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Jumeirah Village Circle Community Guide | Living in Jumeirah Village Circle

One of Dubai’s most renowned communities, Jumeirah Village Circle (JVC), is a family-oriented neighborhood which was launched in 2005 in the heart of the city. The beautifully designed residential space comprises more than 2000 luxury villas and townhouses along with a diverse variety of amenities to provide a vibrant living experience.

JVC is built by Nakheel over an area of more than 870 hectares and is a freehold master development alongside Sheikh Zayed Road. The larger-than-life area embraces 33 landscaped parks and schools in the vicinity, making it a perfect spot to live in.

The housing district consists of large 2,800 villas and more than 3,100 townhouses; with more than 80,000 residents adorning the tranquil, ultramodern and self contained environment.

A guide to living in Jumeirah Village Circle

Living in JVC isn’t synonymous with Dubai as Downtown Dubai or Dubai Marina, however it comes with a string of benefits and experiences, making it a consistently popular residential destination.

Here’s a guide to living in Jumeirah Village Circle, and what you should look forward to.

Tranquil village setting

Living in JVC is like having a beautiful landscape around you throughout. It is crowded with an array of amenities along with spacious gardens and outdoor areas. It is an exceptional place to live in for all age groups, especially senior citizens and school children. This realty development has a tranquil village setting with canals and parks surrounding the villas, apartments and townhouses.

Multitude facilities

 Jumeirah Village includes a list of shops, outlets, restaurants and more facilities. When living in Jumeirah Village Circle, get ready for some added flair of convenience. The space is packed with a list of outlets including popular supermarkets, restaurants, men & women salons, coffee shops, spas, bakeries, fashion stores in the circle mall, cosmetic outlets, medical facilities, dental clinics, kids world nursery, gyms, travel & tourism planners and much more.

Speaking of the amenities, JVC is in fact known to be a splendid fitness platform. The self-contained community is a paradise for fitness enthusiasts with multiple options- swimming pool, running tracks, tennis courts, gymnasiums and cycling paths.

Close proximities 

JVC enjoys a prime location with an accessible distance from most areas in Dubai. Having a central location, Jumeirah Village Circle is an easy-to-commute place. Only a short drive away from most of the malls, resorts, golf clubs and many popular destinations like Jebel Ali Free Zone, Dubai World Central Airport, Emirates hospital day surgery, Dubai Marina, Downtown Dubai, Internet City, Jumeirah Beach Residence, Dubai Miracle Garden and more.

Also, in proximity, the closest hospital is the Al Zahra Hospital, JSS International School is the closest school and Mall of Emirates in the nearby metro station. Not to mention, the area keeps you close to the key points of Dubai.

A home for everyone

Jumeirah Village Circle has a house for every walk of life, whether you are looking to rent or buy. JVC is a community with a variety of homes including villas, townhouses, studios and different-sized apartments.

Also, the high rise Manhattan towers are an ideal pick for people seeking city life in a community. JVC apartments range from 1-4 bedrooms selling for 454,000-3,836,000 AED. And the luxurious JVC 5 bedroom villas range up to 3,265,000 AED and are great options for someone looking for added privacy. There is a no doubt, this place is indeed a good place for property investment.

In a nutshell, along with exceptional community features, properties in Jumeriah Village provide residents with wide ranging options and village life in an urban city setting; just like the Jumeirah Village Triangle.

Slow-paced life

When living in Jumeirah Village Circle, get ready to ditch the hustle and bustle of city life. It is usually calm and peaceful, and therefore may not be an ideal pick for youngsters looking for a fast city life.

It is important to own a private car when you are residing in JVC, because of the lack of public transportation. The area is notoriously limited to taxis and buses but has invited a new feeder bus J01 operating every 20 mins to the Mall of Emirates.

Top Attractions Near Jumeirah Village Circle

If you are living in or around JVC district, remember there is no room for boredom. Besides the JVC’s dining, local parks and entertainment zones, the area has a lot more to offer. Here are some of the top attractions near Jumeriah Village Circle.

Sunset and Marina Beach

Ski Dubai

Dubai Miracle Garden

Al Salam Mosque

Motor City

Zero Gravity

Jumeirah Lake Towers

Dubai Sports City

Dubai International Stadium

One Last Thought:

If you are considering living in JVC, remember that the pros outweigh the cons. The gated community is highly impressive with its amenities and surroundings. So yes, it’s a sweet spot for couples, large families and individuals.

Over the few years, the place has transcended to be one of the most popular residential destinations in Dubai, with much credit to its affordable pricing, high quality living and unequaled experience.

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A WHOLE LLAMA LOVE: I LEFT MY HEART IN SAN FRANCISCO

Wow, a lot has happened since the last time I wrote a blog. Things have been very busy in Andahuaylillas, which leaves me little time to write. Since my trip to Lima, I have stayed with my host family, spent the month of February in meetings for my job, started my job in March, changed my immigration status, went on our mid-year retreat, celebrated my birthday, and hit the eight month mark. Time has flown by with the amount of things I have on my plate, but I have learned a lot about myself and how I have leaned into my commitment to the JVC thus far.

Community at its finest

One of the biggest things that I realized early on into my JVC experience was how much I value my family and friends. These people have always been a priority in my life, so it was a shift from being around them on the daily to being separated by a new time zone. Staying with my host family for a few weeks really eased my homesickness and gave me a sense of family that I was missing. My host family reminded me so much of my nuclear family because of the mother daughter dynamic that I was living in. My host family consists of my host mom and my 23 year old host sister. I loved being able to have a host sister that is so close in age to me. It was easy to relate to her given her extracurricular activities and that she was still in school. While with my host family, I felt like a real member of their family because I did everything with them. I went to swim lessons with my host sister, grocery shopping with my host mom, and watched all the danzas for San Sebastian. This was definitely the highlight of staying with my host family because for a whole week, the district celebrated San Sebastian with dances, masses, and food. I loved going to this with them because I could see how important the saint was not only to this community, but also to my host family. 

I left my heart in San Francisco

High on a hill, it calls to me

To be where little cable cars climb halfway to the stars

The morning fog may chill the air, I don't care

(Tony Bennett)

Knowing that I had the support of my host family, JV community, family, and friends,  I was in a good space when work started. February was filled with meetings learning about the purpose of the social program and the curriculum, redesigning my sala, and planning my activities for March. Even though the preparation period was long, I knew I was given the tools to do my best work when the kids would come. The first day of social programs and everyday since has been filled with special moments. My day starts with prep time in the morning, which allows me to clean my sala and prepare my session for the afternoon. At 1:30PM kids start coming for lunch from The Escuelita and Fe Y Alegria, the two schools our social programs serve. After lunch the kids can enter the ludoteca (a huge indoor playspace), the biblioteca (library), the sala de lectura (a space to read), or the sala de computo (computer classroom, which is where I work). I try to make my sala as dynamic as possible in terms of layout and activities. I designed my sala to highlight the importance of working as a team, so the kids work in pairs when they are in the sala. I also have a portion of the wall dedicated to the art my students draw for me. In terms of the activities I plan, I try to make them as fun as possible. Every social program has a curriculum we have to implement throughout the year, so there is a lot of freedom in the way I plan my sessions. So far, I have done activities with all the microsoft programs and a typing website. Additionally, when I finish an activity the kids can do their homework, practice their typing skills, play chess, draw, or play educational games that fine tune their math, writing, and coloring skills. On days when I do not have planned activities, I help out in the biblioteca with homework until 3:30pm when I open my sala. In addition to my work at the parish, I teach Zumba to primary and secondary school students at Fe y Alegria on Wednesdays and Thursdays. These days are my favorite days because I get to see some of my favorite students in their academic environment. Fe y Alegria is such a fun place to teach Zumba because the kids voluntarily elect to participate because we teach the class during their break. I love teaching my students at Fe y Alegria because I really get to see them have fun and be kids. Zumba has definitely been one of the most rewarding decisions I have made in Peru because it is something that keeps me authentically myself while serving the greater Andahuaylillan community. 

Jueves de Zumba

My love waits there in San Francisco

Above the blue and windy sea

When I come home to you, San Francisco

Your golden sun will shine for me

(Tony Bennett)

Zumba has always held a special place in my heart. Since my first class at Regis with my friends, to taking classes with my mom in the city, I knew that I would teach zumba. Zumba is something that keeps me connected to my family and friends because they are still doing it in the US while I am in Peru. Teaching Zumba on my birthday was one of my favorite memories because my sister was there. She started my day off right by making me a special breakfast and picking out matching outfits for us, in true twin fashion. When it came time to teach Zumba I was so excited because it was my special day and this is what I love to do. The class started out just like we normally do, with me, my sister, and the other instructor on the top level of the school´s amphitheatre. We taught a lot of our material when I saw that the school ́s principal walked up to where we were and grabbed a microphone. I thought this was strange since she has never done this before, but just continued doing my dance moves. Then the music stopped and she started announcing that it was my birthday and all the kids rushed to where I was and group hugged me. This was the best surprise I could have gotten for my birthday because I was being showered with all the love.

My birthday and Bun

All the love I received on my birthday continued to happen in the days that followed. A couple of weeks after my birthday I celebrated my eight month Andaversary, and while I was talking to my best friend back home she told me that I was ⅓ of the way completed with my commitment to the JVC. This number was so surprising because it makes it real how long I have been in Peru. Every month I celebrate an Andaversary I am proud of myself for my growth and commitment to my community, my job, and Peru. I am proud of how far I have come and cannot wait to see what is in store for me these next 16 months!

Eight months with the gang

[thesunlounge]

Reviews 227: Kankyō Ongaku

In 2017, Light in the Attic initiated an ambitious project, one seeking to survey and contextualize the modern musical history of Japan. The first release in their so-called Japan Archival Series was Even a Tree Can Shed Tears: Japanese Folk & Rock 1969 -1975, an extensive celebration of Japan’s “New Music” scene. One of the artists that emerged from this era was Haruomi Hosono, whose discography the label visited during 2018 as part of their Haruomi Hosono Archival Series (which I covered extensively here), taking a slight detour from the more general overview of modern Japanese music to celebrate one of the world’s most enigmatic and creative sonic minds. And now, at the start of 2019, Light in the Attic’s Japan Archival Series resumes with the stunning Kankyō Ongaku: Japanese Ambient, Environmental, & New Age Music 1980 - 1990. 

An introductory essay by project mastermind Spencer Doran (and a complimentary Vinyl Factory interview) paint an incredible picture of unique moment in history, when the lines between pop art, science, corporate capitalism, and new age healing all seemed to blur together. Heady modern philosophies inspired by Eno, Satie, and ancient musical traditions such as Hosono’s “oceanic feeling” and “sightseeing music,” Satoshi Ashikawa’s notions of passive environmental ambiance, and Hiroshi Yoshimura’s modes of silent tranquility all came to life within a period of great economic prosperity and technological advancement, which afforded the myriad artists and sound designers new methods and experimental avenues to display their vibratory art. This was a time when corporations, exhibition curators, theater producers, fashion designers, and advertisers all sought out musical explorers, both popular and obscure, to create wonderfully experimental compositions in conversation with the environments that surrounded them….a time when you could walk through a museum or department store and hear deeply mystical or adventurously cosmic music spilling out into the air. As well, the essay traces how Japanese environmental music, or kankyō ongaku, adapted and expanded over time, specifically its folding in of new age textures and natural field recordings as people sought an escape from the frantic energies of modern life. 

Visually, the collection is adorned with gorgeous photography of the Fumihiko Maki-designed Iwasaki Art Museum, a location and architect that both play a large role in this musical story. And beyond the introductory essay, there are well-researched descriptions and bios by Spencer and Yosuke Kitazawa that provide context and history for each and every track, with contemporaneous photos, fliers, and album covers accompanying the words. Musically, the set comprises a completely immersive and beautifully sequenced experience, one that features glowing electric piano dreamscapes, minimalist organ psychedelics, aquatic synth experimentations, spiritual stone meditations, tropical fusion glides, kosmische sound baths, underwater ambient adventures, and so much else besides. In this way, the compilation is also positioned within a larger context…a sort of global movement of space music, new age, and ambient that Light in the Attic has been exploring via their I Am the Center and (The Microcosm) collections, with Kankyō Ongaku seeking to do for Japan what those releases did for America and Europe, respectively. 

Kankyō Ongaku: Japanese Ambient, Environmental, & New Age Music 1980 - 1990 (Light in the Attic, 2019) Though his life was tragically short, Satoshi Ashikawa looms large in the world of kankyō ongaku, not only for his compositions and philosophies, but also due to working at the influential Art Vivant book and record shop, a sort of cultural hub and early importer of avant garde, ambient, and minimalist music within Japan. His “Still Space” sees crystallized FM pianos moving through starlight note clusters and atonal chord bursts, with a backing of vaporous string swells. The sounds evoke leaves blowing in the wind and slow motion ripples on the surface of a pond and Satoshi is just as interested in silence, with chasms of empty space sitting between the patient, methodical, and meditative melodies. Yoshio Ojima’s “Glass Chattering” is taken from Une Collection Des Chainons: Music for Spiral, his 2xCD masterwork created for Wacoal’s Spiral building…another important architectural space within the environmental music scene designed by Fumihiko Maki. Underwater computer sequences sound like seafloor vents letting out streams of liquid glass while space flutes swim overhead. The dazzling electronics briefly recede, leaving synthetic woodwinds to intertwine and flow freely. And once the vibrant sequential patterns return, melancholic orchestrations are discernible within their movements, only obscured by watery percolations. Pale synth streaks drift on echowaves then fade away during a false ending, with the silence soon replaced by a looping vortex of polychromatic music boxes and shimmering chimes with gentle pads walking underneath…their spacious notes decaying through reverb caverns.

One of my favorite aspects of this compilation is how it goes out of its way to pay tribute to Hideki Matsutake, the un-official fourth member and sound programmer of Yellow Magic Orchestra and expert synthesizer technician who rarely gets his due. “Nemureru Yoru” was originally conceived as a novelty sleep aid and is presented here in its instrumental form. Wavering pads and whistling sequences generate playful vibes of childlike wonder before fading into a phaser-blasted drone expanse, wherein pillowy 808 kicks sit below synthetic approximations of traintrack clicks and dripping liquids. And as heatwave static mirages create psychedelic patterns that wrap around the body, dreamtime arps constructed from filtering feedback flutters lull the mind into relaxation. Then comes a track by Ayuo Takahashi, who spent his teens jamming with Ryuichi Sakamato and those lords of molten psychedelia Fushitsusha before embarking on an adventurous solo career marrying modern electronics and ancient and medieval musical traditions. “Nagareru” is intensely beautiful and starts with gentle piano arpeggios intertwining with waterfall solo cascades as shimmering bell strands and twinkling chime vibrations suffuse the background. String synths and kosmische organs swell with majestic orchestrations while Ayuo’s piano journeys into the clouds…all setting the stage for the introduction of Koharu Kisaragi, a radiant goddess whose cosmic angel voice soars through gaseous fx layers and star ocean expanses.

Of all the artists appearing here, Joe Hisashi has one of the most storied careers. He’s a musical polyglot, equally comfortable exploring anime and video game OSTs, classical music, and vocal pop. But for Kankyō Ongaku, we focus on Joe’s more obscure and psychedelic side with Wonder City Orchestra’s “Islander.” Owing to his early interests in American minimalism, “Islander” is deeply indebted to Terry Riley, with bubbly organ patterns moved over by ring modulated steel drum sequences and aquamarine pad swells. Rainforest drum panoramas work into the mix with rolling finger motions and sunshine rhythm energies while kosmische organ smears swirl like a galactic gas cloud. And best of all, psychoactive organ pulsations fly through time-lag accumulators, creating rapid motion dreamspells and hypnotizing crystal cascades. Yoshiaki’s Ochi “Ear Dreamin’” is another piece closely associated with Wacoal and the Spiral Building, though it was originally written as part of a stage performance entitled Natural Sonic from 1983. Layered mbiras, balafons, bell-tone shimmers, and lullaby chimes work together as whistling melodies fly through the sky…everything coming together for a polyrhythmic dance of idiophonic magic. Mermaid choirs float up from deep sea depths as wooden planks vibrate, metal tines oscillate, and bulbous gourds rattle and dazzling solo flights occasionally break-free from the Afro-minimalist dream weavings.

The liner notes cast Masashi Kitamura as somewhat of an outsider, one more involved with Japan’s prog, punk, and noise scenes than anything overlapping with kankyō ongaku. However, “Variation·III” from 1984, which was released with his band Phonogenix, fits nicely within this compilation’s larger sonic aesthetic, as triangle chimes ring out over waves of water and static. Bleary ambient tones drift in…as if funereal choirs and swells of synth and guitar ambiance have been submerged within a viscous gray fluid. Thunderous drum smacks sit loudly in the mix while mutating vibrato waves and currents of burning noise wash over the mind and at some point, bowed string instruments scream into the void. One of several Haruomi Hosono-produced tracks here is “Park” by Interior. Clicks and snaps background impressionistic smears of synth brass while drunken sequences dance through fragile melodies. Time flows in nonsensical ways and everything cycles according to a hazy dream logic as the track builds towards a climax of whip-crack drum fx and heavenly organs playing spring meadow hymns. The next track was produced by Sankai Juku dance troupe director and SCI Prophet-5 wizard Yoichiro Yoshikawa for a documentary series called The Miracle Planet (NHK, 1987). In “Nube,” galactic revolutions of aquatic synthesis surround massive bass waves and obscured male choirs that mutate through tremolo breaths. Thrilling filter ascents are immersed within sea-blue vortices and currents of black fog while elsewhere, feedback wisps and spiritual drone baths circle together.

Yoshio Suzuki has a rather impressive jazz background, having worked with titans such as Art Blakey and Sonny Rollins during the 70s before exploring softer sounds in the 80s via the use of synthesizers. Taken from Morning Picture, which was produced as part of series of ambient home listening releases by JVC, “Meet Me in the Sleep Meadow” finds hallucinatory synth pianos swimming through a thick haze, with all sorts of magical modulations added via tape warble and wow’n’flutter. And as Yoshio’s gentle Oberheim fantasias move above wispy swells, I’m reminded of the spaciousness and meditative wonder found in Satoshi Ashikawa’s work. Ryuichi Sakamoto needs no introduction and his “Dolphins” (from a dance piece by Molissa Fenley called Esperanto) is utterly beguiling, with aqueous swells of heaven bringing in reverb-smothered piano chords that seem to decay from infinite clifftops. Backwards flowing noise hazes and sea-form delay sprays sit above cut-up voices, skittering cyborg loops, staccato conversations, and droning machine breaths, all while Yas-Kaz’s improvised marimbas dance on sunbeams. One of the most interesting pieces here comes from Toshi Tsuchitori, originally a jazz drummer who drifted towards archeological musicology and ancient instrumentation. His “Ishiura” is played on sanukaito stones and sees earthen energies flowing forth from vibrating volcanic rocks. A tambourine rattles softly as Toshi creates vocal tremolo waves and overlapping resonances from stone, with his soft taps and violent bursts sometimes evoking wind chimes, other times a gamelan ensemble.

Shiho Yabuki is yet another figure who started in the world of jazz and then opened up her sound via synthesizers and research into traditional musics. In “Tomoshibi,” which is part of an album dedicated to the 1200th anniversary of the Enryaku-ji monastery, gemstone feedback fluids waver through the void…as if hallucinatory streaks of sonic mesmerism are flowing forth from a string instrument made of pure crystal. Soft plucks generate massive rainbow wavefronts while celestial zithers cascade on echo-currents and as it progresses, the track evolves into a hypnotic dance of purifying feedback melodics and Laraaji-style deep sea new age. Toshifumi Hinata produced “Chaconne” with his brother Daisuke, who was a member of Interiror. The song comes from Toshifumi’s first album Sarah’s Crime and presages his breakthrough as a TV and film composer.  We begin with sirens calling out from an island of dreams…their voices flowing through pearlescent clouds of self-oscillating delay magic and constantly threatening to spill over into resonant feedback chaos. Cosmic harpsichord sequences dance through asteroid fields and melodious bass pads flow out from the center of the cosmos with lush symphonic movements and shadowy dream transitions. Klaus Schulze-style key changes swim within a kosmische sound bath…the sequences and melodic fogs sweeping upwards through minor and major key ecstasies as pianos splash through tide pools of ether.

The adventurously far-out career of Yasuaki Shimizu intersected often with the world of kankyō ongaku, many examples of which were collected on 1987’s Music for Commercials. “Seiko 3” comes from this release and sees Yasuaki scoring a Seiko watch commercial alongside sound designer Seigen Ono. But this seemingly shallow corporate concept betrays the deep mysticism of the music, as starlight sequences and ever-flowing chime strands descend across universal expanses. Pulsing brass pads blare out and gentle submarine pings float through the ether while breathtaking polysynth movements swell in strength…the soul floating towards a cloud paradise of unimaginable color before it all cuts away. The krautrock and kosmische inspired synth fantasias and pastoral prog dreamscapes of Inoyama Land caught the attention of Haruomi Hosono in the early 80s, whole then produced and released their stunning Danzindan-Pojidon LP. “Apple Star” comes from that album and explores sunshine minimalism as played on alien sequencers. Filtering and morphing synths dance in each ear with hypnotizing patterns of futurist psychedelia while  Solina string orchestrions fly through ecstasy phasers. Hosono’s water tank delay system gives the whole track a sort of mystic sic-fi aura, as ancient earth materials are used for space age purposes. Sparkling chime strands work into the mix…these thrilling descents up and down the scale that weave fairytale polyrhythms and seascape panoramas, all while the ever pulsating keyboard patterns induce paradise trance states and interstellar string melodies swell the heart.

Like Satoshi Ashikawa, the influence of Hiroshi Yoshimura on kankyō ongaku is hard to overstate…an intrepid pioneer and cultural historian who wrote extensively about sound art and whose music found its way into “prefab model homes, train stations, public pavilions, cosmetic companies, and fashion shows,” in addition to traditional avenues of release. “Blink,” taken from Music for Nine Post Cards, is built around dreamy electric piano conversations that flow across the stereo field. Inspired by the view from Hiroshi’ss window, the music evokes cloud shadows moving over serene landscapes, hypnotic snowfall motions, grey waves crashing to shore, boats rocking gently in a paradise lagoon, the growth of grass, and the fluttering of butterfly wings. And ever so often, the hazy piano dream weavings are back by softly swelling strings and ambient orchestral gases. Cosmic prog and stoner psych legends Far East Family Band proved to be fertile breeding ground for new age music, with Kitaro, Fumio Miyashita, and Akira Ito all going on to have long careers of exploratory sonic healing. Fumio Miyashita’s “See the Light” appears here and begins within a world of soul-cleansing sonic mesmerism. Smeared out pads hover on the horizon and bass synths waltz though a forest clearing…the warm and enveloping notes moving through dew-soaked meadows while flowers open to the sunrise. As regal french horns stretch into a mystical haze, airs of Indian classical music start suffusing the harmonious drones…the track evolving into a sort of sunrise raga colored over by relaxing modulations.

As just mentioned, The Far East Family band also launched the career of new age nature healer Akira Ito, who spent a long and productive career exploring the theme of yasuragi (translated in the liner notes as “peace of mind”). “Praying for Mother / Earth Part 1” sees a Floydian space prog ceremonial hovering above a mystical river. Rick Wright-style synth brass meditations and luminescent black hole drones recall “Shine On You Crazy Diamond” while bell-tone sequences fade in and out of the galactic ether. Frogs, birds, and insects grow increasingly ecstatic while helicopter oscillations swarm within a dark sonic mist and moving towards the end, celestial pads and angel voices join together for enchanting songs of sadness. Perhaps my favorite piece here comes form Takashi Toyoda, something of a child prodigy with an incredible range as evidenced by his participation in both the New Japan Philharmonic and the Taj Mahal Travellers. In “Snow,” trance inducing minimalist patterns swim through an astral sea of dreams as flutey synth bubbles dance around dreamworld melodies of overwhelming beauty. Majestic key changes sweep the spirit away to cloud castle utopias where pure white snow falls onto the slopes of an eternal mountain....the whole thing strongly evoking Emerald Web. And the ethereal vibes of harmony are pushed over the edge by Takashi’s lonely violin fantasias while golden gloss drops of feedback descend onto the mix like shooting stars. It’s one of the most magically transportive tracks I’ve ever heard…the kind of music that could heal the world...with pure starshine flows of light and love immersing the soul.

Jazz fusion and synthesizer master Jun Fukamachi appears with “Breathing New Life,” which was originally produced to accompany a fashion show. Ritualistic drums move side to side as ceremonial metals swell. Space winds blow over bubble-synth sequences…these softly squelching dream patterns flowing beneath feedback streaks and joyous drum clatters. Marimba solos dance on tropical clouds and bring vibes of island balearica and solar fusion, while swelling choirs radiate shadow energies. And as golden glitter hazes rain over the mix, ethereal voices and epic atmospheres wrap the heart in hues of sky blue and sunset orange. The inclusion of “Loom” by Yellow Magic Orchestra is another tribute to Hideki Matsutake, as this is the only YMO song co-written by Hideki. Based around the Shepard-Risset glissando illusion, the track keeps the mind and body in a constant state of anxious anticipation as interlaced sine waves continually ascend. There is a powerful yearning for melodic alignment...some sort of heavenly convergence of harmony and sonic power and indeed such a moment eventually arrives as massive pipe-organ dronewaves fly forth and recall the score of 2001: A Space Odyssey. All the while, ping-pong balls made of electronic energy bounce through infinite hallways and as the towering organ chords recede, they leave behind a contemplative weaving of blurred synthesis, with springtide orchestrations reso-filtered into glowing phaserfluids.

Takashi Kokubo’s Get at the Wave has featured prominently on this blog, and shows up here in the form of “A Dream Sails Out to Sea - Scene 3.” Seafloor choirs diffuse through flowing ocean layers alongside aqueous pinging tones and cascading pianos. The strange asymmetrical floating motions of exotic sea-creatures are evoked by drunken tremolos and warbling delays and eventually, the pianos work into a swooning post-classical love song as long flowing chime strand intertwine with wondrous harp runs. Masahiro Sugaya’s “Umi No Sunatsubu,” like most of his recorded work, comes from a theater production by the group Pappa Tarahumara (called Zoo of the Sea). Plinking upright pianos are close mic’d, with multiple layers drifting over each other. The sounds are old and detuned with no fx or overt production tricks…just strange ivory mesmerisms moving untethered through space and time. Kankyō Ongaku ends perfectly, with an expansive polysynth solo meditation from Haruomi Hosono called “Original BGM”. Here he is…stripped free of the concepts, the ironic humors, the sort of mercurial distance he typically maintains…baring his heart and soul through warm fantasias of synthetic brass. Sometimes he dances through single note dream spells, the decaying tails wavering through balmy modulations. Other times, hovering chord clusters transitions into descending runs that seem to fall over themselves, with occasional flights into soaring resonant feedback. It’s ethereal, exploratory, and deeply entrancing…a relaxing and impressionistic rendering of the cycles of nature.

(images from my personal copy)

[swanandcmiprs]

EARPHONE AND HEADPHONE MARKET ANALYSIS (2020-2027)

Market Overview

Headphones are a small pair of wearable loudspeakers that either worn on or around the head over a user’s ears. In other words, they are electroacoustic transducers that convert electric signals to the corresponding sound. Headphones connect to a single source of the audio amplifier including radio, mobile phones, portable media player, CD player, video game console or electronic musical instrument. It is either connected with a cord or wireless technology such as Bluetooth, FM radio or DECT. Wireless headphones and earphones include over-the-ear, behind-the-ear, in-ear, and other wearing options. It includes Bluetooth enabled and noise-canceling headphones.

The global Earphone and Headphone Market was accounted for US$ 15,985.4 Mn in terms of value in 2019 and 378.7 Mn units in terms of volume is expected to grow at CAGR of 7.0% for the period 2020-2027

Market Dynamics- Drivers

Increasing mobile device penetration is expected to drive growth of the global earphone and headphone market during the forecast period

Adoption of mobile devices, especially tablets and smartphones has increased significantly in countries such as India, Indonesia, Brazil, and China. This adoption is due to increasing internet penetration and rising popularity of online music mobile streaming in these countries. According to the Coherent Market Insights’ analysis, smartphone shipments worldwide have increased from 1.1 billion units in 2013 to 1.2 billion units in 2014, of which 45% smartphone units were shipped in China in 2014. Moreover, rising trend of e-banking, mobile shopping, BOYD is boosting adoption of smartphones and tablets and thereby driving growth of the market in the near future.

Presence of a strong distribution network is expected to propel the global earphone and headphone market growth over the forecast period

Key companies in the market relying on strong distribution channels such as multi-brand distributors and retailers of headphones and earphones, in order to enhance the market presence and gain a competitive edge. According to Coherent Market Insights’ analysis, online retailing is becoming the most popular distribution channel in emerging markets such as China, Indonesia, Brazil, and Russia. In Asia, e-commerce sales recorded growth of 36% reaching US$ 615 Bn in 2014 as compared to that in 2013. Thus, these factors are expected to support the global earphone and headphone market growth over the forecast period.

Statistics:

Asia Pacific held dominant position in the global Earphone and Headphone market in 2019, accounting for 36.8% share in terms of value, followed by Europe and Asia Pacific, respectively

Figure 1: Global Earphone and Headphone Market Share (%), in terms of Value, By Region, 2019

Market Dynamics- Restraint

Rising threat of piracy and counterfeit products is expected to restrain growth of the global earphone and headphone market during the forecast period

Piracy and counterfeiting of products is a major threat to the market growth. The materials used in the production of these earphones and headphones are of substandard quality with low quality and durability. However, pirated products are offered at a fraction of the price of original products and hence are majorly preferred in emerging economies such as India and China. Thus, the presence, of counterfeit products is expected to restrain growth of the global earphone and headphone market during the forecast period.

Absence of standardization is expected to hinder the global earphone and headphone market growth over the forecast period

Lack of standardization in technology and components used for manufacturing headphones and earphones, especially by medium- and small-size companies is another factor hindering the market growth. Furthermore, inadequate standards in the market lead to high product and price differentiation, which in turn, is expected to hamper the global earphone and headphone market growth in the near future.

Market Opportunities

Merger and acquisition activities among key players can present major growth opportunities

Major companies in the market are focused on merger and acquisition activities, in order to capitalize on opportunities and gain a competitive edge in the market. For instance, in 2014, Apple Inc. acquired Beats Music and Beats Electronics, a subscription-based streaming music service provider, for US$ 3 billion. The primary goal of this acquisition is to expand its product portfolio related to earphones and headphones.

Growing demand for wireless headphones and earphones can provide lucrative business opportunities

Consumers are increasingly preferring wireless headphones and earphones, owing to sophistication and ease of use provided by these products. Key companies in the market are focused on manufacturing trendy and innovative wireless headphones and earphones to cater to rising demand from fashion-conscious consumers. Furthermore, technological advancements have led to the development of lightweight and compact earphones and headphones. Manufacturers are incorporating advanced features such as Wi-Fi, Bluetooth, and SKAA in wireless headphones and earphones for an increasing number of tech-savvy consumers.

Figure 2: Global Earphone and Headphone Market Value (US$ Mn), 2017 - 2027

The global Earphone and Headphone market was valued at US$ 15,985.4 Mn in 2019 and is forecast to reach a value of US$ 27,535.7 Mn by 2027 at a CAGR of 7.0% between 2020 and 2027.

Market Trend

North America Trend

The demand for ergonomically designed earphones and headphones is rapidly increasing, especially in the U.S. and Canada and is expected to continue during the forecast period. Increasing the adoption of sports and recreational activities in the region is another factor influencing manufacturers to introduce earphones and headphones for sports and fitness activities. Unified Communication headset is gaining traction for office purposes in the U.S. and Canada. Moreover, on average consumers in the region own three to four pairs of headphones/earphones.

Western Europe Trend

Premium headphones and earphones are gaining traction, especially in the U.K, France, and Germany. This is owing to rising disposable income and high fashion sense in the region. Purchase of earphones and headphones though online channels are gaining massive popularity in Western Europe, owing to high penetration of mobile broadband in the region. Moreover, earphones and headphones with multi-layered air damping technology and flexible swivel design are gaining popularity, especially among audiophiles in Western Europe.

Competitive Section

Key companies involved in the global earphone and headphone market are Harman International Industries, Inc. (AKG), Beats (Apple Inc.), Plantronics Pty. Limited, Audio-Technica Corporation, Sennheiser Electronic GmbH & Co. KG, Bose Corporation, Sony Corporation, Philips Electronics Ltd., JVC Corporation, and GN Netcom (Jabra).

Key Developments

Key players in the market are involved in product launches, in order to expand the product portfolio. For instance, in January 2020, Harman International Industries, Inc. introduced new AKG K361-BT and K371-BT professional studio headphones with Bluetooth connectivity.

Major companies in the market are focused on product development, in order to gain a competitive edge in the market. For instance, in September 2018, Plantronics Pty. Limited introduced a range of five wireless headsets across its BackBeat Go and BackBeat FIT lines in Australia.

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Source: https://www.coherentmarketinsights.com/market-insight/earphone-and-headphone-market-3799

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A guide to living in Jumeirah Village Circle

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Living in JVC is like having a beautiful landscape around you throughout. It is crowded with an array of amenities along with spacious gardens and outdoor areas. It is an exceptional place to live in for all age groups, especially senior citizens and school children. This realty development has a tranquil village setting with canals and parks surrounding the villas, apartments and townhouses.

Multitude facilities

 Jumeirah Village includes a list of shops, outlets, restaurants and more facilities. When living in Jumeirah Village Circle, get ready for some added flair of convenience. The space is packed with a list of outlets including popular supermarkets, restaurants, men & women salons, coffee shops, spas, bakeries, fashion stores in the circle mall, cosmetic outlets, medical facilities, dental clinics, kids world nursery, gyms, travel & tourism planners and much more.

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JVC enjoys a prime location with an accessible distance from most areas in Dubai. Having a central location, Jumeirah Village Circle is an easy-to-commute place. Only a short drive away from most of the malls, resorts, golf clubs and many popular destinations like Jebel Ali Free Zone, Dubai World Central Airport, Emirates hospital day surgery, Dubai Marina, Downtown Dubai, Internet City, Jumeirah Beach Residence, Dubai Miracle Garden and more.

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