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Announcements, Articles

Musicoin hosted weltweit ersten Blockchain-fähigen DJ Mix

Jedesmal wenn Dj Deadly Buda’s “Rock the Blockchain” Dj Mix auf Musicoin.org abgespielt wird, werden fünfzehn einzelne elektronische Dance Music Songs und deren Künstler sekundenschnell automatisch bezahlt.
Diese Möglichkeit der direkten Bezahlung wurde in der Nacht zum 13.August 2017 Wirklichkeit, nachdem Deadly Buda die Integration von 19 sogenannten “Smart” Veträgen auf Musicoin.org vollendet und diese Musikstücke in seinen DJ Mix integriet hatte. “Es ist wirklich ein “Game Changer” für jede DJ-basierende Musikrichtung wie z.B. EDM, Disko, House oder Hip-Hop” meint Dj Deadly Buda.

Hier kannst Du den “Rock the Blockchain” Mix anhören
Hier kannst Du den “Rock the Blockchain” Mix anhören

Der Mix beinhaltet 15 EDM Songs verschiedener Genre wie Hard Electronic, Dubstep, Hardstyle, Hard Bass, Jungle, Drum and Bass, Hardcore Techno, Shamancore, Tekno und Ambient von Künstlern wie z.B. Counterstrike, Satroniq & Dj Delirium, Teknoaidi, Subterranean, Cap, M27, Harhor und Deadly Buda.

Seitdem das “DJ Mix” Formart als solches in den siebziger Jahren populär wurde, existierte es im halb legalen Bereich. Da ein DJ–Mix eine kontinuierliche Verschmelzung und Aneinanderreihung von verschiedenen einzelnen Liedern oder besser ”Songs” ist, erforderte es unglaublich viele einzelne Genehmigungen, Schriftverkehr und Lizensierungen um die Lieder legal benutzen zu dürfen. Wie man sich unschwer vorstellen kann, dauerte all das unglaublich lange und als dann endlich alle Genehmigungen eingeholt waren, wurden die im Mix benutzen Lieder in den Augen der Hörer bereits als “veraltet” angesehen und neue Sounds waren bereits in Mode.

Daraus resultierend haben die meisten DJ’s im Laufe der Jahrzehnte darauf verzichtet Lizenzen und Genehmigungen einzuholen und haben ihre Mixe illegal auf Kassetten, Cd’s und jetzt auch auf Soundcloud und Youtube veröffentlicht.

Die Künstler und Urheberrechts Inhaber der in den Mixen verwendeten Musikstücke sehen keineTantiemen und werden meistens auch nicht in den Mixen genannt. Die DJ’s veröffentlichen meist auch keine “Playlisten” der benutzten Lieder um Kontrollen zu vermeiden oder aufrgund Zeitmangels, fehlender Beschreibungen auf den Platten /Cd’s oder im schlimmsen Falle, um die ganze Aufmerksamkeit für sich alleine zu ernten.

Ironischerweise gestalten Dance Music Produzenten ihre Musik speziell so, dass sie leicht von DJ’s in Mixe integriert und von populären Künstlern in deren Liedern verwendet werden können.
DJ Mixe, auch wenn technisch gesehen illegal, sind der haupt PR/Werbe und Kommunikationskanal für kleinere Dance Musik Szenen oder unbekannten Künstlern und neuen Talenten. Auch wenn die Musik Industrie in den letzten Jahrzehnten die Urheberrechtsverletzungen der DJ Mixe nicht verfolgt und geahndet hat, behalten sie sich jedoch das Recht vor, dies zu tun.
Aufgrund dessen fürchten sich die DJ’s nach wie vor vor Strafverfolgung und können nur sehr selten ihre Mixe im grösseren Rahmen veröffentlichen oder kommerziel besser ausschöpfen um ihre Investitonen für Platten oder MP3 Käufe die sie in ihren mixen verwenden, zu erwirtschaften.
Der kumulative Effekt dieser quasi Legalität ist das DJ Mixe immernoch als “Untergrund” angesehen werden und das obwohl eben diese Mixe die bevorzugte Art ihres Publikums ist diese Musik zu hören.

“Je mehr ich über Blockchain Technologie verstand umso mehr habe ich realisiert, das die rechtlichen Probleme mit DJ Mixen bald ein Ding der Vergangenheit sein werden” sagt DJ Deadly Buda, “die ganzen zeitintensiven Genehmigungen, Papierkram und Bezahlungen würden in sekundenbruchteilen erledigt werden können”
Musicoin ist eine Musik orientierte Crypto-Währung mit Smart-Vertrag Fähigkeit
Blockchain ist vereinfacht gesagt ein dezentralisiertes Soll/Haben System das von mehreren Computern gewährleistet wird. Das populärste Blockchain System der Welt ist momentan “Bitcoin” und dieses hat andere Blockchains dazu inspiriert verschiedene Gebiete der Weltwirtschaft in Angriff zu nehmen.

Musicoin, wie der Name schon sagt, ist ein Bitcoin für Musik, Musiker und Fans zugeich. Wenn ein Benutzer ein Song auf Musicoin.org abspielt, erhält der Künstler oder Rechte Inhaber in Bruchteilen von Sekunden ein Entgelt i.H. eines Musicoin der z. Zt ca $0.01 -$0.02 USD wert ist.

Das Musicoin Blockchain System erlaubt dem Künstler oder Rechteinhaber einen hochladbaren Song mit einem SmartVertrag zu versehen, welcher – falls gewünscht – die Verteilung der Zahlungen auch an mehrere Parteien vornehmen kann. Der SmartVertrag kann zum Beispiel so programmiert werden, das jedesmal wenn der Song abgespielt wird, der Drummer, der Sänger, der Gittarist und der Bassist in einer Band alle einen Anteil der Zahlungen erhalten.

“Nachdem ich realisierte, das jeder Song im Musicoin System seine eigene individuelle Zahlungsadresse hat, habe ich so viele Leute die grossartige Musik produzieren wie möglich dazu veranlasst ihre Musik bei Musicoin hochzuladen. Dann bat ich sie um Erlaubnis ihre Musik in meinem Mix zu verwenden” sagt DJ Deadly Buda.
Nachdem er mit einigen Künstlern gesprochen hatte, kamen sie zu folgendem Verteilungsschlüssel: 40% der Mix Einnahmen gehen an den DJ und 60% wird in gleichen Teilen unter allen verwendeten Songs aufgeteilt.
“Ein DJ bereitet sich sehr zeit intensiv auf einen mix vor, angefangen mit dem durchsichten viel schlechter Musik um dann die Perlen zu finden, die er oder sie dann für die Öffentlichkeit spielt. Aus diesem Grund wollte ich die Zeit und finanzielle Aufwendungen honorieren um im gleichen Atemzug einen fairen verteilbaren Betrag für die verwendeten Songs zu gewährleisten, sodass die Künstler auch eine Möglichkeit haben ein wenig Geld zu verdienen”

DJ Deadly Buda veröffentlicht ersten Blockchain fähigen DJ Mix der Welt

Ein neues Musterbeispiel wie DJ Mixe hergestellt und bezahlt werden können ist jetzt dank DJ Deady Buda und Musicoin offiziell möglich,
aber es gibt immernoch viel Arbeit in diesem Bereich sagt DJ Deadly Buda.
“In naher Zukunft wird es wohl nur noch ein anklickbares Kästchen geben das ein Künstler benutzen kann um anderen auf dem System die Erlaubnis zu erteilen seine Musik zu mixen solange er über seinen Smartvertrag entlohnt wird. Sobald dies der Fall ist, wird das System unaufhaltbar sein und wird sowohl für die etablierte Musikindustrie als auch für neue Künstler von grossem Nutzen sein.

Hier kannst du dich bei Musicoin registrieren
Hier kannst du dich bei Musicoin registrieren
Announcements, Articles, Deadly Buda

World’s First Blockchained DJ Mix Released by Deadly Buda on Musicoin

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When DJ Deadly Buda’s “Rock the Blockchain” DJ mix is played on Musicoin.org, fifteen separate electronic dance music tracks and their artists get paid automatically, within seconds.

The system that makes this possible was made public at about 2:00 AM, on August 13, 2017, when Deadly Buda finalized the integration of 19 “smart contracts” on the Musicoin blockchain and attached them to his DJ mix on Musicoin.org. “This will completely change the dance music landscape,” said DJ Deadly Buda, “it’s a

Click here to visit Deadly Buda's Musicoin profile.
Click here to visit Deadly Buda’s Musicoin profile.

development on par with the introduction of the 12” single or the crossfader. It will change the way we do things creatively and the listener will be the winner.”

The DJ mix contains 15 EDM tracks of various genres, hard electronic, dubstep, hardstyle, hard bass, jungle, drum and bass, hardcore techno, shamancore,  tekno, and ambient, by artists Counterstrike, Satroniq & DJ Delirium, Teknoaidi, Subterranean, Cap, M27, Harhor, and Deadly Buda.

The DJ mix format was popularized in the 1970’s and since then has existed in a quasi-legal state. A recorded DJ mix is a continuous blend of several separate songs or “tracks”. To be traditionally legally compliant, this requires numerous permissions, paperwork, and licenses. By the time the paperwork is done, the audience generally considers the music in the mix old, and has moved on to the latest sound in fashion. Consequently, most DJs over the decades haven’t bothered to get the permissions, and have released the mixes “illegally” on cassettes, CDs, and now, SoundCloud and YouTube. Generally, the artists in these mixes aren’t receiving any compensation for their music and oftentimes aren’t even credited as part of the mix.  Many DJs don’t supply playlists due to avoiding scrutiny, time constraints, lack of proper labeling on dance records, or at worst, just wanting all the attention for themselves.

Rock the Blockchain's flyer graphic is from the 1993 Turbo-Zen party in Pittsburgh, PA, High Voltage! The graphics would later be mentioned by Dan Mross in the movie "The Rise and Rise of Bitcoin" for its slogan, Technology Must Be Used to Liberate the Indvidual."
Rock the Blockchain’s flyer graphic is from the 1993 Turbo-Zen party in Pittsburgh, PA, High Voltage! The graphics would later be mentioned by Daniel Mross in the movie “The Rise and Rise of Bitcoin” for its slogan, “Technology Must Be Used to Liberate the Indvidual.”

Ironically, dance music producers make their music specifically so that it can be mixed by DJs, and clamor for popular DJs to use their songs. DJ mixes, though often technically illegal, are the main channel of publicity for smaller dance music scenes or up-and-coming talent. So for the last few decades, the music industry has generally not enforced their copyrights against DJ mixes while retaining their right to do so. Consequently, the DJs, still fearing potential incrimination, can rarely publicize their mixes on a grand scale or derive much more income than money they spent purchasing the records or Mp3s used in the mix. The cumulative effect of this quasi-legality has been that DJ mixes are still considered “underground” even though it is the audience’s preferred manner of listening to dance music.

“The more I understood blockchain technology, the more I realized that the legal problems with the DJ mix were about to be a thing of the past,” stated DJ Deadly Buda. “All the permissions, paperwork, and payments could be done in an instant.”

Blockchain technology is basically a decentralized ledger system maintained by multiple computers. The most popular blockchain in the world is Bitcoin, and it has inspired other blockchains to target specific areas of the world economy. Musicoin, as the name suggests, is geared towards music, musicians, and fans.  When a user plays a song on musicoin.org the artist of the song gets paid one Musicoin (currently worth about $0.01-0.04 USD)—usually in a matter of seconds. This is significantly higher than average artists get paid per play on Spotify or iTunes.

You can sign up to Musicoin here.
You can sign up to Musicoin here.

Furthermore, the Musicoin blockchain system allows an artist to upload a song and attach what is called a “smart contract” that can distribute payments to multiple parties if needed. For example, the smart contract could be programmed so that every time the song is played, the drummer, singer, guitarist, and bassist in a band all split the payment.

“When I realized every song on the Musicoin system had its own payment address, I got as many people I knew that made great music to upload. Then, I asked their permission if I could use their music in my mix,” revealed Deadly Buda. After conferring with some of the artists, realizing they were helping to establish a new paradigm, the following formula was decided: 40% of the mix revenue goes to the DJ, and the remaining 60% is split evenly between each of the songs in the mix. “A DJ spends a lot of time sifting through a lot of bad music to find the gems he or she plays for the public, so I wanted to honor that time and money expenditure while at the same time leaving a fair amount of room for each song to make money as well.”

A new paradigm for how DJ mixes can be made and monetized is now officially live thanks to DJ Deadly Buda and Musicoin, but there is still work to be done says Deadly Buda, “In the very near future, there will probably be just a checkbox an artist can use that gives anyone on the system the right to mix their music so long as they get paid via a smart contract. As soon as that happens, the system will be unstoppable and will benefit the established music industry and new artists alike.”

You can sign up to Musicoin here.

Articles

Initiatory speedcore developments

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Since some of the early PCP releases, there has always been an interest in space and the mysteries of life in the hardcore techno underground. Early warehouse parties with simple strobe lights and smoke emulated the atmosphere and elements of a shamanistic ritual by a bonfire. This was perhaps even one of the founding ideas of hardcore techno on a conscious or subconscious level, but as the scene grew bigger and split into various subgenres, these ideas continued mainly in the most underground core. Ambient, which usually has no beats, and speedcore, in which the human capability to differentiate beats is the tempo limit, were an unlikely couple from two extremes that formed a suprisingly synergic bond in the late 1990’s. This relationship spawned the term “atmospheric speedcore” and influenced new fusions such as flashcore, shamancore, and psycore among others. Although these styles lack an all-inclusive umbrella term, there is an international micro-scene that is bringing people together under this mutual interest. In this article, I will go through some history of these developments and take a look at what is going on in the present.

One of the developments started when La Peste mixed experimental hardcore and speedcore of the late 90’s together with ambient in his “Drug Store Core Boy” mixtape. This idea developed further into the subgenre flashcore, with his Hangars Liquides label pioneering the sound. Flashcore is sort of like a fusion of speedcore, avant-garde, ambient, and IDM. The beats and tempos are often irregular and chaotic, but sometimes more straightforward as well. The tracks are often birthed from hardware modular synthesizer jamming sessions, although software is also used. Flashcore has increased in popularity among underground musicians in the recent years, and it has sort of become synonymous with anything that has its signature high- pitched laser kickdrum at a speedcore tempo with atmospheric soundscapes. It is a further development of the mysterious and abstract French underground industrial hardcore/speedcore aesthetics and its secretive underground scene. Flashcore has sometimes taken the role on the internet of being an umbrella term for all of these experimental French-style speedcore artists—so often there doesn’t seem to be a general consensus on what flashcore actually is nowadays. Some would argue that it’s only something beyond traditional 4/4 structures, while others allow for repetitive structures as well. The original intention seems to have been to surpass standards and make the most out of current technology.

Along with La Peste, other early artists in this genre were Atomhead aka UndaCova (Entity Records) from Belgium and Neurocore from France, who also refers to his music as cybercore. In 2015, Neurocore’s ‘The Magellan Chronicles‘ EP was released on Love HZ and flashcore gained some wider attention in the hardcore scene thanks to its more accessible and euphoric trance atmospherics. At the other end of the flashcore spectrum, there are artists like Les Neiges Noires De Laponie from France, SatanoiD from Finland, and Gridbug from Belgium with relentless, chaotic, noisy and even extratone-ish experiments. Some other current flashcore artists include Convectorh, HFK (Bourinage Mental), Lawrencium (Destruction Records) and Mr. Porc from France, Messias (Cathartic Noize Experience) from Switzerland, SD-501 and The M.S.P. from Poland, and IMPLΛNT from Bulgaria.

Another early development happened at the time when the online tracker scene and labels such as United Speedcore Nation from Germany started pushing the standard tempo of speedcore beyond 400 BPM, which would redefine speedcore for the new millennium. Lord Lloigor from Sweden released the Beyond The Green Light 12″ on USN’s sublabel Brain Distortion in 1999. It contained the track “Ray of Darkness” which became an atmospheric speedcore classic. The next year he released One Journey, a CDr album full of dark, soothing, and euphoric ambient with speedcore beats and occult themes on the Finnish label Act of the Devil. Some German artists such as iGoA and DarkFreak caught this vibe and became known for their atmospheric and psychedelic speedcore sound. Some of Gabba Front Berlin‘s output was also along these lines.

Atmospheric speedcore is usually less experimental and more traditional and DJ-friendly compared to flashcore and the French underground, yet still highly meditative thanks to the repetitive structures. Some current artists who do this style are Valovoima from Finland, who also does more experimental and flashcore tracks, and Watome from Thailand.

So, although atmospheric speedcore and flashcore are two distinct subgenres, there is also a lot of good faster underground core music out there which does not necessarily fall into these categories. After all, categories are not even the point, but are meant to be dissolved, yet can be described as very otherworldly, psychedelic, meditative, and initiatory. The Michelson sisters—Mouse and No Name—from France are some of the early pioneers of such improvised cosmic hardcore sound, and were an inspiration source for later developments like flashcore. They are still playing parties all over Europe. Other artists to check out from France include Save (Underground Perversions Records), La Foudre (No-Tek Records), Helius Zhamiq (K-NeT Label), Le Talium, Enbryoner, R-ictus aka Mechakucha, Marteau, Saoulaterre,and Mental D-struction. Artists into this improvised atmospheric sound are not confined to France, however. There’s Annwn (Anti Narcose) from the Netherlands, who weaves experimental vibes into his tracks. Sadistic (originally from  Scotland and now living in Thailand) fuses the flashcore sound with UK hardcore techno (i.e. Deathchant) and crossbreed bringing the ideas and sounds to new crowds. The UK’s Tekhne Freq aka Kid Corrupt (Fractal Distortion events) also combines atmospheric soundscapes and experimental speedcore. Neuromancer, Basil (Moscow Speedcore Scum), Harhor (Greasp), and Rude Repeen are some of the actives in the Russian underground.

While the mainstream hardcore scene is all about the known, such as banger tunes with pop culture references, predictable build-ups and drops that go in parallel with developments in popular EDM, what attracts the listeners and musicians to this music is its introspective dip in to the unknown. Instead of worshiping the DJ, focus is drawn towards what is inside you.

Another element that speedcore beats have reintroduced to listeners of contemporary music is “the shake.” Many indigenous people and traditions around the world have the wisdom that incorporates the shaking of ones body to release locks of the mind, body, and soul, helping to reach ecstatic trance states and establish a deeper connection with the universe. This phenomenon is not totally uncommon at contemporary speedcore parties. The idea is not necessarily to grasp every single bassdrum with your stomping feet, waving fists, or even with your mind, but to let go, express yourself freely, shake with the flow and see where it takes you. This kind of improvisational dynamics can also be applied to making music by jamming and letting known structures dissolve. Regardless of the death-related imagery in many speedcore and hardcore releases, the energy of the music is actually full of life and living life by pushing the peak of ones artificial limitations.  Shamancore music by Teknoaidi (Kovaydin.NET) and Hiiden Virren Vinguttajat from Finland revolves around this idea that high tempo music and shaking is healing. The music also makes use of traditional acoustic instruments along with the machine sounds. When it comes to electroacoustic initiatory core, worth mentioning is also one of the most intense live acts to come from Berlin, Del_F64.0, who play improvised speedcore with hardware and clarinet.

We’re now in 2017, and there is more of this kind of music than ever. Usually few individual artists or DJs play it at select underground- oriented core parties or art events in countries such as Belgium, Finland, France, Germany, The Netherlands, Russia, Switzerland, and  theUK. Sometimes—particularly in places like Berlin—there is a chance to experience a night dedicated only to the atmospheric and psychedelic core music. At these special gatherings, the artists might play 400+ BPM atmospheric speedcore and flashcore, constantly, for the entire night. This might sound insane, but actually at some point into the night these rhythms become a new norm for the mind and this state of being starts to feel very meditative. Fuck Off System and their Trash n Core parties as well as parties by Splatterkore Reck-ords are worth looking into when in Berlin. Cyber City in Belgium has also organized similar events.

Here are some upcoming events to check out with more and less atmospheric and psychedelic core:

23.09.2017 – So Fucking Future: Doctrines [Splatterkore | Gabber Noir] @ Berlin [DE]
07.10.2017 – Kovaydin.NET presents Passenger of Shit ft. Ethereal Girl @ Tampere [FI]
13.10.2017 – RVLT Festival #4 @ Rotterdam [NL]
11.11.2017 – EHCTV : Seelentanz @ Leipzig [DE]
31.03.2018 – Cortex #1 – The Massacre! @ Krefeld [DE]

Articles, Reviews

The Mover: Selected Classics Plattenkritik

(Im Original geschrieben von Colby X, übersetzt von Sönke Moehl)

Dance Music trat in verschiedenen Phasen in mein Leben. Ich wuchs an der Ostküste in den 80ern auf und Cybotron, Strafe, Run DMC waren frühe ballistische Raketen die mich in der dritten Klasse trafen, als mein Sportlehrer Linoleummatten ausbreitete und versuchte einem Raum voller Vorstadtkinder Breakdance beizubringen. Hip Hop und Electro wurden meine erste Liebe, gefüttert durch New Yorker Radiosender, und ab Anfang 1988 durch tägliche Dosen von Yo! MTV Raps und Rap City. In 1988 betraten auch “Good Life” und “Big Fun” mein Leben mit Hilfe von Metromix Sessions auf Pittsburgher Radiosendern, die ich auf Kassette aufnahm. Obwohl ich keine Ahnung davon hatte wer die Belleville Three waren, waren diese Tracks meine Einführung in den Sound of Detroit.

Zuhause mit The Mover: Selected Classics und einigem Spielzeug

Ich begann mehr und mehr Musik zu hören, und mein Geschmack erweiterte sich und schloss elektronische Pioniere wie Yello und Art of Noise mit ein, aber merkwürdigerweise war es die Demoscene welche mein Interesse Richtung Techno lenkte. Für die, die es nicht wissen, in den 90ern haben verschiedene Gruppen von Programmierern “Demos” geschrieben – eigenständige Programme mit eigener Kunst, bewegter Grafik und Musik, um ihre künstlerischen Talente auszudrücken. Verbreitet wurden diese Demos auf Computer Bulletin Board Systems und man konnte sie (sehr) langsam mit Dial-Up Modems herunterladen, und diese Demos wurden fortlaufend umwerfender mit jedem neuen Release, da die Künstler ihre digitalen Zaubereien verfeinerten, oft so, dass sie gleichwertig oder besser waren als die beliebten Videospiele ihrer Zeit. Und die Musik kickte mich richtig – Soundtracks mit eigenständiger Musik von der ich bald erfuhr, dass es sich um Techno, Trance und Ambient handelte. Die Demoscene brachte mich dazu, tiefer zu suchen – zugegebenermaßen erstmal oberflächlich, da einiger meiner ersten Käufe kitschige Compilations aus Einkaufszentren waren. Aber alles änderte sich nachdem Deadly Buda von The Hard Data den Power Rave ’92 organisierte – mein erster Rave – auf einer Rollschuhbahn in der Nähe von Pittsburgh. Die Musik in dieser Nacht war härter und düsterer als alles was ich jemals gehört hatte, und als die Nacht zu Ende war, reichten mir die Compilations aus den Einkaufszentren auf keinen Fall mehr. Ich kaufte mein erstes Mixtape bei Turbo Zen – Budas Plattenladen – und außerdem die erste Industrial Strength Record Compilation. Der erste Track auf der CD war “We Have Arrived” von Mescalinium United, welcher inzwischen als der Track bekannt ist, der die Geburt von Hardcore Techno einleitete. Der Titel konnte nicht zutreffender sein, und ich war sofort süchtig – ein ganz neuer Ansatz bezüglich der 808s und 909s die meine frühen musikalischen Interessen bereicherten.

Industrial Strength ISCD1: Die Compilation die mich 1992 mit The Mover bekannt gemacht hat

Obwohl ich so viele Parties in Pittsburgh besuchte wie ich konnte, wurde Marc Acardipane (und seine vielen Aliasse) schnell einer meiner Lieblingskünstler. Ich zerstörte viele Lautsprecher zu “Nightflight (Non-Stop To Kaos)” in den kommenden Jahren – pass auf deine Bassboxen auf, sag ich dir – und vielleicht tue ich gerade das gleiche, 25 Jahre später, während ich diesen Text schreibe.

Die 2×12″ mit “Selected Classics” wurde auf Killekills Sublabel Boidae veröffentlicht, lizensiert von Acardipanes neuem Planet Phuture Label. Selbst für eine 33 Rpm Produktion klingen die Hihats und Snares klar und deutlich, und die unterschwelligen Basslines sind dick genug um deine Zahnfüllungen wackeln zu lassen. Die Trackauswahl ist sorgfältig kuratiert und neu remastered, und reicht von dem erwähnten “We Have Arrived” (ursprünglich in 1989 aufgenommen und in 1990 veröffentlicht) hin zu Albumtracks aus “Final Sickness” von 1993 (Planet Core Productions) und “Frontal Frustration” von 2002 (Tresor), und den EPs die dazwischen released wurden. Schmerzlich vermisst auf dieser 12″ wird der Track “Over Land & Sea” von der Signs of ’96 EP, ein langsamer, brodelnder Track der in einen Choral des Dooms voller alptraumhafter, dröhnenden Basslines und Crashes kulminiert. Dystopisches 3-Uhr-morgens Nebel- und Strobo-Material, das bis zum heutigen Tag unbedingt in einem Film verwendet werden sollte. (Digitale Käufer dieses Releases werden sich freuen, dass der Track enthalten ist, sowie “Spirit Slasher” von 2002). Man findet hier auch den kickenden “Waves Of Life” mit seinen treibenden Vocal- und Synth-Stabs die in einer wahrhaft himmlischen Coda enden, den desorientierenden, schweren Wirbel von “Reflections of 2017”, und das perkussive, eindringliche “Astral Demons” mit seiner absolut fantastischen Stereoakrobatik.

Als ein vollkommen indoktrinierter Fan sind alle diese Tracks in meine Psyche eingebrannt, aber für die Uneingeweihten sollte diese Sammlung eine wirklich lohnende Reise in diese einzigartige Energie und lebhafte Bilderwelt von The Mover sein. Für diejenigen welche in all den Jahren den Mythos von Acardipanes “See You in 2017” Botschaft entschlüsseln wollten (für einen tieferen Einblick in diese Sache lies dir auf jeden Fall die Frühlingsausgabe 2017 von The Hard Data durch), nun ja, “We have arrived”. Heutzutage lassen Aphex Twin und Nina Kraviz Mover Tracks auf einen ganz neue Generation von Menschenmengen auf Festivals los. Acardipane hat wieder ein weiteres Label seinem Oeuvre hinzugefügt (das Erscheinen von Planet Phuture), und uns erwartet ein neues Mover Album diesen Herbst. Ich will keine politischen Gemüter verärgern, aber war “The Emperor Takes Place” prophetisch?

Bis zum heutigen Tag klingt das immer noch wie einige der futuristischsten Sachen die ich jemals gehört habe, und trifft beängstigend genau ins Ziel. Willkommen in 2017 – endlich. Seit 2002 ruhend und nun auferstanden wie ein dunkler Phönix ist The Mover zurück – wie es seinen treuen Hörern vorausgesagt wurde.

Articles, Events, Reviews

My Project Z Experience by 3MiloE

Every time I listen to electronic music, the experience seems new to me. Perhaps maybe it is because electronic music is an ever- changing, ever-expanding entity, with each genre and style having its own sound, social groups, and individual cultures. Festivals like Project Z is where all these groups of people who love different kinds of  electronic music unite together and celebrate not just the music, but the way it makes us feel.

Project Z 2017 was my first Project Z experience, and my girl’s first Insomniac event. It seems needless to say to those who attended, but we were both blown away.

Excitement and anticipation filled us with adrenaline as we got in line to enter, the music and bright lights shining over the fences making me nod my head and dance a little. Upon entering, I was hit with a wave of relief and euphoria. We had made it to Project Z! The scenery made me feel like i was in a dream. Colors of blue and green lit up the night and reflected upon a lake. A grassy field lay beside it, and there were many ravers just chilling and relaxing by the tranquil water. Security allowed people to relax and vibe out, while also making it feel very safe and calm when and where it needed to be. My girl and I came casually dressed and slightly unprepared in that sense, but we had comfortable shoes, a CamelBak, and an attitude to have fun.

Our main objective of the night was to find all stages and get a sense of where everything at the event was located, like exits and facilities, information booths, and other important locations. There was plenty of open space between the stages, bathrooms, and vendors, yet were also in close enough proximity of each other to navigate the event easily and comfortably considering the large attendance.

So many sights and interesting characters were there to be seen. Having just watched an entire of Rick and Morty a week prior to attending Project Z, it was fascinating to see how many totems and candies were dedicated to the show—it made us feel like we belonged. We happen to be glove enthusiasts, and so we had to sit down a few times to get some shows from a few different glovers. The interpretive dances of their hands illuminated by LED lights entranced us, making us feel a wide range of emotions.  We spotted a gang of roving go-go dancers dressed as bunnies that looked like they were from Alice in Wonderland moving their way through the crowd and stages—their sole purpose to trip people out. They did an excellent job of doing that. Another area which always caught my attention as I passed through had a projection of ticking clocks that were scattered and moving over everything around it.

Project Z dancers
These characters danced like creatures throughout the night, moving from stage to stage.

Once we discovered all three of the stages and key locations, we were ready to enjoy ourselves. The first stage we experienced was Bassrush. The sounds of riddim and dubstep sent waves of happiness and aggression throughout the crowd. One of the main highlights of the night was JoyRyde, who murdered the stage as if the crowd had taken Liam Nieson’s daughter. The intensity of the music matched with the crowd’s ability to scream and move their bodies to the raw rhythms were enhanced by lasers and intense visuals, all contributing to a feeling of euphoria and loss of self to the moment that gripped and captivated parts of our souls that had not been there before. It was hard to leave that feeling behind, but we HAD to check out the next stage known as…. Basscon.

Basscon turned out to be my favorite stage at Project Z. The music caused a chaotic physical manifestation of the emotions I felt conveyed in my dancing that only need be described with two words, “going hard”. The DJs almost  seemed as if they were controlling the crowd with their mixer. I felt like i was in a trance. The breaks and the drops flawlessly blended together into a musical roller coaster I could ride. Explosive bursts of energy that were followed by entrancing melodies gave pauses in perfect increments to where I could dance and get enough rest in between intense parts of the songs. I danced so hard, I felt like my heart was about to explode. We decided to stop before we both felt like we were going to collapse.

Going Hard! at the Basscon stage!
Screenshot of me dancing at the Basscon stage and a cameo of the candie my girl found.

When we started to get hot and thirsty, we found that Project Z provided a filling station where water was  distributed for FREE! The fact that Project Z provides free water separates Project Z from most other events or venues, as water is usually very expensive.,

We went on to find a place to chill and before experiencing the third and final stage known as Area Z. On the way there, my girl found her first candie ever, a geometric pattern that wraps around your arm.  Before “rescuing” it, we looked around to see if it belonged to anyone, because it looked as if it had taken hours of time to make. We pondered where it might have come from, and how many times it might have been traded from person to person. We questioned what kind of stories it has had, and how much it must have meant to someone. I hope whoever lost it reads this article, because the candie found a great home and is being loved and cherished!

The painter at Area Z
This artist painted to dubstep.

At this point, we needed to rest, and Area Z was a perfect place to do just that. If i could describe the music at Area Z. It was mellow dubstep, a style you could go either go hard to or just relax and listen to. A nearby painter captured the creative energy of the night and sounds into an image on canvas.

At the end of the night, we were handed fliers to upcoming events and underground shows in the nearby area. Although I may not go to all the events that were promoted, it is cool to think that at the end of every event like this one, someone can find an underground party and perhaps discover new music, new friends, and new adventures.

See you next year, Project Z!