Podcasts about electronic sound

In this occasional series exploring modular synthesis and live performance, William Stokes talks to Tony Rolando, electronic musician and founder of modular company Make Noise. Tony talks about his beginnings in the industry and how Make Noise has relaunched in 2025 with a new team and a brand new module release, which he then showcases in an exclusive performance alongside four additional modules.Chapters00:00 - Introduction05:22 - Creating Social Media Posts12:10 - Recent Innovations In Modular14:02 - Revisioning Jettisoned Music Technology21:08 - Module 1: Maths 30:17 - Module 2: Morphagene47:42 - Module 3: Qpas 57:57 - Module 4: Bruxa01:12:52 - Module 5: New Universal Synthesizer System01:27:40 - The PerformanceTony Rolando BiogTony Rolando is a self-taught musician and electronic musical instrument designer who started his career building electronics for artists, such as the light controlled mixer for Simon Lee's “Bus Obscura,” working for Moog Music and playing in bands. He has recently released music with Important Records and the Asheville, NC based Ceremony of Seasons.Tony is the founder, lead designer and co-owner of Make Noise, a modular synth company launched in 2008, known for modules such as the Morphagene and 0-Coast, popular with artists like Thom Yorke and Robert Lowe, aka Lichens. They operate out of Asheville, NC and have global distribution through a number of music tech dealers.https://tonyrolando.bandcamp.com/www.makenoisemusic.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Die spannendsten Schweizer Electronica-Releases der letzten Wochen und ein Blick auf kommende Highlights. Mit dabei sind die neue Single des Zürcher Synthpop-Künstlers Alex Nauva und zwei exklusive Vorab-Tracks aus dem kommenden Album des Basler Produzenten Parco Palaz. Tracklist Sounds! Mixtape: Gaspard Sommer Feat. Chien Bleu - Kintsugi Lapcat x Hawkfather - Magical Arrangement Melodies In My Head - Pressure From All Sides Alex Nauva x Gallery of Noise - Crush Estelle Zamme Feat. Ash The Ash - Unstoppable Parco Palaz - Durdevka Estelle Zamme Feat. Uzair Khan - Tohfa Parco Palaz - 13 Basepoints Francesco Panettone - Rumbo Ziska Staubli - Trans Liberation Bête Salée - hérisson Baterija - Psychodelic Woman

We dive into the Shmøergh DIY synth, highlight ahto_leon's melodic album "Impermanence," and explore the refined sequencing capabilities of Teenage Engineering's OP-XY.

Electronic music pioneer and composer Suzanne Ciani discusses her career highlights in conversation with William Stokes, including early performance struggles due to her determination to present shows in quadraphonic, a career resurgence thanks to Moogfest and why she loves working with the Buchla interface.Chapters00:00 - Introduction01:06 - The First Female To Score A Movie04:01 - Having More Than 20 Albums04:36 - Golden Apples Of The Sun07:55 - Live Performance Struggles11:57 - A Love Of Programming14:09 - Interacting With A Buchla17:14 - A New Way Of Performing Music22:32 - The Buchla 250 MARF25:36 - Making A Comeback At Moogfest29:36 - Creating Spatial Content38:40 - A Meeting Of Art And Science 41:36 - Future Plans"I didn't build the machines, I certainly didn't design them, but I could interact with them and use them, you know, and that's what I liked".#buchla #moogSuzanne Ciani BiogSuzanne is a five-time Grammy award-nominated composer, electronic music pioneer, and neo-classical recording artist who has released over 20 solo albums including "Seven Waves," and "The Velocity of Love," along with a landmark quad LP “LIVE Quadraphonic,” which restarted her Buchla modular performances. Her work has been featured in films, games, and countless commercials as well. She was inducted into the first class of Keyboard Magazine's Hall of Fame alongside other synth luminaries, including Bob Moog, Don Buchla and Dave Smith and received the Moog Innovation Award. Most recently, she is the recipient of the Independent Icon Award from A2IM, The Golden Ear Award and the SEAMUS Award.Suzanne has provided the voice and sounds for Bally's groundbreaking "Xenon" pinball machine, created Coca-Cola's pop-and-pour sound, designed logos for Fortune 500 companies and carved out a niche as one of the most creatively successful female composers in the world. A Life in Waves, a documentary about Ciani's life and work, debuted at SXSW in 2017 and is available to watch on all digital platforms. Ciani is a graduate of Wellesley College and holds a Masters in Music Composition from the University of California, Berkeley.http://sevwave.com/https://transversales.bandcamp.com/album/golden-apples-of-the-sun-3William Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Greetings! So, during my recent jaunt to Europe, I found a killer used CD/vinyl store in Budapest and was tempted to dispose of my clothes and just fill by suitcase up with CDs. The track from George Harrison's "Electronic Sound" is a sampling from the stack I did procure, with other items likely to show up in the coming weeks. I'm also happy to highlight electric guitarist Garrett Gleason's "Myths & Hymns", incredibly imaginative take on Adam Guettel's beautiful song cyle. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com **Bluesky: https://bsky.app/profile/envpusher1.bsky.social  Twitter-like x-thing: https://twitter.com/envpusher1     11-16-24 PTE Playlist   Question Song (feat. Madeleine Ertel/trumpet) / Aplomb (feat. Chris Donnelly/piano) - Dan Fortin - Cannon - Elastic Recordings (2024) https://danfortin.bandcamp.com/album/cannon-elastic-recordings    Saturn Returns/Icarus - Adam Guettel - Hymns & Myths - Nonesuch (1999) https://www.nonesuch.com/albums/myths-and-hymns    Saturn Returns/Icarus - Garrett Gleason - Myths & Hymns - Big Round Records (2023) https://www.bigroundrecords.com/catalog/br8984    Ohm Shanti - Bill Laswell (bass, percussion, keyboards, sounds) - Asana 4: Ohm Shanti - Meta Records (2006) https://billlaswell.bandcamp.com/album/asana-4-ohm-shanti    Dawn Chorus (in memory of Terry Boblet) - Dubious Candy - Women Take Back The Drone  (compilation) - digital release (2022) https://womentakebackthenoise.bandcamp.com/album/various-women-take-back-the-drone    Сенке Праскозорја (Shadows of the Breaking Dawn) - Depression Embrace - Comp25: Sampler1 - Owlripper Records (2023) https://owlripperrecordings.bandcamp.com/album/comp25-sampler1-on001-050    Soundpieces from Scratch (for solo clarinet, 12 pre-recorded clarinets, synthesizer) -  Gary Dranch, clarinet; Frank McCarty, pre-recorded clarinet; Gary Mitro, live sound engineer / composer: Frank McCarty - The Dawn of the Bicameral Clarinetist (An Anthology of American Solo Clarinet Works from 1968-1979) - Navona Records (2024) https://www.navonarecords.com/catalog/nv6693/    Under The Mersey Wall - George Harrison - Electronic Sound - Zapple (1969) https://www.georgeharrison.com/releases/electric-sound/    Adancime ("depth")  - Thy Veils - Live at Garana Jazz Festival - digital release (2024) https://thyveils.bandcamp.com/album/live-at-garana-jazz-festival 

In this first part of an occasional series exploring modular synthesis and live performance. William Stokes talks to experimental electronic musician Scanner about his career, the choice of his favourite modules he'll showcase in his closing performance and the friendliness of the modular community. Chapters00:00 - Introduction01:13 - The Tate Modern Installation02:52 - Working With Laurie Anderson06:40 - The Origin Of The Name Scanner10:47 - Module 1: Morphagene14:30 - Module 2: Mimeophon18:52 - Module 3: Equation Composer24:08 - Module 4: QU-Bit Prism26:51 - Finding Your Sound With Modular29:22 - Module 5: QU-Bit Nano Rand31:16 - Module 6: Instruō øchd DivKid 33:12 - Modular Social Community 35:31 - Modular Aesthetics38:38 - Module 7: Bela Gliss42:37 - The PerformanceMorphagene - https://www.makenoisemusic.com/modules/morphagene/Mimeophon - https://www.makenoisemusic.com/modules/mimeophon/Equation Composer (discontinued) QU-Bit Prism - https://www.qubitelectronix.com/shop/p/prismQU-Bit Nano Rand - https://www.qubitelectronix.com/shop/p/nano-rand Instruō øchd - https://www.instruomodular.com/product/ochd/Bela Gliss - https://uk.shop.bela.io/products/glissRobin Rimbaud BiogScanner (British artist Robin Rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 dance productions, including the hit musical comedy Kirikou & Karaba Narnia, Qualia for the London Royal Ballet, and the world's first Virtual Reality ballet, Nightfall, for Dutch National Ballet.More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and the new Cisco telephone system used in many offices around the world. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.http://www.scannerdot.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Episode 123 Love Spells in Electronic Sound Playlist   Track Time Start Time Introduction –Thom Holmes 06:48 00:00 1.     Mystic Moods Orchestra, “Love Token” from Love Token (1969 Philips). Sound Effects, producer, sound director, Brad Miller; Vocals and vocal effects, The Mystic Moods. 04:33 06:48 2.     Four Tet, “Love Cry” from There Is Love In You (2010 Domino). Written, produced, and performed by Kieran Hebden. 09:06 11:14 3.     Deborah de Luca, “Love is a Losing Game (Mix Raw)” from Nina (2015 Sola_mente Records). Written, produced, and performed by Deborah de Luca. 07:14 20:16 4.     Steven Halpern, “Hot Chakra” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 06:48 27:26 5.     Steven Halpern, “Thigh Chi” from Enhancing Sensual Pleasure (1993 Sound Rx). Bass, Marc Vanwaginengen; Flute, Paul Horn; Silver Flutes, Emerald Web; Grand Piano, Electric Piano, Producer, Trumpet, Steven Halpern; Harp, Susan Mazer; Lyricon, Dallas Smith; Percussion, Kenneth Nash. 05:31 34:08 6.     Klaus Schulze, “Moogetique” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 13:12 39:34 7.     Klaus Schulze, “Stardancer II” from Body Love, Vol. 2 (1977 Island). Producer, Composer, instruments, Klaus Schulze; Drums, Harald Grosskopf. Original electronic music for a film by Lasse Braun. 14:13 52:44 8.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” from Events (1980 Harvest). Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMI, Liner Notes, Eberhard Schoener; Fairlight CMI, Morris Pert; Fender Rhodes, Roger Munnis; Tenor Saxophone, Olaf Kübler; Vocals, Clare Torry. 10:56 01:06:50 9.     Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Written, produced, and performed by Nora En Pure. 05:48 01:17:45 10.   Art Linkletter, “Narrates The Story Of Where Did You Come From?” (side 1) from Narrates The Story Of Where Did You Come From? (1963 20th Century Fox). This was an early 60s sex-education LP. Linkletter was a Canadian-American radio and television personality. I've intermixed this disc with tracks of rolling white sound (by me) and a track by Kazumoto Endo, “Falling In and Out of Love” from Never Gonna Make You Cry (1999 Kling Film-Records). Written, produced, and performed by Kazumoto Endo. All to present a slightly odd view of love. 19:12 01:23:32 11.   Donna Summer, “Summer Fever” from Four Seasons Of Love (1976 Casablanca). Written-By Donna Summer, Giorgio Moroder, Pete Bellotte; accompanied by The Munich Machine; recorded in MusicLand Studios, Munich; mixed and produced by Giorgio Moroder. 08:12 01:42:44   Opening background music: The Love Symphony Orchestra, “Let's Make Love in Public Spaces” from Penthouse Presents The Love Symphony Orchestra (1978 Talpro). Keyboards, Synthesizer, Clifford Carter. (03:12) Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

For the last six episodes, we've been previewing some of the titles on the list for Record Store Day 2024 (April 20). This week, we wind down this series with a very special exclusive interview with musician and composer Dhani Harrison, who also happens to be the president of Dark Horse Records, the label founded by his father, the late and beloved George Harrison. Dark Horse is partnering on several releases with RSD, including his dad's Electronic Sound and Wonderwall Music, Joe Strummer and The Mescaleros Rock Art and The X-Ray Style, and Dreamers In The Field, a collaboration between Dhani, Carmen Rizzo, and Tuvan throat-singers, Huun-Huur-Tu. We talk about all of this and so much more. Musician and producer James Saez talks about the RSD set that he restored and produced featuring the great Nat King Cole, recorded Live at The Blue Note in Chicago in the summer of 1953. Eric Levin at Criminal Records talks about Dreams Don't Cost A Thing, an all-day tribute to the recently departed Dexter Romweber (Flat Duo Jets) at their Atlanta store on Record Store Day. And RSD co-founder Carrie Colliton drops by with some last minute details from the RSD world. The Record Store Day Podcast is written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day. Please consider subscribing to our podcast wherever you get podcasts, we're here every week and we love making new friends.

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

We talk with Bob Boilen, yes that Bob Boilen, former director of All Things Considered, creator of All Songs Considered and the Tiny Desk Concert, about his music, all the NPR things, and so much more. He's an amazing guest. Also Tez is back, we talk about Twitter and Alex Jones joining forces, and of course we dive into the possible relocation of the Caps and Wizards from DC to Va.

A granular de/reconstruction of two late madrigals by Carlo Gesualdo (1566-1613), who murdered his wife and her lover "in flagranti". Soundtrack for a live performance with the actor Markus Hering, premiered at the Basilika Sonntagberg on October 28, 2023. Commissioned by the festival Klangraum Waidhofen. https://essl.at/works/gesualdo-fragmente.html

If you're looking for new things to hum as you while away the days to the 60th anniversary and its specials, wait no more! The new arrangement of the Doctor Who theme tune is now in the wild, along with the Fifteenth Doctor's theme just aching to bust out of your speakers and into your heart. You'll need all that love because although the BBC will soon put almost all of Classic Who and the various spinoffs on the iPlayer, "An Unearthly Child" is a bone of contention between the son of writer Anthony Coburn and…the rest of the internet. Plus we have Disney+ intrigue and speculation, a new edition of Outside In, music and audio news, and part the fourth of Classic Series Commentary for "Mawdryn Undead"! Links: Support Radio Free Skaro on Patreon New Doctor Who theme Fifteenth Doctor theme “Fifteen” Doctor Who @ 60 concert on BBC Sounds Alex Pillai and Peter Hoar announced as S15 directors All existing Classic and Modern Doctor Who will be on BBC iPlayer starting November 1 Doctor Who: How the TV show's first writer became lost in time Classic Doctor Who not expected to come to Disney+ Who Are We: Doctor Who? The Classic Years audio documentary on BBC Sounds Oct 21 Doctor Who Magazine 596 released Electronic Sound magazine 106 has a profile on the Radiophonic Workshop and 7″ single Outside In Regenerates due Nov 23, preorder available Dominic Glynn's “The Survival Remixes” due Nov 24, preorder live Oct 16 Big Finish Doctor Who – The Eighth Doctor Adventures: In the Bleak Midwinter due December 2023 Commentary: Mawdryn Undead, Part Four

In this episode, I answer a couple of questions from one of your fellow listeners, Rob.Grab Your FREE Trailer Music Toolkit - https://richardpryn.com/toolkit Check out this amazing offer - https://richardpryn.com/trailermusicbundle/You can now get all 12 of my trailer music courses for an amazingly low price.You might be asking why am I doing such a thing. Because, as I say to my kids, "sharing is caring" and I want my courses to help as many people as possible. To be honest with you, at this price I'm tempted to buy them mys

The tables are turned for today's electrical podcast, with Martyn being interviewed by music journalist and co-founder of Electronic Sound magazine, Mark Roland. For the Cover story of Electronic Sound issue 101, ES writer Neil Mason tackles the birth of the British Electric Foundation and the making of the recently re-released album 'Music For Stowaways'. The feature is a jumping off point for Martyn and Mark to chat about sound, art, the business of music, and the two previously unreleased Martyn Ware tracks which feature on a blue vinyl seven-inch single that comes with the magazine - available at electronicsound.co.uk. Enjoy! If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

This is a 60 minute sound bath with electronics, gongs, ocean drums and more. Recorded live at All Y'All Yoga in Tampa, FL.   It has taken me a bit to uploade these classes for February. I've been arduously working on creating a Yoga Alliance aligned Baptiste Power Yoga teacher training manual to have for sale. I have this manual in the following formats: Adobe InDesign, Microsoft Word, Google Docs, and Canva. Send me an email at jentechyoga@gmail.com if you're interested & you can read more about it here: http://www.jentechyoga.com/2023/02/yoga-alliance-aligned-baptiste-power.html 

Episode 89 The Theremin Part 2: Recordings After 1970 Playlist Ultimate Spinach, “(Ballad of The) Hip Death Goddess” from Ultimate Spinach (1968 MGM Records). This American psychedelic rock band was from Boston, Massachusetts, although they had a sound that had more an affinity with the free spirit of San Francisco. The Theremin has a prominent part in this song, following the vocalist and filling in some interesting instrumental parts. Bass and Feedback, Richard Nese; Vocals, Drums, Tabla, Bass Drum, Bells, Chimes, Keith Lahteinen; Vocals, Electric Guitar, Guitar, Kazoo, Barbara Hudson; Vocals, Electric Piano, Electric Harpsichord, Organ, Harpsichord, Twelve-String Guitar, Sitar, Harmonica, Wood Flute, Theremin, Celesta, Ian Bruce-Douglas; Vocals, Lead Guitar, Guitar Feedback, Sitar Drone, Electric Sitar, Geoffrey Winthrop. 8:11 Hawkwind, “Paranoia Part 2” from Hawkwind (1970 Liberty). Hawkwind was a pioneering space-rock and psychedelic group from the UK. They were known to use a theremin during their early years—1969 to 1973 and revived its use on stage in later performances using a Moog Etherwave model in the 2000s. This first album features a theremin added to much of the sonic textures, sometimes overtly but often run through effects to provide a looming background, as in this song. It is sometimes difficult to distinguish, but I think there is a theremin providing some of the droning background and then sporadic bursts of tones beginning around 4:25. 14:54 McKendree Spring, “God Bless the Conspiracy” from 3 (1972 Decca). Electric Violin, Viola, Theremin, Michael Dreyfuss; Electronics (Ring Modulator), Tom Oberheim; Vocals, Acoustic Guitar, Dulcimer, Fran McKendree; Electric Bass, Larry Tucker; Electric Guitar, Martin Slutsky. This progressive band with experimental leanings was a quartet without a drummer. Dreyfus later said, “In God Bless the Conspiracy and No Regrets I was able to play viola and Theremin at the same time by bringing my body closer to the Theremin (to change pitch) while playing a harmony part on the viola,”(2006). He played a Theremin beginning 1969. He may have used a Moog theremin, such as the Troubadour. 6:53 Linda Cohen, “Horizon Jane” from Lake Of Light (1973 Poppy). Folky album from Philadelphia featuring several electronic musicians. Acoustic Guitar, Bass, Piano, Polytonic Modulator, Jefferson Cain; Classical Guitar, Composer, Linda Cohen; Flute, Stan Slotter; Producer, Electric Guitar, Matrix Electronic Drums, Modulator, Sitar, Synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen. 3:36 Ronnie Montrose, “Space Station #5” from Montrose (1973 Warner Brothers). Ronnie Montrose added a custom-built Theremin to his equipment with the pitch antenna mounted on his aluminum (silver) Velano guitar so that he could play both at the same time. Volume for the theremin was controlled by a black box mounted on a mike stand, to which he stood nearby. He was recording with it throughout the 1970s. Here is a great live clip you where you can see how he played it. Note the end of the clip where he put the theremin guitar up against the speaker and wails on the volume control of the theremin control box. Bass, Bill Church; Drums, Denny Carmassi; Guitar, Theremin-Guitar, Ronnie Montrose; Vocals, Sam Hagar. 5:36 Arthur Brown's Kingdom Come, “Time Captives” from Journey (1974 Passport). Fender Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals, Andy Dalby; Mellotron, ARP 2600, EMS VCS 3, Piano, Theremin, Percussion, Vocals, Victor Peraino. 8:37 Michael Quatro, “Get Away” from In Collaboration with The Gods (1975 United Artists Records). Brother of Detroit rockers Suzi and Patti Quatro, he had a flare for progressive rock and electronic keyboards in the 1970s. The Theremin makes frequent appearances on this album, this track in particular. Arranger, Piano Baldwin, Electric Piano Gretsch Electro, Piano Tack Piano, Sonic Six Synthesizer, Effects Univox Phaser, Univox Stringman, EC-80 Echo, Elka Electric Piano, Hammond Organ, Minimoog Synthesizer, Univox Mini-Korg, Electroharmonix Boxes, Mellotron Violin, Cello, Flute, Effects Wah-Wah Pedals, Effects Syntha-Pedal, Bass Nova Bass, Horns, Organ Pipe Organ, Sounds Ring Modulation, Maestro Theremin, Electronic Effects, Percussion , Michael Quatro;Bass, Lead Vocals, Arranged By Arranging Assistance, Dave Kiswiney; Drums, Kirk (Arthur) Trachsel; Guitar, Teddy Hale. 4:04 Melodic Energy Commission, “Revise The Scene” from Stranger In Mystery (1979 Energy Discs). This is the first album from this Canadian space-rock, psychedelic and folk troupe from British Columbia. The Theremin was a key instrument in their ensemble and was custom-built by group member George McDonald. His Theremin would eventually be known as the Galactic Stream Theremin and would take some 25 years to build and evolve into a six antennae instrument for “tuning into the performers body motions.” During this recording, a simpler, more traditional version was used. Gas & Steam Bass, Bells, Tambourine, Mark Franklin; Dulcimer, Bowed Dulcimer, Khaen, Gongs, Flute, Randy Raine-Reusch; Hydro-electric Guitar, Custom-made Theremin, Aura, Wall Of Oscillation, George McDonald; Percussion, Tablas, Brass Tank, Glockenspiel, Roland SH5 Synthesizer, Organ, Paul Franklin; EMS Synthi AKS, Delatronics, Electric Guitar, Del Dettmar; Wordy Voice, Guitar, Piano, Organ, Roland SH 1000 Synthesizer, Gongs, Vibraphone, Kalimba, Stone Drum, Egyptian Shepherd's Pipe, Xaliman. 6:13 The Nihilist Spasm Band, “Elsinore” from Vol. 2 (1979 Music gallery Editions). Canadian group that used all hand-made instruments, including the kit-made Theremin by Bill Exley. Bass, Hugh McIntyre; Drums, Greg Curnoe; Guitar, John Clement, Murray Favro; Kazoo, John Boyle; Pratt-a-various, Art Pratten; Vocals, Theremin, Bill Exley. Recorded live at the Toronto Music Gallery, February 4th 1978. 5:14 Yuseff Yancy, Garret List, “Sweetness” Garrett List / A-1 Band, “Sweetness” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Maestro Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11. Todd Clark, “Into the Vision” from Into The Vision (1984 T.M.I. Productions). Guitar, Cheetah Chrome; Theremin, Bat-wing Guitar with ARP Avatar, Todd Clark; Found Vocals, William Burroughs. 8:38 Danielle Dax, “Yummer Yummer Man” from Yummer Yummer Man (1985 Awesome). UK artist Danielle Dax. Wah Guitar, Steve Reeves; Guitar, Slide Guitar, Organ, David Knight; Producer, arranger, lyrics, Vocals, Theremin, Tapes, Danielle Dax; Drums, Martyn Watts; Music by Danielle Dax, David Knight. Dax is an experimental English musician, artist, and producer, born as Danielle Gardner. 3:16 Mars Everywhere, “Attack of the Giant Squid” from Visitor Parking (1989 Audiofile Tapes). Cassette release from this space-rock band from the 1980s. Electric Guitar, Electronics, Tape, Ernie Falcone; Synthesizer, Theremin, Keyboards, Tom Fenwick. 5:03 Jon Spencer Blues Explosion, “Vacuum of Loneliness” from The Jon Spencer Blues Explosion (1992 Caroline). This NY band uses an original Moog Vanguard (circa 1960). This rock and blues band was active from 1991 until 2016. Baritone Saxophone, John Linnell; Drums, Russell Simins; Guitar, Vocals, Judah Bauer; Tenor Saxophone, Kurt Hoffman; Trumpet, Frank London; Vocals, Guitar, Moog Vanguard Theremin, Jon Spencer. Here is a video of a live performance of The Jon Spencer Blues Explosion with a Moog Vanguard Theremin (just after the 39-minute mark). 3:02 Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That's Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Maestro Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23. David Simons, “Music For Theremin And Gamelan (1998-1999), parts I and II” from Fung Sha Noon (2009 Tzadik). Theremin, Rob Schwimmer; Gamelan, Theremin, Sampler, MIDI Controller, Percussion, Marimba, Zoomoozophone, 43 Pitch Zither, Harmonic Canon, Slide Guitar, Chromelodeon harmonium, David Simons; Gamelan, Barbara Benary, Denman Maroney, John Morton, Laura Liben. 6:09 (part I) and 6:29 (part II) Lydia Kavina, “Voice of the Theremin,” composed by Vladimir Komarov from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina. Arranged, mixed, performed by Lydia Kavina. 8:11 Lydia Kavina, “Free Music #1,” composed by Percy Grainger from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina; mixed and spatialized, Steve Puntolillo. This work was originally written for theremin although Grainger had many ideas around how this type of “free music” should be played. This native Australian was fascinated by the sounds of the real world and invented a mechanical machine for making such sounds. In 1938, Grainger said, "...Out in nature we hear all kinds of lovely and touching 'free' (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressiveness into the art of music because of our archaic notions of harmony.” His adaptation of free music for theremin was an attempt to create sounds that were new to music. This version was multitracked by Kavina and an old acquaintance of mine, sound engineer Steve Puntolillo, to recreate the parts for four theremins. 1:19 The Kurstins, “Sunshine” from Gymnopedie (2000 Rouge Records). Composed by Roy Ayers; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:47 The Kurstins, “Outside” from Gymnopedie (2000 Rouge Records). Composed by Greg Kurstin; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:55 Hecate's Angels, “Shrink-Wrapped Soul” from Saints And Scoundrels (2004 redFLY Records). Los Angeles-based Pietra Wexstun is a composer, singer, keyboard and theremin player. Vocals, Farfisa organ, piano, theremin, sound effects, Pietra Wexstun; bass, Bill Blatt; guitar, Stan Ridgway; drums, Elmo Smith. 3:52 Pamelia Kurstin, “Barrow In Furness” from Thinking Out Loud (2007 Tzadik). From Kurstin first solo record. Composed, Produced, Theremin With L6 Looping Pedals and Microsynth Pedal, Guitar, Piano, Pamelia Kurstin. She played the Etherwave Pro Theremin by Moog fo this recording. Pamelia Kurstin, video with she and Bob Moogdiscussing the Etherwave Pro when it was introduced. Kurstin uses the Etherwave Pro Theremin by Moog Music. 5:12 Barbara Bucholtz, “SixEight” from Moonstruck (2008 Intuition Records). Bucholtz was a German theremin player and composer. She played a TVox Tour model theremin. Drums, Sebastian Merk; Music By, Contrabass Flute, Sampler, programmed, engineered, produced, and recorded by Tilmann Dehnhard; Trumpet, Arve Henriksen. 4:01 Herb Deutsch, “Longing” from Theremin One Hundred Years (2020 Electronic Sound). Composer, Herb Deutsch; Piano, Nancy Deutsch; Moog Melodia Theremin, Daryl Kubian. Recording from 2012. The beloved Herb Deutsch, who died recently at age 90, was an early collaborator with Bob Moog on the creation of the synthesizer. Herb became acquainted with Bob by purchasing a Theremin kit—a Moog Melodia model, in the early 1960s. He was primarily responsible for convincing Moog to add a keyboard to his modular unit. Also, this is taken from a terrific compilation of modern Theremin artists to benefit the New York Theremin Society. Check it out. 3:38 M83, “Sitting” from M83 (2016 Lowlands Festival). This is a live recording from Holland. “Sitting” was a song on M83's first album in 2001. But it didn't have a theremin part until they decided to spice-up the live interpretation of the song in 2016. Jordan Lawlor uses a Moog Theremini when M83 performs this in concert. He puts down his guitar, grabs some drum sticks, beats a rhythm on some electronic drums while dancing in place and moving his hands around a theremin. You can hear the theremin in this track but don't mistake it for the keyboard tones that Gonzalez is playing on his modular system. A longer sequence of theremin begins at 1:38 in the audio. You can view the video here, beginning at 26:54 into the show. M83 is a French electronica band founded in 1999 by Anthony Gonzalez, who remains the only sole member from the original outfit. Performing members on this live tour included: Anthony Gonzalez, lead vocals, modular synthesizers, keyboards, guitars, piano, bass, drums, percussion, programming, arrangement, mixer, production; Loïc Maurin, drums, percussion, guitar, bass, keyboards; Jordan Lawlor, guitars, vocals, multi-instrumentalist; Kaela Sinclair, Dave Smith and M-Audio keyboards, vocals; Joe Berry, piano, synthesizers, electronic wind instrument, saxophone. 4:03 Radio Science Orchestra, “Theme from Doctor Who” (2019). This UK-based band unites theremin, ondes martenot, Moog and modular electronics, for its performances. They've played such events as the TEDSummit, the British Library, and Glastonbury Festival. They made a concert recording with Lydia Kavina in 2009 of the Theme from Doctor Who. This version was made more recently and appears to also include Kavina. She plays the TVox Tour model theremin made by her husband G. Pavlov. 2:18 Thorwald Jørgensen, Kamilla Bystrova, “Moderato” from Air électrique: Original Music For Theremin And Piano (2020 Zefir). Jørgensen is an accomplished Dutch classical theremin player. Piano, Kamilla Bystrova; Liner Notes, Design, Moog Etherwave Pro Theremin, Thorwald Jørgensen. 2:10 Dorit Chrysler, “A Happy Place” from Theremin One Hundred Years (2020 Electronic Sound). Issued with the magazine's 7” vinyl and magazine bundle Electronic Sound Magazine, issue 70. Written, produced, and performed by Dorit Chrysler. 2:06 Dorit Chrysler, “Calder Plays Theremin Side A” from Calder Plays Theremin (2023 NY Theremin Society/Fridman Gallery) Written for Theremin Orchestra in 5 Movements, Chrysler's work is based on a commissioned sound piece by The Museum of Modern Art in conjunction with the exhibition Alexander Calder: Modern from the Start. Chrysler identified two of Alexander Calder's sculptures, Snow Flurry, I (1948) and Man-Eater with Pennants (1945), to interact and “play” multiple Theremins on site. I believe the Theremin are various Moog models. Calder Plays Theremin is a co-release of the NY Theremin Society and Fridman Gallery. 8:48   Opening background tracks: Ronnie Montrose, “Open Fire” (excerpt) from Open Fire (1978 Warner Brothers). Bass, Alan Fitzgerald; Drums, Rick Shlosser; Guitar, Custom-built Theremin mpounted to his electric guitar, Ronnie Montrose; composed by Edgar Winter, Ronnie Montrose. 2:09 Hooverphonic, “‎L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Maestro Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:46. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.

A 25-minute pomodoro background track followed by 5 minutes of silence. For longer play times, open myNoise.net or google myNoise Now Loading... and follow the top links.

We hear from two very different magazine makers this episode. As his book about launching nineties supermag Loaded is published, publishing entrepreneur James Brown joins Jeremy at the magCulture Shop to select his indie favourites, including Electronic Sound, The Square Ball and Whalebone. The two look back at how the Loaded phenomenon exploded, and generally share his passion for magazines. James' book about Loaded, ‘Animal House' is published this week by Quercus Books. Then we jump to the present, as Francesca Gavin joins via Zoom to discuss her exciting new launch Epoch. This big, bold magazine seeks to link the new and old, and art and science using contenorary design and aesthetics. We're grateful to our friends at Park Communications for their support of the magCulturre Podcast. Find them online at www.parkcom.co.uk Final edit by Sam Williams

    The 529th of a series of weekly radio programmes created by :zoviet*france:   First broadcast 27 August 2022 by CJMP 90.1 FM   Thanks to the artists included here for their fine work.   track list … :zoviet*france: - A Duck in a Tree Link 529a 00 Konx-Om-Pax - Intro 01 Wings of an Angel - Iconic Ashtray 02 Fossil Aerosol Mining Project - Tsints Loop2 03 Pablo Ribot - Conversaciones con Samuel Beckett – Fragmento II 04 Rabbitsquirrel - As Rare as a Predatory Coral 05 Patrick Sellar, Robin Holmes - Mistle Thrush Song (Willow Warbler in Background). May 1973, Speyside, Scotland 06 [unknown sound designer / Warner Bros.] - Cartoon – Big Stretch and Snap, Slingshot; Big Stretch and Twang, Slingshot 07 Asmus Tietchens / Arcane Device - T1:M1/1 08 Gintas K - Mountains, Runlets, Caves & Cascades #2 09 Hajime Yamashita - Symbiosis (for Electronic Sound and Radio Wave) 10 Nicholas Maloney - Quiescent 11 Jonathan Higgins - Interlude – Slate 12 Fossil Aerosol Mining Project - 8-19-22 (3 Relic Cassettes) ++ Konx-Om-Pax - Outro … :zoviet*france: - A Duck in a Tree Link 529b    

The episode opens with Jeremy Leslie and magCulture shop manager/writer Danielle Mustarde discussing recent issues of Good Place La Nueva Carne and Electronic Sound magazines. We then meet two guests, one a magazine-maker, the other a keen magazine observer. The first is John Holt, the man behind the remarkable LAW magazine. Its 10th issue was our recent magazine of the month. He shares the passion for England and Englishlishness that drives his project. Our second guest Paul Gorman possesses a similarly strong passion, this time for the twists and turns of pop culture. He takes us back to the seventies and two essential magazines whose influence exceeded their brief lives: Street Life and Collusion. Paul wrote the book about The Face and curated the Tear It Up! show at Somerset House. His next book is a history of the British music press, and will be published this September. As ever, we're grateful to our friends at Park Communications for their support of this podcast. Find them online at www.parkcom.co.uk Sound and edit by Sam Williams.

AI WARFARE | Autonomous Batman | BREAKCORE MERCENARY | Drum and Bass Weapons | NEUROFUNK DNB | METROID DREAD IDM | Robot Midtempo Riddim | VAPORWAVE SYNTHWAVE EDM | Hip Hop Trap | DUBSTEP | Electronic Sound Design | TV FILM SCORE |  Autonomous Nintendo Switch Batman | BREAKCORE MERCENARY | Drum and Bass Weapons | SQUID GAME DNB | Neurofunk AI | METROID DREAD IDM | Robot Midtempo Riddim | VAPORWAVE SYNTHWAVE EDM | Hip Hop Trap | DUBSTEP REGGAE | Electronic Sound Design | TV FILM SCORE Batman AI | BREAKCORE MERCENARY | LoFi AI Drum and Bass | SQUID GAME DNB | Neurofunk Samus Jump Up | METROID DREAD IDM | Robot Midtempo Riddim | VAPORWAVE SYNTHWAVE EDM | Hip Hop Rap | BREAKCORE TRAP DUBSTEP Autonomous Weapon | DRUM AND BASS MERCENARY | Lo Fi AI Weapon | SQUID GAME DRUMS | Neurofunk Samus Jump Up | METROID DREAD | Robot Midtempo Riddim | Nintendo Switch | BREAKCORE DUBSTEP Autonomous Batman | BREAKCORE MERCENARY | Drum and Bass Weapons | SQUID GAME DNB | Neurofunk Jump Up AI | METROID DREAD IDM | Robot Midtempo Riddim | VAPORWAVE SYNTHWAVE EDM | Hip Hop Rap | DUBSTEP VIDEO GAMES

In this episode from the mini-series focused on sound, media, and art, Caitlin Woolsey (Manton Postdoctoral Fellow in the Research and Academic Program at the Clark Art Institute) speaks with Christina Kubisch, a pioneer of sound art. Trained as a composer and flautist, since the 1970s Christina has worked with techniques like electromagnetic induction to realize her experiential installations. In this conversation, Christina describes growing up in postwar Germany, her formative training in music and painting, and her re-invention of technology within her artistic practice. She also reflects on how her experiences in the world of experimental music (among the likes of John Cage and Pauline Oliveros) have informed the sound works and “Electrical Walks” in cities around the world for which she is known today.

Binaural production - listen with headphones! Live-electronic sound performance based on a computer program written in MaxMSP. Recorded live at Studio kHz on 22 Feb 2021. No edits, no overdubs. Info: https://www.essl.at/works/apres-lavant.html

Who Put Dat IN? Sexed Up Electronic Sounds: Phantom Electric Ghost and Josephine talk up hardware DAWless recording and the heart of Expansive Sound We talk up the Make Noise Morphagene sampler, Eurorack Utility "MATHS" module, and the amazing Moog DFAM, and Grandmother. Dawless recording starts with Hardware synths and the hardware digital recorder: Zoom R24 The SoundCloud playlist: https://found.ee/laMT PEG Support good health with this awesome supplement from MyVitalC https://www.myvitalc.com/ref/133/ Get satisfied... You can always DO yourself.... Why don't you visit: https://gvibe.com/?ref=sayemcn0zym? Don't forget to support PEG --- You can become a supporter for $.99 per month or $12 per year Click the supporter links on Anchor.fm https://anchor.fm/josephine-electric/support Check out this awesome Ultra Sonic Humidifier from EverlastingComfort.com https://www.everlastingcomfort.net/discount/expansive_sound_experiments Get Social Media promotion here: https://flamingsocialmedia.com?flamingsocialmedia=7973 Use Promo code "GITTENS" to get 10% off. ******** New Phantom Electric Ghost Pre-Save Campaign "Self Done TRUTH (ALL BLUE)" https://www.gate.fm/fdxroub --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/josephine-electric/message Support this podcast: https://anchor.fm/josephine-electric/support

1. Kamangâ — Amenis 2. Ulises — Fana 3. AIWAA — Chant 4. Coss, Iorie — Mu 5. ÜNAM — Acid Housewife 6. Acid Hamam — Ode o (Victor Norman Remix) 7. Holed Coin, Alvaro Suarez — Expire (Feinheitsbrei Remix) 8. Landikhan, MoM — Let's Go 9. Wolfstream — Horses (Original Mix) 10. Arutani — Craft Coven

Go on a journey of sound! This track is from a live sound journey performed at Om Sat Community in Costa Rica on July 4, 2020 Sit back and enjoy --- Support this podcast: https://anchor.fm/colectivogitano/support

Dieses Werk ist eine Zusammenstellung von vielen großartigen Künstlern. Die Tracks sind alle legal auf Beatport erworben. Sollte sich jemand in seinem Urheberrecht verletzt fühlen, dann bitte ich um eine persönliche Nachricht an mich!

Dieses Werk ist eine Zusammenstellung von vielen großartigen Künstlern. Die Tracks sind alle legal auf Beatport erworben. Sollte sich jemand in seinem Urheberrecht verletzt fühlen, dann bitte ich um eine persönliche Nachricht an mich!

Dieses Werk ist eine Zusammenstellung von vielen großartigen Künstlern. Die Tracks sind alle legal auf Beatport erworben. Sollte sich jemand in seinem Urheberrecht verletzt fühlen, dann bitte ich um eine persönliche Nachricht an mich!

Dieses Werk ist eine Zusammenstellung von vielen großartigen Künstlern. Die Tracks sind alle legal auf Beatport erworben. Sollte sich jemand in seinem Urheberrecht verletzt fühlen, dann bitte ich um eine persönliche Nachricht an mich!

Dieses Werk ist eine Zusammenstellung von vielen großartigen Künstlern. Die Tracks sind alle legal auf Beatport erworben. Sollte sich jemand in seinem Urheberrecht verletzt fühlen, dann bitte ich um eine persönliche Nachricht an mich!

Dieses Werk ist eine Zusammenstellung von vielen großartigen Künstlern. Die Tracks sind alle legal auf Beatport erworben. Sollte sich jemand in seinem Urheberrecht verletzt fühlen, dann bitte ich um eine persönliche Nachricht an mich!

At the end of this month, the Electronic Sound Summit takes over Liverpool's world-famous waterfront to celebrate and excel the region's electronic music scene. On today's podcast episode, we chat to Conference Director Phil Noone about conferences, networking and his baby; the Electronic Sound Summit.  If you are going to be at the Electronic Sound Summit and want to catch up, email me and we'll organise it: daniel@yourmusicindustry.com Links from Podcast: www.ElectronicSoundSummit.com www.Facebook.com/LiverpoolAudio @MrDanielFish  www.YourMusicIndustry.com

Set electronic music ,con estilo luis herrera sonidos electronicos con toques porgresivos

Dan and Paul are deluged with a bunch of new singles and delve head first into an age old battle, Heavy Metal against Electronica. There can(t) be only one. ELECTRONIC SOUND and KERRANG What we chat about: Zilp Zalp Venom Prison: New Video DJ Yoda Jamie Lenman - popye Jamie Lenman & Justine Jones TEMPO ZERO Creep Show - Tokyo Metro Black Sabbath at Live Aid Deafkids John Foxx Peu Être Mister Lizard Traps & ozira split Employed to serve - harsh truth

During the 2019 Electronic Sound Summit Paul Nolan sat down with the one and only Sam Divine to explore her journey into the industry. During the conversation they explore DJing, Defected Records, House Music and Music Production. Throughout the conversation she also touches upon her experience of being a Women in a male-dominated Music industry. If you would like to learn more about Sam Divine, find links to what’s mentioned in the episode and to learn more about the podcast visit YourMusicIndustry.com/ESS001   The Your Music Industry Podcast, creating a priceless resource for you to learn from the experience, journey and lives of some of the Music Industry's greatest minds. Our guests range from Music Producers and DJs to Music Entrepreneurs and Marketers to Label owners and Publishers. Tune in today to aid in helping you become the person you’ve always dreamt of becoming.   With each episode we aim to cover: How our guest got into the Industry, so you too can learn how you can get your foot into the door and learn from their experience.To dedicate some time to their expertise to offer you some tips, tricks and insight to enable you to grow and develop your music industry craft.To shed some light on how successful music industry figures stay healthy while also keeping productive and creative. Have you got a guest you’d love to be on the show? Head over to YourMusicIndustry.com/Request and fill in the Request a Guest form! Fancy winning Make Your Transitions brand new Mixing course? Head over to www.YourMusicIndustry.com/giveaway to be in the chance of winning!

12pm-1pm EST 5pm-6pm BST 9am-10am PDT bombshellradio.comPLAYING TRACKS BYForrest Fang, Snow Palms, Ryan Teague, Sensible Soccers, Makeup and Vanity Set and more.#electronica ,#neo-classical ,#ambient, #synthesizer, #electronicmusicHYPNOTICA ELECTRONICA Selected & Mixed by Mat MckenzieTime for a Magical Journey into Electronic Sound!#ELECTRONIC #MUSIC #DEEP #Dreamy #ARPS #Haunting #Melodies #Melancholic# Synth #Ambient #SoundtrackAlmost 40 Years of Electronic Music obsession, from the early Pioneers to the Present day, Tuesdays every fortnight 8Pm GMT on Artefaktor Radio & repeated on Bombshell Radio CanadaOn this Show... A Beautiful Selection of Top Quality #Deep #Melodic #Dreamy #Electronica and #Neoclassical from the Pioneers to the Modern day. Let the Music take you to another world...Playing Tracks from Tangerine Dream, PILOTPRIEST, M83 & MoreFollow Me on Twitter :-) @matmckenzie

A chat about issue 47 of Electronic Sound which centres around Wendy Carlos and 'A Clockwork Orange'

Push, Neil and Mark talk about issue 42 of Electronic Sound, and pay tribute to former NME writer Roy Carr.

Electronic Sound Carousell - Vol.21 [PREVIEW] UNFINISHED WORLD ++ LAST NOTE: ++ THIS LAST SET IS/WAS UNFINISHED WITH SOME MSTKS. BUT SINCE A TOO LONG TIME. I CAN NOT DO THAT ANYMORE ACTUALLY LOVE. SO & HAVE A GOOD TIME ________________ ITUNES apple.co/2af5WBi ________________ do like ma carousell? all sound circles bit.ly/esc-annual bit.ly/esc-19-pre ________________ selected sounds of #musikdenker 2018 CD-2018-04-Nonstop-Mix CD-2019-05-Unfinished-World-Mix

  Mark Roland is a writer and editor. He started his freelance writing career at Future Publishing in the early 1990s, writing for Future Music before joining Melody Maker, first as a researcher and then a section editor and senior writer. At the same time he was part of the launch team for the dance music title Muzik until 1999 when he became deputy editor of the alternative lifestyle magazine Mondo. He has since contributed to many music and lifestyle titles, and has edited and written books for Channel 4, Transworld, Jonathan Cape and others. In 2013 he founded Electronic Sound magazine with fellow music journalist veteran Push. Special Guest calling in Chris Frantz Talking Heads & Tom Tom Club!   https://electronicsound.co.uk    

Sound performance for the painting "Thunderstorm with Philemon and Baucis" (1625)by Peter Paul Rubens. Commissioned by Jacqueline Kornmüller for the theatre project GANYMED NATURE, performed at Kunsthistorisches Museum Vienna. "In seiner Komposition Some Way Up erforscht der Komponist Karlheinz Essl die "Gewitterlandschaft"" von Peter Paul Rubens. Vor dem Werk wird er spontan wie ein Wettermacher immer neue Stürme entfesseln, Regenmassen niederprasseln lassen und elektronische Regenbögen erschaffen." (Jacqueline Kornmüller) Info: http://www.essl.at/works/some-way-up.html

Sound environment for the photo exhibition "The Last Day" by Helmut Wimmer, shown at the Kunsthistorische Museum Vienna between March and December 2018. Composed and produced by Karlheinz Essl at Studio kHz http://www.essl.at/works/wheres-the-rainbow.html

Electronic Sound Carousell - Vol.19 (FEEL) ________________ #PLAYLIST (Rev-8-Preview) bit.ly/esc-19-tracklist 01 | Valeron - Harmonia (Original Mix) 021| Boddhi Satva feat. Maalem Hammam - Belma Belma (Vanco Remix) 022| Boddhi Satva feat. Maalem Hammam - Belma Belma (Cuebur & Vanco Remix) 03 | Jonathan Kaspar - Khaya (Objektivity) [Toona EP] 04 | Manoo & Raoul K feat. Ahmed Sosso - Toukan (Trikk Dub Mix) [IV73] 06 | Kalyma - Again (Original Mix) 07 | Miyagi - Black Shadow (Sam Farsio Remix) [KATER147] 08 | Hats & Klaps - Side Steel (Original Mix) 09 | Joe Goddard - Music Is the Answer (Hot Since 82 Remix) 10 | The Ancient Moons & Damian Lazarus - I Found You (Patrice Baumel Remix) 11 | Betoko - Balagan (Original Mix) 12 | Henrik Schwarz - Take Words In Return (Jimi Jules Remix) 13 | Time - Not Alone (Original Mix) 14 | Henrik Schwarz - Take Words In Return (Jimi Jules Remix) [UPS xD] 15 | Ole Biege, Martin Waslewski - Odsbodkins (Hanne & Lore Remix) 16 | Nandu feat. Tyra - Glömde feat.Tyra (Love Over Entropy Remix) 17 | Max Cooper - Organa (Patrice Baumel Remix) 18 | Adam Port & Stereo MC's - Changes (Adam Port Remix) [FR221] 19 | Gleb Rubens - Karakum (Devys Savoia Remix) [Karakum] 20 | Jack Delano - Under The Rain 21 | Just Her - Follow You Down (Original Mix) 22 | Calavera Manya - I Feel Siente Me (Original Mix) 23 | Circle Of Life - Friday Night (D-Nox & Beckers Remix) [Blue Bird EP] #TRACKLIST http://soundcloud.com/musikdenker/sets/tracklist-vol-19 MORE (2017-04) http://soundcloud.com/musikdenker/sets/pl201704 MORE (2017-05) http://soundcloud.com/musikdenker/sets/pl201705 /s-eV6es MORE (2017-07) http://soundcloud.com/musikdenker/sets/pl201707 MORE (2017-08) http://soundcloud.com/musikdenker/sets/tracklist-vol-20 NO VISUALS VIA APEXvj since 2017-11 ________________ do like ma carousell? all sound circles #SETS bit.ly/ElectronicSoundCarousell-pod ________________ #PODCAST: itun.es/de/oxEQab.c #TRACKLIST: bit.ly/esc-19-tracklist SHORTLINK: bit.ly/esc-19-pre PREVIEW: bit.ly/col-01-pre ________________ selected sounds of #musikdenker 2017 CD-2017-08-21-Nonstop-Mix ________________ TAGS #ElectronicSoundCarousell NXT LVE @musikdenker aka Manuel Gotzen | gee g @KATERMUKKE @Einmusika-Recordings @Deep-House-London @VoyeurMusic @OFF-Recordings @DancingAstronaut @Suara @Bercana Music @SweetMusique @OfferingRecordings @Underground-TelAviv @When-We-Dip @Us-Them-Records @CrossTownRebels @EternalBeats @OverdriveMusik @Global-Underground-Ltd @Calavera-Manya-Music @valeron @Boddhi-Satva @jonathankaspar @objektivity @TrikkSound @Solide-musik @Robin-Schulz @JoeGoddard @Hotsince-82 @Patrice-Baumel @Betoko @RobinMartens @TimeMusique @MartinWaslewski @Artoo-Detoo @Patrice-Baumel @Adam-Port @JustherMusic @andMEandYOU @DamianLazarusTheAncientMoons @Hanne-Lore @D-Nox_Beckers

For the last several years, Chicago has been at the center of the country’s Hip Hop movement. Our local artists are the talk of the nation and there is no shortage of talent coming from our city’s limits. One of the young artists emerging from what has been referred to as the Chicago Renaissance is producer and composer IKON. The young producer has already collaborated with Saba, NoName and Sicko Mobb. Jesse Menendez spoke with IKON about his new EP, "Auragami," which is currently out on the Private Stock label.

Electronic Sound Carousell - Vol.18 (NXT LVE) ________________ #PLAYLIST (Rev-4-2) bit.ly/esc-18-tracklist 01 | Simon Vuarambon - Siberian (Original Mix) 02 | Auntie Flo - Waiting For A (Woman) feat. Anbuley (Revenge Rework Dixon Beat Edit) 03 | N'to - Starlings (Henry Saiz Remix) 04 | Edu Imbernon & Duologue - Underworld (Undercatt Remix) 05 | Dapayk & Padberg - Come Out (Original Mix) 06 | Joyce Muniz ft. Christa Vi - Wake Beside You (Martin Waslewski Remix) 07 | Pastaboys ft. Osunlade - Deep Musique (Rampa Remix) 08 | Patrice Bäumel - Glutes (Unreleased) 09 | Be Svendsen & AYAWAKE - Scarecrow (Original Mix) 10 | Marcus Worgull & Peter Pardeike - Trivia 11 | Rashid Ajami ft. Nathan Daisy - Dance Pain (Original Mix) 12 | Whilk and Misky - Clap Your Hands (Solomun Remix) 13 | Raw District - From The Inside - Secret Weapons Part 9 [IV71] 14 | Lane 8 - Fingerprint (Original Mix) 15 | Khen - Land of Goshen (Patrice Baumel Remix) 16 | Terranova - Skin Bones feat. Lydmoor & Bon Homme (Original Mix) 17 | Max Cooper - Organa (Patrice Baumel Remix) 18 | Jan Blomqvist - Stories Over (Aparde Remix) 19 | Soul Of Void & JazzyFunk - Never (Dub Mix) 20 | Lee Burridge & Lost Desert feat. Junior - Lingala (Gorje Hewek & Izhevski Remix) 21 | Cornucopia - The Day You Got Older and Stronger (Original Mix) #TRACKLIST http://soundcloud.com/musikdenker/sets/tracklist-vol-18 MORE http://soundcloud.com/musikdenker/sets/pl201705/s-eV6es FEEL (Vol. 19)http://bit.ly/esc-19-pre CINEMATICS (Re:Born) http://bit.ly/col-01-pre NO VISUALS VIA APEXvj since 2017-11 ________________ do like ma carousell? all sound circles #SETS bit.ly/ElectronicSoundCarousell-pod ________________ #PODCAST: itun.es/de/oxEQab.c #TRACKLIST: bit.ly/esc-18-tracklist ITUNES: SHORTLINK: bit.ly/esc-18 ________________ selected sounds of #musikdenker 2017 CD-2017-05-Nonstop-Mix ________________ TAGS #ElectronicSoundCarousell NXT LVE @musikdenker aka Manuel Gotzen | gee g @data-transmission @deep-house-amsterdam @exploited @insomniacevents @badrmhd @shantiradio @mixmag-1 @mixingdj @rampa @lehar-music @martinwaslewski @solomun @liubeiwins @simonvuarambon @auntie-flo @ntonto @imbernonmusic @christiannielsenmusic @joytoy @dapayk @pastaboys-real @patrice-baumel @marcusworgull @whilkandmisky @raw-district @lane8music @anderholmmusic @khenmusic @editionterranova @max-cooper @janblomqvist @soulofvoid @leeburridge @izhevski @cornucopiaofficial

Granular re/de/construction of Mozart's string quintet in G minor (KV 516), written in Max and performed live by Karlheinz Essl on April 29th, 2017 at Studio kHz. Info: http://www.essl.at/works/mozart-lamento.html

Electronic Sound Carousell - Vol.17 Living Colors bit.ly/esc-17 ________________ ITUNES itun.es/de/oxEQab.c ________________ VISUAL apexvj.com/v3/player?s=308452350 ________________ TRACKLIST Vol. 17 (Living Colors) (Rel-1-0) 01 | Echonomist, Thodoris Triantafillou - Comodia (Original Mix) 02 | Adam Port & Stereo MC's - Changes (Adam Port Remix) 03 | goldFFinch - Migration 04 | Trikk - Proto-Rhyt (Black Version) 05 | Soul Button, MPathy - Arxon (Original Mix) 06 | Butch feat. Hohberg/Adriatique - The Spirit (Adriatique's 7am Remix) 07 | WhoMadeWho - Ember (Sante Remix) 08 | Michele Mininni - Hyper Martino (Red Axes Remix) 09 | Trikk - Mozam 10 | Elderbrook/Siege - Closer (Siege Remix) 11 | Nick Devon, Soul Button - Modus (Original Mix) 12 | Jimi Jules - Moon (Original Mix) 13 | Adriatique/Flowers and Sea Creatures/Wrong Jeremy - The Very Next Day (Adriatique Remix) 14 | Human Machine - 146 15 | BLANCAh/Petar Dundov - Learning To Fall (Petar Dundov Remix) [Nest Remix] 15 | Odd Parents - Learn to Fly (Maceo Plex Flight Home Remix) tracklist as full playlist: http://soundcloud.com/musikdenker/sets/tracklist-vol-17 ________________ do like ma carousell? all sound circles bit.ly/esc-annual ________________ selected sounds of #musikdenker 2017 CD-2017-02-Nonstop-Mix

On 101 Dimensions this month we have a diversity of electronic/ambient material from the 70's up through today! Here's the playlist if you are listening along:1. British Theatre – Blue Horror (from the album Mastery, 2016)2. Gary Numan – Cars (from the album Pleasure Principle, 1979)3. Chris Carter – The Man Machine (from the album Electronic Sound, Vol. 2, 2016)4. Galahad – Year Zeroverture (from the album Year Zero, 2002)5. Northwoods – Elements (from the album Elements, 2014)6. Eurythmics – Here Comes The Rain (from the album Touch, 1983)7. Aphex Twin – Cliff (from the album Selected Ambient Works, Vol. 2, 1994)8. Kraftwerk – Metropolis (from the album The Man Machine, 1978)9. Billy Ray Martin – Crackdown (from the album Electronic Sound, Vol. 2, 2016)10. Eurythmics - Sweet Dreams (Are Made Of This) (Hot Remix) (from the album Sweet Dreams Are Made Of This, 1983)11. Mike Oldfield – Nothing But/Bridge To Paradise (from the album Earth Moving, 1989)12. Gary Numan – Engineers (from the album Pleasure Principle, 1979)13. Nine Inch Nails – Ghosts II (from the album Ghosts I-IV, 2008)14. Vangelis – Islands Of The Orient (from the album Oceanic, 1997)15. Tim Blake – New Jerusalem (from the album Blake's New Jerusalem, 1978)Until next time...take care and Prog On!Tony

For composer Daniel Wohl, the distinction between a physical performer and an electronic sound is inconsequential. While his music builds on the traditions of heady electronic pioneers like Morton Subotnick and Paul Lansky, he also takes inspiration from pulse-driven dance beats, minimalist chamber music and even visual art. Wohl's latest collection Holographic earned him accolades from both the contemporary classical and independent rock worlds for its seamless integration of live musicians and electronics, and its ability to transcend genre. It's heady but accessible, constructing surreal sonic landscapes as much at home in a concert hall as in an outer-borough warehouse or art space. We join Wohl backstage before his performance at Le Poisson Rouge to discuss the art, appeal and challenges of performing electroacoustic music live. Download selections from Daniel Wohl's Holographic as part of Season Two of LPR Live, with host John Schaefer. Listen to trailblazing new music performed live at Le Poisson Rouge, and enjoy interactions with artists and audience members. Subscribe to LPR Live on iTunes or wherever you get your podcasts. 

Electronic Sound Carousell - Vol.16 My Religion Part 2 bit.ly/esc-16-4-2 ________________ ITUNES itun.es/de/oxEQab.c bit.ly/gee-at-iTunes ________________ VISUAL apexvj.com/v3/player?s=292668838 ________________ TRACKLIST Vol. 16 (Religion Of Sound) (Rel-2-4-2-2) 01 | Michele Mininni - Hyper Martino (Red Axes Remix) 02 | Odd Parents - Learn to Fly (Maceo Plex Flight Home Remix) 03 | Henry Saiz - Uncharted 04 | Third Son - Black Matter 05 | Luis Bondio - Waiting For (Original Mix) 06 | Thomas Schumacher, Victor Ruiz - Satellite (Original Mix) 07 | FreakMe & Stan Ritch - Metronome (Original Mix) 08 | Machino - Patron (David Keno Remix) 09 | WhoMadeWh - Ember (Sante Remix) 10 | Adana Twins feat. Human Life - Bleeding (Original Mix) 11 | D.Y.A - Do It 12 | Einmusik - Milky Way (Original Mix) 13 | Musumeci - Remote Soul (Original Mix) 14 | &ME - Woods 15 | Bicep - Celeste 16 | David Hasert & Matteo Luis - Mekaela 17 | Sezer Uysal - Space Egg (Original Mix) 18 | XYZ - Solution (Kenton Slash Demon's 4-4 Therapy) 19 | Marc Poppcke - Yellow (Nhar Remix) 20 | Elderbrook - Closer (Siege Remix) 21 | Enola - On The Ground (David Shaw & The Beat Remix) 22 | Wayne Duggan - Experiment 1 (Matthias Meyer & Patlac Remix) 23 | Job Jobse, Barnt & David Hasert - Cologne Megamix (Trouw Tribute LP) 24 | R.E.M & Kolsch - Losing my Religion in Cassiopeia (Andrea Camici & Nicola Lucioli Mashup) http://soundcloud.com/musikdenker/sets/tracklist-vol-16 ________________ do like ma carousell? all sound circles bit.ly/esc-annual bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016 CD-2016-11-Nonstop-Mix

Electronic Sound Carousell - Vol.16 My Religion Part 1 bit.ly/esc-16-4-1 ________________ ITUNES itun.es/de/oxEQab.c bit.ly/gee-at-iTunes ________________ VISUAL apexvj.com/v3/player?s=292668180 ________________ TRACKLIST Vol. 16 (Religion Of Sound) (Rel-2-4-1) 01 | Matthew Dekay/Lee Burridge - Lost In A Moment (Original Mix) 02 | Liu Bei - Atlas World (Solomun Day Remix) 03 | Nick Monaco - Half Naked 04 | Alex Niggemann - Boujuma (Matthias Meyer Remix) 05 | Frank, Skyboy & Andrea Di Rocco - A Space Walk With Ennio (Alex Niggemann Remix) 06 | Shelby Grey - Echoes dimensions & waves (Worship Remix) 07 | Meloknd - Balance (Original Mix) 08 | David Jach & Beatamines - How Never (Zoo Brazil Remix) 09 | Ron Flatter - Desert - Traum V182 (3rd November) 10 | Several Definitions - Minuit (Original Mix) 11 | Ad Brown/Nick Stoynoff - Nebulas (Yamil Colucci Remix) 12 | Patrice Baumel - Surge (Original Mix) 13 | Florian Kruse & Hendrik Burkhard - The Ground (Joris Voorn Remix) 14 | Einmusik - Genus (Original Mix) 15 | Adana Twins - Heroe (Instrumental Version) 16 | David Hasert - Love Is A Shield (Camouflage Cover) http://soundcloud.com/musikdenker/sets/tracklist-vol-16 ________________ do like ma carousell? all sound circles bit.ly/esc-annual bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016 CD-2016-11-Nonstop-Mix

Electronic music journalist and critic Geeta Dayal explores Kubrick's visionary use of sound and Wendy Carlos' pioneering synthesizer music for The Shining and A Clockwork Orange. Geeta Dayal is a prolific arts journalist and critic, specializing in writing on music, culture, and technology. She has contributed hundreds of articles and reviews to major publications, including Slate, Wired, The Boston Globe, The New York Times, Rolling Stone, Frieze, and many more. Her first book, Another Green World, on the musician Brian Eno, was published in 2009. Dayal is a recipient of a major grant from Creative Capital/The Andy Warhol Foundation in the Arts Writers Program.

Electronic Sound Carousell - Vol.15 (Rel-2) Love Secrets bit.ly/esc-15-2 tracklist as full playlist: http://soundcloud.com/musikdenker/sets/tracklist-vol-15 ________________ ITUNES itun.es/de/oxEQab.c bit.ly/gee-at-iTunes ________________ VISUAL apexvj.com/v3/player?s=277939266 ________________ TRACKLIST Vol. 15 (Rel-2 Love Moments) 01 | Marlon Hoffstadt feat. Cleov - Kill For Love (Original Mix) 02 | Mano Le Tough - Empty Early Years And The Seed (Original Mix) 03 | Modular Project - Leaf (Original Mix) 04 | Tale Of Us - Lies (Original Mix) 05 | Amirali - Fearful Stay (Aboutface Staring Into The Sun Mix) 06 | Rampue - Sephiroth 07 | Marian Herzog & Modshape - Trapped In Time (Sascha Braemer Remix) 08 | Dirk Sid Eno - Morgens In Odonien (Nicone Big Boys Don't Cry Remix) 09 | Definition - Come Down Feat. Liu Bei 10 | MUUI - Amelie (Original Mix) 11 | Patrick Podage - Take Me There (Soul Button Remix) 12 | BLANCAh - Who's That (Soul Button Remix) 13 | Jacob Groening - Siddhartha 14 | JOBE - Aurora (Original Mix) 15 | Hyenah - The Idea feat. Lazarusman (Frankey & Sandrino Remix) 16 | Adam Port/Jennifer Touch - Working for It 17 | Yotto - Mulholland 99 (Original Mix) 18 | Kiko & Dave Davis Feat. Phoebe - Living In Space (Original Mix) 19 | Fat Sushi - Hana (Original Mix) 20 | Acid Pauli - Nana 21 | Hemisphere feat. Sainkho Namtchylak - Earthly Conditions (Rick Pier O'Neil Remix) 22 | Pete Tong, John Monkman - Aurora (Original Mix) 23 | Miyagi- Illusion (Soul Button Remix) 24 | Bunte Bummler - Lights (Original Mix) 25 | Drrtyhaze - Lazer Sex 26 | Anna of the North - The Dreamer (TA^CHES & KAASI Remix) 27 | Chris Issak - Wicked Game ft. Seren (Chillion Remix) 28 | Timo Jahns Feat. Do M - Crazy In Love (Preview) 29 | Joachim Pastor- Joda (Worakls Remix) ________________ do like ma carousell? all sound circles bit.ly/esc-annual bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016 CD-2016-08-12-Nonstop-Mix

Electronic Sound Carousell - Vol.14 (Rel-2-1) Sommer Love http://bit.ly/esc-14-2-1 ________________ ITUNES https://itun.es/de/oxEQab.c https://bit.ly/gee-at-iTunes ________________ VISUAL http://www.apexvj.com/v3/player?s=273769177 ________________ TRACKLIST Vol. 14 (Rel-2-1 End Of Beginning) IN | Ronnie Minder - From The Ash 01 | Late Night Alumni - Empty Streets (Chill Mix) 02 | Rampa - Human 03 | Drift3r - Ouud (Original Mix) 04 | Nilseus - Leira (Original Mix) 05 | My Favorite Robot ft. Northern Lite/Northern Lite - For Ever More (Marvin & Guy Transition) 06 | Hush, Sleep - Vigr (Just Her Remix) 07 | Nuria Nera - No Right No Wrong 08 | The Soul Brothers - Sheikha (Original Mix) 09 | Harry Romero - Tania (Purple Disco Machine Remix) 10 | Omer Grinker & Oshri Steinberg - Pray 11 | Lexer - Forgive Me (Original Mix) 12 | Dirk Sid Eno - Morgens In Odonien (Nicone Big Boys Don't Cry Remix) 13 | Arjuna Schiks, BLANCAh - Ankaa (BLANCAh Remix) 14 | Âme - Tatischeff 15 | Betoko - Foreverness (Original Mix) 16 | Sam Halvag - Maddalena Story (Peter Pardeike Remix) 17 | Stefan Biniak - Inner Monologue [Snippet] 18 | Basti Grub, Natch! & Dothen - Oh Baby Dance (Original Mix) 19 | Jiggx - That Saying About A Violin 20 | Ramon Tapia ft. Simon Doty - Vision of Confluence (Ramon Tapia Remix) [Rhetorical] 21 | Francesco Chiocci - Black Sunrise (feat. Black Soda) 22 | Vin Postéga - Pertama (Original Mix) 23 | Marian Herzog, Modshape. - Keepsake 24 | Matthias Meyer - Infinity 25 | Late Night Alumni - Empty Streets (Chill Mix) 26 | The Soul Brothers - Sheikha (Original Mix) 27 | Demian - Lucha Libre (Original Mix) 28 | Frankey & Sandrino - Cephei (Original) 29 | Ronnie Minder - Let Me Save Him 30 | Hraach - Dle Yaman (116 Deep Mix) 31 | David August - Epikur 32 | DJ Koze - XTC 33 | Bicep - Just 34 | Frankey & Sandrino - Ways Of The Sun feat. Ia Öberg (Original Mix) 35 | Kelvin Lucas - Ashtar (Original Mix) 36 | Hraach - Delirio (Original Mix) 37 | Icarus - Don't Cry Wolf (SevenDoors Remix) 38 | DKA - No Hope (Original Mix) 39 | Pete Grace feat. Thomas Gandey - Carried On (Betoko Remix) 40 | Soul Button feat. Terry Grant - Wraith (Original Mix) 41 | Vangelis Kostoxenakis, Inner Rebels - Radux (Ran Salman Remix) 42 | Alex Niggemann - Virgo (Original Mix) 43 | Benotmane - Nevada (Bjoern Stoerig Remix) 44 | Fat Sushi - Paia (Original Mix) 45 | Wigbert - What Is This? 46 | Jiggx - Melita Has My Phone (Instrumental) 47 | Danny Tenaglia - Stop Foolin Around 48 | Th Moy - Road To Heaven (Original Mix) 49 | Alex Niggemann - Luminance (Original Mix) 50 | Arjuna Schiks - Varuna (Original Mix) 51 | Willy Real And David Prap - Son of a Bitch (Willy Real And David Prap Remix) 52 | Ramon Tapia, Stavroz - Havana (Original Mix) 53 | Âme - Boiler Room (Berlin) [LIVE] OUT| Ronnie Minder - Let Me Save Him ________________ do like ma carousell? all sound circles http://bit.ly/esc-annual http://bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016 CD-2016-07-15-Nonstop-Mix

Electronic Sound Carousell - Vol.13 (Rev-2-6D) http://bit.ly/esc-13 ________________ ITUNES http://itun.es/de/oxEQab.c ________________ VISUAL (13-2-4) http://www.apexvj.com/v3/player?s=247962315 ________________ VISUALS (13-2-6D) http://www.apexvj.com/v3/player?s=250444526 ________________ TRACKLIST Vol. 13 (Rel-2-4) IN | Hraach - Dle Yaman (116 Deep Mix) 01 | DJ Koze - XTC 02 | Craig Pruess feat. Ananda - Lalitha Ashtotram (Audio Junkies & Sahar Z Remix) 03 | Frankey & Sandrino - Ways Of The Sun feat. Ia Öberg (Original Mix) 04 | Icarus - Don't Cry Wolf (SevenDoors Remix) 05 | Hraach - Delirio (Original Mix) 06 | Kelvin Lucas - Ashtar (Original Mix) 07 | DKA - No Hope (Original Mix) 08 | Soul Button feat. Terry Grant - Wraith (Original Mix) 09 | Pete Grace feat. Thomas Gandey - Carried On (Betoko Remix) 10 | Vangelis Kostoxenakis, Inner Rebels - Radux (Ran Salman Remix) 11 | Wigbert - What Is This? 12 | Marc DePulse feat. Hollis P. Monroe & Overnite - No mans land (Marcus Meinhardt Remix) 13 | Alex Niggemann - Virgo (Original Mix) 14 | Fat Sushi - Paia (Original Mix) 15 | Johannes Beck - Nachtwache 16 | Th Moy - Road To Heaven (Original Mix) 17 | Jiggx - Melita Has My Phone (Instrumental) 18 | Danny Tenaglia - Stop Foolin Around 19 | Alex Niggemann - Luminance (Original Mix) 20 | Arjuna Schiks - Varuna (Original Mix) 21 | Willy Real And David Prap - Son of a Bitch (Willy Real And David Prap Remix) 22 | Ramon Tapia, Stavroz - Havana (Original Mix) 23 | Doyeq - Granule (Original Mix) 24 | Ronnie Minder - Let Me Save Him ________________ do like ma carousell? all sound circles http://soundcloud.com/musikdenker/sets/mix-va-electronic-sound-carousell http://bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016-03-08

Electronic Sound Carousell - Vol.13 http://bit.ly/esc-13-2-4 ________________ ITUNES https://itun.es/de/oxEQab.c https://bit.ly/gee-at-iTunes ________________ VISUAL https://www.apexvj.com/v3/player?s=247962315 ________________ TRACKLIST Vol. 13 (Rel-2-4) IN | Hraach - Dle Yaman (116 Deep Mix) 01 | DJ Koze - XTC 02 | Craig Pruess feat. Ananda - Lalitha Ashtotram (Audio Junkies & Sahar Z Remix) 03 | Frankey & Sandrino - Ways Of The Sun feat. Ia Öberg (Original Mix) 04 | Icarus - Don't Cry Wolf (SevenDoors Remix) 05 | Hraach - Delirio (Original Mix) 06 | Kelvin Lucas - Ashtar (Original Mix) 07 | DKA - No Hope (Original Mix) 08 | Soul Button feat. Terry Grant - Wraith (Original Mix) 09 | Pete Grace feat. Thomas Gandey - Carried On (Betoko Remix) 10 | Vangelis Kostoxenakis, Inner Rebels - Radux (Ran Salman Remix) 11 | Wigbert - What Is This? 12 | Marc DePulse feat. Hollis P. Monroe & Overnite - No mans land (Marcus Meinhardt Remix) 13 | Alex Niggemann - Virgo (Original Mix) 14 | Fat Sushi - Paia (Original Mix) 15 | Johannes Beck - Nachtwache 16 | Th Moy - Road To Heaven (Original Mix) 17 | Jiggx - Melita Has My Phone (Instrumental) 18 | Danny Tenaglia - Stop Foolin Around 19 | Alex Niggemann - Luminance (Original Mix) 20 | Arjuna Schiks - Varuna (Original Mix) 21 | Willy Real And David Prap - Son of a Bitch (Willy Real And David Prap Remix) 22 | Ramon Tapia, Stavroz - Havana (Original Mix) 23 | Doyeq - Granule (Original Mix) 24 | Ronnie Minder - Let Me Save Him ________________ do like ma carousell? all sound circles http://soundcloud.com/musikdenker/sets/mix-va-electronic-sound-carousell http://bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016-02

Electronic Sound Carousell - Vol.13 [Preview] http://bit.ly/esc-13-2-2 ________________ VISUAL http://www.apexvj.com/v3/player?s=247419335 ________________ TRACKLIST Vol. 13 (Rel-2-2-CP) IN | Hraach - Dle Yaman (116 Deep Mix) 01 | DJ Koze - XTC 02 | Icarus, SevenDoors - Don't Cry Wolf (SevenDoors Remix) 03 | Hraach - Delirio (Original Mix) 04 | Kelvin Lucas - Ashtar (Original Mix) 05 | DKA, No Hope (Original Mix) 06 | Soul Button feat. Terry Grant, Wraith (Original Mix) 07 | Pete Grace feat. Thomas Gandey, Beteko - Carried On (Betoko Remix) 08 | Ran Salman, Vangelis Kostoxenakis, Inner Rebels - Radux (Ran Salman Remix) 09 | Wigbert - What Is This? 10 | Marc DePulse feat. Hollis P. Monroe & Overnite - No mans land (Marcus Meinhardt Remix) 11 | Alex Niggemann - Virgo (Original Mix) 12 | Fat Sushi - Paia (Original Mix) 13 | Johannes Beck - Nachtwache 14 | Th Moy - Road To Heaven (Original Mix) 15 | Alx Niggemann - Luminance (Original Mix) 16 | Arjuna Schiks - Varuna (Original Mix) 17 | Willy Real And David Prap - Son of a Bitch (Willy Real And David Prap Remix) 18 | Ramon Tapia, Stavroz - Havana (Original Mix) 19 | Doyeq - Granule (Original Mix) ________________ do like ma carousell? all sound circles http://soundcloud.com/musikdenker/sets/mix-va-electronic-sound-carousell http://bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker 2016-02

This is the most convenient way to access Computer Music Live on your iPhone, iPad or iPod Touch. You're always connected to the latest episode. Instant access, just touch and play! https://www.microsoft.com/en-us/store/apps/computer-music-live/9nblgggzgqchThis App contains the following features:* Streaming access to play episode from anywhere* Always updated with the latest episodes- and an archived back catalog* Download the episodes and play them when offline* Playback resume (when interrupted by a call or other distraction)* Favorites (mark the episodes you want to return back to over and over)* Quick access to all the contact methods for the showComputer Music Live / Battle Radio / Citrusonic is a new Application with the hottest Live Computer Music Performances. This app features Live Underground Jungle, Techno, DNB, Hip Hop, Dubstep, Circuit Bent, 8 Bit, ChipTunes, Future Synth, Trance, Pop, DJ, Mixing, Battle Music, Altering, AM, FM, Modulations, Radio, Computer Music. Thunderous Scratch Tracks, Glitches and Old Skool Eject Noises. An hour long podcast of fresh original menacing Basslines, Heavy Drums, Synths all live, Computer Music Live is posted weekly from California only the hottest Underground Jungle Music is chosen. New shows are posted weekly. Up to the minute show information is posted here http://citrusonic.libsyn.com/ and you may visit www.citrusonic.com for more info. Thank you and make sure to tell all your friends to subscribe to Computer Music Live.(Please note, not all features are available for all episodes. Call-in feature is only available on iPhone but not the iPad or iPod Touch) http://www.amazon.com/Wizzard-Media-Computer-Music-Live/dp/B0052UNHKS Strong, Tall, Otaku Athlete. Reaktor & Max/MSP Gosu. Three Time Golden Mouse Winner. Weekly podcast on iTunes called "Computer Music Live" along w Apps on iOS, Android & Amazon https://www.instagram.com/citrusonic Computer Music Live / Citrusonic is a weekly podcast dedicated to Live Computer Music Performances. This show features Live Underground Jungle, Techno, DNB, Hip Hop, Dubstep, Future, Noise, Synth, Trance, Pop, DJ, Mixing, Battle, Records, Music, Altering, AM, FM, Modulations, Radio, Computer, Harmonies. Thunderous Scratch-Tracks, Techno, Glitches, Old, Skool, Breaks, Ejects, iDose, Chaos and Bass. An hour long podcast of Fresh Original Electronic Dance Music. Menacing Cantus Firmus Basslines, Heavyweight Drums and Synthesizers all LIVE! Computer Music Live is posted every Saturday Night from California, only the hottest Underground Jungle Music is chosen. New podcasts are posted on a weekly basis and up to the minute show information is here http://citrusonic.libsyn.com/ and you may also visit www.citrusonic.com for more. Thank you and make sure to tell all your friends to subscribe to Computer Music Live. ABC 123

Electronic Sound Carousell - Vol.12 (Rev-1-3) http://bit.ly/esc-12-1-3 ​________________ ITUNES https://itun.es/de/oxEQab.c https://bit.ly/gee-at-iTunes ________________ VISUAL http://www.apexvj.com/v3/player?s=232168971 ________________ TRACKLIST Vol. 12 IN | Anna Naklab feat. Alle Farben & YOUNOTUS - Supergirl (Acoustic Version) 02 | Solomun - Friends (Original Mix) 03 | Depeche Mode - Never Let Me Down (Cubicolor Remix) 04 | Nick Devon - The Poem feat. Miroir (Original Mix) 05 | Pingpong & White Apple Tree - Snowflakes (Pingpong Winter Edit) 06 | Dole & Kom - Phara Oh (Original Mix) 07 | Ry X - Sweat (MAXMLN Remix) 08 | Joris Voorn - Sweets for Piano (Ripperton Remix) 09 | Andre Hommen - Introspectral (Original Mix) 10 | Hunter_Game - This Moment (Original Mix) [Snipper] [Exotic Refreshmen EP] 11 | Lee Van Dowski - If Only Jack Was Here (Original Mix) 12 | Jimpster - English Rose (Original Mix) 13 | Hot Since 82 & Habischman - Leave Me (Dubfire Playa Remix) 14 | Nimmo - Dilute This (Maya Jane Coles Remix) 15 | Kalyma - Sacrosanct (Leman & Dieckmann Remix) 16 | Adana Twins - Heroe (Dino Lenny Remix) 17 | Thomas Lizzara - Crocketts Theme (Bootleg) 18 | Ramon Tapia Stavroz - Havana (Original Mix) 19 | Audion feat. Troels Abrahamsen - Dem Howl (Joris Voorn Remix) 20 | Wigbert - What Is This? 21 | Golshifteh Farahani/HangDrum - Theme Govend 1 22 | Dance Spirit - Late Night Early Mornings (Bedouin Remix) impress these tracks in playlist http://soundcloud.com/musikdenker/sets/z-ndstoff ________________ do like ma carousell? all sound circles http://soundcloud.com/musikdenker/sets/mix-va-electronic-sound-carousell ________________ selected sounds of #musikdenker 2015-11

Electronic Sound Carousell - Vol.12 http://bit.ly/esc-12 ________________ VISUAL (OFFLINE) http://www.apexvj.com/v3/player?s=231336232 ________________ TRACKLIST Vol. 12 IN | Anna Naklab feat. Alle Farben & YOUNOTUS - Supergirl (Acoustic Version) 02 | Solomun - Friends (Original Mix) 03 | Depeche Mode - Never Let Me Down (Cubicolor Remix) 04 | Nick Devon - The Poem feat. Miroir (Original Mix) 05 | Pingpong & White Apple Tree - Snowflakes (Pingpong Winter Edit) 06 | Dole & Kom - Phara Oh (Original Mix) 07 | Joris Voorn - Sweets for Piano (Ripperton Remix) 08 | André Hommen - Introspectral 09 | Hunter_Game - This Moment (Original Mix) [Snipper] [Exotic Refreshmen EP] 10 | Lee Van Dowski - If Only Jack Was Here (Original Mix) 11 | Jimpster - English Rose (Original Mix) 12 | Hot Since 82 & Habischman - Leave Me (Dubfire Playa Remix) 13 | Nimmo - Dilute This (Maya Jane Coles Remix) 14 | Kalyma - Sacrosanct (Leman & Dieckmann Remix) 15 | Adana Twins - Heroe (Dino Lenny Remix) 16 | Thomas Lizzara - Crocketts Theme (Bootleg) 17 | Ramon Tapia Stavroz - Havana (Original Mix) 18 | Audion feat. Troels Abrahamsen - Dem Howl (Joris Voorn Remix) 19 | Ferdinand Dreyssig & Marvin Hey - Coeur De La Nuit - Katermukke [KATER034] SEE ALSO ________________ TRACKLIST Vol. 11 http://bit.ly/esc-11 TRACKLIST Vol. 17 http://bit.ly/esc-17-tracklist (unpublished) impress these tracks in playlist http://soundcloud.com/musikdenker/sets/z-ndstoff ________________ do like ma carousell? all sound circles http://soundcloud.com/musikdenker/sets/mix-va-electronic-sound-carousell ________________ selected sounds of #musikdenker 2015-11

Electronic Sound Carousell - Vol.11 http://bit.ly/esc-11 ________________ VISUAL http://www.apexvj.com/v3/player?s=228853419 ________________ TRACKLIST Vol. 11 (5) 01. Martin Merkel Feat. Fe Malefiz - Voyager (Vocal Edit) 02. Auntie Flo - So In Love 03. Johannes Brecht - Enjoy The Void (BOSO) 04. Vermont - Set Her Free + Martin Buttrich Remix (Matthias Meyer Edit) [Album: MAJESTÄT] 05. Tanita Tikaram - Twist In My Sobriety (Giuseppe Cennamo Edit) 06. Lake Powel - More Or Less (Mira & Chris Schwarzwaelder Remix) 07. Uschi & Hans - Conzuela 08. Ron Flatter & Nick D-Lite - Jetlands (Oscar Remix) 09. Mario Aureo & Manuel Moreno - Can You Feel It (Original Mix) 10. Bicep & Hammer - Dahlia 11. BOg feat. Anouk Visée - Different Causes 12. Padai - Home 13. Stephan Bodzin - Wir (Original Mix) 14. Adriatique - LIVE at The Cityfox Den (April 2015) 15. Ema Remedi - Irusu 16. Rodriguez Jr. - Chrysalism (Original Mix) 17. David K. - Meet You (Original Mix) 18. Lizot & Charming Horses feat. Jason Anousheh - Sonnenmädchen (Radio Edit) 19. Sound Travell3r - New Horizon (Original Mix) ________________ selected sounds of #musikdenker 2015-10

Electronic Sound Carousell - Vol.10 bit.ly/esc-10 ________________ VISUAL www.apexvj.com/v3/player?s=226503829 ________________ TRACKLIST Vol. 10 01. Bedouin - Metaphor (Original Mix) 02. Gorje Hewek & Izhevski - Heimat (Original Mix) 03. Aaryon - Chlorine (Original Mix) 04. DkA - Sonar (Original Mix) 05. Pete Tong & John Monkman - The Bumps 06. Super Flu, Dortmunder Philharmoniker, Philipp Armbruster - Volkwein (Bebetta Remix) 07. Israel Vich - Closure (Jonas Woehl Remix) 08. Argy & MAMA - Who Am I (Rampa Remix) 09. Danito & Athina, Fabio Montana - Get Away (Tim Engelhardt Remix) 10. Soul Button - Swift Minds feat. Kara Square (Whomi Remix) 11. Ran Salman - Lost into You (Original Mix) 12. Soul Button - Swift Minds feat. Kara Square (Whomi Swift Minds Remix) 13. Doctor Dru - Alpha Ray (Original Mix) 14. ABGT 124/Royksopp - I Had This Thing (Joris Voorn Remix) 15. Schlepp Geist - The Suffer Between (Oliver Schories Remix) ________________ selected sounds of #musikdenker 2015-10

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Electronic Sound Carousell - Vol.09 TRACKLIST Vol. 09 (Rev 2-6) 00 Intro (scene from movie "I Origins") 01 Oliver Koletzki feat. Leslie Clio - No Man No Cry (Worakls Remix) 02 Royksopp - Sordid Affair (Maceo Plex Remix) 03 Dino Lenny - Living In A Song (Shall Ocin Remix) 04 Sabb - One Of Us feat. Forrest (Dennis Ferrer Remix) 05 Neil Flynn - Louise (Original Mix) 06 Los Suruba - Fine ft. Sutja Gutierrez (Stan Ritch Remix) 07 GMJ - Nothing Is Lost (Michael A Remix) 08 John Monkman & Pete Tong - The Bumps (Coyu Remix) 09 The Legendary Lightness - Hey Ron (Ripperton Remix) 10 Gorje Hewek & Izhevski - EN ROUTE (Dub Version) 11 Docor Dru - Alpha Ray (Original Mix) 12 Stephan Bodzin - Birth (Super Flu´s Early Contractions) 13 Benotmane - Beyond (Karmon Remix) 14 Kollektiv Turmstrasse - Luchtoorn (Original Mix) 15 Cajsa Siik - Higher (2Gemeinsam Edit) 16 London Grammar - If You Wait (Riva Starr Remix) 17 Mat.Joe - Growing Up (Original Mix) 18 Hot Since 82 - Play The Room (Matthias Meyers Morgenstaub Remix) 19 Pirupa - Cristallo (Original Mix) 20 Terranova - Tell Me Why ft. Stereo MCs (Danny Daze Mix) 21 Jaap Ligthart feat. Alice Rose - I Know Change (Show - B. Remix) 22 Luca Guerrieri - Harmony 23 Matthew Dekay & Lee Burridge - Holding On (Original Mix) 24 Lexer & Raumakustik - The Sound Of Friendships 25 Collective Machine - Lux (Miguel Lobo Dub Rmx) 26 Lexer - Till Dawn ft Audrey Janssens (Sabb Remix) 27 &ME - After Dark 28 Cascandy - Take Me Baby Reeemix (Original Mix) 29 Daniel Steinberg - Stamina (Original Mix) 30 Solomun -Fantazija (Original Mix) 31 Robert R. Hardy - Sensus (GHOEYASH Remix) 32 Damian Lazarus & The Ancient Moons - Vermillion (&ME Remix) 33 Maceo Plex -Solar Detroit (Original Mix) 34 Klangkarussell - Netzwerk (Super Flu ReDings) 35 Megatief & Jan Stecher - Vendetta (Romeofoxtrott Remix) 36 Weiss - Man Gone (Tube & Berger Remix) 37 Jamie Stevens - My Tears Don't Help Me (Original Mix) 38 WhoMadeWho - Dreams (Few Nolder Remix) 39 James Sison - Teachings (Original Mix) 40 Popp & Popp - Dakota (Björn Mandry Remix) 41 Doctor Dru - Proper Lane (Original Mix 42 Björn Mandry - I Let You Go (Oliver Schories Remix) 43 Dan Caster feat. Oliver Schories - Music (Original Mix) ____ Visual: https://vimeo.com/couchmode/manuelgotzen/videos/sort:date/204749829 ________________ selected sounds of #musikdenker 201j CD-201j-dd-Nonstop-Mix

Electronic Sound Carousell - Vol.09 [PREVIEW] bit.ly/esc-09-6 ________________ VISUAL http://www.apexvj.com/v3/player?s=221682719 ________________________________ TRACKLIST Vol. 09 (PREVIEW) Oliver Koletzki feat. Leslie Clio - No Man No Cry (Worakls Remix) Royksopp - Sordid Affair (Maceo Plex Remix) The Legendary Lightness - Hey Ron (Ripperton Remix) Maceo Plex - Solar Detroit (Original Mix) Nils Hoffmann - Verwunschen (Marlon Hoffstadt Remix) Kollektiv Turmstrasse - Luchtoorn (Original Mix) Deadmau5 - 1981 (Mike Vale Vs Jerome Robins Mix) London Grammar - If You Wait (Riva Starr Remix) Mat.Joe - Growing Up (Original Mix) Luca Guerrieri - Harmony Lexer - Till Dawn ft Audrey Janssens (Sabb Remix) Lexer & Raumakustik - The Sound Of Friendships Collective Machine - Lux (Miguel Lobo Dub Rmx) Tube & Berger - Disarray Feat. J.U.D.G.E. &ME - After Dark Cascandy - Take Me Baby Reeemix (Original Mix) Daniel Steinberg - Stamina (Original Mix) Solomun - Fantazija (Original Mix) Robert R. Hardy - Sensus (GHOEYASH Remix) Prev. SUPERORDINATE Damian Lazarus & The Ancient Moons - Vermillion (&ME Remix) Maceo Plex - Solar Detroit (Original Mix) Klangkarussell - Netzwerk (Super Flu ReDings) Megatief & Jan Stecher - Vendetta (Romeofoxtrott Remix) Melokind - Nurianer (Original Mix) Weiss - Man Gone (Tube & Berger Remix) James Sison - Teachings (Original Mix) [BeSaved001] Pingpong - The Garden (Original Mix) Munk feat. Lizzie Paige - Deceiver (Purple Disco Machine Remix) ________________ 2015-09 NONSTOP MIX be inspired by more selected tracks on: http://soundcloud.com/musikdenker/sets/nachschub ________________ Special Thanks to all who were to feel my sound, ma luv over the last few weeks. So, feel deep and beautiful. Together: https://soundcloud.com/musikdenker/electronic-sound-carousell-vol09 ________________ selected sounds of #musikdenker 2015-09-23

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Electronic Sound Carousell - Vol.06 (Rev-5-2) Falling In Love SoundCloud: bit.ly/esc-06 Podcast: itun.es/de/oxEQab.c ________________ selected sounds of #musikdenker 201j CD-201j-mm-Nonstop-Mix

Electronic Sound Carousell - Vol.03 (Holraum Nachfuell Set) New Eve bit.ly/esc-03 ________________ selected sounds of #musikdenker 201j CD-201j-mm-Nonstop-Mix

Uncle Floyd - "The Dull Family" - The Uncle Floyd Show Album Wolf Eyes - "Imagine Yourself As Me" - Wolf Eyes/Nautical Almanac Split LP Roscoe Mitchell - "Chant" - Wildflowers: The New York Loft Jazz Sessions Lightbulb Dave - "???" - VA - Terry Plumming LP Matsuo Ono & Takeisha Kosugi - "Suite 3" - Roots of Electronic Sound (1963-1966) The Carnys - "The Night That Was a Wash" - Nine New Rides Simon Fisher Turner - "The Persistence of Memory" - The Last of England OST John White - "Autumn Countdown Machine" - VA - Machine Music John Cook - "A Secret Desire to Die!" - ...And God Gave Me a Fix Tom Furgas - "Signature Metaphor" - VA - Mutant Sounds Whacked Out Singles Pt. 11 Carla Bley - "Song to Anything That Moves" - Escalator Over the Hill C. Newman & Janet Smith - "My Wife is French" - s.t. Youth Gone Mad - "High School Slut" - 7" Von Lmo - "Outside of Time" - Future Language John Coker - "Get Out from Under" Jean-Yves Labat - "We Are Crazy" - M. Frog Cecil Leuter - "Pop Electronique #4" - Les Sons Electroniques de Cecil Leuter John Cook - "Little Babies Born with Football Heads!" - ...And God Gave Me a Fix Corviria - "Trauma Infantile" - Psycho Analysis Various locked grooves - "Running in Place: Locked Grooves from WFMU" Ake Hodell - "Numro Ba Besch" - ubuweb Lake of Dracula - "Dracula Killed Frankestein" - Skeletal Remains https://www.wfmu.org/playlists/shows/33688

Sound performance for computer & live-electronics, performed live at the 12th GlobArt Academy on Aug 20th, 2009 at Pernegg, Austria. Ausgangspunkt ist ein Ausschnitt aus einem Interview von Theodor Wiesengrund Adorno, in dem dieser über Anarchie spricht. Erst in feinste Einzelteile zerpflückt, lösen sich aus Rauschen die Worte heraus. „Es ist ein Garten, der gepflanzt ist, der ein Eigenleben hat. Die Aufführung ist ein Spaziergang durch den Garten, das kann auch ein Lauf sein, ein Verweilen, ein Sitzenbleiben“, umreißt Essl den grundsätzlichen Charakter einer Live-Performance. Zusätzlich spielen Spirituelle und Akustisches eine Rolle, die Magie des Augenblicks. Demensprechend muss bis zur jeweiligen Realisierung der Ausgang dieses aus der menschlichen Stimme entwickelten Stückes offen bleiben. Info: http://www.essl.at/works/demo-crazy.html

Electronic Sound Carousell - Vol.04 SND LVE http://bit.ly/esc-04 ________________ ITUNES https://itun.es/de/oxEQab.c https://bit.ly/gee-at-iTunes ________________ VISUAL http://www.apexvj.com/v3/player?s= + + + + + + + + VARIOUS ARTISTS /INTERPRETEN: ________________ TRACKLIST Vol. 04 (Rel-4-0-BB-PreRelease) IN | - 01 | ________________ do like ma carousell? all sound circles http://soundcloud.com/musikdenker/sets/mix-va-electronic-sound-carousell http://bit.ly/gee-at-iTunes ________________ selected sounds of #musikdenker CD-2009-07-09-Nonstop-Mix

Musizierende Farbdenker im Karousell elektronischer Klänge und die Quelle meiner triebhaften Inspirationen und Blickwinkel aus den Jahren 2008 - 2010. + + + VARIOUS ARTISTS/INTERPRET: Gregory Del Piero, Dennis Ferrer, Francesco Farfa, Julien Jabre, Steve Angello, Jerome Isma-Ae, Dominik Eulberg, Timo Garcia, Rick Stone, Secret Cinema, Noir, Snake Sedrick, Mike Mikhjian, Polheredia, Dosem, Tim Grube, Paul Folder, HydrusX, dFuzhion and various pieces of radio cuts from 2009. + + + PLAY-/TRACKLIST 001 - Wont Stop - Gregory Del Piero feat. Latrica B 002 - Son Of Raw - Dennis Ferrer 003 - Universal Love - Francesco Farfa 004 - Swimming places - Julien Jabre 005 - Woz Not Woz - Eric Prydz & Steve Angello 006 - Vila NovaOriginal Mix - Jerome Isma-Ae And Roy Stroebel 007 - Radio-cut: An unknown lovely cut 008 - Sansula (Max Coopers Lost In Sound Remix) - Dominik Eulberg 009 - Mix-Set-cut: Alex M - Momentum oo6 Summer Calling 010 - Radio-cut: frisky moods 011 - Driving Olivia (Original Intro) - Timo Garcia & Ricky Stone 012 - Secret Cinema - Kurzweil 013 - Click It (Snake Sedrick Remix) - Noir 014 - Dusk - Snake Sedrick 015 - Mix-Set-cut: Buona Bevanda (Original Mix) - Mike Mikhjian 016 - Mix-Set-cut: Progressive Pulse Episode 023 (May 2009) - Polheredia Presents 017 - Beach Kisses (Joris Voorn Green Mix) - Dosem 018 - Radio-cut: frisky chill 019 - Tim Grube DI.FM 9th Birthday (December 2008) 020 - Radio-cut: An unknown cut called "Brennt" 021 - Radio-cut: frisky chill 022 - Mix-Set-cut: Destinations 2009-10 - Paul Folder 023 - I Dont Know (Steve DeParr Vs. Sharp & Smooth Dub) - HydrusX 024 - Bank and Die (Original Mix) - dFuzhion 025 - Radio-cut: tribe emotions

West London musical magnate, Phil Asher comes into the Brownswood basement to introduce his new album… Deep Electronic Sound. Download HERE See acast.com/privacy for privacy and opt-out information.

A track from Karlheinz Essl's CD ©RUDE (released 2001) with electronic music, performed live on his computer-based instrument m@ze°2 at Kornhaus Bern (CH). Karlheinz Essl performs on a laptop computer that he has transformed into a live electronic musical instrument. The result is exciting and musical. You just won't hear these sounds anywhere else. He performs solo and in duets and trios, responding with sensitivity to fellow musicians, producing fascinating sound transformations, creating spontaneous surprises, and moving quickly from loops to cacophony to tiny clips of vocal sounds to all kinds of textures and ideas. He does all this with his m@ze°2 (Modular Algorithmic Zound Environment) performance software. His programming skills are impressive and he is also musically talented, all of which makes this CD a pleasure to hear. (Joel Chadabe)