After a few minutes with online magazine Decoded you’ll recognize a substantial dance music site. There are at least a year’s worth of articles to browse here! Some snippets and links:
From the About Us page: “In a saturated and cloned dance music market, it is becoming all too common to merely emulate, rather than stand out, be unique and create memorable music…. we are looking for people who create memorable music that inspires and invokes emotion, rather than be disposable chart topping hits and mixes.”
Pier Bucci Interview: “For me the problem is that there is too much of the same, there is conformity and no risk. Dance music is living on the past of what is was accomplished on the 80s – 90s and the beginning of the 2000. There is no new substance. But always crisis leads people to create new things and that’s good. There are super good DJs and producers that they don‘t get to have so much exposure since dance music has become business and this factor creates monopoly.”
Bluffer’s Guide to Synthesizers
How to get a thick analog sound
Review : New Romanian artist BOg has rewired progressive house
Medium article From Disco to Daft Punk details the long career of synthesist Giorgio Moroder.
In 1997 Donna Summer enjoyed a #1 hit in Britain with I Feel Love, which Moroder produced. The tracks were created using a Moog. At the time there were no sequencers or MIDI; engineer Robbie Wedel created custom electronics to lock the tracks together on a 16-track Studer recorder. When Eno heard I Feel Love, he said “This single is going to change the sound of club music for the next fifteen years.”
Moroder moved to the States and began orchestrating paramount soundtracks and movie scores. He earned himself an Academy Award in 1979 for Best Original Score for the film Midnight Express. Other classics American Gigolo, Top Gun, Scarface, and 1984’s restoration of Metropolis, are all credited or co-credited to Moroder.
The article includes photos and a long interview with Giorgio, born in Italy in 1940.
How electronic music got made in East Germany
Despite a dictatorship, a few 70s musicians in found a way to do their thing. An Oral History of Electronic Music in East Germany is an intriguing look at a little-known corner of music-making history.
Other bands had to put up with lots of official lecturing and change loads of their lyrics, but as an electronic band you were spared because there were no lyrics….
Getting hold of equipment was quite an ordeal. For a start, you had to earn loads of money to be able to afford stuff from the West…. On top of that, you also needed someone to bring the gear across the border. Most people charged a hell of a lot for that, so you’d end up paying up to 40,000 East German marks for a synthesizer….
I once gave this guy – you’d probably call someone like that a dealer today – 13,000 East German marks and then didn’t hear from him again for ages. Of course I was really worried the money was gone. In winter I was told to come to a certain place and he appeared with a Yamaha keyboard under his arm. It was hair-raising!
Now in its 8th year, Andy’s Singapore 60s Pop Music Influence is a true music lover’s blog. It’s main interest is, of course, in 60s Singapore. But there’s a lot more unique and colorful to be experienced in any journey through its pages. Browse the long, long Content list over on the right to see what Andy has to share. Always fun to see how the rest of the world responded to early Rock.
As a side note: back in the 60s Malaysia responded to the British Invasion by inventing what’s called Pop Yeh-Yeh.
Here’s a brief PRI audio story about it.