A Documentary Directed by Amélie Ravalec
Produced by Les Films du Garage.
This 52″ Documentary tells the story of an Underground Movement, From its beginning until now.
Born in Detroit in the late 80s, Techno met its audience a few years later in Europe, as the UK, Germany, France and many other countries started to host the foundations of a Techno scene.
It is mostly focused on Paris and Berlin. Two different cities, two different tales, but techno grew up in in both, from secret underground parties to huge clubs, from a small faceless movement to an established business and vinyl to digital.
The Documentary Features those in the scene who kept it true to its original spirit.
About twenty People trace the evolution of techno over the years. They all have different profiles:
DJ, Producer, Label Manager, Promoter, Record Shop Owner… But all share a common passion: TECHNO.
Synth Britannia – The Great British Synth Documentary.
Synth Britannia is a documentary following a generation of post-punk musicians who took the synthesiser from the experimental fringes to the centre of the pop stage.
In the late 1970s, small pockets of electronic artists including the Human League, Daniel Miller and Cabaret Volatire were inspired by Kraftwerk and JG Ballard and dreamt of the sound of the future against the backdrop of bleak, high-rise Britain.
The crossover moment came in 1979 when Gary Numan’s appearance on Top of the Pops with Tubeway Army’s Are Friends Electric heralded the arrival of synthpop. Four lads from Basildon known as Depeche Mode would come to own the new sound whilst post-punk bands like Ultravox, Soft Cell, OMD and Yazoo took the synth out of the pages of the NME and onto the front page of Smash Hits.
By 1983, acts like Pet Shop Boys and New Order were showing that the future of electronic music would lie in dance music.
Contributors include Philip Oakey, Vince Clarke, Martin Gore, Bernard Sumner, Gary Numan and Neil Tennant.
(this was taken from the site http://www.bbc.co.uk/programmes/b00n93c4)
CHELSEA — The historic Church of the Holy Communion in Chelsea may now be an upscale mini-mall, but a new film transports viewers back to a time when the building housed the notorious Limelight nightclub.
Tribeca Film Festival documentary “Limelight,” produced by the daughter of club owner Peter Gatien, held its world premiere Friday night at the School of Visual Arts Theatre, the same day it secured a global distribution deal with Magnolia Pictures.
The film examines the rise and fall of Gatien, who was arrested on tax evasion charges in 1996, set against the backdrop of former Mayor Rudy Giuliani’s quality of life campaign and the Drug Enforcement Administration’s war on ecstasy.
Gatien, a Canadian who built a club empire beginning in the 1970s that included Tunnel, Palladium and several other Limelight locations, was acquitted of most of the tax charges and served 60 days in jail.
On the red carpet Friday, former Limelight fixtures reflected on the transformation of the Limelight space and Manhattan as a whole.
“Giuliani wasn’t the enemy — the enemy was that it got too big,” former manager Steven Lewis said of the club, which was shuttered several times by police for drugs.
The hotspot, which first opened in 1983, gained infamy after party promoter and regular Michael Alig killed and dismembered drug dealer Angel Melendez in 1996.
Lewis said that the city lost something with the demise of Limelight in 2001. The club was a place where a diverse mix of DJ’s allowed hip hop fans and hipsters to party in one place.
“If Mozart would have walked into Limelight, he would have said it was cool,” he said.
The club on 20th Street and Sixth Avenue also represented a time when artists, musicians and fledgling fashion designers had more pull with bouncers than they do today, according to Miami-based director Billy Corben (“Cocaine Cowboys.”)
“Now, your barrier to entry is your credit card limit,” Corben said, citing $25 cover charges at other clubs.
But more than anything else, Corben and producer Alfred Spellman said they simply hope the film will provide audiences with a larger sense of context, and the ability to judge for themselves whether or not the club’s and Gatien’s fates were just.
“New York is certainly safer, cleaner and more family friendly now,” said Spellman. “But maybe less creatively vibrant.”
As for the luxury marketplace that now operates in the church hall once home to pounding bass lines, Lewis said he enjoys it and is happy to see the space in use.
DJ Junior Vasquez, on the other hand, expressed dismay at the year-old Limelight Marketplace.
“I just loved that space,” Vasquez said. “I’m angry when I walk by — a mall?”
For some reason 1997 keeps popping up in my Favorites on the Synthesizer Book channel (Youtube.com). Not sure why, but it is bringing back some good memories! These videos were recorded as part of a 1997 BBC show. There are some really good profiles in these 2 segments. Björk plays a really good curator. My favorite part of the video is the interview she conducts with Mika Vainio of Pansonic in his Barcelona home studio. Vainio walks her through his custom made synthesizers which are made by Jari Lehtinen. Handmade and custom made synthesizers have swept the planet now, but back then, I thought this was some pretty amazing stuff.
Some of their equipment is made by third “extra” member Jari Lehtinen. These and other custom made instruments are responsible for creating the sounds typical to Pan Sonic’s music. They also use samplers and an MPC2000 sequencer. Pan Sonic are great fans of experimentation and art performances and have done exhibitions and sound installations in museums. They have also made music for Rei Kawakubo’s fashion shows.
Making $1.6 Million in a week for music given away for free
The Freemium Business Model is based on the concept of providing a version of something for free and one or several fee-based premium versions alongside. (Read more about versioning here) The Trent Reznor case, presented in the video below, is a very interesting example.
Trailer: PressPausePlay Probes Digital Era’s Creative Explosion
Moby, Seth Godin and other tech luminaries discuss the 21st century’s endless creative opportunities in PressPausePlay, an upcoming documentary that digs into the digital era’s DIY revolution.
“In the olden days of 30, 40, 50 years ago, people didn’t make things,” Moby says in the trailer above, premiered exclusively by Wired.com. “You know, like some people would go to photography exhibits, people would go buy records, and there were professional artists. And now everybody’s a photographer, everybody’s a filmmaker, everybody’s a writer, everybody’s a musician.”
While people with stacks of Polaroids, reels of Super 8 film or cassette tapes from their garage-band jams might quibble with Moby’s modern view of things, there’s no denying the explosion of creative opportunities afforded by the digital revolution.
PressPausePlay, subtitled “a film about fear, hope and digital culture,” was directed by David Dworsky and Victor Köhler. No release date has been set yet.
Tristan Perich’s 1-Bit Symphony is an electronic composition in five movements on a single microchip. Though housed in a CD jewel case, 1-Bit Symphony is not a recording in the traditional sense; it literally “performs” its music live when turned on. A complete electronic circuit—programmed by the artist and assembled by hand—plays the music through a headphone jack mounted into the case itself. The project is set to be released on Cantaloupe on August 24, 2010.
New York-based Tristan Perich is inspired by the aesthetics of math and physics, and works with simple forms and complex systems. The challenge of elegance provokes his work in acoustic and electronic music, and physical and digital art.
The WIRE Magazine describes his compositions as “an austere meeting of electronic and organic.” His works for soloist, ensemble and orchestra have been performed internationally by ensembles including Bang on a Can, Calder Quartet and Meehan/Perkins at venues from the Whitney Museum, P.S.1, Merkin Hall, the Stone and Joe’s Pub to Los Angeles’ Zipper Hall and Lentos in Austria. He has received commissions from Bang on a Can, Dither Quartet, Yarn/Wire and Transit New Music.
In 2004 he began work on 1-Bit Music to experiment with the foundations of electronic sound, culminating in a physical “album,” a music-generating circuit packaged inside a standard CD jewel case, available from Cantaloupe Music. His new circuit album, 1-Bit Symphony, is a long-form electronic composition in five movements.
As a visual artist, Perich has had solo exhibitions at bitforms gallery (NYC) and Mikrogalleriet (Copenhagen) in 2009, and Museo Carandente (Spoleto) in 2010. His Machine Drawings, pen-on-paper drawings executed by machine, were described as “elegantly delicate” by BOMB Magazine. His work with 1-bit video, including Eighteen Linear Constructions, exhibited in 2009 at Issue Project Room, employs binary electrical pulses to create images on cathode ray televisions. His artwork has been included in group shows at LABoral (Barcelona), iMAL (Brussels), MCLA’s Gallery 51 (MA), ABC No Rio (NY), the Philoctetes Center (NY), and Greylock Arts (MA) and a traveling science museum exhibit in Arkansas.
His experimental music group, the Loud Objects (with Kunal Gupta and Katie Shima), perform electronic music by soldering their own noise-making circuits, live, from scratch in front of the audience. They have performed and exhibited at festivals around the world, and received a 2009 commission from Turbulence.org to create a networked noise toy development tool.
He received the Prix Ars Electronica in 2009 and will be a featured artist at Sonar 2010 in Barcelona. Rhizome awarded him a 2010 comission for a microtonal audio installation with 1,500 speakers. He was artist in residence at Issue Project Room in 2008, at Mikrogalleriet in Copenhagen in 2010, and at the Addison Gallery in Fall 2010. He has spoken about his work and taught workshops around the world. He studied music, math and computer science at Columbia University, and electronic art at ITP/Tisch.
for more information please check out his official web site:
Always in search for some fresh sounds, I ve decided to inaugurate this channel to share and spread some fresh deep electronic music tunes.
I only intend to promote the darkest tunes that have been lost in this wide network of Music production
Take a click and explore the darkside of Underground Music, bassy and agressive tracks of Tech-Minimal.
Hope you guys enjoy, Sub and Rate for a maximum of activity
ISOS is a collection of interviews, images, moments and sound, compiled from hundreds of hours of footage continually gathered by filmmakers and music artists worldwide and archived for editing as part of an ongoing film series. The artists featured represent a multifarious assortment of musical genres, methods and styles, perpetually transcending mundane and unflattering categorization.
The narrative remains constant only in the collaboration and individual contributions each artist has made, that has created a momentum and a vision unlike any template documentary. The locations filmed are as diverse and encompassing as the artists represented. The viewer is invited to experience an intimate and unique world view, spanning across the most populous places on Earth, to the isolated and serene.
Robert Paul Florio
- PEOPLE -
BRIAN PARSONS - PRODUCER/CAMERA/EDIT – US/EU AMBER HALFORD – PRODUCER/CAMERA – NY/LA JOEL BRITTAIN – ASSOCIATE PRODUCER/CAMERA – UK ROBERT PAUL FLORIO – ASSOCIATE PRODUCER/WRITER – US MARK WINDISCHMAN – CAMERA – US MEJGAN ZIA – ASSISTANT EDITOR- US IGOR OLEJAR – WEBSITE – LONDON UK SANDRA PASSARO – PUBLIC RELATIONS – BERLIN SANDY DICKSON – CONSULTANT – WAKE FOREST US PETER BRODERICK – CONSULTANT – LA PETER COWLEY – CONSULTANT – UK TOMASSO PEDONE – CONSULTANT – ITALY PATTI MOONEYHAM – WEB PROMO – US THERESA BLACK – ASSISTANT – LA CARLO MANUEL OROSA – ADVISOR – PHILLIPINES TRACIE STOREY - CAMERA – UK/FRANCE/BELGIUM PIER PAOLO PATTI – CAMERA – ITALY CHRISTINA LONG - CAMERA – SAN FRANCISCO KIM BLIDORF – CAMERA – DENMARK EYSTEINN GUÐNASON – CAMERA – ICELAND DANIEL JAMIESON – CAMERA – UK OLIVER LANGBEIN – CAMERA – GERMANY OLIVER SCHMIDT – CAMERA – GERMANY FRANK RUCKERT – CAMERA – GERMANY SHADAAB KADRI – CAMERA – INDIA EVAR ANVELT - CAMERA – ESTONIA TOSHINORI NITTA – CAMERA – JAPAN KOTARO MANABE – CAMERA – JAPAN ANDREI JAKOVLEV – CAMERA – RUSSIA GEORG SOKOL – CAMERA – AUSTRIA MATHIAS BURSA – SOUND – AUSTRIA
- Technical -
ISOS is a resolution independent film project using all kinds of cameras from high end Sony and Red cameras to low end, “Lo fi” cameras and everything in between, digital and film, NTSC and PAL. There’s even a bit of footage from the vaunted Tyco PXL 2000 toy camera.
Post Production is done using a number of software programs including Adobe Master Suite, Apple Final Cut Pro, dozens of third party plugins and a host of other audo/visual programs. Hardware from Matrox, AJA, Kurzweil, Apple, Mackie, Alesis, Sony and more. We’ll update this page in the future with much more in depth info regarding all things technical related to ISOS.
For many Americans, most electronic dance music lacks the overt personality they demand from music, as it carries on without an obvious beginning or ending and can be reduced to an easy to mock “oontz oontz oontz.” Aware of this popular perception, Amy Grill placed the focus of her documentary, Speaking In Code, on contemporary artists and important figures in techno and house scenes rather than examining their history or the finer points of sub-genres. Early on, Grill (who narrates the film) states that her hope is to rehabilitate electronic dance music in Americans’ eyes. But given the difficulty of their task, it’s easy to forgive them for doing more to contrast the tribulations of passionate American techno fans with the wealth of choices and opportunities open to artists and their fans across Europe.
Europe has taken on near mythical status for many American techno and house followers, a continent full of clubs, record shops, festivals, and most importantly people who are dedicated to that faithful, four to the floor beat. Knowing that this dance music Mecca looms across the Atlantic, many American fans find their own cities lacking and yearn to live the 24/7 techno lifestyle. Speaking In Code examines Europe’s allure through an unclouded lens, praising its acceptance of the form while acknowledging the drawbacks as well. Flitting between Berlin, Barcelona, Amsterdam, Cologne and Jena, its quick pacing imitates the “economy jet-set” experience. Through interviews with a handful of artists such as Modeselektor, the Wighnomy Brothers, Robert Henke, several members of the Kompakt family, and Ellen Allien, Grill gets a sense of what life is like for techno’s upper echelon.
She accompanies the two members Modeselektor on a trip to visit their mothers, who prove quite supportive of their sons’ quirky music and are even shown dancing at one of their gigs, and watches as they play to 20,000 people at the “After Dark” portion of the Sónar festival. The film depicts how labels like Kompakt and Freude Am Tanzen take a communal approach to creating, developing, marketing and selling music — their core artists and employees live together and treat each other as a sort of family — “a small communism” in the words of Gabor Schablitzki (aka Robag Wruhme, one half of the Wighnomy Brothers). In interviews with ranking dance music critic Philip Sherburne and Day, Grill’s then husband, each espouses the perception that Europe is dance music’s promised land, with the former opting to move to Barcelona for its club culture and the latter shown marveling at Kompakt’s in-house record shop, wishing aloud to be a part of that lifestyle. Even Grill’s many filming trips to Europe, framed as an escape from problems at home and the paltry Boston techno scene, paint Europe as an idyllic beacon for dance music’s obsessed masses.
The continent’s many positives come into stark relief with Day’s intrepid if fraught attempts to raise electronic dance music’s profile in Boston. At his then-day job as label manager/marketing director for Massachussets-based record distributor Forced Exposure, his cheerleading for house and techno records meant increased access to esoteric dance music for many American consumers. But Day’s devotion to the genre only begins at work; refusing to wait around for his favorite artists to announce a Boston date, he books his own shows and organizes local parties financed with a mounting tide of credit card debt.
Day’s devotion and willingness to risk his own skin is shared with many promoters across the U.S., but few clubbers grasp all the blood, sweat, tears and dollars that are poured into each big event and Speaking In Code offers vivid examples of how they play out. Modeselektor, who are accustomed to playing to thousands, are drafted to play the comically named Enormous Room in Cambridge on what appear to be studio monitors. Despite filling the room to capacity, Day walks away from the event eating $700 in losses, sustained only by the cheerful energy overflowing the club’s confines. Later, he and Grill take over a friend’s large loft space and turn it into Boston’s hotspot for electronic dance music parties. But after weeks full of after parties and other events, the sQuareone loft is shut down because of “complications” with the building’s owners. It’s only then that Day pulls back on the reigns and realizes how unsustainable his ambitions have become.
But despite outsiders’ rosy perceptions of Europe’s electronic dance music scene, the reality is not all it’s cracked up to be. Few who crave the opportunity to spend every waking moment in a club or record shop can grapple with what unlimited access is like in practice. Speaking In Code illuminates this truth best in how it covers Gabor Schablitzki and the Jena-based Freude Am Tanzen collective. When visiting the studio part of their compound, the usually jester-like Schablitzki admits to trouble with his girlfriend and grows sullen. Grit Sachse, one of FAT’s long time members, explains how their Jena home base provides their artists some much needed isolation from the partying scene, adding that Schablitzki has grown increasingly picky about his gigs in order to preserve his energy and enthusiasm. Not long after, he decides to deal with the intensifying pressure of popularity by withdrawing completely from touring, leaving the other Wighnomy Brother, Sören Bodner, to go it alone. When Grill interviews Kompakt’s Tobias Thomas, he begins by expressing his love for DJing and the dance music culture in which he’s intertwined, but concedes that the question of whether the motivation, the energy or the nerves are there to deal with the nightlife is never too far from his mind.
Viewed alongside Day’s relentless drive to build an American answer to Europe’s 24/7 club culture, it becomes clear that having too much of a good thing is indeed possible, and it’s not necessarily clear that’s the case until you’re in deep. As an American techno/house obsessive who often fantasizes about escaping America’s frustrating dearth of dance music culture for Europe’s many splendors, I could empathize with Sherburne, Day and Grill’s drive to more fully belong in a way their homeland couldn’t provide. And I especially appreciated that Grill did not sugarcoat artists’ experiences within that same idealized scene. Speaking In Code successfully personalizes the realities of music obsession, from packed stadium triumphs to tribulations that require self-sacrifice in pursuit of satisfaction.
Speaking In Code is available on DVD March 12th. Check out a deleted scene from Speaking In Code featuring Bryan Kasenic of Beyond Booking. Our thanks to David Day and Amy Grill for offering us this clip. Below that we have Baltimoroder’s SiC podcast #1, featuring tracks from the documentary.