British electronic musician JLIAT (James Whitehead) is one of the most radical followers of John Cage's anti-musical ideology. His pieces rarely dwell in the audible spectrum: they either indulge in absolute cacophony or in absolute quiescence.
This New Jersey native was initially inspired by England's take on the sound of Detroit, but eventually tracked techno back to its Motor City innovators. When he began listening to music, however, it was the sound of early-'80s synth heroes like Devo, Severed Heads and New Order alongside early hiphop, jazz and 60's Hindi film soundtracks. Geist released his first 12" (via Dan Curtin's innovative Metamorphic label) while studying at Oberlin College in 1994.
L.A. native Henry Laufer, the 21-year-old producer better known as Shlohmo, is a lo-fi beat junkie and field-recording enthusiast, whose crackling, low-BPM compositions update Boards of Canada's filmstrip-soundtrack wooziness. An LA native, Laufer grew up listening to "stuff like DJ Shadow, Amon Tobin, M83 stuff with some sort of cinematic vision." He started making beats when he was 14, but "didn't really do it with any sort of purpose until I was like 17 or 18. That was also around the time he and his friends, already fans of Flying Lotus, discovered Low End Theory.
Slug is the name used by multiple musical acts: (1) American hip hop artist Sean Daley, of Atmosphere; (2) South African trance artist Liam Gibbs; (3) a Los Angeles avant/noise rock band; (4) a Chicago-based trance/breakbeat producer; (5) a house DJ from the Shetland Isles, (6) a singer-songwriter from the UK and (7) a south american thrash-metal band.
1. Sean Daley, Slug, Atmosphere:
Minneapolis, Minnesota isn`t exactly the ideal spot to try and maintain a career in hip hop, but somehow, Slug has managed to do just that.
Rolf Julius (1939-2011) was an influential German sound artist.
Keyboard/electronics player for the Shadow Ring, Tim Goss. If I'd've had to guess what post-Shadow projects would sound like, it wouldn't be what Lambkin's actually done, but more like this. Goss frumps about on some synths & intones doom-filled words in a spectacularly cheerless, beetle-browed accent. There's even a dreary-minded lady assistant who reads a few lines. Recorded slightly hot & then turned way down, to give it just a dash of overdriven edge. Lots of leslie-speaker purr, bells, & quiet beeps underline the mounds of hopelessness.
(For the Korean boy band, see 테이크.) There is more than one artist under this name: 1. Based in Los Angeles, Take (Sweatson Klank) is a composer who continues to push the boundaries of instrumental hip-hop music into new directions. After multiple successful EP's under his belt, Take finally unleashed his debut full length player in 2007, Earthtones and Concrete. This music is nothing short of an epic journey with continuously evolving collages that lead the listener down a dust covered road of bit-crushed melodies and molested jazz samples.
Latest release: http://bit.ly/EmergenceEP Composer, producer, graphic artist, collaborator and founder of record label bigo & twigetti,
Jim Perkins fuses traditional compositional structures with experimental instrumental and electronic timbres. He creates graphic art using his performance scores as the basis for the artwork, and applies systematic techniques to produce a visual encoding of the musical information.
Zeitkratzer was founded in 1999. Its concept of a European soloists ensemble is unique worldwide. The nine musicians, the light and the sound engineer live in different European cities from Vienna via Amsterdam to London and meet for working phases at Berlin. Here, new projects are developed - in recent years as a steady guest of the Volksbuehne Berlin. Zeitkratzer finances itself through free projects and international concerts and thus is independant of institutional investors. This freedom allowed idiosyncratic and pathbreaking programs that made zeitkratzer internationally recognized.