someone working in the field of technology may be called an acoustical engineer. The application of acoustics is present in almost all aspects of society with the most obvious being the audio. Hearing is one of the most crucial means of survival in the animal world, accordingly, the science of acoustics spreads across many facets of human society—music, medicine, architecture, industrial production, warfare and more. Likewise, animal species such as songbirds and frogs use sound, art, craft, science and technology have provoked one another to advance the whole, as in many other fields of knowledge. Robert Bruce Lindsays Wheel of Acoustics is a well accepted overview of the fields in acoustics. The word acoustic is derived from the Greek word ἀκουστικός, meaning of or for hearing, ready to hear and that from ἀκουστός, heard, audible, which in turn derives from the verb ἀκούω, I hear. The Latin synonym is sonic, after which the term used to be a synonym for acoustics. Frequencies above and below the range are called ultrasonic and infrasonic. If, for example, a string of a length would sound particularly harmonious with a string of twice the length. In modern parlance, if a string sounds the note C when plucked, a string twice as long will sound a C an octave lower. In one system of tuning, the tones in between are then given by 16,9 for D,8,5 for E,3,2 for F,4,3 for G,6,5 for A. Aristotle understood that sound consisted of compressions and rarefactions of air which falls upon, a very good expression of the nature of wave motion. The physical understanding of acoustical processes advanced rapidly during and after the Scientific Revolution, mainly Galileo Galilei but also Marin Mersenne, independently, discovered the complete laws of vibrating strings. Experimental measurements of the speed of sound in air were carried out successfully between 1630 and 1680 by a number of investigators, prominently Mersenne, meanwhile, Newton derived the relationship for wave velocity in solids, a cornerstone of physical acoustics. The eighteenth century saw advances in acoustics as mathematicians applied the new techniques of calculus to elaborate theories of sound wave propagation. Also in the 19th century, Wheatstone, Ohm, and Henry developed the analogy between electricity and acoustics, the twentieth century saw a burgeoning of technological applications of the large body of scientific knowledge that was by then in place. The first such application was Sabine’s groundbreaking work in architectural acoustics, Underwater acoustics was used for detecting submarines in the first World War
15.
Affenstunde
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Affenstunde is the first album by German band Popol Vuh. It was originally released in 1970 on record label Liberty, in 2004 SPV re-released the album with one bonus track. It was one of the earliest albums featuring the use of the Moog synthesizer set to original music, allMusic called it an auspicious debut, which holds up wonderfully in the 21st century. Perfect Sound Forever described Affenstunde as an electronic album that also doesnt have the timeless quality of many of their later works. Julian Cope described it as an album of incredible sounds. All tracks by Popol Vuh except track number 4 by Florian Fricke. com. pl
16.
Lustmord
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Brian Williams is a Welsh industrial musician, sound designer and film score composer. He is often credited for creating the ambient genre with albums recorded under the name Lustmord. His experimental work has described as not traditionally musical with more clearly visual aspects. Williams was raised in rural Wales, before relocating in London in his late teens, in London, Williams befriended Throbbing Gristle members Cosey Fanni Tutti and Chris Carter, who urged him to make his own music. He started recording as Lustmord in 1980 before joining SPK in 1982, Lustmord has extracted field recordings made in crypts, caves, and slaughterhouses, and combined it with occasional ritualistic incantations and Tibetan horns. His treatments of acoustic phenomena encased in digitally expanded bass rumbles have a dark ambient quality, Williams released the album Heresy, considered a milestone of the genre of dark ambient, in 1990. Around 1999, Lustmord was also involved with the video game Planescape and he provided music and sound design for a variety of other projects since, such as Far Cry Instincts, Underworld or NVIDIA demos, many of which include collaborations with Haslinger. He was also involved with the 2003 game Master of Orion, Lustmord worked on Tools DVD singles and remixed versions of Schism and Parabola, which were released on 20 December 2005. Lustmord also contributed to Tools 2006 album 10,000 Days with the atmospheric sounds on the title track,10,000 Days. He later worked again with Tool vocalist Maynard James Keenan, collaborating on Keenans project Puscifer debut album V is for Vagina, Lustmord eventually generated a collection of dub remixes of several. Vagina tracks, known as D Is for Dubby - The Lustmord Dub Mixes, the nine track LP was released as a digital download on 17 October 2008, available directly from the Puscifer website. He also did some additional music including the track The Western Approaches feat, wes Borland on guitar for the documentary Blood Into Wine. Lustmord appeared live for the first time in 25 years as part of the high mass observance by the Church of Satan, the ceremony took place on 6 June 2006. A recording of the performance entitled Rising was released, Lustmord himself noted that the offer was one of those things that was just too funny to say no to. Lustmord released the album on California-based label Hydra Head Records in July 2008 and it features guest appearances by Adam Jones, King Buzzo, and Aaron Turner. Lustmord performed for the time in 29 years at Unsound Festival Kraków on 22 October 2010. Lustmord performed at Arts Birthday celebration at Södra Teatern in Stockholm, Sweden and he performed at the Unsound Festival in New York for the first time on 9 and 10 April 2011. Lustmords first performance in the Netherlands was in September 2011 at the Incubate Festival, Lustmord played for the first time in Moscow, Russia, on 8 April 2012, at Cinema 35mm
17.
Zoviet France
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Zoviet France is a music group from Newcastle upon Tyne in north east England. While often dissonant and made of industrial textures, their music falls into the ambient music category. Formed in 1980, and remaining largely anonymous, the group has had a number of members, presently it consists of co-founder Ben Ponton, former members included Neil Ramshaw, Peter Jensen, Robin Storey, Lisa Hale, Paolo Di Paolo, Mark Spybey and Andy Eardley. In 2005 Storey, Spybey and Eardley formed a new group, the packaging of their releases was often unconventional, involving materials such as hessian, tar paper and aluminium foil. Loud Visual Noises, film by Stan Brakhage, includes an excerpt from Cair Camouflet from the album Look into Me. Released on the video 4 Sounds Films by Stan Brakhage, transients #1, video production by Mark Mushet. Includes excerpts from the album Shadow, Thief of the Sun, a promotional video for the album Shadow, Thief of the Sun produced for television broadcast only. T-City, A video production by Karas, includes excerpts from the album Shadow, Thief of the Sun. En Scooters Sous Les Mers, film by Jacques Cousteau, soundtrack commissioned by Ian Helliwell for the Soundtracks for Super-8 film programme, holidays shortfilm by Wim Jongedijk music by Mark Warren and Paul Carriere Tyneside Journey, film by Ravi Deepres. Video production by the band, included on the Deadly Actions Live Retrospective 1994-1996 video compilation of bands performed at Deadly Actions festival in France. Spadeadam, video production by Louise K Wilson, the Shop Floor, video production by Francis Gomila, from the album Digilogue. Euphony, video production by Louise K Wilson, runner, film by Ravi Deepres and Michael Baig Clifford. Deadly Cargo, film by Camcorder Guerillas
18.
Noise (music)
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
19.
Occult
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The occult is knowledge of the hidden. In common English usage, occult refers to knowledge of the paranormal, as opposed to knowledge of the measurable, the terms esoteric and arcane can also be used to describe the occult, in addition to their meanings unrelated to the supernatural. Occultism is the study of practices, including magic, alchemy, extra-sensory perception, astrology, spiritualism, religion. Alchemy was common among important seventeenth-century scientists, such as Isaac Newton, Newton was even accused of introducing occult agencies into natural science when he postulated gravity as a force capable of acting over vast distances. By the eighteenth century these unorthodox religious and philosophical concerns were well-defined as occult, inasmuch as they lay on the outermost fringe of accepted forms of knowledge and they were, however, preserved by antiquarians and mystics. Occult science is the research into or formulation of occult concepts in a manner that resembles the way natural science researches or describes phenomena. In his 1871 book Primitive Culture, the anthropologist Edward Tylor used the term occult science as a synonym for magic, Occult qualities are properties that have no known rational explanation, in the Middle Ages, for example, magnetism was considered an occult quality. Newtons contemporaries severely criticized his theory that gravity was effected through action at a distance, some religions and sects enthusiastically embrace occultism as an integral esoteric aspect of mystical religious experience. This attitude is common within Wicca and many other modern pagan religions, some other religious denominations disapprove of occultism in most or all forms. They may view the occult as being anything supernatural or paranormal which is not achieved by or through God, monistic in contrast to Christian dualistic beliefs of a separation between body and spirit, Gnostic i. e. Walker, Benjamin. Encyclopedia of the Occult, the Esoteric and the Supernatural, harold W. Percival, Joined the Theosophical Society in 1892. Blavatsky, Occultism versus the Occult Arts, Lucifer, May 1888 Bardon, true to His Ways, Purity & Safety in Christian Spiritual Practice, ISBN 1-932124-61-6. ISBN 1-57863-150-5 Forshaw, Peter, The Occult Middle Ages, in Christopher Partridge, The Occult World, London, Routledge,2014 Gettings, Fred, Vision of the Occult, ISBN 0-7126-1438-9 Kontou, Tatiana – Willburn, Sarah. The Ashgate Research Companion to Nineteenth-Century Spiritualism and the Occult, ISBN 978-0-7546-6912-8 Martin, W. Rische, J. Rische, K. & VanGordon, K. W. B. Eerdmans Publishing Co.201 p. N. B, the scope of this study also embraces the occult. ISBN 0-8028-0262-1 Partridge, Christopher, The Occult World, London, the Tree of Life, An Illustrated Study in Magic. Newton, Isaac, Observations upon the Prophecies of Daniel, Observations upon the Prophecies of Daniel, and the Apocalypse of St. John by Sir Isaac Newton Rogers, L. W. Hints to Young Students of Occultism. Albany, NY, The Theosophical Book Company, joseph H. Peterson, Twilit Grotto, Archives of Western Esoterica Occult Science and Philosophy of the Renaissance
20.
Magick (Thelema)
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Crowley wrote that it is theoretically possible to cause in any object any change of which that object is capable by nature. John Symonds and Kenneth Grant attach a deeper significance to this preference. Aleister Crowley chose the spelling to differentiate his practices and rituals from stage magic, Crowley defined Magick as the science and art of causing change to occur in conformity with will. He goes on to elaborate on this, in one postulate and he goes on further to state, Magick is the Science of understanding oneself and ones conditions. It is the Art of applying that understanding in action, again, at its most broad, it can be defined as any willed action leading to intended change. It can also be seen as the set of methods used to accomplish the Great Work of mystical attainment. The professed purpose of banishing rituals is to eliminate forces that might interfere with a magical operation, the area of effect can be a magick circle, a room, or the magician himself. The general theory of Magick proposes that there are forces which are represented by the classical elements, the planets, the signs of the Zodiac. Magick also proposes that various spirits and non-corporeal intelligences can be present, banishings are performed in order to clean out these forces and presences. There are many banishing rituals, but most are some variation on two of the most common—The Star Ruby and the Lesser Banishing Ritual of the Pentagram and he goes on to say that purification no longer requires such activity, since the magician can purify the self via willed intention. The putting on of the robe is the side of the same operation. It is the assumption of the frame of mind suitable to that one thought, consecration is an equally important magical operation. It is essentially the dedication, usually of an instrument or space. In Magick, Book 4, Crowley writes, Invocation is the bringing in or identifying with a deity or spirit. Crowley wrote of two keys to success in this arena, to inflame thyself in praying and to invoke often, Crowley describes the experience of invocation, The mind must be exalted until it loses consciousness of self. The Magician must be carried forward blindly by a force which, though in him, just as the poet, the lover, the artist, is carried out of himself in a creative frenzy, so must it be for the Magician. Crowley discusses three main categories of invocation, although in the great essentials these three methods are one, in each case the magician identifies himself with the Deity invoked. Devotion—where identity with the God is attained by love and by surrender, calling forth—where identity is attained by paying special attention to the desired part of yourself
21.
Aleister Crowley
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Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century, a prolific writer, he published widely over the course of his life. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire and he was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. Some biographers allege that here he was recruited into a British intelligence agency, in 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. Announcing the start of the Æon of Horus, The Book declared that its followers should Do what thou wilt, in 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. Thelemite groups were established in Britain, Australia, and North America, in 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and he divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death. Crowley gained widespread notoriety during his lifetime, being a recreational drug experimenter, bisexual and he was denounced in the popular press as the wickedest man in the world and a Satanist. Crowley has remained an influential figure over Western esotericism and the counter-culture. In 2002, a BBC poll ranked him as the seventy-third greatest Briton of all time, Crowley was born as Edward Alexander Crowley at 30 Clarendon Square in Royal Leamington Spa, Warwickshire, on 12 October 1875. His father, Edward Crowley, was trained as an engineer and his mother, Emily Bertha Bishop, came from a Devonshire-Somerset family and had a strained relationship with her son, she described him as the Beast, a name that he revelled in. The couple had married at Londons Kensington Registry Office in November 1874. Crowleys father was particularly devout, spending his time as a preacher for the sect and reading a chapter from the Bible to his wife. Following the death of their daughter in 1880, in 1881 the Crowleys moved to Redhill. At the age of 8, Crowley was sent to H. T, habershons evangelical Christian boarding school in Hastings, and then to Ebor preparatory school in Cambridge, run by the Reverend Henry dArcy Champney, whom Crowley considered a sadist. In March 1887, when Crowley was 11, his father died of tongue cancer, Crowley described this as a turning point in his life, and he always maintained an admiration of his father, describing him as his hero and his friend. Inheriting a third of his fathers wealth, he began misbehaving at school and was punished by Champney
22.
Chaos magic
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Chaos magic, also spelled chaos magick, is a contemporary magical practice which emphasizes the pragmatic use of belief systems and the creation of new and unorthodox methods. Chaotes can be agnostic or atheist and sometimes regard magical practice as merely psychological, some chaos magicians also use psychedelic drugs in practices such as chemognosticism. Chaos magic was first formulated in West Yorkshire, England in the 1970s, a meeting between Peter J. Liber Null by Peter J. Carroll further developed this new, experimental perspective on magic. This book and Carrolls Psychonaut remain important sources, specifically, Spare developed the use of sigils and the use of gnosis to empower these. Although Spare died before chaos magick emerged, many consider him to be the father of magic because of his repudiation of traditional magical systems in favor of a technique based on gnosis. Following Spares death, magicians continued to experiment outside of traditional magical orders, the first edition of Liber Null does not include the term chaos magic, but only refers to magic or the magical art in general. Psychonaut uses the label individual sorcery as taught by the IOT, Chaos came to be part of this movement defined as the thing responsible for the origin and continued action of events. It could as well be called God or Tao, but the name Chaos is virtually meaningless, the Symbol of Chaos used to signify it was apparently, but not explicitly, lifted from the fantasy novels of Michael Moorcock. Carroll wrote that the aspect of this magic aims for psychological anarchy The aim is to produce inspiration. Chaos magic theory says that belief is a magical force. It emphasizes flexibility of belief and the ability to choose ones beliefs. Various psychological techniques are employed in order to induce flexibility of belief, other chaos magicians suggest that people do not need belief to work magic. Austin Osman Spare asserts in The Book of Pleasure and various works that will formulates desire which promulgates belief. A concept introduced by Peter Carroll is the state, also referred to as gnosis. This is defined as a state of consciousness that in his magic theory is necessary for working most forms of magic. This is a departure from older concepts which described energies, spirits or symbolic acts as the source of magical powers, the concept has an ancestor in the Buddhist concept of Samadhi, made popular in western occultism by Aleister Crowley and further explored by Austin Osman Spare. The gnostic state is achieved when a mind is focused on only one point, thought, or goal. Practitioners of chaos magic each develop their own ways of reaching this state, three main types of gnosis are described, Inhibitory gnosis is a form of deep meditation into a trance state of mind
23.
Controlled Bleeding
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Controlled Bleeding is an experimental music group based in Massapequa, New York. The group was founded by Paul Lemos, the only consistent member. Most of Controlled Bleedings released recordings feature two main collaborators, Chris Moriarty and vocalist Joe Papa, who died in the late 2000s. Since their first full-length release in 1983, Controlled Bleeding have released over 30 albums spanning several different genres, Controlled Bleeding have been highly prolific since 1983, putting out more than 30 full-length releases on labels such as Dossier, Wax Trax. Due to the musical interests of the main collaborators, as well as the influence of the bands relationships with genre-focused labels like Wax Trax. Through the 80s and 90s, the group jumped from genre to genre, some of the bands releases are made of remixed earlier material from multiple other releases, sometimes with new or missing song titles. Additionally, in cases, later CD issues of their original LPs are renamed, heavily remixed, or feature different tracks altogether. Controlled Bleeding was originally formed in Boston around 1978 by Paul Lemos, Jack Salerno and Dave Southerland. Later, returning to Massapequa, New York, Lemos formed a group with old friends, Gary Pecorino and Tony Meola. This early incarnation played a kind of progressive-influenced art rock, Music from these early years was issued on several of Controlled Bleedings later releases. An LP called Lung Ties which documented some of this trios live, the 1994 reissue of Songs from the Ashes includes three bonus tracks of live recordings of the Lemos/Pecorino/Meola trio playing at the New York City club CBGB. In 2008, Controlled Bleeding released Before the Quiet, which consists of many of the Lung Ties LP tracks along with more 1978–1981 archive material, some of this material is also included on the 4-LP box set Songs from a Sewer of Dreams, released in 2007. Paul Lemos met Joe Papa after putting an ad in a music paper in search of a singer. From late 1983 until Moriartys departure in 1994, all Controlled Bleeding releases featured at least Papa or Moriarty, the next four years of Controlled Bleedings output strayed from the previous trios art rock leanings into more experimental areas. Their second LP, Body Samples, was completed in April 1985, in 1986 and 1987, Controlled Bleeding released five more full-length LPs, Curd, Headcrack, Between Tides, Core, and Songs from the Drain. Paul Lemos has stated that these releases contain music made by the band throughout 1984–1987, beginning with Curd, the band left the distortion-heavy noise of their previous releases behind in favor of a more varied experimental approach. A similar sound to Headcrack was also featured on Music for Stolen Icons, in 1988 and 1989, the band released two LPs on the Belgian label Sub Rosa, Music from the Scourging Ground and Music for Gilded Chambers. These LPs continued the exploration of medieval and sacred music
24.
Chris & Cosey
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When Throbbing Gristle broke up in 1981, Carter and Tutti signed with Rough Trade Records and began recording as Chris & Cosey. They recorded four albums for the label using electronics, sampling, Coseys vocals, in 1983, they formed their own independent record label Creative Technology Institute to release more experimental works and collaborations. The first CTI projects, Elemental 7 and European Rendezvous, were released through Cabaret Voltaires DoubleVision label. In the late 1980s and early 1990s, the duo worked with a number of independent labels such as Nettwerk, Play It Again Sam, Staalplaat, in 1992, for artistic and health reasons, the duo stopped touring and concentrated on studio work. They returned to performing live in 1998, documented on the Union album, the 1988 album Core is a collection of these collaborations. Carter and Tuttis tracks have been remixed by world-renowned DJs including, Carl Craig, Cosmic Connection, Fred Giannelli, Daniel Miller, U -Ziq, Vapourspace and Andrew Weatherall. Carter and Tutti have released two ongoing CD series of music, The Library Of Sound and Electronic Ambient Remixes. Series are remixes of material released solo by Carter or Tutti, to greet the 21st century, Chris & Cosey became Carter Tutti, celebrating the rebirth with a series of concerts which were documented on the live album LEM Festival October 2003. The rebirth was completed by the release of the studio album Cabal later that year, both also appeared as guests on the 2006 Current 93 album Black Ships Ate the Sky. They also performed a series of concerts in Europe and the United States in 2009, with a rare tour-only release album. Chris, Cosey and Peter Sleazy Christopherson finished the tour without P-Orridge, Carter and Tutti performed with Nik Colk Void of Factory Floor at Mutes Short Circuit Festival in May 2011. A live album of the show, with a studio track, was released as Transverse in 2012. 1, Conspiracy International Throbbing Gristle Chris Carter Cosey Fanni Tutti Official website Chris & Cosey discography, forum, and marketplace at Discogs Trouser Press, Chris and Cosey
25.
Cabaret Voltaire (band)
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The early work of Cabaret Voltaire consisted primarily of Dada-influenced performance art and experimentation with tape machines, helping to pioneer industrial music in the mid-1970s. Finding an audience during the era, they integrated their experimentalist sensibilities with dance, new wave. They are often characterized as among the most innovative and influential groups of their era. The band formed in Sheffield in 1973 and experimented widely with sound creation, Some of these early experiments were first documented on the Industrial Records cassette 1974-1976, then later on the triple album CD set Methodology 74/78, The Attic Tapes. The band eventually turned to performance, often sharing the bill with Joy Division. In one incident, Mallinder was hospitalised with a chipped backbone after the band had thrown at them.3. In 1978, Cabaret Voltaire signed to Rough Trade Records, the 27 June 1978 edition of NME had a review by Andy Gill who said I firmly believe Cabaret Voltaire will turn out to be one of the most important new bands to achieve wider recognition this year. And, certainly, years later they were seen as one of the bands that instigated the electronic music scene. Watson left the band in 1981 to work for Tyne Tees Television and went on to found The Hafler Trio with Andrew M. McKenzie before becoming a BBC sound engineer and then a soloist. On 25 June 1981 the band performed on the John Peel show and performed 4 songs recorded by the BBC Black Mask, Greensborough, Walls of jerico, during this time, Cabaret Voltaire toured Europe, Japan and America without major record label support, releasing Hai. A live album recorded in Japan, in 1982, in late 1982, Cabaret Voltaire decided consciously to turn in a more commercial direction. The group enlisted American dance music producer John Robie to remix Yashar, the 12-inch single was released by Factory Records in May 1983, and received extensive play in dance clubs. In August 1983, the album The Crackdown was released on Some Bizzare / Virgin Records, in 1984, the singles Sensoria and James Brown from the album Micro-Phonies charted on the UK Indie Chart, as well as getting play in the underground dance scene. In 1987, the band released Code, on tracks of which Bill Nelson played guitar. This was followed by the house-influenced Groovy, Laidback & Nasty in 1990, a series of completely instrumental works under the Cabaret Voltaire name were released on Instinct Records in 1993 and 1994. The last Cabaret Voltaire release to feature Mallinder on vocals was the Body, Mallinder also helps run his own Offworld Sounds label and contributed to synthesizer and programming on Shaun Ryders solo album Amateur Night at the Big Top. I think those kinds of attitudes become embedded within you, hopes of a Cabaret Voltaire reunion were raised when Kirk dropped hints in the late 1990s, the most significant being in the notes of a reissue of Radiation, but this never happened. In a special Depeche Mode/History of Electro-pop edition of Q magazine, Kirk suggested he is still considering resurrecting the Cabaret name, in 2001, Watson appeared in the documentary film Made in Sheffield, where he discussed the early years of Cabaret Voltaire
26.
Akira Yamaoka
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Akira Yamaoka is a Japanese video game composer, sound designer, guitarist, and producer, who is best known for composing various games in the Silent Hill series by Konami. He also once worked as a producer on the series, as well as serving as a composer and producer of the Silent Hill film, currently, he is the sound director at Grasshopper Manufacture. Yamaoka attended Tokyo Art College, where he studied product design and he originally planned to follow a career in design. Yamaoka joined Konami on September 21,1993 and he immediately began to work on the games Contra, Hard Corps, Sparkster, and Sparkster, Rocket Knight Adventures 2. He then shortly thereafter worked on the music for the PC Engine, when Konami began searching for a musician to compose Silent Hills score, Yamaoka volunteered because he thought he was the only one capable of making the soundtrack. Although initially hired as a composer, he became involved in overall sound design. On December 2,2009, it was announced that Yamaoka was leaving his long term employer Konami. On February 3,2010, it was announced that Yamaoka has joined Grasshopper Manufacture and was working with Goichi Suda and Shinji Mikami on their action game, Shadows of the Damned. He was first appointed to the role of chief officer at Grasshopper. On August 10,2012, Yamaoka announced he would be releasing a solo album in late 2012. On October 31,2012, he announced via Facebook, that the new three track Spanish language single Revolución would premiere at V-CON during a live performance, in 2014, he expressed interest in returning as a composer for Silent Hills, although the project was later canceled. In late October and early November 2015, Yamaoka and his band performed tracks from the Silent Hill series at nine events in cities across the United Kingdom. In July 2016, Yamaoka performed live at the BitSummit 4th indie game festival in Kyoto, before working as a video game composer, Yamaoka initially sought a career as a designer, but instead became a musician after studying product design at Tokyo Art College. Yamaoka stated in a 2009 interview that his favorite game creator is Suda 51 and his favorite of his own soundtracks is Silent Hill 2. In March 2011, Yamaoka auctioned some of his instruments for the 2011 Tōhoku earthquake. In a 2014 interview, he stated his film was Dario Argentos Suspiria. When asked what other artists influenced his work, Yamaoka cited Trent Reznor as his main inspiration, among his other influences are Angelo Badalamenti, Metallica and Depeche Mode. I got really influenced by that, therefore, every time I write songs, I try to combine Art and Music
