Czech of all trades ''Forbidden Society'' is on the verge of a new era. After a long haul of releases, gigs and a consistent output of mixes, he now returns with what he describes as a breakthough work to add to his long list of perfectly mixed efforts.
After delightfully receiving an invitation to play at one of the world's main events in Drum & Bass music called ''Inferno Pirate Station'' in St Petersburg (March 22, 2014) he rapidly switched on the decks to create
a mix that would represent his anticipation for the upcoming event. As motivated as ever Forbidden Society is ready to showcase his signature sound for one of the most exciting moments in his career thusfar.
EN:
Pirate Station is the world's biggest drum and bass music festival.It's held every year since 2003, when St. Petersburg held the first event. It has spread to biggest Russian cities (Moscow, Ekaterinburg, Novosibirsk, Samara etc.) and has also taken place in Estonia and Ukraine, which makes Pirate Station the biggest dance project ever. Almost half a million people visited the festival during these years. The main St. Petersburg show hosts more than 25,000 fans annually. Pirate Station is not just about music — it is a mix of unique performances and special effects united by a concept which changes every year. This is the promo mix for Pirate Station 2014 — Inferno from Forbidden Society.
CZ:
Pirate Station patří k nejvetším ruským eventům vůbec. Za 11 let existence prošlo vstupními branami už pomalu 500 tisíc návštěvníků a v samotném Sankt- Petěrburgu akci navštíví okolo 25 tisíc lidí! Pirate Station si získala od samotného začátku velké množství fanoušků díky silným lineupům, světelné show, videoprojekci, obří tématické dekoraci a neskutečné doprovodné show, která se v průběhu večera několikrát mění. Toto je promo mix pro Pirate Station 2013 — Inferno — od Forbidden Society
TRACKLIST
1.Hallucinator feat. The Modern Age Slavery — Redlines
2.Audio — Burn It Down
3.Current Value — Ghost Rider
4.Killer Industries — Side Kick
5.Forbidden Society — Cobra (Katharsys Remix)
6.Receptor & Engage — Gothic
7.Forbidden Society — Monger
8.Forbidden Society — Can't Be Soft (Counterstrike Remix)
9.Faith In Chaos — Possesion (Kemal & Rob Data Remix) (FS Hype Up)
10.Receptor — Punks
11.Current Value — Shimmer
12.Katharsys & Forbidden Society — Lords Of The steel
13.Forbidden Society — Forcer (Killer Industries Remix)
14.Katharsys & Forbidden Society — Lords Of The steel VIP
15.Rene Lavice — Perfect World
16.Evol Intent — Punchout
17.Mefjus — Dissuade
18.Lucio De Rimanez & Dereck — Why
19.Katharsys — Deadman
20.Black Sun Empire feat. Forreign Beggars — Dawn Of A Dark Day (Prolix Remix)
21.Forbidden Society & Coppa — Hurtlocker
22.The Bloody Beetroots feat. Refused — New Noise (FS Hype Up)
23.Forbidden Society & Coppa — Clap Back / Dope D.O.D. feat. Redman — Groove
24.Forreign Beggars feat. Noisia — Contact / Pornothrasher — Disco Illusion
25.Spl — Sickness / Noisia & Evol Intent — The Liquid
26.Hive — Neo (Audio Remix)
27.Excision — X Rated (Calyx & Teebee Remix)
28.Proton Kid — Scare (CA2K Remix)
29.Gancher & Ruin & CA2K — The Return Of Ardo
30.Forbidden Society — Hustlers & Hardcore
31.Forbidden Society — Bodycount
32.Katharsys — Iron Sky
33.Forbidden Society — Cobra
34.Forbidden Society — Surge
35.Slyer — Reign In Blood (PK Bootleg) (FS Hype Up)
Paul Barnes performs Philip Glass Etude 11 in Chicago
Опубликовано: 13 нояб. 2015 г.I performed this new Etude of Philip Glass on my recital at PianoForte studios in downtown Chicago. It is featured on my new recording «New Generations: The Etudes of Philip Glass and Music of the Next Generation» released on Orange Mountain Music on November 20, 2015.
Composed and arranged by Philip Glass
Produced by Kurt Munkacsi/Philip Glass
Conductor: Michael Riesman
Michael Riesman — piano, electric organ, bass, synthesizer
Jack Kripl — piccolo, soprano sax, bass clarinet
Philip Glass — electric organ
Jon Gibson — soprano sax
Richard Peck — tenor sax
Sharon Moe — french horn
Larry Wechsler — french horn
Violas — Linda Moss, Lois Martin, Julian Barber, Al Brown, Maureen Gallagher
Cellos — Seymour Barab, John Abramowitz, Fred Zlotkin
Music in Twelve Parts, written by Philip Glass in 1971-1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the 60s. It holds an important place in Glass's repertory — not only historically (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but aesthetically as well. Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.
In the past, Glass vociferously objected to being called a minimalist composer. He now grudgingly accepts the term — with the distinction that it only applies to his earliest pieces, those up to and including Music in Twelve Parts. It is difficult to see how such a mammoth work as Einstein on the Beach can possibly be called minimalist and Glass now speaks of himself as a composer of music with repetitive structures.
Part I remains some of the most soulful music Glass ever wrote, yet it is also one of his most reductive compositions: at any place in the music, reading vertically in the score, both a C# and an F# are being played somewhere in the instrumentation. Through skillful contrapuntal weaving, Glass creates a drone that is not a drone — an active, abundant, richly fertile stasis.
Part I leads directly into Part II, which introduces a different key, a faster tempo, greater rhythmic and melodic variety and the human voice. «A new sound and a new chord suddenly break in, with an effect as if one wall of a room had suddenly disappeared, to reveal a completely new view.»
Part III, one of the few self-contained movements, is a gurgling study in fourths, and one of the shortest. Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V.
Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives. Part VII clearly derives from Music in Similar Motion, but the development is much more swift than that of the earlier work and it is infinitely more virtuosic (the soprano, in particular, does her best to avoid tongue-twisting and sibilance in the exposed, rapid-fire melismatic passages). And the close of Part VIII prefigures the «Train» scene in Einstein on the Beach, with its irresistible forward motion and sheer, «boy-with-a-gadget» fascination with a systematic augmentation and contraction of the soprano line.
«I had a specific purpose in mind when I set to work on Twelve Parts. I wanted to crystallize in one piece all the ideas of rhythmic structure that I'd been working on since 1965. By the time I got to Part VIII, I'd pretty much finished what I'd started out to do. And so the last movements were different. Parts IX and X were really about ornamentation.» Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass.
Parts I-X had all been based on stable harmonic roots that had remained constant throughout the movement. Part XI is just as rigorous in its application of an antithetical approach: the harmony changes with every new figure. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together.
Music in Twelve Parts ends with a musical joke that may be amusing to those who remember the musical politics of the 60s & 70s. Like most young composers of the time, Glass was trained to write twelve-tone music; unlike most of them, he rejected the movement entirely. And yet, in the bass line of Part XII, toward the end, the careful listener will discern a twelve-tone row, underpinning this riot of tonal, steadily rhythmic, gleeful repetition -underpinning, in other words, all the things that textbook twelve-toners shunned.
«It was a way of making fun not only of others but also of myself. I had broken the rules of modernism and so I thought it was time to break some of my own rules. And this I did, with the shifts of harmony in Part XI and then in Part XII, where, for the first and only time in my mature music, I threw in a twelve-tone row. This was the end of minimalism for me. I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end. I'd taken everything out with my early works and it was now time to decide just what I wanted to put back in — a process that would occupy me for many years to come.»
Опубликовано: 3 февр. 2015 г.Haven't uploaded anything for a while for several problems, sorry guys…
But finally i found the time to record another mix, as always heavy, rolling and deep drum and bass!!!
Including some fresh tracks and some older ones!!
DISCLAIMER: I am not the owner of these tracks, I just mixed them not for commercial purposes.
[Tracklist]: 0:00 Silent Witness — Being Human 2:35 Dextems — Patrontage 3:28 A.M.C — Ingition 5:32 Mefjus — Hybrid 6:35 Jade — The prey 7:40 Gydra — Enigma 9:30 State Of Mind — Mindslicer 11:20 Curfew — Vandal 13:13 BSE & State Of Mind — Moonbox 14:50 Mefjus — Signalz 16:22 Eastcolors — Things Inside (Hybris remix) 17:30 Emperor — Music Box 19:10 Mefjus — Surrounded 20:30 Cemtek — Magnetic Fields 22:11 BSE & Audio — Drizzle 23:07 Skulpture — Into Thin Air 24:55 The Sect — Axon (Audio remix) 27:10 Optiv & BTK — Whatever (Mefjus rmx) 28:08 BSE & Noisia — Hideous (The Clamps & Redject remix) 29:40 State Of Mind — Ghosts (Optiv & BTK remix) 31:00 Maztek — Three Point Zero 32:05 Bohemian & Senzzor — Potion 32:55 Mefjus & Insideinfo — Repentance 34:45 Gydra — Split Attack 36:10 MT — Isolated 37:40 MT — Outflow 39:00 Audio — Abyss