Musicology

THE MOST TIMELESS SONGS OF ALL-TIME
USING SPOTIFY TO MEASURE THE POPULARITY OF OLDER MUSIC.
BY MATT DANIELS, EDITOR, POLYGRAPH
This is a story about proving, with data, that No Diggity by Blackstreet  is timeless.
Until recently, it was impossible to measure the popularity of older music. Billboard charts and album sales only tell us about a song’s popularity at the time of its release.
But now we have Spotify, a buffet of all of music, new and old. Tracks with fewer plays are fading into obscurity. And those with more plays are remaining in the cultural ether.
20 years have passed since No Diggity's release. Its popularity on Spotify, relative to every other song from the 90s, is a strong signal for whether it will be remembered by our children’s children. So let's examine every song that ever charted, 1990 - 1999, and rank them by number of plays on Spotify, today.
Read more at_Ler o Artigo Completo…http://poly-graph.co/timeless/ 

When Genesis Ruled the World
The seasoned band’s 1986 hot streak, as a group and as solo artists, impressed everyone—even Patrick Bateman
There are certain moments in pop music when an artist reaches that pinnacle of success or dominance — either buoyed by a blockbuster album, a streak of hit radio singles, inescapable media presence, or a combination of all three. Pop music history is filled with examples of artists who had the stars aligned perfectly in their favor during a certain time period: Elvis Presley in 1956; the Beatles in 1964; Creedence Clearwater Revival in 1969; the Bee Gees in 1977; Michael Jackson in 1983; George Michael in 1988; and Taylor Swift in 2014.
In the case of the veteran British rock band Genesis, 1986 was a banner year for them in the States, albeit with less fanfare than those aforementioned acts. Having been in existence for almost two decades up to that point as essentially the standard bearers of progressive rock, Genesis skyrocketed into the pop stratosphere with the release of the smash album Invisible Touch. From 1986 to 1987, that multi-platinum record yielded five Billboard top 10 singles: the title track, “Throwing It All Away,” “Land of Confusion,” “Tonight, Tonight, Tonight” and “In Too Deep.”


Dicen los científicos que un torrente de dopamina se desata en el cerebro cada vez que una persona oye música. Dicha liberación se produce cuando la intensidad del placer que la música genera en el cerebro es alta.
Pero no siempre lo es. Y el cerebro también se encarga de procesar dicha señal. Cuando un usuario oye música, los niveles de dopamina aumentan en la medida en que la intensidad del placer venga acompañada por un alto porcentaje de incertidumbre. De la misma manera que sucede cuando nos emociona salir con una chica por primera vez — porque no sabemos qué va a suceder en esa primera cita — suele suceder con la música nueva, o con la música que oímos por primera vez.
La familiaridad de una circunstancia es también un proceso cerebral pero no genera los mismos niveles de placer.
La música pop se ha encargado de esterilizar la dopamina, acercando los procesos de escucha del usuario mucho más a la familiaridad que al descubrimiento, por lo que gran parte de la música que oímos en la actualidad está construida de forma similar, o agrupada en playlists que a veces parecen la misma canción — en especial aquellas listas de reproducción de éxitos del momento — , con el fin de mantener activas por más tiempo otras funciones cerebrales, como la atención.
Al homogenizar la música desde la ingeniería — y posteriormente desde su mercadeo — , los grandes niveles de excitación producidos por la dopamina al oírla son controlados para que se consuma más música nueva en menos tiempo.
El problema es que, al retirar la incertidumbre producida por la exploración musical — la improvisación, ciertas licencias de abstracción musical y artística, etcétera -, se reduce también la duración de la emoción producida por una canción y de esta manera también se reducen los tiempos de recordación de la misma.
El fácil acceso producido por la música actual -desde todos los sentidos: su gratuidad latente, su meticulosa elaboración en serie, su desechable escucha por parte del consumidor -, ha destinado inexorablemente a la música a producir un placer más corto, y ha convertido su efecto en el cerebro en un momento fácil de olvidar.
El algoritmo del descubrimiento, a favor de la música que suena igual para su fácil consumo, parecería estar en contra de la persecución del cerebro humano de hallar en la incertidumbre natural de la exploración el placer de oir una canción inolvidable.
Así agoniza la capacidad de asombro ante ella y nace un oyente inmediatista y encadenado al gusto masivo, que quizá nunca llegue a conocer el placer cerebral, explosivo, poderoso y adictivo que es oir música.


Every Noise at Once
This is an ongoing attempt at an algorithmically-generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 1386 genres by The Echo Nest. The calibration is fuzzy, but in general down is more organic, up is more mechanical and electric; left is denser and more atmospheric, right is spikier and bouncier.
Click anything to hear an example of what it sounds like.
Click the » on a genre to see a map of its artists.
Read more at_Ler o Artigo Completo...http://everynoise.com/engenremap.html 


Pressed to the Edge: Why vinyl hype is destroying the record
We have a problem.
The music industry has been celebrating a surge of interest in one of its most beloved artifacts: the vinyl record. Major labels are returning to their old business model and are quickly saturating clothes stores, online shops, electronics outlets and international vinyl-themed holidays with reissues of old classics.
It’s easy to get swept up in the hype – after all, this is surely a worthy alternative to streaming for the music fan with a fondness for physical objects. However, the vinyl boom is hiding problems that could have disastrous implications for popular culture. Vinyl production worldwide is currently operating way above its capacity, and expensive materials, expert knowledge and antiquated techniques have led to to supply shortages and quality problems.


  • “And those who were seen dancing were thought to be insane by those who could not hear the music.” Friedrich Nietzsche
  • "Se é para fazer barulho, deixe que eu mesmo faço". Rita Lee
  • THE ONLY GOOD SYSTEM IS A SOUND SYSTEM
  • “Don’t create music just to be making noise. Don’t do that. You’re making self-serving arrogant noise, you’re polluting the planet! Do something to move someone else!” — Songwriter and producer Patrick Adams, May 27, 2013
  • Music has the ability to arouse a myriad of emotions
Desmascarando os ecléticos musicais
“Sou eclético”. Essa é uma resposta bastante comum quando perguntamos aos outros sobre preferências musicais. Num tempo em que somos obrigados a gostar “de tudo um pouco”, em iguais proporções, esse discurso soa muito bonito. Dá uma ideia de que a pessoa é tolerante, que não tem “preconceito” contra nenhum gênero, de que está aberta a coisas novas. Na cenografia idílica desse mundo perfeito, todos os artistas — sejam eles bons ou ruins —, devem ocupar os mesmos espaços na mídia, devem tocar no rádio o mesmo número de vezes e devem dispor do mesmo número de giga-bytes em nossos iPods. Quando uma pessoa se define “eclética”, automaticamente se exime de emitir qualquer opinião. É a maneira mais fácil, rápida e confortável de buscar aceitação nas mais variadas rodas. Não que seja errado ou proibido evitar opiniões fortes. Muitas vezes as pessoas realmente não têm uma opinião formada, porque lhes faltam bases para isso. Às vezes, a desculpa do ecletismo até cai bem, para evitar mágoas. Mas na grande maioria dos casos, esse suposto “senso comum” não faz nenhum sentido.
Quando o ecletismo vira uma ideologia e não nos é permitido manifestar preferências ou tecer críticas, temos um problema sério. Se apoiar nessa muleta é um claro sinal de preguiça — e quem realmente acredita em seu próprio ecletismo e o usa como ideologia está sendo pusilânime. A pretensa ausência de preconceito é usada apenas como forma de maquiar a falta de conceito. É característica natural do ser humano buscar sons que lhe agradam, portanto é perfeitamente aceitável que cada um estabeleça suas preferências. Se um cara gostar de rock, talvez ele goste de blues, possivelmente um indie ou punk, quem sabe um reggae ou até mesmo, vá lá, uma MPB. Agora, quando o sujeito diz que voa do death metal ao axé sem qualquer turbulência, está apenas sendo hipócrita e mentindo deslavadamente — assim como é igualmente hipócrita se dizer torcedor fanático do Corinthians e do Palmeiras ao mesmo tempo. É óbvio que ele vai gostar mais de um e descartar o outro. Ou talvez até odiar os dois, mas gostar de ambos com a mesma intensidade é absolutamente inconciliável. Claro que tem gente que gosta das coisas mais contraditórias, mas a pessoa jamais vai defendê-las com a mesma fé. O que existe são formas diferentes de manifestar essas preferências: umas mais fanáticas, outras mais ponderadas. Todas são válidas.
Sou fã de rock e de várias de suas derivações, mas isso não implica num adesismo imediato. Faço críticas e também autocríticas quando julgo necessário. Adoro blues, fusion e jazz, gosto de trilhas sonoras de filmes, mas aprecio outros gêneros, como R&B e soul. Gosto de algumas coisas da Motown, mas não sou fã. Alguns gêneros eu aprecio com mais moderação, como reggae, eletrônico e DUB. Outros eu respeito, mas não gosto, como MPB e bossa nova. Outros eu tolero, no limite, como o indie e o pop. Mas alguns gêneros soam como um insulto aos meus tímpanos, como emo, pagode, axé, sertanejo e qualquer um desses hits popularescos. E não só porque é brega, não (Whitesnake é brega, mas á bão, sô!). É porque é ruim mesmo. Desgraçadamente ruim. Gosto muito de viola caipira, e respeito o sertanejo da velha guarda, mas esse sertanejo-pop romântico é uma porcaria pasteurizada e desprezível. E digo isso sem preconceito algum. Preconceito existe quando a pessoa julga sem conhecer — e esse sertanejo de auditório eu conheço muito bem, porque está por toda a parte. Uma vez manifestei essa opinião no jornal e recebi uma resposta indignada do Zezé Di Camargo. A discussão foi interessante, mas poderia ter sido muito mais se ele não tivesse usado a velha desculpa do preconceito contra sertanejos em sua resposta. Claro que a turma do ecletismo veio a reboque para defendê-lo, usando um vasto repertório de clichês. E não impressiona que uma discussão que se propunha musical tenha repercutido (contraa favor) dessa forma na blogosfera. Quatro anos depois desse “incidente”, ainda não ocorre a esse pessoal que tem muita gente que simplesmente não gosta de música sertaneja.
Não estou sugerindo que roqueiros e pagodeiros quebrem seus instrumentos na cabeça uns dos outros. Só estou dizendo que temos de preservar o direito a livre opinião. Paulo Francis, por exemplo, classificou fãs de rock como “animais invertebrados” (me divirto com essa frase, apesar de me considerar um animal vertebrado). Quando se impõe o ecletismo aos outros e se usa o preconceito como argumento, invalida-se o debate. Aceitar críticas (mesmo as mais severas) é absolutamente necessário. Sem o contraditório, não se avança, não se esgotam todas as possibilidades, não se buscam novas fórmulas… caímos num vazio reflexivo e mental. Se os artistas vivem repetindo o mantra “bem ou mal, falem de mim”, por que não se aproveitam dele como estratégia? Claro que é muito mais confortável se isolar numa bolha, filtrar críticas e só aceitar glórias a adulações. A maioria dos artistas (especialmente os brasileiros) ainda precisa aprender a não se levar tão a sério. Precisa dar a cara a tapa, precisa aprender a encarar uma crítica não como ofensa pessoal, mas como uma oportunidade para discutir sua obra. Só assim ele descerá de seu pedestal para encarar o mundo real. Essa é a parte mais difícil para os artistas que se julgam “gênios” — mas, infelizmente, não vejo um horizonte possível aí. Pelo menos por enquanto


Remixing is the process of taking an existing song or track and putting your own unique spin on it. There are no rules on how to remix a song, some people simply put extra beats and synths on top, some people create an entirely new backing from scratch, whilst others might just reduce the original elements to something totally unrecognisable.
Over the years, the remix took on a multitude of different forms – and not always used for the club. Let’s take a look at the common classifications and what they mean:

Radio Mix. This is usually the original song mix, or perhaps your remix shortened to three and a half minutes. It will have the full vocal/hook in is structured in a song format.

TV Mix. This is the same as the radio mix but with no vocals (or sometimes just the backing vocals) – it is generally an instrumental that can be used as a musical bed on television shows.

Club/Extended Mix. This is the extended version of the radio mix – designed for club DJs so typically just has beats added to the beginning and end of the radio mix

Dub Mix. This is a variation of the extended mix with sparse vocals – often with plenty of effects added to ‘dub’ the track out. It will often feature the removal of musical elements and a different arrangement.

Reprise. This is usually without beats and more of an ambient version of the track. It is designed as a tool to give creative DJs something to play about with. For example, the DJ could have a track with heavy beats playing on one deck and then bring the reprise in on top – forging a new track in the process.

Beats/DJ Tool. This will usually be just the beats and perhaps a vocal stab or single musical element on top, once again designed for creative DJs to play around with in the mix.

Classic Remixes
To get some grounding on the range of possibilities when it comes to remixes let’s now take a look at some of the more famous remixes, often featuring huge commercial megastars, flipped upside down by underground producers.
Read more at_Ler o Artigo Completo...http://plus.pointblanklondon.com/how-to-remix-a-song-part1 



Musicians Are Coming Up With Original Ways to Make Money
It's definitely quite odd to see that on planet music the walls between fans and artists are actually becoming ever shorter. From Taylor Swift sending her fans checks and homemade paintings to TLC powering up a kickstarter full of personal pledges, I swear soon we'll actually be able to look pop stars directly in the eyes. But why exactly do the mysterious luminaries of music culture suddenly care so much more about each and every one of us?
Over in Somerset House in London right now, there is yet another example of this. PJ Harvey has created Recording in Progress: an art piece which captures the conception of an album by constructing a studio to record in, with one way glass, located in the basement of the venue. Critics have described it as being a portrait of the artist “in real time.” “Real time” in this case, equals 45-minute arranged viewing periods for which fans pay £15 a pop.
The hope is that anyone, normal people, can glimpse the evidential magic that is art being made: the repetition of a chorus maybe, someone saying “what?” over the sound of a guitar being tuned, a person holding a large wire, PJ Harvey pontificating over drum tracks she will later decide to re-record. That's a best case scenario. At worse, it'll just be Harvey peeling an orange as she waits for a mixdown to export. But for all the lack of spectacle, you can imagine the profits are quite considerable, as crowd after crowd of ticket buyers are ushered in for their moment of voyeuristic fandom.
I'm not so cynical that I can't see the artistic merit in what PJ Harvey is trying to achieve. I don't wander round the Louvre like a used car salesman wondering how much everyone is raking it in. But judging from Adrian Searle's bizarrely unmoved yet five-star rated Guardian review—"There is very little atmosphere here, as we approach the windows into the studio where Harvey and her producer and musicians maunder, yawn, record and re-record dubs and overlays, lyrics and riffs”—it seems to leave the more honest onlookers feeling a little undercooked. Maybe this is what PJ Harvey intended to do. It's the perfect retaliation to the expectations of the modern music fan: “You want to see everything? OK, fine, here's everything. Fucking boring isn't it?”
Thing is, it's hard not to recognize the entrepreneurial merit in what she has done; taking what is traditionally a very costly and PR-barren time in an artist's cycle and turning it into a month-long, ticketed, headline-courting, daily event, that—with additional tickets being announced to meet demand—is probably whipping up a tidy profit. It's the tour that isn't a tour, helping to fund the project and keeping her somewhere near the front page of every music website in the UK. But it wouldn't have worked if nobody, her fans, had cared about coming.
It feels unfair to even teasingly bash PJ Harvey for this, after all, her exhibition does genuinely feel like an extension of her art. It furthers the growing and totally necessary trend of real artists finding routes outside the traditional industry to make art that makes money, so they can make more art. And it's something that takes real nous to achieve without selling a large slice of your dignity to a mobile phone company or performing bondage fellatio on a Beats Pill in your next video.
Any artist with a brain right now is trying to restore some value to their art in a world where most people just want everything for free. However, as the ageing music industry at large continues to tip-toe around the elephant of progression that has been shitting on its living room floor for 10 years, there is no real fluid framework to house all this forward-thinking artist-to-fan activity, and you end up with each different artist finding their value and cultivating their fanbase in totally different ways.
LA rapper Nipsey Hussle has wandered into a career path that works for him. After deciding to leave his major label home at Epic Records, he now gives all of his music away for free digitally. For the tactile world of things, he creates a special physical copy with a limited run. He priced his first mixtape at $100, and made 1,000 copies—they all sold out, and Jay Z bought 100 of them. Nipsey's costed his latest record at $1,000, and so far he's sold 60. A tidy profit for a self-releasing solo artist. The idea being that if all you want to do is listen to Nipsey in a flippant manner, go for it, it's all online, but if you want to become part of his story, own his art, and contribute greatly to any future creations, then you need to invest, heavily.
What Nipsey Hussle is doing here is essentially a very black and white form of the same ethos that powers the music campaigns of Kickstarter. A recognition that the new capital in music is not necessarily in the faith and support of a label machine, or even your ranking on Google trends, but in the dedication and loyalty of your fans, especially your super fans. It's what digital age business writer Nicholas Lovell dubbed “the curve”: an economic theory discussed in his book of the same name. Lovell argues that creators need to realize that some people will never ever pay you, and to those freeloaders your stuff will go for nothing, but there is a portion of your most dedicated followers that always will. So instead of expunging hot air about the masses that will always rip your shit, artists need to focus on and groom the few that would never dream of it. The type of people that would pay to watch PJ Harvey unpack a mic ...read more
This article was originally published on Noisey UK.


O sexo e a música são inseparáveis. Sem nenhum tipo de entretenimento à base de decibéis, uma queca hipotética pode, facilmente, tornar-se em apenas alguns minutos de grunhidos, gemidos e olhos revirados. Já arruinei potenciais sessões de sexo ao escolher uma má opção áudio. Com uma seleção musical pobre, as boas vibrações podem ir desta para melhor e, em vez de foder, podem mandar-me ir foder. E isto só por ter decidido ouvir a canção errada na hora certa!
Canções como a “The World’s Greatest” devem, obviamente, ser evitadas, tal como devemos passar ao lado de uma gaja cuja vagina cheira a peixe podre. Também devemos esquecer a “Ignition”. Aliás, todo o R.Kelly deve ser impedido de criar a banda-sonora para qualquer relação sexual que se preze. Assim sendo, compilei uma espécie de banco de canções apropriadas para determinadas situações sexuais. Estarei sempre aqui para vocês, seus tarados.
As relações à distância são uma seca. A única coisa que faz com que aqueles telefonemas todos (cheios de acusações de traição) e aquelas sessões solitárias de masturbação valham a pena é o grande festival de quecas, no qual tentas condensar as duas semanas de abstinência em dois longos e prazerosos minutos. Claro que, no final, tudo vai acabar em lágrimas, assim que te aninhares em posição fetal depois de teres percebido que, afinal, a tua querida parceira andou a dar umas voltinhas com o companheiro de casa. Mas isso não importa. Até esse momento, o Frank Ocean é a tua companhia ideal, enquanto aproveitas os mimos do R’n’B entre sémen e lágrimas.
As one-night stands são as oportunidades ideiais (únicas?) em que podes concretizar todas aquelas merdas manhosas que povoam frequentemente os teus sonhos molhados. Quando pensas que estás no meio de uma sessão real de porno, a verdade é que tudo se resume a ânsias de vómito, palavras trôpegas e uma luta de meia-hora para tirares as calças. Tudo isto sem mencionar, evidentemente, aquele nojo pós-coito… Certo, rapazes? Mas, se vais dar uma oportunidade a esta experiência fugaz, deves lembrar-te de abanar a tua pila ao som de umas malhas dos anos 90. Ela não vai lembrar-se de nada no dia seguinte e, caso isso aconteça, terás conquistado uma alcunha incrível: “Big Poppa", sempre.
Nada grita “romance” mais alto do que os Cure e algum lubrificante. A sério, as cordas vocais do Robert Smith espalham ondas sonoras de amor, que conseguem chegar aos lábios do clitóris, fazendo-o tremer. Põe a “Galore” a tocar e vais sentir-te numa máquina do tempo. Espero que tenhas uma miúda alternativa (que conheceste na faculdade das artes) a cavalgar em cima da tua pila, como se essa fosse a única maneira de ser amiga do Andy Warhol. No entanto, a música fazer-te-á sentir como se estivesses a foder nos dias em que os teus pais costumavam “fazer amor”. O que é sempre bom.
CARAAAAAAAAAAAAAAAAMBA! O amor também consegue ser uma MERDA! Aquelas notas fofinhas, deixadas debaixo das almofaças e todas aquelas noites passadas a trocar miminhos. Mas, depois de um broche feito com indiferença, há muitas probabilidades de acontecer uma discussão conjugal amarga. Deixem lá, sabem aquele ditado: quando a vida vos traz limões, às vezes é preciso mandar os limões à merda e ter uma bela sessão de sexo raivoso. O modo hardcore funciona melhor com as gajas egoístas. É ruidoso, é chateado e é perfeito para expelir aquele sumo do amor armazenado.
O sexo drogado é MUITO melhor do que o sexo ébrio. Enquanto que o álcool vos deixa aos dois abananados, a chocarem um no outro, as drogas permitem a apreciação do ex-líbris de Vénus. É um rio quente de amor. Escolham a música correta e preparem-se para entrar numa viagem sem fim. Música psicotrópica e ritmos xamânicos, tipo Tame Impala, vão permitir-vos olhar nos olhos vermelhos do outro como nunca antes.
Ser traído é horrível. Aquela bolha amorosa de fantasia em que construíste o teu potencial futuro torna-se, de repente, numa cascata de lágrimas. Mas também se torna claro que, a partir de agora, podes foder quem quiseres. O que é, obviamente, um bónus. Depois de anos e anos a brincar com as mesmas paredes vaginais, o resto do mundo estará aberto de novo, preparado para que mandes a tua dor à merda da maneira mais porca que conseguires imaginar. Há muito que podes aprender com a Peaches. Como, por exemplo, tirar partido de uma peça de fruta. Para mim, esta canção é sobre coisas porcas que estão no radar da infidelidade. POR ISSO, se alguém andou a gozar contigo, faz como o Fleetwood Mac: segue o teu próprio caminho e transforma a dor numa bela queca.
PARABÉNS! Ganhaste a lotaria sexual e arranjaste uma cota. Não há maneira de lixares isto, pá. Uma vez que o marido dela está sempre longe em viagens de negócios, ela precisa de pichas com sabor de juventude. E adivinha quem é que lhe vai fornecer isso? TU. Como ela tem um objectivo muito preciso, a música não é algo com que se vá preocupar: a senhora só procura amor, meu. Põe o rei de fazer-bebés a tocar: o Marvin Gaye, claro. Essa escolha vai transportá-la para a suite da noite de núpcias (quando concebeu o primeiro filho). Além disso, ganhas pontos extras porque consegues mostrar-lhe que tens bom gosto musical (aquela coisa do “Gangnam Style” não conta). Disfruta destas malhas lentas, cheias de flow, enquanto dás à senhora todo o amor que ela merece.
Não te preocupes, amigo. Há mais peixes no mar. Caso contrário, terás sempre o cinco-a-um.


  • Humans weren't born to work,They were born to create...and that creation is Music!
  • Teenage alien from the 80's who creates the music that blows your fucked up mind...100% swag/Architect.
  • Sing. Dance. Sweat. Sex.& play our music while you do it!
  • Ever wondered what an Eargasm looks like?
  • ‘Better than sex’!”
  • The 50s made people doo wop! The 60s made people twist. The 70’s brought us disco. The 80’s brought it all together. Now, its 2014 and the 80’s are back!
  • Two kinds of music. There’s music that comes from memory. And then there’s another music, the one that comes from the moment.
  • “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” Plato
  • “Music expresses that which cannot be said and on which it is impossible to be silent,” Victor Hugo
  • “If music be the food of love, play on” William Shakespeare
  • W a r n i n g. If you're too lazy to read, get some vitamins, if you're too lazy to listen, you're probably dead!
  • "Breathe to the rhythm, dance to the rhythm, work to the rhythm, live to the rhythm, love to the rhythm, slave to the rhythm." Grace Jones
  • Ouço música quando leio, escrevo, conduzo, acordo e adormeço. Nietzsche tinha razão quando escreveu que sem música a vida seria um erro. Além de entretenimento e diversão, a música é também uma ferramenta preciosa na reabilitação, terapia e formação.
  • Music washes away from the soul, the dust of everyday life!
  • The Only Good System is a Sound System!
  • “The earth has music for those who listen.” William Shakespeare
  • Music is your only friend… until the end.”
  • “And those who were seen dancing were thought to be insane by those who could not hear the music.” Friedrich Nietzsche
Toda essa badalação que o Funk Carioca vem recebendo da mídia, nada mais é que a grande chance de um trabalho que já dura quase 30 anos.
Início de Tudo
Pode acreditar, no meio da década de setenta, algumas danceterias aqui do Brasil viravam suas antenas para um ritmo que estava consagrado nos EUA como Funk , e realizavam os primeiros bailes, reunindo sempre centenas de pessoas nas famosas festas Hi-Fi (aqueles vitrolões valvulados).
Vou citar aqui a época dos grandes bailes no Canecão e nos subúrbios cariocas. Big Boy, Ademir, Cidinho Cambalhota, Mr. Funk Santos e Messiê Limá eram os nomes mais respeitados. Eles influenciaram uma geração.
Messiê Limá era o rei das gatinhas très jolies de Copacabana, um dos primeiros DJs a inflamar os bailes de subúrbio e zona sul carioca. Nesta época, a paulistana Lady Zu era a musa dos bailes com o seu funk "Hora de União" e as equipes mais conhecidas que existiam eram Soul Grand Prix e Furacão 2000 entre outras.
Mas no início dos anos 80 a sonoridade "Funk" estava sumindo para dar lugar ao Miami Bass. De maneira equivocada o nome do ritmo não mudou. O que sobrou dessa transformação foram as batidas graves do Miami Bass que até hoje sobrevive na cidade americana mais visitada pelos turistas brasileiros. Pois é, Miami é o maior centro de produção musical neste estilo.
O engenheiro de som Carlos Machado (DJ Nazz, conhecido pela rapaziada das antigas como Carlinhos Nazista) é o responsável pela maior parte dos funks que chegaram no Brasil. Ele me contou que conhece as história de cada disco. A propósito a costumeira batida "808 Volt Mix" foi trazida por ele.
Mas porque, diabos, ainda chamamos este estilo de funk ?
Veja bem! O Miami Bass foi absorvido pelas equipes que tocavam Funk Soul daí a mídia passou a classificar tudo que é do subúrbio com um termo só. Mas se você quiser saber sobre esse rito de passagem do Funk de James Brown e George Clinton para o Funk Carioca, aqui vai a dica: procure pessoas como Osni Silva, Oseas dos Santos ou Wanderley Pimentel (o Maks Peu), Samuel e Funk Gil.
Já deu pra perceber que o funk carioca é apenas uma derivação do miami bass americano, né?
O Funk Carioca é uma espécie de "irmão" de estilos como o Dancehall jamaicano e o Gangsta Rap americano: música barata e caseira, produzida graças ao barateamento derivado dos meios eletrônicos, feita por pessoas ligadas a uma camada mais pobre de suas respectivas sociedades e baseada numa base rítmica pesada (daí o apelido de "Pancadão" que se costuma dar ao estilo) e bem grave, e que recorre a temas que encaixam ao público-alvo, como sexo, violência policial, o deslumbramento com carros modernos e artigos de luxo etc. O Miami Bass, "pai" do funk carioca, se baseava nos mesmos temas.
No final dos anos 80, graças a idéia de Cidinho Cambalhota , o Miami Bass foi se nacionalizando, com letras em português. O público dos bailes sempre inventava uma letra para o lugar daquelas em inglês que não conseguia entender. Os funkeiros batizavam algumas músicas de "melô disso ou daquilo" e inventavam um refrão em português. Vale lembrar que o termo "melô" veio da Rádio Mundial. Nessa época o maior sucesso era 2 Live Crew com a faixa "Do Wah Diddy". O primeiro funk carioca com letra em portugues a virar sucesso foi uma versão de "Do Wah Diddy" que era cantada por Abdullah, mas em 1980 já se tinha feito um rap chamado "melô do tagarela", uma versão de Rappers Delight feita por Miele, mas esse não ficou destacado por que o termo "rap" ainda não tinha chegado aqui na época.
Bah, no início era assim mesmo. Era o chamado de "Miami Batidão" e seus samples clássicos são utilizados até hoje pela onipresente Furacão 2000 , equipe cuja história se confunde com a própria história do funk no Brasil. Nas versões atuais, a voz desafinada dos funkeiros são sobrepostas aos antigos samples que causam nostalgia a qualquer um que viveu os bailes dos anos 80 -- um exemplo disso é a música de Ice T "What Ya Wanna Do".
Read more at_Ler o Artigo Completo.http://www.teresom.com.br/amplitude/funk.html 


Uma das coisas que você aprende após anos lidando com pessoas da música, é que você pode sempre virar as costas para uma pessoa, mas nunca vire as costas para a música.
Read more at_Ler o Artigo Completo...http://porra.dj/2014/07/musica-sempre-pela-musica/


Esses são alguns benefícios da música para o ser humano.
 A lista de benefícios é bem grande e inclui melhorias em:
• Processos da linguagem;
• Inteligência espacial;
• Criatividade;
• Paciência;
• Lógica;
• Precisão física e mental;
• Maior identificação com outras culturas, portanto maior tolerância;
• Performance nas matérias do currículo regular (em todas as matérias);
• Comportamento das crianças em salas de aula;
• Concentração;
• Disciplina;
• O estudo de música ajuda a enfrentar desafios e assumir riscos;
• O estudo de música ajuda no desenvolvimento emocional;
• Tocar instrumentos fortalece e melhora a coordenação motora;
• Na saúde: a música cura ajudando a combater o mal de Alzheimer, a reduzir os sentimentos de ansiedade, solidão e depressão, a diminuir o estresse; além de reforçar o sistema imunológico, ajuda a evitar osteoporose, etc;
• Relacionamento interpessoal pela convivência em grupo.
O estudo de música é generoso pois nos traz saúde, física e mental, nos diverte, não impõe idade ou físico padrão, nos ensina a sermos mais tolerantes conosco e conseqüentemente com os outros, nos ensina a superar obstáculos de forma prazerosa e traz a interação ao invés da competição (um alívio para nossas vidas que enfrentam competição no trânsito, nos esportes, na vida profissional, na ditadura do “físico perfeito”, etc.).
Qualquer pessoa em qualquer idade pode estudar música. Esta integração tocar/ouvir é uma integração de emoções, poética e sensível, onde todos se beneficiam.
A concentração e expressão.



Hear that music? Studies show that slow music makes people shop leisurely and spend more. Loud music hurries them through the store and doesn't affect sales. Classical music encourages more expensive purchases.
La House music est née au début des années 1980 à Chicago. Originellement liée à l'histoire des DJs, son nom provient du Warehouse, club de Chicago où officiait le DJ Frankie Knuckles. La house est fondamentalement constituée d'un rythme minimal, d'une ligne de basse proche du funk et de voix, samplées ou non.
Si Frankie Knuckles, en tant que DJ, est le précurseur du genre, les premiers producteurs de House sont Chip E. (Like This, It's House), Adonis avec No Way Back, Steve "Silk" Hurley (Music Is The Key, Jack Your Body), Marshall Jefferson et le fameux The House Music Anthem (Move Your Body), Keith Farley et son Love Can't Turn Around (1986), Lil' Louis avec le tube international French Kiss et Larry Heard, qui composera sous le pseudonyme de "Mr. Fingers" l'hymne deep house Can U Feel It dont l'une des versions est agrémentée d'un discours de Martin Luther King. Réalisés en 1983 par Jesse Saunders et publiés sur le label Mitchbal, les morceaux On & On et Funk U Up sont considérés comme les deux premières véritables créations de house.
Si tous ces artistes viennent de Chicago, la house n'a cependant jamais été uniforme et dès 1988 apparaît par exemple la hip-house avec Fast Eddie et le titre Yoyo Get Funky, mêlant à la house les racines electro du hip-hop.
Même si la house fut créée à Chicago, la ville de New York a rapidement développée une scène très active, particulièrement portée vers le garage, house vocale héritière du disco, inspirée par le club où jouait le DJ Larry Levan, le Paradise Garage. Détroit quant à elle, a développée en parallèle la techno. On a un temps parlé de New Jersey House pour désigner la deep house de la côte Est des États-Unis, dont le groupe Blaze est encore aujourd'hui un digne représentant.
Frankie Knuckles et Larry Levan étaient amis avant de devenir DJ. Les promoteurs du Warehouse souhaitaient même embaucher Larry Levan à l'ouverture du club, mais il préféra rester à New York et céder la place à Frankie Knuckles. Larry Levan est mort en 1992 et reste un mythe intouchable en tant que DJ.
Mel Cheren, légende de la nuit new-yorkaise, qualifiait la house de disco on the budget (disco à l'économie). De fait, cette musique s'est caractérisée dès ses débuts par des moyens de productions réduits, un côté « artisanal ». Les précurseurs du genre enregistraient leurs morceaux sur cassettes dans le seul but que les DJs de Chicago les passent en club. Ces expériences ont façonné la Culture Club et sa mythologie. Le disque vinyle est rapidement devenu le support privilégié de cette musique.
Aujourd'hui, la production house est toujours vivace et est principalement jouée dans des lieux spécialisés et dans certaines boîtes de nuit. Des soirées parallèles et beaucoup plus underground peuvent également avoir lieu, bien que la house soit une musique électronique cataloguée « de club » et ainsi rarement jouée en rave party.
La musique dite lounge (lounge-music) se réfère initialement à la musique jouée dans les salons des bars d'hôtels et de casinos, mais également dans les petits cabarets et les piano-bars. C'est la version "excentrique" de la easy listening.
Née dans les années 1950-1960, elle succède à l'ère du swing des grands orchestres. Conservant le côté doux, sirupeux, "ambiance" de la easy listening, la lounge intègre un côté expérimentation, mêlant instruments exotiques, futuristes et nouvelles technologies (stéréo ...). Elle est un des symboles du style de vie kitsch des années 1960. Elle connaît un regain de popularité depuis les années 1990.
Contemporainement, le terme de lounge music se réfère également aux musiques électroniques de type down tempo, au rythme calme (n'excédant pas 90 battements par minute).
Aujourd'hui, la musique lounge est très diverse, elle va d'une ambiance blues à une ambiance beaucoup plus rythmée approchant la house en passant par du down tempo. Ce genre musical est en plein essor, de nombreuses radios internet se disent « de lounge » et un grand nombre de fans commencent à apparaître.
Read more at_Ler o Artigo Completo...http://www.klid-deejay.com/fr/musique 



Turn it up to turn us on: It’s soundtrack over six-pack in the bedroom
Spotify’s Science Behind the Song study explores the relationship between music and romance

  • Over 40% of people say that listening to music is more arousing than touch during sex, with Dirty Dancing named the best soundtrack in the bedroom
  • Marvin Gaye’s Sexual Healing voted top track to get a partner ‘in the mood’
  • Queen’s Bohemian Rhapsody voted the number one song that is ‘better than sex’
The research revealed that what’s on your seduction playlist is more important than what’s underneath your clothes when it comes to success in the bedroom. Over 40% of people felt that the music listened to during sex was more likely to turn them on than the touch or feel of their partner.
Dr Müllensiefen commented: “It is no surprise that so many respondents claimed to find music arousing in the bedroom. From neuro-scientific research we know that music can activate the same pleasure centres of the brain that also respond to much less abstract rewards such as food, drugs or indeed sex.”
The survey also revealed that the most arousing music to play during sex is anything from the classic 80s film Dirty Dancing. The iconic soundtrack - which features popular hits from the 1950s, and one sung by Patrick Swayze himself, the film’s leading man - was voted number one to play in the bedroom, interestingly coming top for both male and female respondents. Marvin Gaye’s Sexual Healing took second place on the top list with Ravel’s Bolero finishing a surprise third.
Dr Müllensiefen said: “The fact that Dirty Dancing has come top on the list of the best tracks to play during sex for both men and women is due to the fact that most people have a good knowledge of songs that represent romance and these tend to be from cultural references such as film. People use this music to not only communicate their intentions in a romantic situation but to directly alter the mood during an encounter. The study also revealed that men are more likely than women to change their music tastes and listening habits in order to ensure greater success in the bedroom – which explains the popularity of Dirty Dancing for both sexes.”
Spotify’s Science Behind the Song study uncovered the top 20 tracks to ‘get us in the mood’ for sex, and it seems there’s only one man for the job: music legend Marvin Gaye. Iconic track Sexual Healing was voted the number one track to ‘get us in the mood’ and Let’s Get it On took second place. Barry White followed closely in third place, with respondents claiming that hearing any track by the man also known as The Walrus of Love’ was enough to ‘turn them on.’ 
Dr Müllensiefen observed: “The study unveiled that the best tracks for seduction in the bedroom – essentially what gets us in the mood – all possess the same qualities including a greater dynamic range, more use of the high chest voice, more raspiness in the voice and less use of vocal vibrato. These specific attributes are strongly evident in the Marvin Gaye tracks, Sexual Healing and Let’s Get It On.”
The study also revealed that one in three people can name a track that they consider to be ‘Better than sex’, with Queen’s Bohemian Rhapsody voted number one on the list. Sex on Fire by the Kings of Leon took second place and Robbie Williams was voted third in the ‘Better than sex’ list, with his 90s ballad Angels. 
Dr Müllensiefen said: “Songs that our participants have named as ‘better than sex’ are all unique and many can be considered epic ‘masterpieces’. When listening to music we build up an expectation of how the music is going to continue. If it violates our musical expectations and takes a different turn our involuntary emotional response is highly positive and it is mainly these unexpected turning points in the music that generate strong emotional feelings.”
Angela Watts, VP of global communications for Spotify, commented: "Music provides the soundtrack to the lives of Spotify users every day, wherever and whenever they are, and Spotify’s study reveals today that music plays a particularly big role when it comes to our love lives. We now know that Marvin Gaye is key to success when it comes to seducing a partner in the bedroom. And if you don’t have a partner, we can highly recommend Queen’s Bohemian Rhapsody, which is officially ‘Better than sex’!”
The study interviewed 2000 people aged between 18 and 91 years old, with an almost equal gender split.
Spotify has created a series of romantic playlists based on the voting from the survey. The Spotify playlists can easily be linked or listened to for news stories, blog posts and social media using the following links. Full track listings in notes to editors below:
Definitions Culled From The Web
Acid House
This dates back to the 1980's, a style that was played at the club "The Warehouse" in Chicago. This is where the characteristic synthetic plip-plop sound you often hear in dance music comes from. The sound popped out when DJ Ron Hardy played around with a small synthesizer called "Roland TB-303 Bass Line." This eventually turned the club scene on it's head: snob clubs were out and Rave parties were in. What we call Acid today is harder than the original.
Acid Jazz
This is misleading name. There is nothing "acid or hardcore" about acid jazz. It is actually a fusion of old and new classic jazz riffs and scat vocals with funky hip hop beats and modern technology. During a true acid jazz set, a DJ may spin the latest Mo' Wax releases, funky, hip-hop, rap interspersed with Ella Fitzgerald or Harvey Mason. The key word here is fusion. Attributes: hip-hop or house rhythms live instrumentation, silky smooth arrangements, and an easy, flowing soulful energy. 80 to 126 BPM.
Ambient
Easy listening for the mature enthusiast; also called Chill-Out. A very discreet rhythm, or none at all. Lots of "beating of waves" and dreamy sound-scapes. Brian Eno is reckoned to be the godfather of this style. Ambient is the perfect music to listen to when you need to relax or just chill out.
Big Beat
Big Beat is a late ‘90s phenomenon combining Hip Hop and breakbeats with rock vocals and guitars, all within a techno aesthetic. The Chemical Brothers and Fat Boy Slim are successful purveyors of this popular music.
Breaks
(Nu skool breaks, breakbeat at 135 bpm)
Dirty, sleazy, gritty, driving, scary music that would frighten small children and send pensioners to an early grave
Break Beat
Breakbeat evolved from late '80's rave by combining hip-hop rhythms and mixing tricks with techno-rave keyboarding and sampling techniques. This style was revamped in 1998 by groups like Music Instructor, Solid Force, Sybtronic and others. Attributes: Funky rhythm tracks, lots of samples and choppy mixes, sped-up "chipmunk" vocal loops, frenetic explosive energy. 135 to 170 BPM. Examples of groups originally recording in this style are as following: Smart E's, Loop Da Loop Era, Q-Bass, Pascal Device, RMB, DJ Hooligan, Raver's Nature, Music Instructor and everything on Suburban Bass, Production House or Moving Shadow. Cirrus and Omar Santana are fairly big names in this genre dominated by anonymous DJs.
Club
Club music is House music.
Deep House
Same speed as Disco backing up its 4/4 sound with layer upon layer of synths and samples. Came as a reaction to the hysterical party house music. Friendly music, often with Jazz-like subtones that stays away from the poppiness of some mainstream House music.
Detroit Techno
Detroit is the birthplace of modern Techno. In the early ‘80s a large underground dance scene developed there, producing minimalist, very DIY, very soulful Kraftwerk meets MFSB Techno tracks. Pioneers included Juan Atkins (Cybortron, Model 500), Derrick May, and Kevin Saunderson (Inner City). Later Detroit Techno has grown more sophisticated (with newly affordable MIDI technology) but has sought to maintain the soulful, minimalist vibe. Carl Craig (Paperclip People, Innerzone Orchestra |Planet E) is a modern Detroit Techno legend.
Dhol n Bass
Started in the UK in the 1960's when Punjabi immigrants spun 45s of bhangra tunes from the east, soon mixing in whatever was flavourful at the time. The tradition continues to enormous fame in large cities all over the planet such as the UK and NYC. Typical beefed-up bhangra includes hip-hop beats and extensive sampling of Bollywood, Pop and Classical Indo-Pak hits.
Digital Hardcore
DHC or Gabber, is, primarily, Hardcore Punk/Noise made digitally. This stuff is very noisy and aggressive, yet vaguely catchy.
Disco House
This music never strayed too far from its Disco roots. House’s 4/4 electro-beat is backed by familiar and funky Disco sounds.
Downbeat
Downbeat electronica uses electronic instrumentation and samples but puts them behind slower, often Hip Hop influenced, beats. It is an umbrella term encompassing anything slower than House including Trip Hop, Leftwing, Chillout etc...
Dream House
Simple House which is meant to give the dancing people peace in mind. Swelling piano arrangements... Best known is Robert Miles, the Richard Clayderman of House music. DREAM HOUSE originally evolved from TRANCE. Usually down-beat, with soft melodic sounds (piano is characteristic and perhaps mandatory), and a sharp pounding drum beat. It also can have a heavenly female or choir voice (e.g. Zhi-vago, DJ Dado etc). The cover-sleeves normally shows virtual landscapes, or relating to the cosmos. Frequently the dream can be fused with elements of techno or progressive music, resulting more fast with a vibrating bassline straight and running (e.g. B.B.E). This "mutated" style also got the name Dream House (e.g. PROGRESSIVE MEDITERRANEAN). Other variant of Dream is called COSMIC-DREAM: more deep and reflexive (e.g. Brothers Of The Coast).
Drum 'n Bass
The further developed and accepted variant of Jungle. It's an open and naked sound picture which focuses on drums and bass. The rhythms are like Jungle, but the spice comes from Jazz and Soul more than Reggae. Also written as 'DnB' or 'D&B.'
Dub
Essentially Reggae in the raw. This cultish, perennially popular form strips out the majority of the music's melody at the mixing desk leaving behind the rhythm section ('drum & bass' music in reggae parlance) and the residue of other instruments... often with massive layers of echo.
Dub Techno
Dub takes its name and its aesthetic from ‘70s Jamaican Dub-Reggae pioneers like King Tubby, Lee Perry and others. Dub is downtempo, thick and echo-drenched techno, but it does not necessarily contain the signature reggae "One-drop."
Electro
A drum machine called "Roland 808" arrived. Its distinctive, synthetic, yet pounding sounds became the most important rhythmic basis for the offshoot of Techno Dance or Hip Hop called Electro - a purer, more electronic, more instrumental, and more experimental form.
Electro Funk
Combining ‘70s Funk with the synths and beats emerging in the fledgling Hip Hop culture, this stuff can sound dated now but was ridiculously influential on Hip Hop, bass music, techno R&B and everything in between. Afrika Bambataa and Mantronix made great Electro Funk as did Herbie Hancock and Bill Laswell on their surprise hit "Rocket." Electro Funk is what the kid in "Beat Street" was trying to make when he made that silly water-drop crap in his bedroom.
Ethno House
House based music with ethnic sounds such as chants or basically just about anything from that country. Meaning old sounds mixed with the modern house music.
Eurodance
The most popular dance format in Europe. Happy synth-tones, female vocals, a memorable refrain, and short parts of crap-rap in between. This sub-genre predominates every chart and dance floor in the European Union. Buttloads of this music spews out of Belgium, Germany and Sweden. Eurodance can be also classified as Techno Dance or Trance Dance.
Gabber
Extremely fast, almost like extreme metal of the prejudiced kind. Actually played at soccer matches - considered hooligan music. The American variant is called Hardcore and is popular among the average youth in Milwaukee.
Garage
Garage is sped-up Deep House music. The name comes from the Paradise Garage club in New York where the sound was pioneered. Garage was an important step in the development of Drum 'n' Bass. Its characteristics are lots of bass, vocals, keyboards and sometimes even violins. These days Garage is popular in the UK and is slowly infecting the European continent.
Goa
Goa trance was born in the Indian state of Goa. Goa is known for peace, love, sun and ecstasy. Trance was played on a lot of beach parties in Goa and because of the hot climate the vinyl would melt. Thus, the music was put on DAT and wasn’t mixed, and that’s why the tracks have an intro, climax, and an outro. Goa trance is played all over the world and the public seems to enjoy it more because it's a more 'relaxing' and 'easy-listening' style than other types of Trance. A lot of various "branches" have been born with experimental mixing such as Voodoo Trance and Astral Trance.
Happy Hardcore
Happy Hardcore, also known as 4-Beat, grafts the high speeds of Garage on to bubblegum pop records by the likes of Cyndi Lauper. It's very fast, very bouncy and extremely high-energy. It's origins date back to the early 1990s in the UK to what is now know as Old School Hardcore (circa 1992). This Hardcore split into different forms, one of which is Jungle. Typical characteristics of happy hardcore music are: a driving 4/4 kick (hence the name 4-beat), usually (but not always) lots of piano and female vocals (making the music 'happy'). Happy Hardcore also features lots of break beats, although they are being dropped in favour of more techno sounds and stompy Dutch-inspired kicks. Happy Hardcore runs at 160-180 bpm and 99% of the music originates from the United Kingdom where it's popularity is gaining even over Jungle.
House
House is a further development of Disco and is the musical core of today's dance music. Emerging from clubs in Chicago and New York in the mid 1980s, it can be recognized by the 130 electric bpm, big bass lines and hard drum loops. In other words, House is a rather wide expression, played at strip bars mostly.
High Energy (Hi-NRG)
Very fast. A real mix between the Breakbeat rhythm and German Techno sound. The music is heaped with female vocals and piano chords. Considered the light version of Gabba.
IDM (Intelligent Dance Music)
Borne of the Aphex Twin asthetic and perhaps the driving force behind most Asian Massive musicians producing music, IDM works best in a domestic environment. It is intended more for one's living room than one's local club and is not hardcore or commercial.
Industrial
Industrial is harsh, pessimistic electro-rock with a sonic palette of abrasive, mechanical sounds. The genre takes its name from Industrial Records, the label that hosted Industrial pioneers Throbbing Gristle. Nine Inch Nails’ “Pretty Hate Machine” is a masterpiece of the genre..
Jungle
Jungle is quite chaotic and has a breakbeat of 160BPM with the bassdrum on half speed. If your not used to it, it’s hard to predict when there is a beat and/or bass. Jungle’s origins are from England and it is named after the big concrete, metallic 'jungle' city. Different mixes with reggae and hardcore are divided into three categories: Drum ‘n’ Bass, Hardstep, and Intelligent Jungle. Intelligent Jungle can also be called 'Artcore,' which has a slight Trance 'flavor' to it.
Lounge
Often sporting a retro-aesthetic restyled for the contemporary using computers to add that 21st Century Modern flava, Lounge music also crosses over to the Chill sub-category. Very jazz-influenced, Lounge can also get very ethnic with acts such as Bebel Gilberto and dZiahn & Kamien.
Organic House
Organic House uses layers of live "organic" instrumentation and percussion to augment the patented 4/4 Electro House beat.
Progressive House
Refers to dance music with unusual sound-sections and new rhythms. Often tied to DJs and artists with high credibility. This is music that is too progressive to fit the general house definition but not as dark or hard as Trance or Techno-House. Attributes: styled keyboard and synth-lines, house vocal loops and samples with driving, electronic mid-tempo house rhythms. 120 to 130 BPM.
Techno
Techno, arguably (along with House) the most prominent and recognizable form of Electronica, grew out of German experimental synth music (Kraftwerk) and early Hip Hop and Electro Funk. Its earliest incarnation was in Detroit with soulful pioneers like Juan Atkins and later Carl Craig. It has gone international, sprouting a huge number of different subgenres. There is some conjecture if techno predated electronica as a used term to define compositions pushed thru a CPU. The accepted umbrella term is electronica.
Trance
Trance evolved from German Techno, using the rolling bass and sizzling keyboards of techno to give the music a hypnotic flowing effect, yet retaining all the driving, pulsating energy of its true techno roots. Attributes: synth/sample-driving, pounding basslines, complex cyber-sounding keyboards, usually instrumental. 128 to 150 BPM.
Trip-Hop
Not hip-hop, not trippy, a useless name for another useless subset of loungey electronica. Usually melancholic in nature, the mainstays of Trip-Hop are R&B vocals woman vocals over smooth Hip Hop beats/scratching layered with Rock and Jazz.
Rave
Heavy basslines with fast rolling drum sounds and fast synths. Not much in the vocals department, just a few words being repeated over and over. Great for people who loved to get blunted.



The Music
Whatever the Question was, Music is the Answer.
Music is the inspiration, our sanctuary. Providing music is our duty, and one that we love and can't live without. In short, we are music freaks.
We believe it's not just for your ears, it's music that can touch you, that you can see, taste or even smell. 

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