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undergroundmafiapy · 4 years ago

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COOLTURE

HISTORIA DEL HARDCORE

El Techno Hardcore, es un estilo de música electrónica, nacido entre finales de los años 80 y principios de los años 90, a raíz de los temas “De Euromasters – Amsterdam Waar Lech D Dan” creado por Dj Paul Elstak y Rob Fabrie en 1992, y el “We Have Arrived” de Mescalinum United (Marc Acardipane) en 1989, ambos de estilos completamente distintos. Se caracteriza por su velocidad (numerosas producciones alcanzan velocidades más allá de los 200 beats por minuto), agresividad, por su característico bombo distorsionado con efecto reverb y en la mayor parte de los casos porque el “Hit” suele acompañar al bombo en lugar de ir en contra del mismo.

En la mayor parte de los subgéneros del “Hardcore” se utilizan sonidos con “LFO” (Oscilaciones de baja frecuencia), distorsiones, reverberación, numerosos filtros, etc. Por otro lado la parte preponderante del tema es la base, sobre la melodía u otros sonidos circunstanciales.

La letra, cuando existe, puede ser de tres tipos. Creada para la propia base o bien puede ser sampleada de otro tema o canción, normalmente suelen ser frases repetidas e incluso cortadas, para crear un efecto de confusión en el oyente.

También puede existir una colaboración. Un DJ o MC colabora en el tema con su voz, pregrabada o en el caso de tratarse de una actuación en directo, a través de un micrófono. (Ejemplos: Rob Gee & Mc Rage – Two the Hard Way, Rob Gee – Gabber is the Sport…).

https://soundcloud.com/mark-goemans/b1-rob-gee-mc-rage-two-the

Origen y Evolución del Hardcore

Primeros Años [1991-1995]

En 1991 se daba un estilo llamado Old school, muchos creen que tiene alguna aparencia con el Hardcore, otros no, el OldSchool era un derivado del Hardtrance.

Pero no fue hasta 1992 cuando empezó. Por aquella época el sonido dominante en las pistas de baile y raves en Europa era el llamado “Hard-Techno”. Formaciones como “Quadrophonia”, “T99” o “Front242” se convirtieron en los indiscutibles números 1 no solo de este estilo, sino del panorama musical.

Antes de 1992, existían producciones que se podrían denominar, como Pre-Hardcore’s de gente como Speed Emperors o Marc Acardipane, pero no eran muy conocidos y no tenían mucha influencia en aquella época.

Pero no fue Hardcore todo hasta un día de verano en Rotterdam lo que marcó este estilo. Un pequeño estudio situado en el sótano de una simple tienda de discos llamada “Mid-Town”, en pleno centro de Rotterdam, fue donde se creó el primer maxi Hardcore/Gabber titulado: “De Euromasters – Amsterdam Waar Lech D Dan”. Este maxi, fue creado especialmente para meterse con la propia Amsterdam, o con la música que allí se escuchaba, digamos que les parecía “muy suave”. El maxi gustó a muchísima gente: tanta que, hasta se colocó en una buena posición en las listas de éxitos Holandesas. Curiosamente, esta fue la primera referencia de un sello nuevo llamado “Rotterdam Records” que en la actualidad produce decenas de canciones al año.

En ésta tienda fué donde Paul Elstak y Rob Fabrie crearon el que sería el primer maxi de hardcore/gabber: De Euromasters – Amsterdam Waar Lech Die Dan.

El Hardcore/Gabber se expandió por Europa en cuestión de pocos meses: se crearon sellos como “P.C.P” (Planet Core Productions). Paul Elstak y Rob Fabrie (DJ Waxweazle, The Headbanger) crearon la formación Holy Noise, sacando ya temas muy duros, en aquellos tiempos. Dj Paul por muchos es el creador del Hardcore, ya que trabajaba en aquella época en la tienda antes dicha “Mid-Town”, donde se creó el maxi.

Por fin, con la colaboración de Mid-Town Records y Rotterdam Records y de la noche a la mañana, ese estilo salió a la luz definitivamente a finales de 1992 a raíz de los éxitos de Rotterdam Records.

No tardo mucho en llegar a EE.UU. En 1993 donde surgieron grandes y conocidos personajes como: “Lenny Dee”, dueño del sello que fuera más radical de la escena hardcore americana : Industrial Strength Records, y que se considera como otro de los creadores del hardcore, pues si bien parece que la historia comenzó en Holanda, “Industrial Strength” fue el primer sello Hardcore como tal. “Rob Gee”, famoso por utilizar samples de heavy metal en todas sus obras. Este Productor/DJ anteriormente había tenido escarceos con grupos de Trip Hop y del Metal más animal, y eso se nota en su producciones. “Omar Santana”, el que es posiblemente uno de los productores de Hardcore más prolíficos y tal vez unos de los mejores dj’s de Hardcore del mundo, además es el creador del sello H2OH. Pero en aquella época, Paul Elstak, “el padre del hardcore” se consideraba como un dios en la música Hardcore, tanto que gano millones de euros en programas de televisión, discotecas, fiesta etc.

La escena Hardcore francesa o llamada Frenchcore, también tuvo su lugar en la historia del hardcore, además podemos decir que en los albores del estilo, gente como Laurent Hô & Manu Le Malin fueron productores muy prolíficos allá por el 93-94, sacando temas desde hardcore techno hasta terror, siempre han salido de este país, producciones muy oscuras, extremadamente duras, y de una calidad envidiable.

La cultura Gabber se expandió por todos los rincones de Europa, y ocurrió lo que ya se veía venir:

En 1995 el Hardcore/Gabber alcanzo tal popularidad, que llego a convertirse junto al house, el estilo de música electrónica Europeo por excelencia. Esto es algo antológico y que se olvida muy habitualmente, sobre todo en España [Donde sin saberlo, se pinchaba hardcore, principalmente industrial y oldschool, mezclado con el acid techno y hardtrance de la época] , en la que debido al retraso que siempre sufrimos, no fue aceptado, ya que era visto políticamente mal. Excepto tal vez algunos dj’s de algunas comunidades que si incluían temas Old Skool en sus sets.

En 1995 aparecieron nuevos estilos como el Artcore, Speedcore o Terror, no en este orden, y la escena se dotaba de gran calidad y variedad. El Artcore, se podría decir que obra del maestro Ruffneck, se mostró como un estilo complejo donde los haya y posiblemente una de las mayores reliquias de la historia de la música electrónica, al fusionar Drum’n bass con hardcore gabber y añadirle además melodías de gran calidad y muy trabajadas. Por su parte el Terror y el Speedcore que llevaban ya tiempo entre los Gabbers, tomó cada vez más relevancia y se creó sus seguidores más acérrimos, posiblemente son los únicos estilos “antiguos” que continúan teniendo una cantidad de producciones fluida y una calidad mantenida, debido a que sus aficionados, desde un principio sabedores de lo que querían, sonidos duros, oscuros, no eran los típicos gabbers por moda que inundaron Europa en aquellos tiempos.

El Declive del Género [1996-1999]

Año 1996. Quizás el año del declive del Hardcore, por la influencia de otros géneros nuevos más suaves, temas como: “Happy is voor Hobos” de “Neophyte” o el conocidisimo “Comunism” de “Juggernaut (Dj Ruffneck)” se convirtieron en himnos de las raves Europeas del puro Hardcore. El problema era que el Hardcore/Gabber se estaba comercializando cada vez más, lo cual no hacíaa mucha gracia a los amantes fieles de este movimiento, los cuales eran poquísimos, debido a la gran cantidad de aficionados que tenía, que dejaron el Hardcore por otros estilos diferentes más innovadores. Al sonido duro y agresivo le añadieron las inconfundibles melodías infantiles con voces femeninas y lo llamaron “Happy Hardcore”. Se crearon sellos nuevos como el famoso: “Pengo Records”; incluso sellos como “Rotterdam Records” o el mismísimo “Mokum Records” e incluso Dj Paul Elstak se unieron a la movida “Happy”. Pero no fue toda la culpa de este estilo, contribuyó poco, la culpa la tenían los nuevos géneros que salían en aquella época. La escena “Hardcore” y “Happy hardcore” subió como la espuma y también bajo como tal, ya que 3 años después, dejó de ser lo que era: un gran negocio. La entrada del nuevo sonido “Eurotrance” consiguió que la mayoría de los ravers centraran su atención en este nuevo sonido que rompió moldes. Aún hoy sigue siendo el claro dominador europeo, dos años después que en Europa, entró en España y cercenó de cuajo a otro de los estilos más duros que han existido, la Mákina, pero esto es otra historia…

Año 1999, Muchos culpaban al “Happy Hardcore” como causante de la destrucción del “HARDCORE/GABBER”, realmente así fue. Empeñados en culpar al sonido “Happy” productores hardcorianos de todo el planeta se esforzaron para intentar empezar de nuevo, volviendo al sonido que los dio a conocer: el “Oldskool Hardcore” ( sonido de la vieja escuela ). Uno de los primeros pasos para la reconstrucción del movimiento “GABBER” fue destruir los masters originales de los sellos “Happy” como “Babyboom” y “Pengo”. Curiosamente un maxi titulado “Kill The Pengo” ( matar al Pengo ) producido por “Mc Drokz” & “Count Negative” (Tails), vino a refrendar el sentimiento del mundo Gabber. A partir de entonces, el “Hardcore” evolucionó a un sonido derivado del “Old Skool” como se ha dicho antes, denominándolo entonces “New Style, un nuevo subgénero del hardcore, con un bajon de bpms importante respecto del durísimo hardcore gabber, quizá para que el público “general” volviera a aceptar el hardcore desde sonidos no tan radicales, de todas formas el newstyle o newskool era en sus orígenes, y quizá hasta hace muy poco un hardcore m��s bien lento (155- 165 bpms), pero de gran contundencia en los bombos, en la actualidad, este sonido, el supuesto salvador del hardcore, esta comercializándose de tal forma que ha perdido esa contundencia, quedando temas lentos, y para colmo sin fuerza, con lo que estaríamos volviendo a una especie de resurrección del fenómeno “happy” solo que con unos sonidos cercanos al progressive o hardtrance actual, tan de moda en Europa, quizá por esto el hardcore tenga tanta aceptación ahora en determinados lugares de España y en Italia. Temas como “She” de los Stunned Guys, “Number one Fan” de “Neophyte” o en el 2000 el hiper conocido “Thrillseeka”, fueron los salvadores de una escena colapsada. Así mismo surge al mismo tiempo, también para salvar la escena un estilo que ya existía en Bélgica y se importó a Holanda, el “Jumper”, los “Da Tekno Warriors”, formado por “Neophyte” y “Paul Elstak” ponen patas arriba el concepto del Hardcore con este potente y minimalista estilo, temas como “Pump up the Bass” o “He is My dj” , consiguen junto al “Newstyle”, recuperar el Hardcore, si bien en 1999 salvó y relanzó la escena, jamás volvió a ser lo mismo . Aparecen entonces nuevos productores, como “Panic”, mientras que otros abandonan en gran parte el mundo Hardcore como “Ruffneck” o “Dj Epitaph”, para dedicarse a otros menesteres o bien controlar desde la sombra los movimientos de algún que otro sello.

Características:

Las características del Hardcore son bastante interesantes, pero difíciles de exponer, por su diversidad de sub-géneros, aquí se expondrán la que se extienden mayormente en todos los géneros:

* Lo más destacado del género, es la presencia de un potente bombo, algo que no se da en ningún género de la música, solo en éste. Por supuesto, según cada estilo, o cada tema, puede utilizar bombos más agresivos, sucios, o más suaves.

* Un “Hit” o “Platillo” que acompaña al bombo casi siempre, aunque en algunos temas no se ponen, en la mayoría se pueden escuchar. Sobre todo en los géneros que más destaca el “Hit” es el Speedcore, Jumper o Hardhouse, incluso en algunos temas hacen melodías y juegos con la música.

* Una de las grandes características del Hardcore, y se puede ver en cualquier tema, es terminar como se ha empezado. Es decir sigue un patrón, como por ejemplo:

Hit -> Bombo/Hit -> Bombo/Hit/Rayada -> Bombo/Hit/Rayada/Voz -> Bajon/Melodia -> Melodia/Bombo/Hit/Voz -> Bombo/Hit/Rayada/Voz -> Bombo/Hit/Rayada -> Bombo/Hit -> Hit

* Las voces siempre son prominentes, son pocos los temas que no tienen voces. Las voces siempre son cortadas y repetidas para dar sensación de confusión, al final de la parte de la canción, normalmente se pone entera. También se puede cantar, en algunos temas del género, acompañado de la melodía, normalmente no se canta con presencia de bombo, ya que, puede sonar mal o distorsionado. Una de las características de las voces también es parar el bombo, poner la voz, y comenzar con el bombo otra vez.

* Sin duda alguna, la velocidad de este género es una de las que siempre se puede presenciar, una velocidad siempre rápida, según el estilo que se use, puede variar de 150 BMP’s a 1000 BMP’s sin exageración alguna.

* Destaca la polifonía.

* Destacan en casi todos los géneros las rayadas en los géneros que han aparecido después del 2000, siempre se ponen al principio, para después continuar con la melodía.

* La melodía normalmente es simple, se repite, pero intenta dar una sensación de compleja.

*Popularidad del Hardcore en el mundo: El Hardcore está extendido en casi todo el mundo, pero se oye con más frecuencia en Europa, América y Asia.

Europa

En Europa es donde goza de mayor popularidad. Países Bajos, Francia, Alemania e Italia son unos claros ejemplos donde la música Hardcore tiene muchos adeptos y alrededor del 10 % de su población escuchan esta música, los jóvenes son los que más lo escuchan, pero tampoco varia en edades, géneros o nivel de vida, ya que este estilo nació en esos países, donde se ha mantenido siempre fuerte.

En España, Portugal e Inglaterra esta música esta políticamente mal vista por mucha gente, ya que se tiende a relacionar con el consumo de drogas y violencia, elementos que no forman parte esencial de este tipo de música ni de sus seguidores si no que aparecen de manera tangencial como referencias de una minoría. En estos países este genero es escuchado por menos del 5% de la población.

En países orientales de Europa, Ucrania, Bielorrusia o la República Checa también tiene adeptos y sobre todo, productores. En estos países esta música normalmente la escucha gente con niveles de cultura y calidad de vida altos, aun así todo tipo de gente la escucha. En Rusia, aunque de menor carácter, a veces se puede escuchar Hardcore en discotecas, y aunque este género no está muy identificado con este país, si que tiene grandes productores como el gran conocido Dj Kasparov.

Dj Kasparov

España

El Hardcore desgraciadamente nunca tuvo una buena aceptación en nuestro país, aunque dj´s como “Chucky” lo intentaran por activa y por pasiva y anteriormente Frank T.R.A.X. en Scorpia y djs en salas madrileñas ponían hardcore, y no newstyle precisamente (mas comercial y asimilable). Parecía ser que en el 99-2000 las cosas estaban cambiando: DJS como “Marc Skudero”, “Dr Evil”, “JuanjeDj”, “Javi Boss” o “Batiste” productores como “Shocker DJS” o “Ruboy y Markos 13” y salas como “Pont Aeri”, “Coliseum”, “Manssion”, “Skandalo”, “T.N.T.”, “Masía” o “Central Rock” contribuyeron a que el movimiento “HARDCORE/GABBER” se expandiera por España. Y aunque llegó a arraigarse, poco a poco desde la escena progresiva se empezó a tirar con bala, pues tras haber acabado con la Mákina, parecía que un nuevo enemigo aparecía. Se consiguió, como mínimo parte del objetivo, pues las salas empezaron o bien a poner progresivo o a poner cada vez más cantadas, volviendo a un error que casi le costó la vida al Hardcore, haciendo un “Pseudo-Happy-Hardcore”. Eso sí la escena solo ha tenido “continuidad” en Cataluña y Levante. El número de producciones españolas tuvo su auge en el 2001, pero a partir de entonces empezó una carrera contrarreloj, que hizo que las producciones cada vez fueran más comerciales. Justo cuando se había ganado un respeto en la Europa Hardcore con temas como “Prophecy” o “Evil Forces” de una calidad excelente, llegó el declive. DJ More en recuperación del hardcore en España. También en las Islas Canarias tuvo gran arraigo este estilo musical, desde el año 90, cuando se empieza a pinchar el hardcore en las discotecas y fiestas de la época (K2,KU, Daida, Fever, Paradise, Plastic Fantastic, Adis Abeba, Pub Noelia, Impacto, Evolution, Barremoto, Barranco Hondo, Telégrafos, Cactus Park, Atico, Las Pirámides etc), con dj´s de referencia nacional (Cuto, Cava, Angelo, Bolo, Real etc) e incluso internacional (dj Jonay).

Dj Marc Skudero

América

Mientras que en América del Sur únicamente se escuchan subgéneros, en Estados Unidos y Canadá el Hardcore goza de buena calidad.

En Estados Unidos lo escucha menos del 5 % de la población. Debido a la variedad de estilos, en ciudades como Nueva York y Chicago este género está muy extendido. Este país es la oportunidad para seguir teniendo al gabber como excelencia, que no se produce, pero se sigue escuchando.

En Canadá, en cambio, hay decenas de productores, no muy famosos, pero donde se produce bastante. Este género allí se asoció con un nivel alto de vida. ß Tocate los COJONES los pijos y demás gente adinerada escuchando hardcore, como en españa vamos .El Hardcore en Canadá lógicamente esta heredado del Gabber de los Estados Unidos.

Asia

En Asia, como en América del Sur, prácticamente se escucha muy poco, solo subgéneros. En Japón es donde posiblemente quede algo, allí es donde se concentran grandes productores de géneros como Speedcore y sobre todo Breakcore.

África y Oceanía

En lo referente a Oceanía la escena Hardcore ha proporcionado grandes nombres, como la formación australiana Nasenbluten y los sellos Bloody Fist Records o Hardline Recordingz, o el nezelandés Paul Blackout. La escena de oceanía siempre ha tenido una gran infruencia por parte del Drum & Bass y los Breaks, lo que se nota en cada uno de los productos que llegan a tierras europeas desde las antípodas.

En África pese no existir una escena Hardcore de renombre, si existen nombres importantes, todos ellos de procedencia norteafricana, como Goetia o Dj Anas, ambos de origen marroquí.

Dj Goetia

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romadjpianobar · 6 years ago

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deathbomb · 5 years ago

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In 2014, Sean Jewel conducted a massive interview with a gathering of Deathbomb Arc artists and label head Brian Miller. In recent years, the article has been scrubbed from the site it was originally posted at. We have gathered all of the text content for it from archival sites and recreated it below. Only one image from it has currently been found, picturing (L-R) tik///tik, William Hutson, and Jonathan Snipes.

No Genre, No Authenticity, No Problem: An Interview With LA Label Deathbomb Arc by Sean Jewell

Interview conducted with Los Angeles DIY label Deathbomb Arc, on the birth of clipping., the meaning of experimental music, and the curses and blessings of liking everything:

I love Seattle, but after developing a nasty case of seasonal-affected malaise last month, I did what any miserable person would do: took some work in Los Angeles, California. I later realized that the dates I’d be there included the evening of the Grammys. I began to imagine a scenario in which an award would be given to artists who take chances with music rather than make popular music, and little Los Angeles label Deathbomb Arc came to mind. I did what any self-doubting writer would do: I requested an interview. Deathbomb Arc is the label that birthed Sub Pop signees clipping., a group whose music works as much to entertain as it does to muddle and expand genre. Their 2013 release midcity did the unlikely and combined two of my great loves: electroacoustic interference music and hiphop. I wanted to understand the genesis of their sound, so I talked to label boss Brian Miller and to my surprise in one evening he’d rounded up two-thirds of the members of clipping., Jonathan Snipes, and William Hutson (Daveed Diggs was away and unavailable), rapper I.E. (Margot Padilla), noise musician Tik//Tik (Stephen Cano) and label videographer and graphic designer Cristina Bercovitz for an all-pro interview session.

I did my best to avoid the Grammys in LA. I sped up Mullholland drive, tumbled down Topanga Canyon, and watched paddle boarders surf in the sunset at Malibu. I went to Watts, talked to the daughter of Harlem Renaissance player Leo Trammel about the Charles Mingus Youth Arts Center. We agreed Los Angeles�� legacy of great musicians (Eric Dolphy, Schoolboy Q, John Cage, Ice Cube, Tyrese Gibson, Barry White just to name a few) was shamefully not its most recognized feature. I watched a girl play guitar at Watts Towers, heard her father sing, and became aggravated at the police helicopters looming overhead. I relaxed in the sun. That evening I found my way to Mid City LA and met the Deathbomb Arc crew at the home of Jonathan Snipes. We sat around the kitchen table and talked. My malaise melted and was recast as a sense of belonging.

My first exposure to clipping. was through their mixtape for No Conclusion. The group took a leak of Kanye West’s Yeezus, and the idea from their Twitter followers that Kanye might have been listening to clipping. during its making, and put together a mixtape over their favorite parts of his leaked songs (there weren’t many) that included their favorite rap music from the year prior. The person who pointed me toward clipping. mentioned to me that this label had been releasing artists music on cassette like the medium never went out of style. clipping. released an untitled cassette on Deathbomb and very few sold until their album midcity drew attention with a free online download. Midcity was also later released on cassette. I asked Brian Miller about that.

“I feel pretty out of touch with the history of its hipness. I put out the first cassette on Deathbomb in ’04 and at that point I felt late to the game.” He and Jeff Witscher (aka Rene Hell) put out work on cassette as Foot Village. He reminded me that the cassette has always been the chosen medium of the noise music genre and that it just never went away in that small corner due to its relative cheapness to produce. Brian is soft spoken and obviously cares deeply about music. He’s seen to it that his younger musicians get albums put out on cassette so they can see and hold quality, visible copies of their work. He does it to show them he cares. The idea comes up that older cars accommodate the medium, as well as the fact that it can be produced in any length cheaply. “The thing I love about cassettes is that nobody is making the argument that they sound better,” Snipes jokes. “They sound awful, so the the appeal really is all fetish or novelty.” "I have no idea what many of the younger acts I work with think about me putting their music out on cassette," Brian Miller says. "For them it’s not novelty or fetish at all, they didn't grow up with them, and acts like Signor Benedick The Moor have been completely shocked when I describe releasing music on actual physical cassette” I.E. is sitting off to my left and confirms the notion when he asks if she had an opinion about the release of her work on a certain medium: “I didn't care what the hell it came out on!”

I.E. makes painfully earnest hiphop that stems from her growing up outside of LA (in Inland Empire, hence the name). I ask her how her recent show in Seattle was. “It was terrible.” I played at The Josephine, nobody came, I just kind of played for the two dudes that lived there and the other act.” Brian Miller reminisces on bringing clipping. and Foot Village to Seattle and being well attended, but recognizes the fortune of those in their scene in LA, a place with no apprehension about putting a band on a bill because of their style. It’s this kind of availability and openness at venues (the last decade) that has given way to such a youthful music movement in LA (think Burger Records, Innovative Leisure, Deathbomb Arc).

Snipes, who is also a film score producer (Room 237, the documentary that investigates the myths behind Kubrick’s The Shining, is his best work, which he brought along Bill Hutson for) confesses his love for CDs as a music medium and his worst show in Seattle. He’s hirsute and talkative, smart, and nice. He has a lot of thoughts about music. He recalls his worst show in Seattle with his "ravesploitation" group Captain Ahab (one part of the genesis of clipping.) “I played the Baltic Room, the people who booked the show were very kind, but we got unplugged pretty soon into our set because people who were there weren't there to watch a sweaty white dude rap about buttholes.” Laughter erupts at the table. “It gave me the perspective that my idea—which to me was the most important part of that group—was totally offensive to everyone else on the bill, rappers and DJs whose craft defined them. Since then I've been on a bill or two with acts who I regarded as offensive.” Captain Ahab was a group born out of post 9-11 nationalism and moroseness of a nation, “What Captain Ahab was doing was acceptable in the circles we traveled in because everyone had gotten so conservative and boring, but here was a group of young people with no genre, making art a safe space for dangerous ideas, defending that idea at a point in America where people were questioning the way they expressed themselves,” Miller says.

“The modus operandi of Deathbomb is punk as a way of being in the world, and not a type of music,” Hutson interjects. He’s undoubtedly the dissident in the group. He towers over me in height, and he’s ruggedly good looking. There are things going on behind his piercing eyes. He doesn’t speak much, but when he does it’s profound. I’d heard of his work, but he surprised me with his in-depth knowledge of hiphop, noise, and punk. “If you listen to most punk now, it’s the most conservative, closed-minded shit you've ever heard. You can be punk now and not make punk music.”

His comment reminds me that I.E.’s work is a dead ringer for early-'80s LA punk. A self-proclaimed chola rave queen, she could be the child of Alice Bag, and her music recalls The Cholitas and X. “I do listen to that music, but I grew up on hiphop. I’m also big into Euro dance music and new wave.” The great thing about her album Most Importantly is that she reminds every hard-on about the absolutely horrid world women grow up in without a single sad face emoji. Instead she uses chip tunes, noise music, and hiphop to get her truly hilarious, truly feminist point of view through to you.

Besides I.E. and Brian Miller, everyone gathered is into theater or came from that background. Some went to UCLA, Daveed went to Brown, Christina is a well-known puppeteer in Los Angeles and has directed several videos for clipping. and other Deathbomb artists. “We studied very traditional American theater, what can you say about that? It makes you creative in a very production-driven way. It affects the way we all work together.”

“It’s also a style of art we’re all interested in, but realized soon into school that we really don’t ever want to make,” Snipes jokes. “We learned how to do all this by doing Captain Ahab (Snipes' earlier group). It took us a long time to learn how to brand things, how to package things,” Cristina adds.

Miller brings up the point that the improvisational ability members possess affects their love for their unorthodox performances and musical styles. That the training to recognize others' cues can direct you on stage—theater or musical—and take you somewhere further than just a recital of recorded work, can really bring the music to life. Snipes talks a bit about how theater relates to composing music: “What is the idea of this entire play, and does every decision you’re making support this one very simple idea. If it does not, you cut it, successful theater is based on this.” Hutson concludes, “The only other idea I would add is that what theater did for us, for Captain Ahab, and for clipping. is that we have no concern for authenticity. Lying is a performance; we lie a lot.”

“There is nothing explicitly sexist about speaking over rhythms.” William Hutson says, laughing. “You don’t have to say monstrous things about women as a rapper, they just generally do for some reason.”

I’d just brought up my theory that hiphop as a movement is incorrectly labeled as sexist. That people, rappers, as individuals can be called out for their actions or their speech, but the movement cannot. People don’t attack thespianism as a whole because the actor who plays Don Draper on Mad Men gives a sexist performance on TV, so what’s the difference with rap?

“Some people don't understand that. People do think that musicians go on stage and are the ultimate version of themselves,” Brian Miller adds.

People imprint themselves on music like no other art form. clipping.’s work especially has been regarded as more aggro than deserved (in my opinion) and Bill Hutson helps me understand why when I bring up the fact that I have feelings for abstract art (I feel as emotional at the lines of Judd and paint blotches of a Frankenthaler as I do at good music), yet I still understand the painters and sculptors of that period were not referencing me.

“But even abstract art was sold on the rugged individualism of Pollock as some cowboy. With the artist as the character and not the art,” Hutson interjects. “It’s all a bunch of bullshit to me,” he says, before shrinking back into his shoulders and staring into his wine.

Jonathan Snipes explains: “I always thought of my Captain Ahab lyrics as a sort of musical timbre. I responded to Miami Bass and Detroit Ghetto House music. I liked the drum machine sounds, the way they were programmed, the synths, and the words. The words in those songs just so happen to mostly be about women’s butts.” (Everyone at the table giggles. it makes sense, sort of.) “It wouldn’t be that type of music if we weren’t talking about women’s butts. The words you’re using can be a timbre choice. I think the same is true for clipping. I don’t feel like I’m allowed to say that, because I don’t write the words for clipping., but I would say that’s true of that band as well.”

He brings up a point I’d been dying to talk about. The lyrical choices on clipping.’s midcity are massive in terms of word placement. It’s clear that Daveed Diggs’ lyrics weren’t written into a cell phone that evening and recorded once, never to be edited. His story rhymes and raps are deliciously grotesque poetry about lost lovers, affection for the city, and blind loyalty to the street, that are as visually stimulating as they are precisely spit. I read that they'd been choosy about his phrasing. “Rappers don’t have editors," Hutson says, “except for Daveed, he’s been amazed that we have opinions, and will ask us which line or word is better, but that certainly is not how rap music gets written anywhere else.” The amazing thing about clipping.’s experimental hiphop is also the fact that Daveed seems to stand alone while rhyming, as the electro-acoustic interference and noise he raps over is not necessarily providing him with a rhythm, many times he is the rhythm, and the noise is the lead, but before I get to lost in my love for minimalism, the maximalist at the table speaks up.

tik///tik (Steven Cano) has been a noise-music fixture around Los Angeles for years. If there is a true noise music maker at the table it’s him. I’m surprised though, to learn that the vocals and vocal samples in his music are his own. Miller regards him as the most soulful musician of the group because of his earnestness, and I’m surprised at his personality in person. He's congenial, almost diminutive. He speaks quietly for having made such noisy music over the years. My favorite works of his Jewel Play, and Every Hex Is A Hearthache wrap his pop vocals in visqueen and duct tape and toss the kidnapped, dead idea of pop into a chilly slough. “I might push the volume, but there’s always something in the middle of that maelstrom of sounds going around in my music. There’ll be a horrible torch song right in the middle of my songs, and that’s what I’m worried about,” he says, quietly, almost unsure of himself.

If you hear his music you might be as shocked as me that he’s making pop tunes. His inspirations:

“I relate to Miami Freestyle, I used to steal my brothers N.W.A., I listened to LL Cool J, that’s kind of what attracted me to Captain Ahab (Snipes’ early group) originally because I like that Miami ‘booty’ sound.”

Brian says: “The first time he really struck me was on his tracks during ‘The Fruit Will Rot Vol. 3’; everyone else delivered really harsh noise for that compilation. Steven turned in these tracks that could have used vocal samples from pop acts from the '60s or something, but they weren’t, they’re actually Steven singing. I’ve never heard anything else like it." Then he sums up tik///tik in a single sentence, putting it in a way I'd never thought of: "How many people out there are like ‘Gee, I sure wish there was a group that bridged the gap between my harsh noise records and my soul collection?”

Steven's reply: “It’s part of the LA thing, though. I’m fine sitting between all these people. I’ve been on tour with them. Nothing is weird to me. To me I.E. has written the noisiest punk-rock track ever. Genre doesn’t exist.”

Speaking of LA acts going way back, and The Fruit Will Rot Vol.3 gives me the chance to ask Bill Hutson of what I’d heard was the genesis of clipping, his early work as a noise act called Beach Balls.

“It was a joke about all of the LA harsh noise acts at that time, people were ripping off one artist known as Pedestrian Deposit. Everyone’s music was coming out as blasts of harsh noise between ambient music cuts. I made the joke that I was going to do that in my band Beach Balls, but with harsh noise and rap a cappellas. It was just an attempt to re-format what everyone was doing by ripping off one guy. But instead of copying we’d switch out one of the genres for something I related to.”

The DNA of clipping. can be traced all the way back to that mixtape in which Bill uses a click track and a Ying Yang Twins sample to make a song called “Case Sensitivity” that takes the juvenile "whisper song" and turns it into an ominous hiphop adventure. Snipes recalls begging Hutson to form a band after seeing LA group Death Set play distorted radio-rap songs inbetween songs in their set. “I told him for years someone needed to do this as a band, combine noise and rap, and eventually I convinced him we should do it as a remix project. The first one we worked on was using an Insane Clown Posse a cappella.”

Hutson: “The reason I did all that, and I made all these songs that never came out, was because I was uncomfortable with the degree to which…it was a joke about taking these power electronic songs that are either explicitly or implicitly white-supremacist music, and I would beat match them with like Lil Wayne rapping over them. Because they were in the same tempo, and it was like, ‘these are two sounds I like and how do I deal with the fact that some of the music I like is really fucked up and I don’t agree with it’…” He goes on to rant about acts whose white-supremacist values seem to have been forgotten (or more likely not even researched) because their bands make for good buzz media.

Miller: “The idea was of negotiating between all the different types of music, and being able to touch base with them, but the culture at that time was not ok with us mixing those things. We mash things together so much that people don’t realize we love all these genres. You really have to listen to hear those things in there, the soul singing, Trina samples, J Mascis. We met because I once put out a very abstract tribute to Cash Money records, and I knew of Bill’s music, then wrote to him and found out we lived near each other. It was cool for us, but at the time it literally got me hate mail from people who thought we shouldn’t combine certain music and rap. Bill just happened to be into experimental music and hiphop like me.”

Hutson: “Very specifically, Cash Money records. When I was a kid I wanted to be a Cash Money Millionaire, and in 1998 I switched to wanting to be a No Limit Soldier,” he laughs.

As Brian points out, these things may sound like nothing weird at all now, but in ‘02 looked like a pretty defiant (read: punk) stance toward the standards of craven scenesters. Brian also previously put out a tribute compilation to No Limit records as well that asked bands to write songs around the idea of No Limit records. The DIY to stardom aspect of those labels are what inspired Deathbomb. Also the question of what it means to be a white person from suburban LA who loves southern gangster rap. The exploration, the experiment, was the point.

“Call it mysoginist, but those Southern labels supported more female acts at that time than any other label, I can name more female rappers from New Orleans than I can from any other city.” Earlier I mistakenly referred to Percy Miller (aka Master P, head of No Limit) as Patrick Miller, and Bill Hutson corrected me as soon as it came out of my mouth. I apologized. Dude is serious about his rap and hiphop.

What's the point of any music?

It would be taking advantage of the privilege of having so many experimental, electro-acoustic interference, musique concrète geeks in the same room to not ask: What is the point ? What is the point of music with little rhythm, few words, unrecognizable instruments? I look to the very intelligent members of this very noisy label for help.

“I might be the wrong person to answer that,” Steven Cano (aka tik///tik) says “when I’m making my music I feel like I’m Selena in the middle of everything. For me it’s another version of pop music, and that’s how I attack it. It doesn’t mean I don’t listen to other noise artists, but that’s how I know how to make music, that’s where it comes from”

“I love the sounds, personally. I find them exciting, and for me that’s all there needs to be is that the sounds are pleasing to my ears.” Jonathan Snipes says.

“What’s the point of any music?” Bill Hutson says, then crosses his legs and looks away and laughs.

But from I.E. comes something poignant as usual:

“The first time I heard these guys was over The Smell speakers and the hair stood up on my arms. I never knew what noise music was, but I kind of made it, and then when I was starting to become an artist I had the same feelings as these guys, like maybe everyone was a white supremacist or something, and being part of a group meant just getting together and collectively hating things. I tried to hang with punkers, because where I grew up hiphop was the music of gangsters, and though hiphop was my whole life, I didn’t want to be a gangster. Then I met these guys and they had this funky way of liking everything and playing it loud. I didn’t know what noise was but I saw tik///tik, and Beach Balls, and I just felt awesome. I felt so happy that there were people who didn’t discount anything or put things in a box”.

The conversation drifts and I let it. Most of these people haven't sat in the same room together in some time, and combined they have decades of experience making art. Clearly we have music in common, but just like I love to talk about Seattle, they love to talk about LA.

Hutson: “There’s also sort of an assumption—and you see this a lot when you play places that aren’t big cities or you interact with people who like noise but aren’t from big cities—there’s an idea that you’re making an extreme kind of music because you don’t like the music that the guys who picked on you in high school listened to. There’s an assumption that if you like noise that you dislike other things, like because you make this music you don’t like Mandy Moore, but the opposite is true in LA; you can do both.”

Snipes: “There’s so many weird nested little music scenes here that you’re not just part of the 'music scene' there’s a place for you here no matter what you do."

Brian Miller: “What’s been hard to find outside of LA is a scene of people who don’t play music that sounds the same, where the people are related by more abstract concepts and will share the same bill. There is a place for lots of acts who are not appropriate bar-rock acts.”

Hutson: “I’m interested in the character of underground LA music. For instance, what are you doing making music for a very small group of people in the city that produces mainstream culture for most of the world? You can’t be sanctimonious about it, either, because no one here is actually proud of LA. This is a city that when you leave and tell someone where you’re from they have no problem telling you how much they fuckin' hate it. Then they go home turn on their TV and look at my fuckin' city”.

Snipes: “I love LA for that reason. I’m scared of civic pride anyway. It’s like nationalism to me. I love a lot of cities, but I love Los Angeles because we don’t have that. Being from LA is neutral in a weird way, because we’re all at odds with our environment.”

Hutson: “Talking to Sub Pop and playing in Seattle at the Silver Jubilee I couldn’t believe how much un-ironic pride there was in something so simple as a little record label. The whole city stopped, you guys flew a Sub Pop flag from the Space Needle! I saw the mayor walking around the concert in a Sub Pop T-shirt. I just couldn't imagine that happening in LA. Could you imagine a street fair and our landmarks flying flags because we’re proud we made Transformers 3 this year? I love the sincere pride in a cultural product from the city. I told everyone that while I was there.”

This is the genesis of Deathbomb’s latest group project, True Neutral Crew, a trio consisting of Brian Miller, Daveed Diggs, and I.E. that seeks to make music from a truly neutral standpoint. Their original idea for their #Monsanto EP was an album written from Monsanto's point of view. Thankfully, being truly neutral, they made what came out—a smartly written, well-rhymed noise-rap record. But the very structure of the group is representative of their isolation, their lack of an option to have an opinion about. Their refusal to participate in a broken system.

We talked a bit about the "instruments" that Deathbomb artists use. Tik///Tik used a flower electronics brand synth called a little boy blue. The designer, Jessica Rylan, is well respected in the group (indeed, in noise-music circles in general), she did graduate work at Stanford, and she’s now at MIT, but has spent time on tour with Deathbomb happily repairing the gear they smashed, and playing music with them. Christina Bercovitz filmed clipping.'s videos with a Betamax camcorder, and a mini DV recorder after finding the Betamax camcorder in Jonathan's dad’s attic. Their ideas for a dirtier, noisier visual aesthetic are from talking to Hutson and Diggs about BET Uncut, a show that Daveed and Bill stayed up late watching in high school. All the videos from that era were prior to HDTV or any really clear video. I’m surprised to find, however that for all the noises one can find on their collective records, no one is really a gear head. I’m looking around the apartment and see only records and turntables. Jonathan does mention that since clipping. has become associated with Sub Pop they've had access to more resources than every before.

I ask Brian what the future holds, since clipping. is now signed to Sub Pop, and how he feels about them leaving Deathbomb Arc.

Miller: “I’m not afraid to stand up for what I want. I’ve known Jonathan long enough that I’m not embarrassed to ask for what I care about, but I’ve also been invested in his music for over a decade now, so I want to see amazing things happen for him. I have asked if they could do another album on Deathbomb Arc, as well.”

Snipes: “It’s in our contract, the contract is pretty exclusive, like any record contract, but initially it was that we would make music exclusively for Sub Pop, unless it was for a film, because they knew that Bill and I had done a film score together and I had done film scores on my own. And then we were like, we should be able to do a record for Brian, and they said okay. Sub Pop has given us absolutely everything we’ve asked for. I’ve yet to hear anyone say anything bad about them.”

Sub Pop actually found out about clipping. because Miller emailed someone in the label's IT department looking for a place to book a show. He shared midcity and it made such an impression that they got signed. I ask Snipes if he has a plan for the new music.

“Nah.” Everyone laughs uproariously.

“We probably can’t talk too much about it. It’s basically done. It exists, we love it, and if you turn that recorder off we’ll play you a track downstairs.”

I’ve never shut a recorder off faster in my life. I found my way downstairs into clipping.'s studio and started eying gear. I sat down at the back of the small narrow space while Jonathan and Bill decided what to play. In the end, I got to hear two tracks. “They’re too novel,” argued Bill. “They’re all novel,” laughed Jonathan. Jonathan Snipes, Cristina Bercovitz, Bill Hutson, Margot Padilla, Stephen Cano, Brian Miller

What I heard first might take me some time to process. It felt open, concise, like Jay Z's early work, but drugged and thugged, as if that same work had been produced by DJ Screw. The second track I heard absolutely blew my mind. The curatorial genius of Brian Miller, the film score experience of Jonathan Snipes, the distinct taste and unrelenting dedication to sound of William Hutson, and the writing and rapping abilities of Daveed Diggs came through like a rejuvenating force. What began as “harsh noise”—perhaps the harshest particular noise I can think of—becomes a gorgeous heavenly chord when matched with other harsh (very common) noises up the scale. Like I.E. said, the hair stood up on my arms, things were way out of the box, nothing (not even the noises we're ungrateful we hear) had been discounted, I felt like I belonged. Everyone in the room listened like they were investigating the music. I felt the electronic warmth of the wall of modular synths, MIDI controllers, drum machines and every kind of keyboard you can name. The noise drove through the room, mingled with the flesh, and even Bill and Jonathan enjoyed what they had made. When it was over I.E. looked me dead in the eye and offered to sell me weed, I laughed, because music is my shit, and talking to the folks at Deathbomb Arc already had me high as one can get.

For a good primer with what's going on over at Deathbomb Arc, pick up their new compilation called EVIL. Sales from it go to supporting anti-debt charity rolling jubilee and it features ridiculous spitters like Signor Benedick The Moor and VIPER VENOM, plus gorgeous noise from Sissy Cobb and Dreamcrusher.

#deathbomb arc #deathbomb #clipping #dis fantasy #tik///tik #sean jewell

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iheartmoosiq · 5 years ago

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It was 11:50pm last night when I remembered that Grimes’ highly anticipated new song and video would be dropping soon, so I did something I rarely do despite my excitement for new music. I clicked my way over to YouTube, went to Grimes’ channel, and clicked on the premiere link for Violence. And I waited, watching the seconds tick away on the countdown clock showing on the screen, scanning the fervent fan messages from other anxiously waiting viewers. Violence didn’t exactly arrive at midnight, but I was more than happy to wait a couple more minutes for new Grimes, fidgeting nervously and having absolutely no idea what to expect whatsoever. Sure, Claire (or is she called c now?) had given us some fascinating one-offs in this year alongside her groundbreaking Adidas partnership, but Violence would be a proper taste off her next album Miss_AnthropOcene, due out later this year. And we never know what this labyrinth-minded pop visionary has in store for us next regardless if she goes death metal meets cyberpunk on a prior song or not. Violence, as expected, is a flamboyant piece, both visually and aurally. Boucher teams up with DJ/producer i_o to give us this wavy synthpop aria embellished with shades of Euro dance pop, ambient electro, and perhaps even a little Moby. With today’s new songs, I have to wonder if artists are trying to take us to magical, mystical places and open our third eyes. We had M83 earlier, and now we have this, a just as fantastical treat whose video also features costume eye-candy and fantasy-inspired other worldly plot. Violence is elaborate, though sonically it seems to be one of her more restrained numbers, a smooth and sleek escapade set in a world that seems to combine 80s tropes with FKA Twigs-like artistic gravity and anime impulses. I’ll always be a Visions fan first and foremost, but Violence bucks the trend and does what any and every Grimes song does... sets itself apart and provides us a feast for eyes and ears. I’m all ears for what’s next off Miss_AnthropOcene too. Stream/download Violence, here.

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secretmeaningofthings · 5 years ago

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Enjoy this throwback recording of the Medical Records night I guested at last February. Lots of 80s electro, Italo disco and hi-nrg gems within! This was the last half of the night, and includes my 30 min. closing set from weirdo Euro house to overlooked sugary synth-pop 😍

My tracklist (from 2:23 on)

Secret Ties - Dancing In My Sleep Kim Fields (yes, the one from Facts of Life) - He Loves Me, He Loves Me Not TAPPS - You're the One Man To Man Featuring Paul Zone + Man Parrish ‎– I Need A Man Cut Glass ‎– Without Your Love Taffy - I Love My Radio (Midnight Radio) Silicon Dream - Wunderbar (Razormaid Version) Rubix - The Party (Italian Version) Cowboy Temple - 17 (Disco Stomp) The Bridge - Love Dance

#medical records #medical rx #vox sinistra #seattle dj #seattle music #seattle events #italo disco #hi nrg #synthpop #electro #euro house

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lamilanomagazine · 1 year ago

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Milano: Spirit de Milan, gli appuntamenti della settimana all'insegna della musica!

Milano: Spirit de Milan, gli appuntamenti della settimana all'insegna della musica! Allo SPIRIT DE MILAN (via Bovisasca, 59, Milano), la cattedrale in cui si incontrano la cultura swing e la passione per la bellezza e la tradizione, alla riscoperta del fascino di Milano e della "milanesità, anche il 2024 si prospetta ricchissimo di appuntamenti musicali e non solo! Questi i prossimi appuntamenti: MERCOLEDÌ 10 GENNAIO Alle 22.00 – PERCHÉ CI VUOLE ORECCHIO – OPEN MIC: il palco dello Spirit si apre a tutti (cantanti e musicisti amatoriali e non) per esibirsi con il proprio strumento musicale su uno o due brani a scelta. Per partecipare, bisogna prenotarsi al seguente link. GIOVEDÌ 11 GENNAIO Alle 22.00 – BARBERA & CHAMPAGNE con THE CADREGAS: il loro repertorio sconfina dai più antichi stornelli milanesi di fine '800 e le goliardiche canzoni da osteria dei primi del '900 fino ad arrivare a Cochi e Renato, Strehler, Enzo Jannacci e Dario Fo, con alcuni sconfinamenti regionali. VENERDÌ 12 GENNAIO Alle 22.30 – BANDIERA GIALLA con PULSATION: progetto musicale Disco Funk anni 70-80 nato nel 2015 a Milano. A seguire Dj Set con i 45 giri in vinile di Mariano Rano Dj. Biglietto di ingresso 20€ con un drink incluso per chi viene dopocena (15 euro per i soci Spirit de Milan Aps 2024), 15€ con un drink incluso per chi fa aperitivo (10 euro per i soci Spirit de Milan Aps 2024), 7€ per chi viene a cena. SABATO 13 GENNAIO Alle 22.30 – HOLY SWING NIGHT: nuova attesissima serata all'insegna dello swing allo Spirit de Milan! Biglietto di ingresso 7€ per chi cena o fa aperitivo, 15€ con consumazione per chi viene dopocena (12€ per i soci Spirit de Milan Aps 2024). DOMENICA 14 GENNAIO Alle 22.00 – concerto di GIANCARLO COVA JAZZ 4TET: il repertorio del quartetto passa da brani storici come "Do nothin' till you hear from me" di Billy Holiday e "Since a fell for you" di Dinah Washington, rivisita brani come "Don't let le sun" cantata da Ray Charles fino a versioni interpretate da artiste contemporanee come "I forgive you", "You don't know what love is", "This Masquerade". L'atmosfera vintage tipica dello Spirit De Milan è custodita nei suoi 1500 mq: lo Spirit de Milan non è solo musica dal vivo, risate e divertimento, ma anche buona cucina! Lo Spirit de Milan è aperto dal martedì alla domenica dalle 19:30 alle 01:00 (il venerdì e il sabato fino alle 02:30). Per cenare alla "Fabbrica de la Sgagnosa", è fortemente consigliata la prenotazione utilizzando il form online. Una volta arrivati nella zona ristorante bisognerà aspettare che La Mariuccia o L'Ambroes vengano ad accogliervi e ad accompagnarvi al tavolo prenotato. Il menù, ovviamente, comprende i piatti della tradizione milanese: cose semplici come quelle della nonna, cucinate con amore e con ingredienti selezionati.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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unepommeverte · 5 years ago

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Agenda de novembre

On a changé d’heure, on va peut-être pouvoir enfiler nos pulls (qui sait), on commence à stresser à propos des cadeaux de Noël... Mais surtout, on sort, on danse, on découvre, on s’émerveille à Saint-Etienne !

5 au 9 nov - Pléaides, festival des arts numériques Une première pour Sainté, ces installations artistiques interactives seront à découvrir avec 2 parcours : l’un dans l’espace public, l’autre chez les commerçants du centre-ville. Nocturne les 8 et 9 novembre.

> Entrée libre

5 au 23 nov - Calligraphies de Mongolie L’association Les Champs de l’Homme nous fait découvrir la culture mongole et propose une exposition de calligraphie chez Philippe Durand Encadreur. Vernissage le 14 novembre à 18h30.

> Entrée libre > Philippe Durand Encadreur, 21 rue Henri Barbusse

7 au 11 nov - Festival des Conférences Gesticulées en Forez C’est la 5ème édition portée par le Château de Goutelas. Via des conférences et ateliers, ce festival a pour but de faire connaître l’art de la conférence gesticulée, permettant à toutes et tous de débattre autour de thèmes d’actualité.

> Tout le festival est à prix libre > Divers lieux dans le Forez

7 au 11 nov - Positive Education Festival Faut-il encore le présenter ? Cette année, un off presque aussi étoffé que le on (officiellement du 8 au 10), aux ateliers Morse et au kiosque Jean Jaurès.

> Tarifs : s’il reste des places c’est par ici > Cité du design, 3 rue Javelin Pagnon, Saint-Etienne

13 nov - Illusions comestibles, atelier culinaire pour les enfants Laurine Ayel, designeure culinaire, propose aux enfants à partir de 7 ans de cuisiner sur le thèmes du jardin et de décorer une table saisonnière. Inscription obligatoire avant le 10 novembre : [email protected]

> 17h à 19h - Tarif : 19 euros > La Fabuleuse Cantine, 1 rue Claudius Ravachol, Saint-Etienne

15 nov - Lecture et musique avec Voix-ci Voix-là Un concert de lecture ? Le groupe de passionnés proposent un spectacle de lecture à voix haute entremêlées de chansons, interludes musicaux. Une expérience à ne pas manquer !

> Entrée libre > Le Remue-Méninges, 11 rue Michelet, Saint-Etienne

15 nov au 14 dec - Migrant’Scène Année d’anniversaire pour La Cimade et Migrant’scène : La Cimade fête ses 80 ans, le festival ses 10 ans au niveau national. À cette occasion, l’édition 2019 du festival Migrant’scène portera sur le thème des Résistance(s). Tout le programme à Saint-Etienne en cliquant ici.

> Divers lieux

16 nov au 14 dec - « Trappa » exposition de Emilien Adage Cette dernière exposition avant la pause hivernale de l’Assaut de la Menuiserie est en résonance avec la Biennale de Lyon. Vernissage le 15 novembre à 18h.

> Entrée libre > L’Assaut de le Menuiserie, 11 rue Bourgneuf, Saint-Etienne

21 nov - Faut-il arrêter de manger les animaux ? La projection du film de Benoit Bringer, dans le cadre du festival Alimenterre, sera suivie d’un débat avec Philippe Chorier du GAEC Art du Cochon, Laurent Pinatel de La Ferme des collines du Midi, Anne-Marie Januel de la Ferme Robin des Bios.

> Prix libre > Méliès Saint-François, 8 rue de la Valse, Saint-Etienne

22 nov - Conférence de presque Conférence très sérieuse de la non moins sérieuse UCLA : la chanson de geste est-elle muette ? Les chansons à boire peuvent-elles aussi être à manger ? La chanson engagée de gauche peut-elle être maladroite ? Après avoir obtenu (ou non) les réponses à ces questions fondamentales, continuez la soirée en chansons avec Valérie Gonzalez.

> 20h - Plein tarif : 12 euros / réduit 6 euros > Chok Théâtre, 24 rue Bernard Palissy, Saint-Etienne

22 & 23 nov - Les Gueules Noires du Polar Deuxième édition du festival du roman policier de la Librairie de Paris. Tables rondes, dédicaces, jeux, deux jours pour remplir sa bibliothèque de nouveaux mystères à dévorer au coin du feu.

> Entrée libre > Librairie de Paris, 6 rue Michel Rondet, Saint-Etienne

Jusqu’au 23 nov - La machine infernale Assemblez des objets de toutes sortes et créez votre machine infernale ! Ateliers les mercredis et samedis, séances à 14h et 16h.

> Tarifs : plein 5 euros / réduit 3,50 euros > La Rotonde, 158 cours Fauriel, Saint-Etienne

26 nov au 1er dec - Festival Face à Face 15ème édition du festival du film LGBTQI+. Au programme des films, des courts, des expositions, des débats, des concerts…

> Le Méliès Saint-François, 8 rue de la Valse, Saint-Etienne

26 nov au 6 mars - Design-moi un jeu vidéo Esthétisme, technologie, mécaniques de jeu et récit : comment le jeu vidéo est devenu un mode d'expression majeur du 21e siècle ? Vernissage le 26 novembre à 18h30.

> Cité du design, 3 rue Javelin Pagnon, Saint-Etienne

29 nov - Vernissage de la nouvelle saison d’exposition DDAY pour la réouverture du Musée d’Art Moderne et Contemporain ! Au programme, quatre nouvelles expositions à découvrir : - Maurice Allemand, ou comment l’art moderne vint à Saint-Étienne (1947-1966) - Une histoire des collections - Entrare nell'opera / Entrer dans l'œuvre : actions et processus dans l'Arte Povera - Alexandre Leger, Hélas rien ne dure jamais - Firenze Lai, L'équilibre des blancs

> 18h30 - Entrée libre > MAMC+ rue Fernand Léger, Saint-Priest-en-Jarez

30 nov - Concerts de lancement du NNY 4.0 Rendez-vous à Ursa Minor pour en prendre plein les oreilles dans la bonne humeur ! Au programme, Pneu, 2 boules Vanilles (j’avais bien apprécié l’année dernière) et Francky Vin Blanc DJ set (avouez ça donne soif !).

> 20h37 précisément - Tarif : 5 euros + adhésion à prix libre > Ursa Minor, 11 rue de l’Egalerie, Saint-Etienne.

#agenda #sorties #saint-etienne

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djs-party-edm-italia · 2 years ago

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Caballo Loco, 3 party per Halloween '22: 29/10 '70 '80 Disco Party benefico, 29/10 Halloween Night con live music e dj set, 31/10 Halloween Party con Dj Chichi

Ben tre Halloween party scatenati fanno muovere a tempo il Caballo Loco di Seriate (BG) per Halloween 2022. Si comincia a divertirsi già giovedì 27 ottobre, con l'evento '70 '80 Disco Party. Dalle 21:30 si balla con sonorità di quel periodo mixate dal vivo da Dj Paola. E' una serata benefica: parte dell'incasso sarà destinato alla La Ciudad de los Niños Cochabamba Bolivia. Consumazione 8 euro.

Sabato 29 ottobre ecco una Halloween Night scatenata che mette insieme live music e dj set. Tra l'altro chi arriva in maschera ha diritto ad uno shot in omaggio. Sul palco ci sono, dalle 21:45 fino a mezzanotte, le note suonate dal vivo da Change Again e Crushed Fingers, capaci di regalare emozioni a chiunque. Da mezzanotte alle tre si continua a muoversi a tempo, con i ritmi dj Amp, Luk, Cozy Manner e B17. Ingresso con consumazione 10 euro.

E che succede lunedì 31 ottobre, l'apice di Halloween? Caballo Loco - Seriate (BG) presenta un party dal ritmo vario e divertente: disco, latino, revival e pure tanta animazione per far scatenare il dancefloor. Il sound è quello di Dj Chichi, un artista capace di coinvolgere chiunque con la sua energia e la sua capacità di far divertire il pubblico di Cavallo Loco. Si balla dalle 22:45.

Caballo Loco

via Buonarroti 38 Seriate (Bergamo)

Info: 338 300 0769

https://www.facebook.com/CaballoLocoClub

https://www.instagram.com/_caballo.loco_/

Dedicato agli appassionati di live music, serate con dj set e di musica latino americana, Caballo Loco è situato a Seriate (Bergamo) in via Buonarroti 38. E prima di ballare o ascoltare tanta musica, chi ne ha voglia, spesso ha la possibilità di cenare al Caballo Loco, gustando la sua ottima pizza. Caballo Loco è un circolo privato associato Entes.

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tarditardi · 2 years ago

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Caballo Loco, 3 party per Halloween '22: 29/10 '70 '80 Disco Party benefico, 29/10 Halloween Night con live music e dj set, 31/10 Halloween Party con Dj Chichi

Caballo Loco

via Buonarroti 38 Seriate (Bergamo)

Info: 338 300 0769

https://www.facebook.com/CaballoLocoClub

https://www.instagram.com/_caballo.loco_/

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jow99 · 6 years ago

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Burgundy and then bugger ...

This morning we didn’t set an alarm but still woke up relatively early. Coffee in bed and then we went for a run by the canal. We finished the run in town and bought a fresh baguette for Jose.

Back at the campground we had to go for a swim in the river as we had not yet ventured in and we leave tomorrow. It was chilly but not too bad. There was no one else around and we got to see 3 swans up close taking off and landing. The sound their wings make is incredible.

After breakfast it was a few chores and a chill out before we headed into town to catch the bus to Dijon. This afternoon we were being tourists - you can’t be in Burgundy and not go wine tasting. We first went to like a co-op where we got to try wines from different wineries and then we went to a winery. Burgundy only produces 3% of Frances wine. It is a comparatively small region and they have very archaic rules which means its not cheap. We did however buy a very nice bottle of Grand Cru which we plan on sharing with our friends Sheryl and Matt tomorrow on Jose’s actual birthday.

Back in Dijon we had plenty of time to catch the bus back but it left in a different spot to where we got off so we got there with plenty of time to make sure we knew where we were going. We found a bus stop with the timetable on the wall for the bus we wanted so were feeling pretty relaxed and went across the road for a glass of rose until it was time for the bus.

Back at the bus stop I was getting a bit nervous as there were all these other buses parked so I didn’t know how our bus was going to stop to pick us up or even be able to see us (we were the second stop). Finally the other buses started to pull out and one of the drivers called us over to ask where we were going. Turns out, despite all signs to the contrary we were in the wrong place and our bus - the last bus of the day (there are only 3 a day) had left.

Long story short we paid for a cab back. We couldn’t believe how cheap the bus fare in was, 3.30 euro total for both of us for a 30km trip. Well we certainly fixed that on the way home.

We got back to the campground around 8.30pm. The original plan had been to cook but I was a bit over it so we went to the restaurant by the river. I’m so happy we did. This is not a big town and the restaurant had a Ricard (as in the aperitif) sponsored soirée complete with DJ, 80s music, smoke machine and disco lights (which given its pretty much daylight until 10pm were a bit of a waste of time). So needless to say the town was out in full force and the kids were having a blast. It was one of those unexpected, totally fantastic experiences that you could never plan.

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asmasheikh · 3 years ago

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A wedding Planning Sector in Market

Your passion is the organization of events, especially when it comes to happy events? Do you want to take the plunge and open a wedding planning agency?

You are in the right place! To guide you in this adventure, we review in this guide the steps to be taken: from the market study to the business plan, including the choice of the concept, and the search for financing.

Conduct market research in the wedding planning sector

Carrying out your market research is an opportunity to take an interest in the purchasing behavior of your future customers, the major trends in the sector, and your competitive environment.

To do this, you will need to ask yourself the following questions:

How many weddings are there each year in France? In your region?

What is the average budget per wedding? How have costs evolved in recent years?

How many newlyweds use wedding planners?

What criteria are taken into account when choosing a wedding planning agency? Suggested choice, price, advice, concept, experience, e.tc…

What are the most requested services? The prices charged by the players in the business?

How many competitors are already established in the region where you plan to settle? Do their businesses seem to be doing well?

Do you think the local market is large enough to accommodate a new entrant?

How are you going to set yourself apart from your competition and gain a foothold in the local market?

How will you communicate to reach your commercial target?

Etc.

The Pakistan marriage and union market

Added to this are PACS, 190,500 were entered into in 2016, which gives us a total of around 245,000 unions per year.

We observe an evolution of the forms of unions. Marriage between people of different sexes tends to decline (-24% between 1996 and 2019), as does the number of religious marriages which has been declining steadily since the 2000s.

We are also witnessing a decline in the age of married couples, which has fallen by around 5 years in 20 years: from 33 to 38 for men, and from 30 to 35 for women.

The Pakistan wedding market is estimated at around 5 billion euros, including all the services necessary for a wedding. The ceremony has an average cost of 8,500 euros for an average of 70 guests. However, the cost of a wedding can vary from single to double depending on the couple’s budget.

The use of the services of a wedding planner is still marginal. Only 2% of couples use the services of professionals, compared to the 80% of Americans who use their services. We can say that there is still a certain market share to be conquered.

Wedding planners are still few in number and face growing demand. If you have the skills and want to get started, now is the time.

Choose the concept of your wedding planning agency

It may be interesting to specialize in a specific area in order to benefit from a clear commercial positioning that differentiates you from what your competitors offer.

You can choose to specialize:

On a package: have an all-inclusive wedding at different prices

On part of the process, for example the wedding reception

For one type of clientele, for example, you can pose as an expert in queer marriage or even offer themed weddings.

It’s up to you to choose what seems most promising to you according to: your skills, your desires, and above all, the opportunities identified during your market research.

An important point to take into account when defining your concept is the seasonality of your business: few weddings take place in winter. In order to smooth your activity over the whole year, it may be interesting to consider an additional activity during the low season.

Under what legal status to open a wedding planning agency?

The next step in opening a wedding planning agency is to choose a legal status for your business: this is an essential step, as it is a decision that will influence both your business, but also on your personal life.

In fact, the choice of legal status will condition:

The method of taxation of the company: corporate tax or income tax

Your social security regime as a manager: self-employed or general regime

Your liability for the company’s debts: limited to contributions or unlimited

The administrative formalities to be completed: at the time of creation and after

If you want to open a wedding organization agency alone, and you do not want to employ other people, you can possibly move towards the status of micro-entrepreneur.

Be careful, however, this legal form is only recommended if you want to start a small activity. Indeed, otherwise, the turnover limit may very quickly be exceeded, which will force you to change status.

The Sole Proprietorship can also be an attractive option. But be careful, with this status the entrepreneur and his company form one and the same entity from a legal point of view: the civil activities of the entrepreneur are separated from his professional activities but not the patrimonies. To benefit from limited liability you can opt for the Individual Limited Liability Company (EIRL).

If you prefer to get started with partners, know that the SARL (limited liability Company) and the SAS (simplified joint stock company) are the most common forms.

To help you choose the most suitable status according to your project, you can consult our guide to legal statuses .

Human and material resources to open a wedding organization agency

Once you have decided on the legal status of your business, the next step will be to assess the needs necessary to start and operate your business.

Human needs

The recruitment needs relating to the creation of your wedding organization agency will be more or less important depending on the size of your business, and the scope of the services offered.

Depending on the concept chosen, you will need to partner with different companies to ensure the smooth running of the wedding.

You will need partners who will perform functions such as:

Catering for the buffet

Pastry chef for the cake or cake

Graphic designer for the making of the invitation

Waiters to serve food

Decorator to decorate the reception hall

DJ to liven up the evening or live group

Florist to flower the reception

Driver to take the bride and groom

Car rental agency

Venue rental agency

Dressmaker for the wedding dress

Hairdresser, stylist and makeup artist to style and dress the bride

Video director or photographer

etc.

You may also need staff with a more commercial profile, dedicated to marketing and finding clients.

Material means

The material investments to open a wedding organization agency are quite limited, it will nevertheless be necessary to plan:

The rent for the rental of the offices, their fitting-out, the security deposit, and the door step

Office equipment (computers, printers, desks, etc.)

A company car to bring your customers to see possible places, and to get to them

The ancillary services required to launch a wedding planning agency

Setting up a wedding planning agency also involves having recourse to ancillary services, such as professional insurance for your business.

You can also decide to use a management company to manage the administrative and accounting part (payroll management, account keeping, VAT, etc.).

To better assess these different expense items, do not hesitate to ask for quotes from several professionals. You will thus be able to obtain the best services at the best prices.

Courtesy: Event management companies in Lahore

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lasemainedubizarre · 7 years ago

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Semaine du Bizarre 6ème édition - du 7 au 16 decembre 2017

Wolfson : Denis Lavant / Diemo Schwarz / Mise en scène : Anne Ropers d’après les écrits de Louis Wolfson Louis Wolfson, écrivain new-yorkais, est persécuté par sa langue maternelle, l’anglais. Il invente un procédé linguistique singulier : il cherche sans arrêt à contourner et désamorcer les mots anglais qui l’attaquent. L’écriture de Wolfson a fasciné Michel Foucault, Gilles Deleuze … Adaptation et conception : Anne Ropers Lecture : Denis Lavant - Musique électroacoustique : Diemo Schwarz. Jeudi 7 décembre - 20h30 Tarif : 8 euros …………………………………………………………………………………………… .. #2 Les tables tournantes / Le T.O.C Théâtre - Mise en scène : Mirabelle Rousseau La nouvelle création de la compagnie T.O.C. a pour point de départ les procès-verbaux des séances de tables tournantes menées par Victor Hugo et ses proches sur l’île de Jersey en 1853. A travers le protocole de ce qui ressemble à un jeu de société, la dictée spirite nous invite au cœur d'un processus expérimental d'écriture collective. Les esprits, s'incarnent tour à tour dans la table, les objets et les personnes. Vendredi 8 décembre - 20h30 - tarif : 8 euros …………………………………………………………………………………………… #3 Pascal Comelade / Charles Berberian : Concert en dessins avec Julien Bancilhon et Olivier Brisson On peut reconnaître entre mille un morceau de Pascal Comelade - ses mélodies bigarrées ont une texture unique grâce à ses instruments jouets. Depuis la naissance du Bel Canto Orquestra en 1983, le pianiste et compositeur catalan développe une galaxie musicale où fusionnent le folklore et le style minimaliste, le rock et les musiques foraines, traversée par la fulgurance et la mélancolie. Cet héritier de Satie qui vient de sortir l’anthologie « Rocanrolorama 1974-2016 » se produit avec le guitariste Ivan Telefunken, aux côtés de l’auteur de BD Charles Berberian qui dessine en direct. En coréalisation avec le Nouveau theatre de Montreuil dans le cadre de Mesure pour mesure.

Sophie Agnel et Jérôme Noetinger : Le piano est un instrument de musique polyphonique à clavier de la famille des instruments à cordes frappées mais jamais assez. Sophie Agnel et Jérôme Noetinger vous en proposent la démonstration.

Samedi 9 décembre - 20h30 - tarif : 8 euros …………………………………………………………………………………………… #4 Soirée du comité autochtone du Bizarre Alexis Guillier " Candyman" une performance qui explore les conditions d’existence de la fiction, les histoires dont on ne peut s’extraire ou celles dans lesquelles on ne parvient pas à revenir. En partenariat avec le Centre Tignous d’art contemporain. Mardi 12 décembre - 19h - Entrée libre sur réservation

Étrangetés et autres bizareries cinématographiques : Tours /détour Essais, fantastiques et autres étrangetés narratives argentiques dont plusieurs furent présentés aux Journées internationales du court métrage de Tours (1955-1971). Films de Jean-Denis Bonan, Dolorès Grassian, Bryan Stanley Johnson etc. Une programmation Lunapark Films, avec le concours des Archives françaises du Film. En partenariat avec le cinéma MélIès. Le club des animistes - Vidéo : Stéphane Broc, Musique : Vincent Epplay & Ravi Shardja. Performance concert. Mardi 12 décembre – 20h30 Tarif : 4 euros ………………………………………………………………………………………… .. #5 Bosso Fatakata d’après Hugo Ball (1916) Andrea Sitter, Benjamin Colin et Agnès Pinaqui (Joujou), Philippe Burin des Roziers, Monsieur Gadou Danse, textes et jambes de cigognes : Création performerrazib de Andrea Sitter, Voix, basse à une corde, textes Agnès Pinaqui, Textes et eructomodulations : Philippe Burin des Roziers, Percussions, sons et textes Benjamin Colin, Guitare, trombones, textes Monsieur Gadou. Chercher un couteau pour décapiter un moustique (évidemment) Certaines musiques. Peu importe. Des visages d'une autre part. Des zigzags. On rencontre des gens mystérieux et des choses fabriquées… Mercredi 13 décembre - 20h30 - tarif : 8 euros ………………………………………………………………………………………… .. #6 DDAA / Déficit des années antérieures est l’un des chefs de file de la scène expérimentale, industrielle française des années 80. A partir d’une musique post-punk/ avant-garde/surréaliste faites d’improvisations et de collages, DDAA crée un monde de l’étrange, captivant, rempli de naïveté et d’émotion.

+ TWVSTCG (Thierry Weyd & Nicolas Germain) Vendredi 15 décembre - 20h30 + Poutre Apparente (Dj set) à l'occasion de la sortie de la compilation vinyle BCG vol.2, Participe Passé, France 81/91 Le label Poutre Apparente, recueille dans ses sillons les franc tireurs de la scène K7 française des 80s. Vendredi 15 décembre à 20h30 - Tarif : 8 euros ………………………………………………………………………………………… .. #7 Clôture du Bizarre - Samedi 16 décembre - 20h30 - Entrée libre sur réservation en partenariat avec les Instants Chavirés et le comité autochtone du Bizarre

L’Ensemble Electron : Orchestre d’improvisation dirigé par Olivier Benoit (orchestre national de jazz). Samedi 16 décembre - 18h - Entrée libre sur réservation Marius Loris pratique la poésie action, il tente aussi d’explorer la poésie sonore dans un duo « Le Gros », où dialoguent et s’affrontent poésie et musique (avec Thomas Dunoyer du label No Lagos). Les Hôpitaux : Les deux gars des Hôpitaux se débattent dans le no man’s land de l’expérimentation et du dancefloor, à mi-chemin entre une techno tribale et une no wave au bon goût de bruit furieux. Chocolat Billy + Sam Mary (création) Quartet qui fluctue entre rock, expérimentation world bruitiste a sorti trois disques sur le label Les Potagers Natures Le groupe sera accompagné par Sam Mary, créateur lumière. Eclaire-t-on les musiciens ou la musique ? Sam Mary, questionne ces enjeux. Improvisée depuis l’intérieur du groupe et non du point de vue du public, la lumière se fait énergie, vocabulaire, sensation, rythme, absence. + Dj set Jf et comité des autochtones du Bizarre ……………………………………………………………………………………… .. EXPOSITIONS - Pâles copies d'affiches et masques Dada par Alexis Forestier et Cécile Saint-Paul Affiches et masques issus du spectacle « Muscles du coeur – Cabaret Voltaire – et des douleurs » créé en 1993. Cette pièce, évocation de l'émergence du mouvement Dada à Zurich, d'après La Fuite hors du temps - Journal 1913/1921 d'Hugo Ball, est à l'origine de la compagnie les endimanchés. Exposition imaginée à l’occasion de la dernière création d’Alexis Forestier, Modules Dada, présentée du 12 au 15 décembre 2017 au Nouveau théâtre de Montreuil (Festival Mesure pour Mesure). - « Dialogue entre deux poteaux » Installation de David et Berrenger (2017). David et Berrenger vivent et travaillent à Rouen + Cabinet de curiosités / collages par le colonel et le comité autochtone du Bizarre …………………………………………… En partenariat avec le Cinéma Méliès, Les Instants Chavirés , Le Nouveau Théâtre de Montreuil, Lunapark films. Avec le soutien de la Médiathèque Musicale de Paris et du comité des autochtones du Bizarre.

En pratique Théâtre Berthelot 6, rue Marcellin-Berthelot Montreuil - Métro Croix de chavaux - ligne 9

Réservations impératives Tél : 01 71 89 26 70 Mail : [email protected]

https://www.facebook.com/events/364820003943077/

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