Saluted by the industry for being one of the most creative mixers with instinct and technical prowess, not forgetting the mentions of owning one of the quickest fingers in the trade with his trademark cue action displays during his sets! His first live-streamed set at the infamous Boiler Room in December and follow up session in February has currently been watched by 2 million viewers and counting. Some may call it a tricky task, but I believe that this appeals to the wider audience that I feel deeply fortunate to play for. His childhood revolved around many interests, whether it be dismantling a portable radio to study how it operated, experimenting with his science fair kit, learning basic computer code to write programmes or listening to and recording radio shows.
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Introduction All right, ladies and gentlemen, let us now turn our attention to one of the weirdest bands that ever existed on the planet - a band that was considered weird even for its own Krautrock scene, and a band that was more innovative in their career as the entire mainstream American rock scene post-Chuck Berry.
To be fair, I am no terrific Krautrock expert - I know my How to write a techno bassline fabulous and my Kraftwerk patchy, patchy, patchy and my Faust without having to be Mephistophelesbut then there are tons of these lesser known, "second-rate" outfits like Popol Vuh, etc. Even the formal story of this experimental German outfit is weird: They occasionally released albums, too most of them derived from the results of one enormous marathonian jam session that lasted for several days I think and provided them with a lifelong supply of material.
These guys' main specialty was being able to construct an entire fantasy world of their own, with lengthy, complex conceptual albums all revolving around themes of death, doom, and mystery, with a multi-layered, echoey, sci-fi sound that was more futuristic than anything around at the time.
They were, if you wish, the closest German analogy of Yes, their main concern being not the music itself, but rather the special 'otherworldly' feeling induced by the music. Sure, gritty, jagged, hard-rocking, and at the same time colourful and extremely expressive guitars are always at the heart of this music, as well as various synthesizer tones, but you'll meet pretty much everything on their records - accordeons, violins, flutes, saxes, etc.
|23:00 Uhr - Open End||Biography[ edit ] Utah Saints were described as "the first true stadium house band" by the KLF 's Bill Drummondthough their music is difficult to place into one genre. The dance group originally met as music promoters and DJs for the Mix Nightclub in Harrogate in the early s.|
|Editorial Reviews||If you have a solid rhythm section, then anything you put on top has a good chance of sounding okay. This is why it is so important to choose the right bassline.|
|La Rocca | Deejays||Younger Rebinds — Tim 's Symphony|
|6 Deep House Bassline Patterns and Techniques | Pro Music Producers||Musicians and composers have been using bass lines to spice up their scores for centuries, across all genres of music from classical to blues, jazz to pop. The Root Note First of all you need to understand some of the basics about your song before you can write a good bass line.|
In all respects, this music is always huge: As for the music itself, it's pretty good. Sure, the band got carried away by its own weirdness at times - the noisy instrumentals on the second disk of Yeti are still a complete waste of time as long as I'm concerned - but even so, even the weirdest, most discordant compositions are often salvaged and elevated to high status simply because they have a sense of purpose 'The Marilyn Monroe Memorial Church', for instance, is a masterpiece of 'musical-fantasy-sequence-writing'.
Usually, however, the band was always concerned about hanging together - however dissonant and rambling the music might seem, it is almost always underpinned by tight and solid melodies.
For instance, a song might be based on a couple complex guitar riffs that provide the solid base, on top of which they pile up almost everything - 'cosmic' synthesizers, weepy violins, speedy metallic solos, or spooky vocals.
The first impression, then, is that of a complete mess, but the solid foundation of the song eventually makes it easier for you to appreciate the material. To top it off, the band's lyrics range from scary and thought-provoking to consciously nonsensical - which is to say, completely adequate.
When they sing about death and torture, the music fits the words completely. When they sing about nonsense, you just don't notice the lyrics at all; another advantage over Yes and Jon Anderson's puffed-up graphomaniac excesses. And - the band members always sing without or with only the slightest German accent, which saves them from the laughable intonations of the like of, say, Eloy's Frank Bornemanne.
All of the above relates to ADII's so-called 'classic' period, during which they wrote their acclaimed masterpieces primarily Yeti and Tanz Der Lemminge. Like all innovative and experimental bands, however, the band chose not to stagnate, and later on - again, like most other Krautrock bands, primarily Can - moved to a more accessible and even 'commercial' brand of sound, cutting down song lengths, eliminating scary dissonant instrumental passages, simplifying the melodies and yet managing not to sacrifice the basic uniqueness of their music.
Thus, those who are willing to be initiated into the world of this band but are afraid of crude, cruel, mind-boggling experimentalism, can start from their mid-Seventies period, which I myself am still only vaguely familiar with so yeah, my collection is only starting, so sue me!
Vive La Trance, for instance, would be a perfect departure. Carnival In Babylon might also do - for me, the album was a disappointment formulaic and stalebut it might do as a reasonable first try.
Make your own choice. Special warning must be passed out against the band's post stage, when they lost a few crucial members and became really, really sucky.
Not just "commercial", but "suck-commercial". I'm not particularly inclined to write on the band's lineup, as it shifted constantly, but at least several crucial band members must be mentioned.
Chris Karrer was one of the main founding fathers, and his concepts and violin playing are crucial for the band's early period.
The musical heart of the band, though, seems to have been guitarist John Weinzierl, whose riffs and solos are the real meat. The wonderful female vocals on most of the classic records come courtesy of Renate Knaup-Krotenschwanz.
Peter Leopold is the band's main drummer. The keyboard players were, however, usually different - Falk Rogner on some records, Karl-Heinz Hausmann on others. Same unstability goes for bass players, and I'm not even gonna start about other part-time members and guest musicians.
Now let's move on to the records. Well, it's HARD to listen to, it is.
But it's nowhere near as "offensively offensive" as, say, Faust or early Kraftwerk. They really intend to scare you, enchant you, and impress you, and they often succeed.Introduction “DJ EZ (Pronounced DJ EEE ZED) is widely regarded as being one of the best DJ’s to grace planet earth, he can only be described as a charming music phenomenon.
The bassline is a very important part of songwriting/producing and along with the drums, forms the backbone of a song, the rhythm section is essential to the overall feel of a piece of music.
If you have a solid rhythm section, then anything you put on top has a good chance of sounding okay. We’ll show how to create not just the bassline pattern, but also how to write the entire midi sequence.
We could just give you regardbouddhiste.com files, but there’s a greater chance of learning something from this post. AMON DÜÜL II "Though I know society is dead brain, I start thinking in circles, following their games" Class C.
Try adding more complex rhythms to your bass line to emphasis the main beat, or even provide some syncopation against the rest of the backing track / melody.
b. Hop Octaves. Simply play the same bass note an octave higher, or lower, to add another element of interest to the bass line, rather than staying on or repeating the same note. This is an example of the bassline pattern used in old-school Progressive House Tracks. The bass hits simultaneously with the chords.
Also, as the focus is on the chord progression, the bass is kept simple in terms of both its pattern and its sound characteristics. It is a basic resonated square wave playing a steady 1/8 pattern. TEMPO: BPM.