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Everything popular is wrong: Making it in electronic music, despite democratization. Stefan Goldmann on why Web 2.0 can work for you but won’t for most, where all the money went and how working against the market consensus can be a winning strategy.

Everything popular is wrong: Making it in electronic music, despite democratization

Electronic music. What we believed for a long time was that anyone with a bit of talent had a chance at a career of about ten years before eventually retiring from the circuit. Of course there are exceptions for whom this does not seem to apply. Francois Kevorkian has probably had the longest career here (unless we count Kraftwerk as part of our little world); and it’s hard to imagine techno or house without Richie Hawtin, Jeff Mills or Laurent Garnier. That’s the good news: it does not necessarily have to meet a predetermined end.

Let’s clarify “barriers”: in the old days of the music business, which was basically before the end of the 1970s, the main barriers to “making it in music” were studio time and access to distribution. What a typical recording studio once looked like The world is at your fingertips Nasdaq studio. LWE Interviews Uwe Schmidt (Atom™) Photo by Caro Faruolo In this interview we chat with Uwe Schmidt about his recent work and his observations on the challenges surrounding contemporary music.

LWE Interviews Uwe Schmidt (Atom™)

The prolific musician’s discography and list of aliases are but a trace of his sundry activities that juggle multiple processes and concepts. Schmidt started making acid house and techno in Frankfurt in the 1980s under a number of aliases including Atom Heart. As the years went on, he navigated various forms of electronic music through his recordings for Pete Namlook’s FAX label and his own Rather Interesting. Relocating to Santiago in 1997, Schmidt has since incorporated into his repertoire a number of projects fusing electronics with Latin instrumentation and rhythm, most notably as Señor Coconut.

Seemingly like a backlash against minimal techno, there is now a widespread revisitation of various forms of “classic” electronic dance music. I wouldn’t say that this particular album was a critique. Photo by Dieter Wuschanski. OMGVinyl. Downliners Sekt "Soul Débris" by downliners sekt. Test Pressings begin to flood the market - Demdike Stare #1. Mar 31 2013 The new Demdike Stare 12″ has a nice twist to the packaging and design.

Test Pressings begin to flood the market - Demdike Stare #1

It comes in a paper sleeve, housed in a second thin PVC protective cover with an A4 insert and labels that are either black or white for sides A and B. On the front are instructions that customers would see if they had ordered their own set of test pressings to approve before a release. For those that don’t know, once a record is finished it goes to a cutting house where they make a master ‘lacquer’ of the disc on a large lathe in real time. That lacquer is then sent off to the pressing plant and a small number of ‘test’ pressings are made, usually called ‘white labels’ due to the fact that a white label is pressed onto the centre where the regular label would go. The new release is the first in a series of ‘Test Pressings’ by the duo and the cover sets out the various steps you should take when getting such a pressing yourself. Stella Baruk : la musique des mathématiques (rediffusion de l'émission du 28 juin 2012) - Sciences. Club Science publique : Existe-t-il une musique des astres? - Sciences.

Une image du Soleil prise le 17 janvier 2014 © Nasa Rares sont les films de science-fiction dans lesquels on n’entend pas le vrombissement des vaisseaux spatiaux dans l’espace ou le son strident des tirs de missiles et autres armes laser...

Club Science publique : Existe-t-il une musique des astres? - Sciences

Le premier cinéaste, semble-t-il, à avoir respecté le silence spatial est Stanley Kubrick avec 2001 l’Odyssée de l’espace en 1968. Une rigueur scientifique qui s’est transformée en audace cinématographique efficace car, dans le silence total, certaines scènes de ce film culte ont gagné en intensité dramatique. Pourtant, l’association intime entre espace et bruit ou musique ne date pas du cinéma. Le mystère de Stonehenge enfin levé? - Sciences. Le site de Stonehenge. © Reuters Les pierres bleues géantes qui constituent le site auraient été choisies à cause de leurs propriétés acoustiques, selon les chercheurs. « Le son n’avait jamais été considéré comme une explication jusqu’à maintenant », affirme le chercheur Paul Devereux à la BBC.

Le mystère de Stonehenge enfin levé? - Sciences

On sait depuis les années 1920 que les pierres ont été transportées sur 320 kilomètres par les personnes qui ont construit Stonehenge. La raison pour laquelle une si grande distance avait été parcourue restait un mystère . Lors de l’étude, des milliers de rochers, provenant du même endroit que ceux utilisés pour le monument, ont été testés. Concert à l’âge de pierre.