Europe In 8 Bits

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A film about reusing out­dated tech­nol­ogy in cre­ative ways to revamp the music scene.

Europe in 8 bits is a doc­u­men­tary that explores the world of chip music, a  musi­cal trend that is grow­ing expo­nen­tially through­out Europe. The stars of this musi­cal move­ment reveal to us how to reuse old videogames hard­ware like Nintendo’s Game­Boy, NES, Atari ST, Amiga and the Com­modore 64 to turn them into a tool capa­ble of cre­at­ing a new sound, a mod­ern tempo and an inno­v­a­tive musi­cal style.

This is a new way of inter­pret­ing music per­formed by a great many artists who show their skills in turn­ing these “lim­ited” machines designed for leisure in the 80’s into sur­pris­ing musi­cal instru­ments and graph­i­cal tools.


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The Music Of Black Orpheus

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Win­ner of both the Acad­emy Award for best foreign-language film and the Cannes Film Festival’s Palme d’Or, Mar­cel Camus’ Black Orpheus (Orfeu negro) brings the ancient Greek myth of Orpheus and Eury­dice to the twentieth-century mad­ness of Car­ni­val in Rio de Janeiro. With its eye-popping pho­tog­ra­phy and rav­ish­ing, epochal sound­track, Black Orpheus was an inter­na­tional cul­tural event.

The fes­tive and haunt­ing sound­track to the film intro­duced Brazil­ian bossa nova to an entire world who quickly fell in love with its roman­tic themes of melan­choly, and, to this day, it remains one of the most pop­u­lar forms of world music. The sound­track fea­tures the three main fig­ure­heads behind bossa nova, those being Anto­nio Car­los Jobim, Luiz Bonfá and João Gilberto.

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The Punk Singer: The Kathleen Hanna Documentary

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The first ques­tion that the men­tion of a doc­u­men­tary about Kath­leen Hanna prompts is usu­ally, Why hasn’t one already been made? Cred­ited as a founder of the third wave of fem­i­nism and Riot Grrrl – Hanna has been a sem­i­nal rad­i­cal activist, musi­cian, lead singer of the punk band Bikini Kill and dance-punk trio Le Tigre, and cul­tural icon for over twenty years. She’s also been a light­en­ing rod for con­tro­versy, and a famously pri­vate per­son. Five years ago, she dis­ap­peared from the pub­lic eye, and is only now re-emerging.

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The Punk Singer com­bines twenty years of archival footage and an inti­mate look at four con­sec­u­tive sea­sons of Hanna’s present life, to tell the story of what hap­pened, and who she is now. Through archival footage and inti­mate inter­views with Hanna, “The Punk Singer” takes view­ers on a fas­ci­nat­ing tour of con­tem­po­rary music and offers a never-before-seen view into the life of this fear­less leader.


I Dream Of Wires

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I Dream of Wires” (IDOW) is an upcom­ing, inde­pen­dent doc­u­men­tary film about the phe­nom­e­nal resur­gence of the mod­u­lar syn­the­sizer – explor­ing the pas­sions, obses­sions and dreams of peo­ple who have ded­i­cated part of their lives to this eso­teric elec­tronic music machine. Writ­ten and directed by Robert Fan­ti­natto, with Jason Amm (Ghostly Inter­na­tional record­ing artist Sol­vent) serv­ing as pro­ducer and co-writer, IDOW is set to receive it’s fes­ti­val pre­miere, May 2013.

If you’re a fan of music, you’ll want to keep this doc­u­men­tary on your radar as it talks about the his­tory of the elec­tronic syn­the­sizer in mod­ern music. Lots of old gear (that still works!) and tons of experts at cre­at­ing music and sounds with the synth.


RODEO, Way Back Home

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Susanna Pat­ten, is an award-winning song­writer, drum­mer and vocal­ist with a music career span­ning almost a decade across three con­ti­nents. She is a found­ing mem­ber of much-lauded Aus­tralian indie band I Heart Hiroshima and has per­formed with the likes of Peaches and Sia. She has toured with every­one from Ratatat and Cat Power, to fel­low Brisbane-originated bands Regur­gi­ta­tor and The Grates.

Together with pro­ducer Dar­ren Jen­son (DJ Down­town) she com­bined the stripped-down indie aes­thetic of her pre­vi­ous work with with dance­able elec­tro beats on songs of a decid­edly per­sonal nature. RODEO was born.

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At first the RODEO moniker served as a DJ moniker for shows that took her around Ger­many, Brus­sels and to New York City. Then in 2011 Susie began test­ing her solo work in a live envi­ron­ment. Later that year, she released When It Reigns EP, a five-track col­lec­tion that has been described as “like Nena slowly and sen­su­ally beat­ing Annie Lennox over the head with a key­tar.” Early 2012 then saw the release of the sin­gle Sold Me Out / Turn Back. With her new sound and Euro­pean home she plans to con­quer dance floors through­out the world.


Susie cur­rently lives in Berlin with her cat Oskar. Check out the all new video for the first sin­gle from Rodeo’s first LP com­ing up this sum­mer! video by black cracker.


8 BiT VoMiT’s 1° Birthday Party!

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1 YEAR ANNIVERSARY \ CYBERFEMINIST BLAST9TH OF MARCH in Berlin!

8 BiT VoMiT is a series of New Media art and music events founded by Graphic designer, DJ and artist Olya Lev­is­tova and Social Media and Pro­mo­tion enthu­si­ast Tanja Korobka. It has been cre­ated by Lon­don Chip Swarm with a mis­sion to grow chip­tune scene.

Lose your­self in explo­sive elec­tronic beats brought to you by Mind­pi­rates, 8bit Vomit, Chip swarm and DIY Church with a gath­er­ing of DJs and live acts from all over Europe. Dance your heart away and free your soul in a mix of indus­trial, noisy and loud sounds with visu­als by NZNZ, Gab­ifront, and Wario.

Meet the crea­tures of tomor­row to have a night of future fun with: COMPANY FUCK (AU / DE), MIDI MAN, Del_F64.0 & Zus­tand D. (DE), BEN BUTLER AND MOUSEPAD, SANTISIMA VIRGEN MARIA, DR. NEXUS and EYE, DJ OLIO (EE), DJ MICHAEL ANISER (noisekölln/epitaph). VIDEOGAMEZONE BY Qubodup (Joyride­labs).

Free mix­tapes, can­dyfloss, deco, and more. Sup­ported by http://www.sexclusivitaeten.de/ and MINd­PI­rates

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TV Party: The Sublimely Intolerable Show

Glenn O’Brien’s TV Party blew the dust out of New Yorker’s air ducts for four odd years from 1978 to 1982. The hour-long live, unscripted show took advan­tage of New York’s early-ish cable access world — a world man­dated by a deal that cable net­works could have their lit­tle monop­o­lies as long as the pub­lic was granted free access to a cer­tain per­cent­age of air­time. It’s a deal still going on all across Amer­ica today, and after watch­ing a lit­tle TV Party, you’d be a damn fool not to get involved. You see, TV can be fun, and you can make it! As for TV Party — essen­tially a show­case for what O’Brien and friends thought of as cool — it’s not for every­one. But those who like bizarro tele­vi­sion, the down­town New York scene of the day, or cult movies and TV with a cap­i­tal C (Liq­uid Sky or Robin Byrd’s porno talk-show, for instance) will get a seri­ous kick from this exper­i­ment in ‘social­ist TV’ — the TV show that’s a party, but it could also be a polit­i­cal party.

The Sub­limely Intol­er­a­ble Show aired Jan­u­ary 8th 1979, with O’Brien (writer, Warhol-ite and once New Wave gad­about) loosely hold­ing the reins — flog­ging the horse or let­ting it stum­ble down rocky inclines, how­ever he, his guests, audi­ence or callers saw fit. Aired in black and white, the night’s guests included Comp­ton Mad­dox and John Moses play­ing weird gui­tar tunes, Klaus Nomi singing opera, and Andy Sher­noff cov­er­ing the Beach Boys, (backed by Tish and Snooky of Manic Panic fame). Down­town direc­tor Eric Mitchell plays a clip of his movie Kid­napped while plug­ging the New Cin­ema The­ater, direc­tor David Sil­ver and Kate Simon do ‘White Peo­ple Talk About Reg­gae,’ and finally Deb­bie Harry, Chris Stein (also of Blondie and later offi­cial co-host of TV Party) and Richard Sohl help O’Brien with the viewer call-in seg­ment while pass­ing a joint.

Accord­ing to O’Brien’s TV Party web­site, David Let­ter­man once told Paul Scha­ef­fer on air that “TV Party is the great­est TV show any­where, ever,” and for those of us now corn-fed on the GMOs that are Two and a Half Men and their ilk, it’s hard to argue. The show thrives on O’Brien’s heart­felt dif­fi­dence (hard to man­age, true) and an anything-can-happen dan­ger­ous­ness that’s impos­si­ble to fake. It appears effort­less because in many ways it was, semi-professionals aided and abet­ted, and total ama­teurs did lit­tle things like; oper­ate cam­eras and run sound. In fact the first five or ten min­utes of Sub­limely Intol­er­a­ble have no sound at all, noth­ing but ran­dom pops (as peo­ple scurry to fix the prob­lem) and (also accord­ing to the TV Party web­site) Jean-Michel Basquiat typ­ing super-graphics like “Oh no! No sound! Fuck!” Top-notch scen­ester enter­tain­ment makes up for defi­cien­cies O’Brien encour­aged. Mad­dox and Moses’s pre-ironic ironic num­bers bub­ble dan­ger­ously, with O’Brien and Deb­bie Harry et al danc­ing in lab coats. Klaus Nomi’s unearthly soprano aria and equally alien demeanor are stun­ning and bizarre. Sher­noff is cool enough — while point­ing out how even the most insipid Beach Boys song comes with a super-sharp chord pro­gres­sion — and direc­tor Mitchell seems baf­fled and is baffling.

White Peo­ple Talk About Reg­gae rides a dan­ger­ous edge; the audi­ence mocks, Simon and Sil­ver seem defen­sive talk­ing about the ‘music of uplift­ment,’ and then a joint starts mak­ing the rounds. The joint stays for the ‘viewer call-in’ seg­ment which always closed the show. It’s emblem­atic of the off-the-rails genius of the show. Sure, the tech­no­log­i­cal aspects are junk, and per­for­mances or inter­views hit-or-miss, but let­ting uncen­sored live callers on the air is pure gold. O’Brien and crew are unas­sum­ing in their great­ness — they’re the cool kids at school who’ll actu­ally accept you (even though you know you’re a total geek) just because they’re self-secure — shin­ing as they wade through call after call ques­tion­ing their sex­ual prac­tices and eth­nic­ity. This stuff is not for the eas­ily offended, but it’s a tes­ta­ment to the power of a slick hand will­ing to let the chips fall wherever.

The first 10% of this show sums up what we don’t get on TV any­more. Tech­ni­cal dif­fi­cul­ties. TV Party was live and impro­vised, and this meant casual dis­as­ter. This early episode gets off to an artis­ti­cally ago­niz­ing start–the sound per­son is late, over­dos­ing on drugs or both. Or it was the bro­ken down equip­ment. Once the sound kicks in the show gets lively. Comp­ton Mad­dux, a droll singer song­writer, is backed up by Deb­bie Harry and Glenn; the unique futur­ist soprano Klaus Nomi does one of his post-modern arias; Adny Sher­noff, of the Dic­ta­tors, plays the Beach Boys’ “Be True to Your School” backed up by pom pom girls Tish and Snooky, the Manic Panic design­ers. Down­town leg­end direc­tor Eric Mitchell announces the open­ing of the now famous New Cin­ema the­ater and shows a clip from his film “Kid­napped” with Arto Lind­say, Dun­can Smith and Anya Phillips. Brit direc­tor David Sil­ver and pho­tog­ra­pher Kate Simon do the “white peo­ple talk about reg­gae” seg­ment. Blondie’s Chris Stein and Deb­bie Harry and the Patti Smith Group’s Richard Sohl drop in to smoke a reefer and take calls from all the cra­zies in cable land. Chris explains all this isn’t chaos, it’s art.


Genesis Breyer P-Orridge and Aaron Dilloway

WEDNESDAY 2/20/2013 10pm-4am
WIERD is proud to present a live per­for­mance by
Gen­e­sis Breyer P-Orridge and Aaron Dil­loway
With DJs Anarexia, Tesco Jane, Frankie Teardrop
Home Sweet Home 131 Chrystie St. @ Delancey NY

Aaron Dil­loway has been releas­ing and record­ing music since the age of 16. He was a mem­ber of exper­i­men­tal bands Couch, Galen and Uni­ver­sal Indi­ans. He is a for­mer gui­tarist and tape manip­u­la­tor for the exper­i­men­tal band Wolf Eyes, which he left in 2005 to live most of that year in Kath­mandu, Nepal. While his wife did her grad­u­ate work there, he roamed the streets record­ing every sound he could, many of which are used in his recent record­ings and performances.

Cur­rently he runs the noise record label, record store and mailorder Han­son Records, which he began in Brighton, Michi­gan in 1994. Han­son then moved to Ann Arbor, Michi­gan for sev­eral years, before finally set­tling in Ober­lin, Ohio, after a brief return to Ann Arbor. He per­forms solo using eight track tapes and vocal sounds, and records mod­u­lar syn­the­sizer music as Spine Scav­enger. Recently, he has played with an ever-changing cast of sound artists under the name The Nevari Butch­ers. — hansonrecords.net/

Gen­e­sis Breyer P-Orridge (b. Neil Meg­son) is a musi­cian and artist whose career began in Hull, Eng­land in 1969. She was a found­ing mem­ber of the hugely influ­en­tial bands Throb­bing Gris­tle (founders of Indus­trial music) and Psy­chic TV.

In 1993, P-Orridge began the art/life project of becom­ing a sin­gle pan­drog­y­nous entity along with her (now late) wife Lady Jaye Breyer P-Orridge. — genesisbreyerporridge.com


Synth Britannia

Doc­u­men­tary fol­low­ing a gen­er­a­tion of post-punk musi­cians who took the syn­the­siser from the exper­i­men­tal fringes to the cen­tre of the pop stage.

In the late 1970s, small pock­ets of elec­tronic artists includ­ing the Human League, Daniel Miller and Cabaret Volatire were inspired by Kraftwerk and JG Bal­lard and dreamt of the sound of the future against the back­drop of bleak, high-rise Britain.

The crossover moment came in 1979 when Gary Numan’s appear­ance on Top of the Pops with Tube­way Army’s Are Friends Elec­tric her­alded the arrival of synthpop.

Four lads from Basil­don known as Depeche Mode would come to own the new sound whilst post-punk bands like Ultra­vox, Soft Cell, OMD and Yazoo took the synth out of the pages of the NME and onto the front page of Smash Hits.

By 1983, acts like Pet Shop Boys and New Order were show­ing that the future of elec­tronic music would lie in dance music.

Won­der­ful BBC doc­u­men­tary on British syn­th­pop from its indie begin­nings to its 1980s glory. It’s an hour and a half long so you might want to make a cup of tea first because you will end up watch­ing the whole thing.