Vladimir Ivkovic’s Library of Mysterious Compositions
Every now and then, Vladimir Ivkovic shows us around in his library and shares some of his finds. Enjoy the selection, but please be quiet.
As part of ADE’s Playground program, Strange Sounds From Beyond will kick off the inaugural edition of Dutch Sounds From Beyond on ADE’s Thursday, with an afternoon/evening of panel discussions, presentations and performances dedicated to Dutch underground music culture. Continue reading if you want to join.
What’s considered a rare groove is open to anyone’s interpretation. For me it needs to possess a certain feeling, be it one with rock and psychedelic leanings, or straight-up floor fillers of disco, funk and soul. The phrase “Indonesian rare groove” was coined by two of my good friends from Jakarta, Merdi and Aat. In Indonesia they refer to this as Irama Nusantara; Irama meaning groove in Indonesian and Nusantara is a contemporary term for the Indonesian archipelago. The music that Jiwa Jiwa represents bears this groove.
Following the recent reopening of the Golden Pudel, we turn to one of its long-running residents Nina for the 8th entry of our Mix Series. This artful selector and mixtape queen hasn’t rested on her laurels while her “Nina trifft” nights went on its long hiatus. In this short interview, she lets us in on what she’s got up her sleeves.
Of the countless tracks that make it to the airwaves each week at Red Light Radio, some leave a more lasting impression than others. From month to month, enjoy a sampling of favorite tracks heard on air, courtesy of the team at RLR. August’s picks include music by Pupajim, Diva, Absent Music and the invisible hand.
The definition of noise seems simple enough. Loud. Disruptive to the senses. Basically a sound that is deemed unpleasant and undesirable. But what if I tell you, quite the contrary, that noise is essential and intrinsic to music? This series of articles will not strive for a definitive outcome to this premise, but will rather seek to present a history on the phenomenon and the various views surrounding this acoustic mystery. In the end, it’s up to you to decide whether our subject matter is a menace or a blessing to our acoustic spectrum. In this edition we will explore the key players of Musique concrète and the very first (credited) piece of electronic music ever.
Back in April, Jasmin Hoek had the pleasure of sitting down with Suzanne Ciani for a one-to-one. A month later, the groundbreaking electronic composer went on to become the first-ever female recipient of the Moog Innovation Award. Seven Waves – Suzanne’s debut album, may have been conceived back in 1979, but its title seems ever so significant today as we bear witness to the undulating waves generated by her revolutionary work over the years. From the sexy voice in Xenon pinball machines to the pop-fizz of a Coca-Cola can, to Hollywood movie scores and Grammy-nominated compositions, Suzanne Ciani has been able to captivate a different audience with every passing decade. As yet another wave sweeps up this year for the “diva of the diode”, let’s take a moment to enjoy this interview from April.
The Sahara desert, the biggest sand desert on our planet, stretches all the way from the Atlantic Ocean along the Western part of Africa to the Red Sea by the shores of East Africa. As deserted as she might seem when staring at the light colored patch on Google Maps, for centuries her dunes have been and still are home to countless of tribes; soil that has proven to be solid ground for conflict but even more so fertile for music. It is this unique mixture of traditional customs, the heartache of a region, and shredding guitar riffs that gives Desert Blues the allure it has now. With bands like Tinariwen and Imarhan taking the Western world by storm, it seems only fair to take a closer look at this mysteriously familiar sound.
Andrei Rusu and Florentin Tudor have known each other since they were in 10th grade. They initiated their Khidja project at their German high school when little else was around. The genre-fluid Romanian artists have shared a very similar unrestrained musical upbringing ever since, of which the traces still resonate into their music today. Influenced by jazz, funk, and African music, Khidja productions sound like fearless experimental excursions from these cornerstone foundations.
Emerging from the cosmic experimentations of krautrock, kinetic energy and the “I don’t care” attitude that is punk, Germany’s underground landscape in the late 70s was increasingly filling itself with acts that put out a range of highly avant-garde, quirky and autonomous sounds. A big factor in all of this was the DIY mentality and a wave of post-modernism that had infiltrated media culture at the time. This freshly built playground now offered up the possibility that everybody could make (cool) music; the stranger the sounds, the more far-fetched the ideas and themes, the better.