Bowers & Wilkins Hong Kong
【音樂】
日本小號手大野俊三(Shunzo Ohno)現年已經 71 歲,仍持續活躍於爵士圈子,發表新創作。他於 80 年代曾兩奪格林美獎;1988 年,因車禍傷及口部,幾乎要提早終結音樂生涯;1996 年,復康後重新投入演出後不久,又被確診患上癌症;大野俊三的人生路可謂一點都不平坦。
《Runner》是他的第 18 張專輯,代表著的就是一份堅毅精神,除了反映自己的人生外,也是獻給受到日本東北大地震影響的居民(大野俊三一直支持災後重建的工作)。在《Runner》中,他以較不常見的編制方式,表達這份銳意革新的信念:〈Epic〉是分成 4 個部分的交響組曲;〈Moon Over the Castle〉以小號和巴松管作主軸,輕盈優美;〈Runner〉則回歸其爵士本色,略帶電子氣味,整體予人極具活力的感覺,就如專輯標題所示,像個不屈不撓的跑手。
【Music】
A 71-year-old Japanese trumpeter Shunzo Ohno has presented his latest production. Ohno has a bumpy life, he won two Grammy Awards back in the 80s. Then he got injured in a traffic accident in 1988 which nearly forfeited his music journey. In 1996, he was diagnosed with cancer in his tonsils, however, he never stopped to continue being a professional jazz trumpeter.
His 18th album, "Runner" represents the spirit of perseverance and shows his support to the 2011 Tōhoku earthquake and tsunami victims with the innovative arrangement. For instance, 'Epic' is a four-piece symphony, 'Moon Over the Caste' is a trumpet and bassoon duet, and 'Runner' shows Ohno's vitality with jazz and slightly electronic.
同時也有1部Youtube影片,追蹤數超過83萬的網紅serpentza,也在其Youtube影片中提到,Until 2015, Game consoles were banned in China, how did kids in the 80s and 90s get around this? Following the popularity and longevity of the Nintend...
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【Non-Confined Space 非/密閉空間】首張專輯《Flow, Gesture, and Spaces》Bandcamp已經上架,附上英文版的介紹。
Between the spheres of free improvisation, jazz, trap, and musique concrète, lies Non-Confined Space. The name of this Taipei-based duo – saxophone polyglot Minyen Hsieh and audiovisual electronica experimentalist Ge-Chun Cheng (aka Sonic Deadhorse) – aptly describes their approach to exploring the fertile space they find themselves in. Drawing inspiration from their differing musical approaches and worlds, plus energy from the lively Taiwanese music scene, Non-Confined Space is a bold and future-facing hybrid. Cheng deploys piles of samples alongside Hsieh’s versatile saxophone, resculpting the results into a sublime and boldly experimental debut album of beats and processed improvisations unlike anything you’ve heard before.
Taking its title from a philosophical textbook about free-jazz, Flow, Gesture, and Spaces is a revelatory introduction to the duo, mixing the utterly free improvisations of their live shows (exemplified with spontaneous straight-to-tape takes on two of the album’s ten tracks) with an approach to studio composition inspired by the philosophy of improvisation. Basic outlines – often borrowing chord movements from the likes of Coltrane and Wayne Shorter, or pulling beats from Cheng’s huge library – would be cut loose in studio sessions, later augmented by psychedelic post-production. Utilizing methodology from the eponymous book, Flow, Gesture, and Spaces is nonetheless based on “simple elements” as the duo put it, “rhythm, intervals, timbre, and energy.
As a pairing, Non-Confined Space seem to come from polar opposite ends of the spectrum, musically. Performing professionally since the age of 19, Minyen Hsieh first picked up the saxophone back in high school, going on to study with local jazz musicians, and eventually studying the instrument at Koninklijk Conservatorium in Brussels. He’s since made a vast array of music, from traditional swing to the loosened bop of his debut solo album Firry Path, and collaborations with pianist Shih-Yang Lee and legendary Japanese free-drummer Sabu Toyozumi. Non-Confined Space is Hsieh’s first deep foray into the art of electronic processing.
Ge-Chun Cheng’s primary solo project since 2007 has been Sonic Deadhorse. A sample-hungry outfit blending the “indulgence of the 70s, melancholy of the 80s, nihilism of the 90s, and isolation of the new century”, the project has produced a wide-range of sounds from post-Flying Lotus fusion beats to wild live performances of a club-influenced mix of post-rock, dubstep, and chiptune (documented on a 2016 live set for Boiler Room). Working as something of a one-man band has left autodidact Cheng well prepared to not only match the classically trained Hsieh, but to push his partner into wild new directions. “I can always get organic feedback and responses from Minyen,” explains Cheng. “It makes me want to put more elements and processing into the music, and to change style more often.”
Since first meeting at a jam session in Taipei City, Non-Confined Spaces have evolved into an improv outfit for the 21st century, as indebted to Aphex Twin and Squarepusher as they are to Archie Shepp and Sun Ra. The road to Flow, Gesture, and Spaces has seen the duo play for dance performances, visual exhibitions, and even live-painting. Their own live shows also include various interactive and audiovisual elements, consistently focusing in on those three core elements checked in the album’s title. Non-Confined Spaces is a project far from tied down, flirting with bass-heavy tropicalia on ‘Serotonin Cell’, psychedelic post-Madlib hip-hop on ‘Melodic Gesture’, and noisy electrified free jazz on ‘Entropy’. The latter is one of two live takes featuring drummer Weichung Lin and keyboardist YuYing Hsu – allies from the Taiwan scene – capturing the explosive spontaneity and uncannily wonky sounds of this unique duo reconstructing samples live on the spot. Flow, Gesture, and Spaces is a true journey into the heart of the unknown.
Tristan Bath
80s electronic music 在 feversound.com Facebook 的精選貼文
Bowers & Wilkins Hong Kong
【音樂】
英國女歌手 Bat for Lashes 闊別 3 年的新作《Lost Girls》可說是食正近年流行的懷舊熱潮,就像 Netflix 電視劇《怪奇物語》(Stranger Things)那樣,佈滿 80 年代色彩。她在外媒訪問中提到,新碟的靈感來自 80 年代的流行曲如 Cyndi Lauper、Bananarama 的作品,以及 John Williams 的電影配樂,於是《Lost Girls》當中,歌曲都是充滿 Synth-pop 氣息,電子元素特別豐富,而且著重氣氛營造,聽起來都很有畫面,向她喜愛的 80 年代科幻、奇幻電影致敬。
【Music】
British female singer, Bat for Lashes is set to release her latest work “Lost Girls” after 3 years of break. Just like the Netflix drama, “Stranger Things”, “Lost Girls” is full of the features of the 80s. Bat for Lashes mentions her ideas refer to the works of Cyndi Lauper, Bananarama and John Williams's movie soundtrack. This makes her songs full of Synth-Pop and electronic elements and shows her respect for the 80s Sci-fi movies.
80s electronic music 在 serpentza Youtube 的精選貼文
Until 2015, Game consoles were banned in China, how did kids in the 80s and 90s get around this? Following the popularity and longevity of the Nintendo Entertainment System (NES; known in Japan as the Family Computer, or Famicom), the system has seen many clone video game consoles. Such clones are colloquially called Famiclones (a portmanteau of "Famicom" and "clone"), and are electronic hardware devices designed to replicate the workings of, and play games designed for, the NES and Famicom. Hundreds of unauthorized clones and unlicensed copies have been made available since the height of the NES popularity in the late 1980s.[citation needed] The technology employed in such clones has evolved over the years: while the earliest clones feature a printed circuit board containing custom or third party integrated circuits (ICs), more recent (post-1996) clones utilize single chip designs, with a custom ASIC which simulates the functionality of the original hardware,[citation needed] and often includes one or more on-board games. Most devices originate in Asian nations, especially China, Taiwan, Southeast Asia, and to a lesser extent South Korea.[citation needed]
In some locales, especially South America, South Africa, and the former Soviet Union, where the NES was never officially released by Nintendo, such clones were the only readily available console gaming systems. Such was the case with the Dendy Junior, a particularly successful NES clone which achieved widespread popularity in Russia and former Soviet republics in the early 1990s. Elsewhere, such systems could occasionally even be found side by side with official Nintendo hardware,[1] often prompting swift legal action.[2] Many of these early systems were similar to the NES or Famicom not only in functionality, but also in appearance, often featuring little more than a new name and logo in place of Nintendo's branding. As opposed to that, in former Yugoslavia NES clones often visually resembled Sega Mega Drive, together with the Sega logo.[3]
Few of these systems are openly marketed as "NES compatible".[citation needed] Some of the packaging features screenshots from more recent and more powerful systems, which are adorned with misleading, or even potentially false, quotes such as "ultimate videogame technlology" [sic] or "crystal clear digital sound, multiple colors and advanced 3D graphics".[citation needed] Some manufacturers opt for a less misleading approach, describing the system generically as a "TV game", "8-bit console", "multi-game system", or "Plug & Play", but even these examples generally say nothing to suggest any compatibility with NES hardware.
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80s electronic music 在 Weird Science - Electronic Music of the 80s - Home | Facebook 的美食出口停車場
London's finest 80's night. Electronic hits from the best decade of music ever! Two DJs take you... London, UK. ... <看更多>