Matthew Herbert known as Herbert, Doctor Rockit, Radio Boy, Mr. Vertigo and Wishmountain, is a British electronic musician, he takes sounds from everyday items to produce electronic music. In 1998, Herbert issued Around the House, which mixed dance beats, sounds generated by everyday kitchen objects, vocals. By the late Nineties, Herbert was remixing tracks for dance artists like Moloko, Alter Ego, others, he recorded singles, EPs, albums under a variety of aliases as well as his own name. In 2001, Herbert issued Bodily Functions. Similar in structure to Around the House, it featured sounds generated by manipulating human hair and skin as well as internal bodily organs. Bodily Functions benefited a record deal with Studio! K7, making it Herbert's first full-length work to receive worldwide distribution. Goodbye Swingtime, a 2003 album issued under the name The Matthew Herbert Big Band, combined the political commentary of Radio Boy with the song structure of his Herbert albums. Recorded with sixteen musicians from the British jazz world, including saxophonists Dave O'Higgins and Nigel Hitchcock, pianist Phil Parnell, bassist Dave Green, the band is complemented on stage by Siciliano, Arto Lindsay, Warp recording artist Jamie Lidell, Mara Carlyle.
In 2005, he released a record entitled Plat du Jour, a record made from objects and situations in the food chain. He recorded beneath the sewers of Fleet Street, with Vietnamese coffee beans, inside industrial chicken farms, drove a tank over a recreation of the dinner that Nigella Lawson cooked for George Bush and Tony Blair, recorded 3500 people biting an apple at the same time; the track entitled "The Final Meal of Stacey Lawton" was made in collaboration with renowned chef Heston Blumenthal. On 30 May 2006, Herbert issued his most successful album to date. In the US, it reached number 20 on Billboard's electronic music album chart. Entertainment Weekly remarked, "Herbert sneakily subverts Scale's apocalyptic thematic thread into something warm and danceable." Online magazine Pitchfork Media noted, "Sophisticated and whimsical and yet tinged with sadness, Scale is one of this year's great albums."The second album Matthew Herbert Big Band, There's Me And There's You, was released in October 2008.
In the making of the record Herbert recorded inside the Houses of Parliament, at a landfill site, in the lobby of the British Museum with 70 volunteers. In 2009 Matthew Herbert was involved in the 2009 Eurovision Song Contest, he wrote and produced the music accompanying the 42 "postcards," short films introducing the country being represented next. In addition, Herbert wrote an orchestral piece for an interval act involving two "children flying in on a giant plastic swan."In 2010 Matthew Herbert released two of a three part trilogy of albums. The first, One One, was written and performed by Herbert alone, the second, One Club, was made out of sounds recorded at the Robert Johnson nightclub in Offenbach in Germany on one night; that same year he released a reworking of Mahler's tenth symphony for the Deutsche Grammophon's Recomposed series. Much of the recording was made inside Mahler's composing hut in Toblach, by his graveside and in a crematorium. In late 2011, the final part of the trilogy, One Pig, was released.
Herbert recorded the life cycle of a farmed pig from birth to the dinner plate. The animal rights organisation PETA condemned the album. Herbert, not a vegetarian, responded that their complaints were "utterly absurd" and that he wanted his music to encourage people to "listen to the world a little more carefully." In the same year his 2001 track "Café de Flore" recorded for a Yves St Laurent fashion show and named after the Café de Flore in Paris, was featured prominently in the soundtrack of the film Café de Flore. On 11 March 2013 a newly commissioned work by Herbert, for orchestra with electronics, based on a work by Rameau, was performed at The Roundhouse in London, as part of BBC Radio 3's "Baroque Remixed" series. On 20 March 2015 Herbert announced his first album of dance music in nine years; this was followed up with the release of "Middle," the first track from the album. The Shakes was released in an innovative way, making one track and short accompanying film available on streaming and video platforms each week leading up to the album release.
In 2000, Herbert wrote a manifesto titled Personal Contract for the Composition of Music, which served as a theoretical guide for much of his work. Its goals include a personal ban on using drum machines and pre-existing samples, ensuring that anything created in the studio can be replicated in live performance. Many of his less dance-oriented projects address political concerns, using specific objects to create a conceptual piece, his 2001 project as Radio Boy, The Mechanics of Destruction sampled McDonald's and The Gap merchandise as a protest against corporate globalism. It was made available via concerts and by post from Accidental Records. In 2005, Herbert released the album Plat du Jour under Matthew Herbert; the disc addresses commercial marketing. In February 2006, Herbert helped form the virtual community Country X. In an introduction posted on the website, he writes, "Why not start a country? only this time, a virtual one. Free from the necessity to defend its borders physically, we can reduce the violence of exclusion.
A new description of resistance." Herbert shared some of his thoughts
Swayzak is a tech house duo from the United Kingdom that consists of James S. Taylor and David Brown, they live and work in London and released their first 12" single "Bueno" / "Fukumachi" in February 1997 to much acclaim. It was followed up by the 12" "Speedboat" / "Low Rez Skyline" to become part of the burgeoning tech-house scene in the UK, their debut long player, Snowboarding in Argentina was released by The Medicine Label and Pagan Records in May 1998. It garnered many positive reviews; the album was chosen as 1998 Album Of The Year in the U. S. dance publication Mixer. They went on to release 4 further studio albums making their place in the electronic music canon. James Taylor left the group in 2011 to focus on his solo project Lugano Fell. David Brown continues to play live as s _ w _ z _ k. Snowboarding in Argentina Himawari Groovetechnology, Vol. 1.3 Dirty Dancing Fabric 11 Loops from the Bergerie Route de La Slack Avantgarde // Swayzak Presents Serieculture Some Other Country s_w_z_k Snooploops and Sneakbeats Volume 1 Two Hundred and Forty Volts Volume 1 Snooploops and Sneakbeats Volume 2 Two Hundred and Forty Volts Volume 2 Swayzak.com – The official website microsite of current album with free track RBMA Radio On Demand - Train Wreck Mix - Swayzak Ableton Live Swayzak interview and Live Pack download »Lost Tapes and Lush House Grooves« An Interview With Swayzak in Titel-Kulturmagazin
Zenzile Miriam Makeba, nicknamed Mama Africa, was a South African singer, actress, United Nations goodwill ambassador, civil rights activist. Associated with musical genres including Afropop and world music, she was an advocate against apartheid and white-minority government in South Africa. Born in Johannesburg to Swazi and Xhosa parents, Makeba was forced to find employment as a child after the death of her father, she had a brief and abusive first marriage at the age of 17, gave birth to her only child in 1950, survived breast cancer. Her vocal talent had been recognized when she was a child, she began singing professionally in the 1950s, with the Cuban Brothers, the Manhattan Brothers, an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, which brought her international attention, led to her performing in Venice and New York City. In London, she met the American singer Harry Belafonte, who became a colleague.
She moved to New York City, where she became popular, recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government. Makeba's career flourished in the United States, she released several albums and songs, her most popular being "Pata Pata". Along with Belafonte she received a Grammy Award for her 1965 album An Evening with Belafonte/Makeba, she testified against the South African government at the United Nations and became involved in the civil rights movement. She married Stokely Carmichael, a leader of the Black Panther Party, in 1968; as a result, she lost support among white Americans and faced hostility from the US government, leading her and Carmichael to move to Guinea. She continued to perform in African countries, including at several independence celebrations, she began to perform music more explicitly critical of apartheid. After apartheid was dismantled in 1990, Makeba returned to South Africa.
She continued recording and performing, including a 1991 album with Nina Simone and Dizzy Gillespie, appeared in the 1992 film Sarafina!. She was named a UN goodwill ambassador in 1999, campaigned for humanitarian causes, she died of a heart attack during a 2008 concert in Italy. Makeba was among the first African musicians to receive worldwide recognition, she brought African music to a Western audience, popularized the world music and Afropop genres. She made popular several songs critical of apartheid, became a symbol of opposition to the system after her right to return was revoked. Upon her death, former South African President Nelson Mandela said that "her music inspired a powerful sense of hope in all of us." Zenzile Miriam Makeba was born on 4 March 1932 in the black township near Johannesburg. Her Swazi mother, Christina Makeba, was a sangoma, or traditional healer, a domestic worker, her Xhosa father, Caswell Makeba, was a teacher. Makeba said that before she was conceived, her mother had been warned that any future pregnancy could be fatal.
Neither Miriam nor her mother seemed to survive after a difficult labour and delivery. Miriam's grandmother, who attended the birth muttered "uzenzile", a Xhosa word that means "you brought this on yourself", to Miriam's mother during her recovery, which inspired her to give her daughter the name "Zenzile"; when Makeba was eighteen days old, her mother was arrested and sentenced to a six-month prison term for selling umqombothi, a homemade beer brewed from malt and cornmeal. The family could not afford the small fine required to avoid a jail term, Miriam spent the first six months of her life in jail; as a child, Makeba sang in the choir of the Kilnerton Training Institute in Pretoria, an all-black Methodist primary school that she attended for eight years. Her talent for singing earned her praise at school. Makeba was baptised a Protestant, sang in church choirs, in English, Xhosa and Zulu; the family moved to the Transvaal. After her father's death, she was forced to find employment, she described herself as a shy person at the time.
Her mother worked for white families in Johannesburg, had to live away from her six children. Makeba lived for a large number of cousins in Pretoria. Makeba was influenced by her family's musical tastes, her father played the piano, his musical inclination was a factor in Makeba's family accepting what was seen as a risque choice of career. In 1949, Makeba married James Kubay, a policeman in training, with whom she had her only child, Bongi Makeba, in 1950. Makeba was diagnosed with breast cancer, her husband, said to have beaten her, left her shortly afterwards, after a two-year marriage. A decade she overcame cervical cancer via a hysterectomy. Makeba began her professional musical career with the Cuban Brothers, a South African all-male close harmony group, with whom she sang covers of popular American songs. Soon afterwards, at the age of 21, she joined a jazz group, the Manhattan Brothers, who sang a mixture of South African songs and pieces from popular African-American groups. Makeba was the only wo
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
Cortney Tidwell is an American singer-songwriter and multi-instrumentalist. Cortney Lara Tidwell was born on December 2, 1972 in Nashville, Tennessee to country singer Connie Eaton and Cliff Williamson, music producer at A&R, her grandfather Slim Williamson operated renowned country music label Chart Records. Most of her family was associated with The Grand Ole Opry, her mother was diagnosed with manic depression, Cortney's musical dreams became temporarily derailed. Cortney's musical genes reemerged following the death of her mother in 1999, she graduated from in Nashville. She attended two years of college before dropping out to devote her time to creating music. To date, Cortney has released two full-length LPs and two EPs under her own name. In addition, she has participated in a collaborative album of reimagined songs recorded for and released by her grandfather's Chart Records in the 1960s. Featuring Kurt Wagner, William Tyler, other members of Lambchop, under the name KORT. Cortney is the mother of two sons and Hunter, both of whom are musicians in their own right.
Cortney Tidwell EP Don't Let Stars Keep Us Tangled Up featuring Kurt Wagner and William Tyler of Lambchop Boys Includes "Oh, China," which features a traditional Chinese melody and English vocals Invariable Heartache with Kurt Wagner Contains new versions of songs recorded for Chart Records MSNBC profile The Guardian profile Pandora profile Nashville Scene cover story on KORT Cortney Tidwell MySpace page Cortney Tidwell Bandcamp page KORT Bandcamp page Copy Me: R. Stevie Moore Tribute 11 Bandcamp page Featuring Tidwell's cover of R. Stevie Moore's 1978 song "I Go Into Your Mind"
R&S Records is an independent record label founded in 1984 in Ghent, Belgium. R&S represents the initials of Renaat Vandepapeliere and Sabine Maes, the couple that created the label; the label was first named as Milos Music Belgium but just one record was released on the label. Vandepapeliere went from DJing to developing the label in response to his personal irritation with the Belgian music scene while getting inspired by Belgian New Beat in the late 1980s: "I worked in a record shop, but as a DJ I was getting frustrated with the Belgian scene; the clubs were so commercial and American music just wasn't accepted. The guys that were importing records here, they went straight into the studio and created a bad cover of it. I didn't like that. I said'Respect the artist. License it in, let's have the original track'. That's where the idea to start the label started, it was New Beat that gave me the chance."R&S Records has had several subsidiaries, most notably Apollo Records, reactivated in 2009. R&S and its subsidiaries include releases by Lone, Paula Temple, Capricorn, Aphex Twin, Biosphere, C.
J. Bolland, Sun Electric, The Source Experience/Robert Leiner, Model 500/Juan Atkins, Silent Phase, System 7, Dave Angel, Ken Ishii. In 2000, Vandepapeliere shut down the label. Speaking to Stuart Aitken in 2009, Vandepapeliere explained his reasons for doing so. "I was bored. I'd had enough. So I did something else. I started my stud farm."After a hiatus from 2001 to 2006, the label re-launched from its current London base with brand new releases from new artists like James Blake, Pariah, Space Dimension Controller, Blawan, Vondelpark and the return of Model 500/Juan Atkins. When asked in an interview with Clash Magazine in November 2009 why the label went on hiatus, Vandepapeliere explained, "I've been away because I was bored with the business side of music. At that moment, I thought. I was listening to the same records with the same sounds, so I said'I've had enough. Bye, bye'. I could have been a clever businessman and exploited it. I could have made much more money, but if I don't feel something in my life - I stop."
List of record labels Official website R&S Records discography at Discogs Stuart Aitken. "In Order to Edit". Flux magazine
Peter O. Philips, better known by his stage name Pete Rock, is an American record producer, DJ and rapper, he rose to prominence in the early 1990s as one half of the critically acclaimed group Pete Rock & CL Smooth. After the duo went their separate ways, Rock continued with a solo career that has garnered him worldwide respect, though little in the way of mainstream success. Along with groups such as Stetsasonic, Gang Starr, A Tribe Called Quest and The Roots, Rock played a major role in the merging of elements from jazz into hip hop music, he is recognized as one of the greatest hip hop producers of all time, is mentioned alongside DJ Premier, RZA and J Dilla as one of the mainstays of 1990s East Coast hip hop production. Pete Rock is the older brother and younger cousin of rappers Grap Luva and Heavy D. Pete Rock was born in The Bronx, New York, the fourth of five children born to Jamaican immigrant parents, his family moved to New York when he was seven years old. During high school, he met his future recording partner CL Smooth.
According to Rock, his father was a part-time DJ who had an impressive record collection. Rock would accompany his father to a cricket club called Wembley in The Bronx and watch as he spun records for the guests, his first job was in his neighborhood. Pete Rock oversaw the production of Jay Stay Paid, a posthumous album by the producer J Dilla, released June 2, 2009, on Nature Sounds. Following that, Pete Rock joined Kanye West in Hawaii, who traveled there to work on the latter's fifth album, My Beautiful Dark Twisted Fantasy. In addition, he and DJ Premier have announced that they are working on a joint album together, although further details are unknown. In London he confirmed that Big Pooh & C. L. Smooth will be on his half of the VS album and he plans on dropping 5 albums in 2011 including reuniting with C. L. Smooth for a third album & drop his 4th album on Nature Sounds, his next few collaborative albums are both due for a summer release with Monumental first with Camp Lo's "80 Blocks From Tiffanys" LP.
In an April 2011 interview on Conspiracy Worldwide Radio, Pete Rock discussed his new solo work including his album with DJ Premier, as well as exploring the fact that he has had numerous beats rejected by Eminem over the years Pete Rock Uncensored Radio Interview. In an August 2011 interview, he has confirmed the completion of the Camp Lo album "80 Blocks From Tiffany's" and that he is working on production for Torae's album, Elzhi & his own solo album PeteStrumentals 2. Pete Rock announced on Twitter that PeteStrumentals 2 is indeed confirmed finished and scheduled for a 2015 release; the project was released on June 2015 on the indie label Mello Music Group. On January 2, 2019, Rock posted a trailer video on his Instagram page announcing that new works will be coming soon, including Return of the SP1200,PeteStrumentals 3, Don't Smoke Rock 2 featuring Smoke DZA, a album with rapper Skyzoo. Through the years, Rock has helped to jump-start the careers of several artists, his first project outside of Pete Rock & CL Smooth was the hardcore duo YG'z, who released an EP called Street Nigga in 1993, with four out of the six tracks produced by Rock.
His next venture, INI, was a group featuring Rock, his younger brother Grap Luva, Ras G and rapper Rob-O. They released a single, "Fakin' Jax", through Elektra Records in 1995, before their debut album, Center of Attention, was shelved by the label; the other two members continue to record solo material, albeit only sporadically. In an interview Rock elaborated on the situation: We finished the album, turned it in to Elektra and they never put it out, they only put out a single. Sylvia didn't cooperate, she didn't break bread with me when it came down to resolving that, it was all about her changing everything around. She wanted to change my whole sound; when she said, "You got ta make a beat like Puffy", I just knew. Since their split in 1995, Pete Rock's relationship with CL Smooth has been unpredictable. Although the pair united for the reflective "Da Two" from Rock's Soul Survivor album in 1998, they avoided entertaining requests for a reunion album until 2001, when they once again teamed up for "Back on Da Block" from Rock's PeteStrumentals.
In their interviews during this period, it appeared. As Rock would explain: We've been on tour, we know every producer in this business. We've influenced people people we've never met have said that we changed the face of hip-hop. So we're going to try to do some more; the pair went on a short international tour culminating in their well-received show at London's Jazz Cafe. Smooth would confirm rumors of a rift in an interview with AllHipHop.com, in which he appeared angry and frustrated with his former partner, saying "I didn’t ask him to be a superhero" and "I’m not the problem." In an interview taken in December 2006, Rock ruled out any further collaborations with Smooth but stated that he holds no grudges against his former partner. He confirmed that he will be recording a third album with C. L. Smooth. Pete Rock builds his beats from samples, the majority of which are taken from obscure R&B, jazz records. Early on in his career he would sample drum breaks such as Black Heat's "Zimba Ku"