Read more: http://www.residentadvisor.net/news.aspx?id=16627

Painting by Joanne Greenbaum

[Planet E]

Carl Craig’s output over the years has included numerous classic moments in techno and electronica. At their height, Paperclip People tracks were sure-fire dance-floor murderers; incendiary, throbbing techno that was filled with the robotic funk of Detroit techno but augmented by a rubbery, organic feel. In recent years, the legacy of those faultless releases has been meddled with through a small run of covers and remixes, the latest of which being committed by the once-mighty Scottish duo Slam. In their day, Orde Meikle and Stuart McMillan were also responsible for an impressive number of seminal tracks in the techno oeuvre. Their mini-LP Snapshots and debut full-length Headstates were both full of vintage techno, but sadly this proved to be their most solid run of work; their discography since that time has been littered with some fine moments but nothing that quite stands next to this earlier, inspired run of quality.

When you take a classic track and start playing around with it you’re always going to come up against some purists who will hold high the scriptured stone engraved with the timeless warning: If it ain’t broke, don’t fix it. These purists appear to have been banished from their non-violent protest against remixes committed in the name of absurdity right around the time when Carl Craig started asking all and sundry to take potshots at his back catalog. To that end, Slam have been given free reign to update “Throw” for a generation of clubbers who may never have heard the original, and they do so in such a mediocre fashion that it’s getting me all emotional just writing about it. If “Throw” was the sound of a mentalist Craig losing his shit over the top of a dramatic, pulsating house track that grabbed you by the ear flaps and rogered you all about the brain, then Slam’s remix is kind of like when Diddy started jacking all those classic hip-hop joints in the late 90s and acted like he invented the wheel. Big-room drums, a touch more reverb and some white noise, that’s the crux of this middling touch up by Slam. Avoid.

Read more: http://www.littlewhiteearbuds.com/review/paperclip-people-throw-remix/

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Tenori-On and iPad apps, hardware designs and visual creations: set against the beautifully-generative mind of Japanese/New York artist Yayoi Kusama, the flurries of dots and circles and patterns in musical interfaces take on a richer meaning. This video, from a workshop hosted at the Tate Modern alongside an exhibition of Kusama’s work, needs little introduction. Instead, the dizzying cuts of geometric abstraction, the array of visual ideas for musical interface begin to take on the same personality of her expansive creations. The galaxies produced out of the minds of musicians somehow overlap with this iconic artist. I hadn’t really made the connection before, even as a fan of her work, but with this workshop, the sympathetic vibrations – intentional or not – become clear. Description:

Sonic Kusama:
Workshop exploring connections between the work of Yayoi Kusama and creation and representation of new music & sound art through visual audio interfaces.
Presented by Simon Little and Kelvin Brown with Chase Lane.
Audio track by Capstone Music
Video production by Territory Studio

If you’re in London, Infinite Kusama is on view now at the Tate Modern.

Read more: http://createdigitalmusic.com/2012/05/visual-music-my-god-its-full-of-dots-yayoi-kusama-meets-musical-design/