Dusty Crates - OutOfOrder2

28. November 2011 Feux

They are back! Releaseparty steigt am 1.12.2011 ..also diesen Donnerstag im Morrisson Club Club Xpedit/ Wiesingerstrasse 6, 1010 (Wien). clickiclicki.

The Vienna based Dusty Crates are a vivid beat-collective founded in 2009 by Melik & Simp later joined by Olinclusive, Clefco, Pad Prank, Ra-B and Prokobeats. Exactly one year after the first release, the crew is already back to launch their second release, “Out of order 2″. This album is about to hit your harddrives heavily. Three of the producers will also be performing their new music live at the official release party on thursday, December 1st at Xpedit in Vienna. Since we are sure all of you are into the wonderful feeling of sloppy beats and samples from dusty wax combined with the warm feeling of analogue synths, we would like to invite you to come on a journey that is about to turn the whole world around you upside down!

videos:
www.youtube.com/watch?v=z6BejotbaUo
(simp-anesthesia)

www.youtube.com/watch?v=bMES4zxOvDE
(olinclusive-lost my bigote)

artwork: ludwig tomaschko
mastering: muh

Tags: beattape, Clefco, download, dusty crates, free, Olinclusive, outoforder2, Pad Prank, Prokobeat, Ra-B

Random Axe “Chewbacca” (Video) // 12.Oktober live in Linz @ Kapu

30. September 2011 Feux

Die Kapu-(Pflicht)termine der letzten Zeit habe ich leider etwas verschlafen.. aber jetzt wieder ein Hinweis! Random Axe (SEAN PRICE, GUILTY SIMPSON & BLACK MILK)… Einzige Österreichshow am 12.Oktober eben in der linzer Kapu. Hier gehts weiter zum Facebookevent.

Tags: Chewbacca, Random Axe, Roc Marciano, Video

WTF!magazin Ersterscheinungsparty

16. Februar 2011 Feux

Es ist vollbracht. Das WTF! Magazin wird erstmals druckfrisch in den Regalen, auf den Theken und Toiletten liegen.
Gefeiert wird dieses erfreuliche Ereignis am 19.Februar im dasviadukt Wien.

Gefeiert wird mit:

Lady Super La Diva (”a special treatment”)
Mr. Scheutz
Ibiza Feuermannteam
Kalifornia Kurt

Awesome Plattenversteigerung feat. Apocalypso Mike & Stooch + WTF!magazin Zeremoniell

Tags: Ersterscheinungsparty, WTF!Magazin

CMYK

23. Dezember 2010 Feux

So schön, so gut!

records used in the picture:
RS 1003 (yellow)
RS 1003M (magenta)
RS 1003C (cyan)

(Via Nerdcore)

Tags: CMYK, James Blake

Now On - All You Ever Knew

30. August 2010 Manuva

fantastic song and animation.

Arm & Hässlich feat. soihe - Unperfektion - Animationsvideo

27. August 2010 Manuva

Back in the good old days…

19. Juli 2010 Manuva

see more…

let´s go to…ARNOLD´s.

15. Juni 2010 BNCKD

nein, es handelt sich nicht um eine neue restaurantkette vom governour.
jakub arnold, langjähriger mastermind hinter carhartt österreich und vieles mehr, eröffnet seinen eigenen, (gar nicht so) kleinen, feinen shop namens “ARNOLD´s” in der 7*gasse, mitten im besten aller bezirke, 1070

was?

free drinks, music &
a unique selection of
clothing, shoes & accessories …

wann & wo?

am donnerstag, 17. juni 2010,
ab 15:00 bis 20:00 uhr

ARNOLD´s
siebensterngasse 52
at - 1070 wien

www.arnolds.at
und hier geht´s zum facebook event

öffnungszeiten:
mo-fr: 11:00 - 19:00
sa: 10:00 - 17:00

Tags: Arnold, carhartt

Turn off the options, and turn up the intimacy.

19. Mai 2010 BNCKD

i stumbled upon this nice article by brian eno after watching the introduction quote of this brandnew minidocumentary about the legendary roland tb303. worthy to watch, so first let´s learn something about the machines!;) below you´ll find the whole article, which is highly recommended as well…

http://www.vimeo.com/11139923
via synthgear

The Revenge of the Intuitive

Turn off the options, and turn up the intimacy.
By Brian Eno

I recently spent three days working with what is possibly the most advanced recording console in the world, and I have to report that it was a horribly unmusical experience. The console, which has more than 10,000 controls on its surface and a computer inside, was designed in such a way that music-making tasks once requiring a single physical switch now require a several-step mental negotiation. My engineer kept saying “Wait a minute” and then had to duck out of the musical conversation we were having so he could go into secretarial mode to execute complex computer-like operations. It’s as though a new layer of bureaucracy has interposed itself between me and the music we want to make. After days of tooth-gnashing frustration, I had to admit that something has gone wrong with the design of technology - and I was paying $2,000 a day in studio fees to discover it.

Years ago I realized that the recording studio was becoming a musical instrument. I even lectured about it, proclaiming that “by turning sound into malleable material, studios invite you to construct new worlds of sounds as painters construct worlds of form and color.” I was thrilled at how people were using studios to make music that otherwise simply could not exist. Studios opened up possibilities. But now I’m struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated. No wonder artists who can afford the best of anything keep buying “retro” electronics and instruments, and revert to retro media.

The trouble begins with a design philosophy that equates “more options” with “greater freedom.” Designers struggle endlessly with a problem that is almost nonexistent for users: “How do we pack the maximum number of options into the minimum space and price?” In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.

Software options proliferate extremely easily, too easily in fact, because too many options create tools that can’t ever be used intuitively. Intuitive actions confine the detail work to a dedicated part of the brain, leaving the rest of one’s mind free to respond with attention and sensitivity to the changing texture of the moment. With tools, we crave intimacy. This appetite for emotional resonance explains why users - when given a choice - prefer deep rapport over endless options. You can’t have a relationship with a device whose limits are unknown to you, because without limits it keeps becoming something else.

Indeed, familiarity breeds content. When you use familiar tools, you draw upon a long cultural conversation - a whole shared history of usage - as your backdrop, as the canvas to juxtapose your work. The deeper and more widely shared the conversation, the more subtle its inflections can be.

This is the revenge of traditional media. Even the “weaknesses” or the limits of these tools become part of the vocabulary of culture. I’m thinking of such stuff as Marshall guitar amps and black-and-white film - what was once thought most undesirable about these tools became their cherished trademark.

The Marshall guitar amplifier doesn’t just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called “electric guitar.” Or think of grainy black-and-white film, or jittery Super 8, or scratches on vinyl. These limitations tell you something about the context of the work, where it sits in time, and by invoking that world they deepen the resonances of the work itself.

Since so much of our experience is mediated in some way or another, we have deep sensitivities to the signatures of different media. Artists play with these sensitivities, digesting the new and shifting the old. In the end, the characteristic forms of a tool’s or medium’s distortion, of its weakness and limitations, become sources of emotional meaning and intimacy.

Although designers continue to dream of “transparency” - technologies that just do their job without making their presence felt - both creators and audiences actually like technologies with “personality.” A personality is something with which you can have a relationship. Which is why people return to pencils, violins, and the same three guitar chords.

via

Tags: brian eno, roland bassline, tb303

what the future sounded like

5. Mai 2010 BNCKD

marvellous 3 part mini documentary about the legendary EMS (electronic music studios), a british synthesizer company founded in 1969 by peter zinovieff. they developed a pretty nice and back then revolutionary range of gear.
famewise i´d mention the vcs3 and their vocoder, heavily used by artists such as tangerine dream, the who, ala parsons project, david bowie, giorgio moroder and others.
you´ll find loads of additional info bout their products and team above, and here, just give it a click…

Tags: electronic music studios, ems, vcs3

Heute auf ARTE: Just for kicks

1. April 2010 Manuva

Wie die Jeans in den 70er Jahren ist der Sneaker spätestens seit den 90er Jahren zum Markenzeichen einer ganzen Generation geworden: In Interviews mit bekannten Sammlern, Hip-Hop-Pionieren, Rappern, Graffitikünstlern, Journalisten und Markenverantwortlichen beleuchtet die Dokumentation das Phänomen und die Kultur des Turnschuhs, der ganz lässig im Alltag getragen wird.

In New York, Paris, London, Portland und Los Angeles erzählen unter anderem Persönlichkeiten wie Bobbito Garcia, Doze von Rock Steady Crew, Bandmitglieder von Run DMC oder Wu Tang Clan von ihrer Liebe zum Sportschuh. Sie schildern aus ihrer Sicht, warum der Sneaker zu einem der wichtigsten Statussymbole der MTV-Generation geworden ist.
Dieser unterhaltsame und abwechslungsreiche Überblick über die Entwicklung des Sneakerphänomens macht deutlich, dass der Hip-Hop als prägende neue Kultur dieser Zeit dem Turnschuh als ideales Sprungbrett diente. Die Dokumentation zeigt die Macher und Akteure dieses weltweiten Trends.
Sie macht deutlich, dass sich hinter diesem 26-Milliarden-Dollar-Markt und dem Erfolg einzelner Marken oft die wenig bekannten Geschichten derer verbergen, die den Stein ins Rollen brachten. Dabei spielten Musik und Stadtkultur ebenso eine Rolle wie Sponsoringdeals, Neuauflagen seltener Modelle und ganz bestimmte Marketingstrategien.

Neben Hintergrundanalysen lassen zeitgenössische Dokumente, Exklusivinterviews, unveröffentlichte Archivaufnahmen, legendäre Liveauftritte, Ausschnitte aus Filmklassikern und Kultfotos, Werbekampagnen, Clips und CD-Cover den Zuschauer ebenso in die aktuelle Popkultur eintauchen wie die musikalische Begleitung mit Originaltiteln von Roy Ayers, Outlines, DJ Mehdi und Roskow von Jazzanova.
Die Dokumentation erhielt Nominierungen für zahlreiche Festivals, darunter das Tribeca Film Festival, das ResFest Digital Film Festival, das Sheffield International Documentary Festival, das New York Latino Film Festival, das Documentary Film Festival d’Amsterdam, das Francisco Black Film Festival und das Internationale Leipziger Festival für Dokumentar- und Animationsfilm.

ARTE.TV

Tags: arte, doku, sneaker, TV

the man behind the chime

29. März 2010 BNCKD

ich bin zwar alles andere als ein mac user, das iphone mal ausser acht gelassen, das hier trotzdem nicht uninteressant für die apple heads out there…

http://www.vimeo.com/9370716

nice little interview with the man behind the famous chimes sound you hear, every time you startup your mac…
onemorething.nl visited him in san jose: jim reekes, who worked for apple for over 12 years, during which he left his mark on everything sound at apple. here´s some more info on the man behind apple´s sounddesigns.

via

Tags: apple, chime, jim reekes, mac

just to let u know

13. März 2010 Manuva

White Boba Fett

26. Februar 2010 Manuva

das ist wahrscheinlich eines der besten never-seen-footage videos, das ich seit langem zum thema star wars gesehen habe…

Many have seen the early Ralph McQuarrie sketches of Boba Fett sporting the all-white helmet and armor. What you haven’t seen is the original white Fett costume in action. A videotape was rolling to capture “proto Fett’s” reveal to Lucas and company at the filmmaker’s home on June 28, 1978. In the video, sound designer Ben Burtt “hosts” Fett’s reveal, describing the different weapons, functions, and characteristics of the costume (worn by Empire’s assistant film editor Duwayne Dunham for the test).

boba fett video

Tags: boba fett, star wars, Video