Just look at the names to see that there is something in them: "Atmosphere", "Morning Factory", "Bright Day". A new dawn has appeared in America, and the sun was at home. Like any extraordinary force, house music takes many forms, held together by the steady rhythm of the bass drum: four powerful rhythms played in a loop, driven by an instrument that replaces human limbs. For skeptics, this can be a barrier to entry; There are those who come across this music and only hear the bass. It makes me sad. For connoisseurs, cooperation is not earned, it is started. An infinite palette of possibilities surrounds this endless rhythm that tells the story of the multiple origins of house music: in Chicago, the flight of the piano or the flight of strings; In Detroit, alien textures with particles of the human soul. At its most electronic and most up-tempo, house techno goes, which can make you feel like you're glowing next to a mothership having a heart attack. These are serious things.
It is still heard in music today, albeit in a degraded form. In 2022, Beyoncé released an album, oddly titled " Renaissance ," and she creates sweet pop songs from homemade recordings. In 2016, Kanye West, who lives in Chicago, Mr. Producer Motive hit it off with the hit "Fade." The following year, Drake tried to give his vocals some Detroit flavor by sampling the flow of house producer Mudimann. But before all this retromania, these producers whose work the superstars now plunder were cataloging black sounds in real time and searching for future utopias.
Speeding up the tempo of the album, House created an escape into a distant future where processes of social control have been democratized by mixing drum machines with spaceships. You can change the company as you like. As British journalist Simon Reynolds writes in his book Energy Flash , house music emerged from a "double exception" as a cultural practice associated with gay and black social activism in Chicago. Reynolds writes, "His rejection, his cultural fragmentation, took the form of music that most cultures consider dead and buried." House not only revived the album, but also reshaped and improved the aspects of the music that white rockers and black functors hated the most: mechanical repetition, synthetic and electronic textures, uprooting, "private" and drugged-up hypersexuality. decadent". hedonism." Like science fiction, house music mixes myth and everyday reality, reinventing technology to pay particular attention to those who equate progress with the smooth running of machines. In The Matrix, stuttering drums awaken your second body to dance.
If House's contribution to today's music is so great that it is difficult to identify it, it is equally difficult to identify its exact birthplace. The problem is compounded by the proliferation of the scene and subgenre, with local DJ Jesse Saunders synthing drum machines and bass on his 1984 recording of "On and On" at the Chicago Warehouse Club. As Reynolds describes it, "When British A&R scouts came to Chicago's Scout House in 1986-87, they discovered that many of the best-selling songs came from Detroit."
The Midwest may have arrived first, but New Jersey was in deep water. Take Kerry Chandler. He rose to fame in Zanzibar, a club in Newark that combined the energy of New York's legendary Paradise Garage disco club with his city's neon gospel roots. After future funk bands like Parliament added layers of electro to syncopated structures and Chandler mastered the cable machine, soul and R&B were digital for a while. It all started with a teenage internship at a local music studio to record songs for the likes of Kool and the Gang. "People will go out and rent studio time, but it's the average Joe who thinks he can make a record and has no idea about the process," Chandler told Attack magazine. "A lot of rappers and a lot of R&B artists. Few musicians came to us. They didn't have a producer or a song... When I was a kid, I was like, 'Okay, I'm going to do something. You.
These words spread through the air. In Detroit, late-night radio DJ Electrifying Mojo was a badass. In Jersey, Tony Humphreys was in charge of dance floors across the city. In 1988, Chandler gave a recording to Humphreys, who was working with a singer. The next thing Chandler knew, his tracks were on the radio, and by 1990 he had broken the Superlover/Get It Off record. "I realized there was a buzz around it," Chandler recalls, "and everything fell into place." These delayed house chord changes worked well with the noisy textures of Detroit techno - it was something deeper than house. At one time, those who liked it called it "deep house".
The spirit of change was in the air , and we can certainly call it a revelation. Not all the music that emerged from this period adhered strictly to the model; It was a process of fermentation and eventually growth. Those who delve deeper have done so underwater: Detroit Drexia's Mythos is such an aquatic concept. The duo of Gerald Donald and James Stinson created music that suggested a larger underwater world, splitting the beat in two and pushing the synthesizers beyond the reproduction of musical sound. The 1992 Drexia EP Deep Sea Dweller presents itself as a collage of recordings from an underwater tribe of slaves who escaped Midway in search of freedom in the ocean.
If you fly over the Atlantic and instead of diving, you hear British drums and bass for a penny. Europeans' love affair with American house music, which began with exploratory missions in the 1980s, culminated in what the British press called the "Second Summer of Love" in 1988, forever linking house beats with the social phenomena of rave culture. In the early 90s, house had to deal with Caribbean influences in black British culture when producers pushed the Babylonian Jamaican reggae variety to low frequencies and increased tempos that no human drummer could keep up with.
On both sides, rave culture has been the scene of travelers – or, shall we say, missionaries. They go looking for a party to go to and then, depending on your perspective, either destroy or revive the culture. In "Energy Flash ", Reynolds talks about gatherings in unnamed places where little cherubs disappear and are reborn as holy ghosts. He assured us that the 1996 Wisconsin Even Farther Festival, at which ravers actually burned a lead man, was not an "epic pagan gathering of evil tribes," but he also warned of a "dangerous" scenario. and "no light". Getting there means "walking through mud, through the bright light of other people's lanterns, and through the blazing fires of the hillside." It was the Old Testament and the New Testament at the same time: false idols and a desert environment. , young people make their way through the darkness with only the light they create.
Every story of rave culture presented by Reynolds has a biblical undertone. According to him, pure rave was invented in the UK and ruined by drug addicts, violent Silicon Valley geeks and record companies. "America is also a more hostile place for raves," he said. For those rockers who still think the record is awesome and hate the English synth 'hairstyle', rave is clearly an untried, fake fad. This prejudice is not completely unfounded. before the rave) as far as the eye can see. per day, and it is interesting that the white rave scene in the United States has not yet managed to develop a single American mutation. It's a classic case of music creating something in the wrong place in the wrong place. In the mid-'90s, around the world like house or something. Exploding—in the open, in warehouses, even on the pop charts—the Chicago-Detroit axis was experiencing a quiet renaissance.
After working in art school, virtuoso DJ and producer Theo Parrish started building cars in Detroit; Somehow the sound of the car got into the music. Parrish's time spent on the streets of Detroit likely helped him find an auditory palimpsest of urban life. Landscape artists have also used the landscape as a canvas. For Moodyman, Detroit is another planet: like Pluto, it has been weakened by the forces that reduce it to a dwarf state. But Moodyman lives in the dark and takes what's left, building a structure of hope out of scrap records and bits of broken car glass. Parrish's 1995 song "Lake Shore Drive," first released on Moodymann's KDJ label, is named after the Chicago highway that runs through Lake Michigan, the interstate body of water where house music was born. The track's worn disco chords and rounded synths sound the best.
Local DJs kept playing. Rick Wilhite seems to walk the land between Detroit and deep space, mixing jazz improvisation with tight, concrete drum machine rhythms. Omar-S, a former car activist, treads these waters today, fusing techno and house in his profound efforts. Ron Trent, who plays the 90s rave classic "Altered States," creates the rhythm in this moment between the kick and the hat. This year he released his latest album, What are the stars telling you , to good reviews.
It has often been said that hip-hop is a passive response to public space. Rappers can directly refer to the collapse of the formal welfare state, or the refusal to believe that government can do anything for the people, or the destruction of public arts education. The house comes from the same swamp, but speaks a different language. Once you get that, what it says is loud and clear: you do what you can with the tools you have, and that means the machines you can buy with the labor. We can say that humanitarian programs subsidize indie rock, we can say that cheap studios and consumer electronics subsidize house music. However, this did not happen peacefully.
Contrary to Reynolds' belief, America was the best place for underground mining because the surface was and still is very scary. Needless to say, what was dominant in the downtown "black house tradition" is weakening. With Rave, that decadence spilled out, eventually hitting neighborhood kids whose parents thought they had escaped it all. It was escape music for anyone who wanted – no, needed – and a lot of people did. "The only salvation was drugs or music," says Chandler. "I always chose the last of the two."
One can only surmise that if the gods are obsessed with the mode of music, it must be terrible... ... ... ... ... ... ... ... ... .. . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . .. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. ... ... ... ... ... ... ... ... ... .... ... ... ... ... ... .. ฦ.ை ฦ.ை ࿈ ০.ද आ आ ࿈ .ை आ आ आ ০.ை आ आ आ ࿈ .ை आ आ आ रिक रिक विल्हाइट के लिए के लिए के लिए के लिए एक अच्य अच्य अंजन अम्न अच्य दैंग देखे देखे देखें where where it's happening. ভাসছে ভাসছে ভাসছে ভাসছে ভাসছে আছে ে ছে খহে খহসছে ে ভাসছে ভাসছে ভাসছে ভাসছে ভাসছে আছে যেখানে মনে ভাসছে .. ভাসছে ভাসছে ভাসছে ভাসছে ভাসছে হচহচছে ভাসছে ... ভাসছে?
বিষয়টিবিষয়টি সতসতযটি কেবল এই হতে পােে: েভেভ আমাদেদে ছাড়িয়ে .. এটি সেই বন্যা যা পৃথিবীকে ছাপিয়ে যা 9 থিবীকে ছাপিয়ে 9 া 9 ড্রেক্সিয়া শুনুন. फुलका हैत्ताया
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