Analord, King of Syntesizers

Which is the strongest track on the Analord-series?

AFX - Where's Your Girlfriend

Much of that project reminds me of a favourite from Drukqs.

Aphex Twin - Vordhosbn

Richard's machines play together with the same kind of warmth and joyful improvisation that you'd expect from a jazz band that's known each other for a thousand years. Perhaps he's the Hansson & Karlsson of IDM? Erik Satie as a bedroom producer? The white Miles Davis?

Is this his best track ever?

Apehx Twin - Polynomial-C

You get the impression that he made a thousand similar ones before arriving at this amazing discovery. It's so simple, so cinematic, so perfect. If I have this in the headphones when leaving home, it will be a good day.

In some of his music, especially the meditative tracks from SAWII, there is a strong arhaic, collectively subconscious, nearly religious feeling. You almost believe him when he says he composed that album in a state of lucid dreaming. It's fitting that John Peel interviews him at this place.

Aphex Twin - Stone In Focus

inget representerar bättre den förhöjda livskänslan som hör samman med den rena upptäckarglädjen i hemdatornätverkens generationer

Norbergfestival 2009 is OK

http://www.norbergfestival.com/artists/2009/





- C64-trickster Goto80 is the only one that looks familiar at a first glance... But I dug beneath the surface, and I'm digging what I found:

- SKAM-artist Ola Bergman

- UK techno legends B12

- If Milanese gets "more than OK'd" by known dubstep-hater Altemark, he has to be doing a good job at beating the most out of the genre.

- "There is little known about Syntheme, who keeps very discreet; but rumours circulate of the origins of her work, and whispers of collaborations with Global Goon and Aphex Twin refuse to disappear."

- The DJ Producer: almost-gabber if I remember correctly... should be interesting at least.

We'll meet there...!!!

Kraftwerk news but old

Old but news to me, according to Wikipedia:

"Florian Schneider, one of the two original co-founders of the pioneering German electronic group Kraftwerk left on 21 November 2008. Commenting shortly after Schneider left the band, the Independent newspaper had this to say about Schneider's departure: 'There is something brilliantly Kraftwerkian about the news that Florian Schneider, a founder member of the German electronic pioneers, is leaving the band to pursue a solo career. Many successful bands break up after just a few years. It has apparently taken Schneider and his musical partner, Ralf Hütter, four decades to discover musical differences.'"

Perhaps The Hacker is right. Is Computer World the best album ever?

On the other hand, you can't hate on someone if he prefers one of these meisterwerken.

"Along with their message about the unification of man and machine, it seems, Kraftwerk is suggesting that we are all citizens of the same global community. "This is because we live in Düsseldorf," Hütter points out. "It's in Germany but it's only 20 minutes from Holland and a little more than half an hour from Belgium, not even two hours from France. It's a very mixed area."

The tunes Europe Endless and Trans-Europe Express also express this idea. "We travel a lot in Europe," Hütter reports. "And it's not like in America, where you travel a thousand miles and you're still in America. Here we have to adapt to different situations more. And electronic music, I find, is by nature an international medium. Radio waves go around the world, and this music can be understood and can communicate with people all around the world. Our music has been called industrial folk music. That's the way we see it. There's something ethnic about it. Wherever you go, you never leave the modern world." This is especially true of Düsseldorf, because the town was the center of German industry before World War ll and consequently was bombed and completely destroyed. The entire city today is newly built. "All our traditions were cut off" Hütter says. "It left a vacuum. We are the first post-War generation, and so we are the beginning of something new"

Because Düsseldorf is still heavily industrial, the sounds of industry have themselves had a direct impact on Kraftwerk's music. "Our first album was recorded in a studio that was right in the middle of an oil refinery" Hütter recalls. "When we came out the door we could hear the sound of those big flames burning off the fumes - all kinds of industrial noises. Even engines are a kind of music. You can hear the harmonics in their tones. When you walk down the street you have a concert; the cars play symphonies. And we use this fact in our music. ln Autobahn the cars hum a melody. In Trans-Europe Express the train itself is singing."

But in spite of this emphasis on sound effects, much of Kraftwerk's music has straightforward tonality and simple, easy-to-understand melodic lines. Entire sections of a tune or even whole tunes may be played on a single chord. The music is invariably in 4/4 time, and virtually always falls into precise, regular, four-bar phrases. Which certainly doesn't sound progressive when you describe it that way. The effect on the listener, however, is another story."

(from Electro Shock! Groundbreakers of Synth Music; Greg Rule)

finnish beats: Pan Sonic

A freezing groove by the fantastic finns, one of the few in electronic music who can be said to release truly original music.

Pan Sonic - Kesto - CD 2 - Track 06 (yousendit)

When they work up more beats per minute it's pure evil. Who will rap over this?