Might sludge along to this-
Critical Beats #4: Sound Systems
From 19/04/12 to 19/04/12
Location: London Stratford Circus, United Kingdom
Special Events
Links: stratford-circus.com
The series of symposiums on electronic dance music and club culture, co-hosted by The Wire and the University of East London, continues with a panel discussion on the culture of sound systems. With Julian Henriques (author of Sonic Bodies: Reggae Soundsystems, Performance Techniques And Ways Of Knowing), Colleen Murphy (Lucky Cloud Sound System) and others tbc. London Stratford Circus, 19 April, 7:30pm, £4/£2.
Showing posts with label critical beats. Show all posts
Showing posts with label critical beats. Show all posts
Saturday, 10 March 2012
Saturday, 11 February 2012
Critical Beats #3
Critical Beats #3: Simon Reynolds's Reader
From 23/02/12 to 23/02/12
Location: London Stratford Circus, United Kingdom
Sponsored by The Wire
Wire Events Extras
Links: thewire.co.uk/articles/8175 | stratford-circus.com
Simon Reynolds has put together a trio of links for preparatory reading ahead of the 23 February Critical Beats panel at Stratford Circus.
Critical Beats in London/Rave as Militant Modernism
Ahead of the panel discussion next week, Reynolds has published an extract on the hardcore continuum as a form of street modernism, from Partly Political #4, his series of reflections on the debate over the hardcore continuum.
The History of Our World: The Hardcore Continuum Debate (Dancecult, Vol 1, No 2)
For a longer overview on the hardcore continuum, Reynolds points to his article from Dancecult, which looks at the hardcore continuum, its relationship to history and how it’s changed in the internet era.
Running On Empty (The New Statesman, 30 April 2009)
The following is a piece by Mark Fisher (who is no longer able to attend the panel due to illness) on what he terms an energy crisis in music. Fisher asks: "Were rave and its offshoots Jungle and Garage just that – a sudden flash of energy that has since dissipated? More worryingly, is the death of rave only one symptom of an overall energy crisis in culture? Are cultural resources running out in the same way as natural resources are?"
Critical Beats #3: Aesthetics, Innovation and Tradition, features Simon Reynolds, Joe Muggs, Lisa Blanning, plus Steve Goodman (moderator), discussing the aesthetics of current dance scenes. London Stratford Circus, 23 February, 7:30pm, £5/£3.
From 23/02/12 to 23/02/12
Location: London Stratford Circus, United Kingdom
Sponsored by The Wire
Wire Events Extras
Links: thewire.co.uk/articles/8175 | stratford-circus.com
Simon Reynolds has put together a trio of links for preparatory reading ahead of the 23 February Critical Beats panel at Stratford Circus.
Critical Beats in London/Rave as Militant Modernism
Ahead of the panel discussion next week, Reynolds has published an extract on the hardcore continuum as a form of street modernism, from Partly Political #4, his series of reflections on the debate over the hardcore continuum.
The History of Our World: The Hardcore Continuum Debate (Dancecult, Vol 1, No 2)
For a longer overview on the hardcore continuum, Reynolds points to his article from Dancecult, which looks at the hardcore continuum, its relationship to history and how it’s changed in the internet era.
Running On Empty (The New Statesman, 30 April 2009)
The following is a piece by Mark Fisher (who is no longer able to attend the panel due to illness) on what he terms an energy crisis in music. Fisher asks: "Were rave and its offshoots Jungle and Garage just that – a sudden flash of energy that has since dissipated? More worryingly, is the death of rave only one symptom of an overall energy crisis in culture? Are cultural resources running out in the same way as natural resources are?"
Critical Beats #3: Aesthetics, Innovation and Tradition, features Simon Reynolds, Joe Muggs, Lisa Blanning, plus Steve Goodman (moderator), discussing the aesthetics of current dance scenes. London Stratford Circus, 23 February, 7:30pm, £5/£3.
Saturday, 10 December 2011
Bury this shit. Once and for all.
Burial is terrible.
I will admit that I got off the wrong foot with him when breakcore producer FFF recommended him a few years back as a hot tippie and I unreasonably assumed that it would be banging mutant breakcore (totally unfair, like any DJ, FFF is into loads of styles, including italodisco). I whacked it on my mp3 player and waited for the break but it never came. Just some slightly dodgy lingering synths and some horrible tortured vocals.
Perhaps if i was completely whacked out on drugs after a massive weekend (like that will ever happen again), I would enjoy it, but then I'd most probably be listening to summat else, thanks very much. Wevy Stonder or Enduser.
Zoviet France - Lief Lulla (1990)
I do however like Zoviet France, who actually came from the same hinterland - or did they? I'm referring to Newcastle-upon-Tyne, where I'm pretty sure a friend was at art college with Mr. Burial, although Wikipedia claims he's from London, naturally (London's where it's at right, he said and rolled his eyes). In any case, ZF certainly did the whole mournful drone thing way better a long time ago. I was struck by this today and now this has recontextualised my views on Burial since now I see he is simply a repackaged consumer friendly version of what ZF did properly way back..
And now Burial has brought out some new music after quite a break (I tried to encourage him to take up another hobby but he would not listen), so I thought it might be "fun" to give it a listen. As you'll see I wouldn't really call it fun.
Adam Harper who wrote Infinite Music said at a 'Critical Beats' event in London something almost poetic about Burial being the lingering last backward look at the disintegrating carcass of rave. Harper should shave his head and go squat raving, all them slow beats have mashed up his brain. What he said made me think of Walter Benjamin's Angel of History (he may have explicitly mentioned him I don't remember), which is interesting, coz Benjamin also leaves me cold.
Burial & Four Tet - Moth
Pff I'm listening to this right now, it's so crap!! How can intelligent music journalist types like this shit? Different strokes and that, but all in all, at the end of the day, the emperor has no clothes and this is rubbish, predictable house music and we all know what sort of twangers listen to that.
Burial - NYC (2011)
Um well, what's to like? That fucking twostep snare gets quite annoying doesn't it? It just screams bad party at me. Standing around watching people who can't dance latch onto that fucing tap. Modern life is rubbish.
Burial - Street Halo (2011)
Hmm ... I thought this might get interesting to start with but it's no more than a lame house banger. Those carefully quantized castanets are well annoying, kinda stepping up to replace the snare. Oh and a rubbish vocal drifts in. Even a banging house banger would still be pretty lame to be honest. There's a whole world of music out there and people are listening to that. That bass poop noise is annoying and predictable.
Words now fail me.
Time for some good music.
Venetian Snares - Öngyilkos Vasárnap
I will admit that I got off the wrong foot with him when breakcore producer FFF recommended him a few years back as a hot tippie and I unreasonably assumed that it would be banging mutant breakcore (totally unfair, like any DJ, FFF is into loads of styles, including italodisco). I whacked it on my mp3 player and waited for the break but it never came. Just some slightly dodgy lingering synths and some horrible tortured vocals.
Perhaps if i was completely whacked out on drugs after a massive weekend (like that will ever happen again), I would enjoy it, but then I'd most probably be listening to summat else, thanks very much. Wevy Stonder or Enduser.
Zoviet France - Lief Lulla (1990)
I do however like Zoviet France, who actually came from the same hinterland - or did they? I'm referring to Newcastle-upon-Tyne, where I'm pretty sure a friend was at art college with Mr. Burial, although Wikipedia claims he's from London, naturally (London's where it's at right, he said and rolled his eyes). In any case, ZF certainly did the whole mournful drone thing way better a long time ago. I was struck by this today and now this has recontextualised my views on Burial since now I see he is simply a repackaged consumer friendly version of what ZF did properly way back..
And now Burial has brought out some new music after quite a break (I tried to encourage him to take up another hobby but he would not listen), so I thought it might be "fun" to give it a listen. As you'll see I wouldn't really call it fun.
Adam Harper who wrote Infinite Music said at a 'Critical Beats' event in London something almost poetic about Burial being the lingering last backward look at the disintegrating carcass of rave. Harper should shave his head and go squat raving, all them slow beats have mashed up his brain. What he said made me think of Walter Benjamin's Angel of History (he may have explicitly mentioned him I don't remember), which is interesting, coz Benjamin also leaves me cold.
Burial & Four Tet - Moth
Pff I'm listening to this right now, it's so crap!! How can intelligent music journalist types like this shit? Different strokes and that, but all in all, at the end of the day, the emperor has no clothes and this is rubbish, predictable house music and we all know what sort of twangers listen to that.
Burial - NYC (2011)
Um well, what's to like? That fucking twostep snare gets quite annoying doesn't it? It just screams bad party at me. Standing around watching people who can't dance latch onto that fucing tap. Modern life is rubbish.
Burial - Street Halo (2011)
Hmm ... I thought this might get interesting to start with but it's no more than a lame house banger. Those carefully quantized castanets are well annoying, kinda stepping up to replace the snare. Oh and a rubbish vocal drifts in. Even a banging house banger would still be pretty lame to be honest. There's a whole world of music out there and people are listening to that. That bass poop noise is annoying and predictable.
Words now fail me.
Time for some good music.
Venetian Snares - Öngyilkos Vasárnap
Tuesday, 1 November 2011
Music, Politics, Agency/Critical Beats
Music, Politics, Agency/Critical Beats seminar series
Critical Beats: Sound, Technology, Microgenre, Rhythm
Date: 3 November 2011, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Participants: Lisa Blanning (chair), Adam Harper, Matthew Ingram/Woebot, Mike Paradinas
Music, Politics and Agency in the Digital Age: East London
Date: 16 November 2011, 13:00-17:00, UEL, Stratford Campus, room AE.1.01, free.
Participants: Jeremy Gilbert (chair), Andrew Blake, Richard Bramwell, Steve Goodman (in conversation with Jeremy Gilbert), Derek Walmsley
Critical Beats: Place, Locality and Globalisation
Date: 8 December 2011, Circus 2 at Stratford Circus, 19:30-21:30 free.
Participants: Derek Walmsley (chair), Martin Clark, George Mahood, plus one other
Critical Beats: Innovation and the Past
Date: 23 February 2012, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Music, Politics and Agency in the Digital Age: Gender, Sexuality and Sound
Date: 7 March 2012, 11:00-18:00, UEL, Stratford Campus, room UH.2.69, free.
Participants: Jeremy Gilbert (chair), Bipasha Ahmed, Lisa Blanning, Freya Jarman-Ivens, Tim Lawrence, Helen Reddington
Critical Beats: Sound Systems
Date: 19 April 2012, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Music, Politics and Agency in the Digital Age: Sonic Radicalism
Date: 23 May 2012, 11:00-17:00, UEL, Docklands campus, room EB.1.03, free.
Participants: Jeremy Gilbert (chair) Dhanveer Brar, Adam Harper, Matthew Prichard, Barry Shank, Jason Toynbee
Critical Beats: Dancing and Dance Culture Scenes
Date: 14 June 2012, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Music, Politics and Agency in the Digital Age: Capitalism, Creativity and Music
Date: 27 June 2012, 11:00-17:00, UEL Docklands campus, room EB.G.06, free.
Participants: Tim Lawrence (chair) Mark Fisher, Jeremy Gilbert, Dave Hesmondhalgh, Timothy Taylor
http://culturalstudiesresearch.org/?p=843
Critical Beats: Sound, Technology, Microgenre, Rhythm
Date: 3 November 2011, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Participants: Lisa Blanning (chair), Adam Harper, Matthew Ingram/Woebot, Mike Paradinas
Music, Politics and Agency in the Digital Age: East London
Date: 16 November 2011, 13:00-17:00, UEL, Stratford Campus, room AE.1.01, free.
Participants: Jeremy Gilbert (chair), Andrew Blake, Richard Bramwell, Steve Goodman (in conversation with Jeremy Gilbert), Derek Walmsley
Critical Beats: Place, Locality and Globalisation
Date: 8 December 2011, Circus 2 at Stratford Circus, 19:30-21:30 free.
Participants: Derek Walmsley (chair), Martin Clark, George Mahood, plus one other
Critical Beats: Innovation and the Past
Date: 23 February 2012, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Music, Politics and Agency in the Digital Age: Gender, Sexuality and Sound
Date: 7 March 2012, 11:00-18:00, UEL, Stratford Campus, room UH.2.69, free.
Participants: Jeremy Gilbert (chair), Bipasha Ahmed, Lisa Blanning, Freya Jarman-Ivens, Tim Lawrence, Helen Reddington
Critical Beats: Sound Systems
Date: 19 April 2012, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Music, Politics and Agency in the Digital Age: Sonic Radicalism
Date: 23 May 2012, 11:00-17:00, UEL, Docklands campus, room EB.1.03, free.
Participants: Jeremy Gilbert (chair) Dhanveer Brar, Adam Harper, Matthew Prichard, Barry Shank, Jason Toynbee
Critical Beats: Dancing and Dance Culture Scenes
Date: 14 June 2012, Circus 2 at Stratford Circus, 19:30-21:30, general public £3, students £1.
Music, Politics and Agency in the Digital Age: Capitalism, Creativity and Music
Date: 27 June 2012, 11:00-17:00, UEL Docklands campus, room EB.G.06, free.
Participants: Tim Lawrence (chair) Mark Fisher, Jeremy Gilbert, Dave Hesmondhalgh, Timothy Taylor
http://culturalstudiesresearch.org/?p=843
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