Der Klang der Familie
Author: Felix Denk, Sven von Thülen
Publisher: BoD – Books on Demand
After the fall of the Wall, Berlin is full of disused spaces and abandoned buildings, just waiting to be filled with new life. It is unclear who owns any of this, which allows the techno scene to take over these new empty spaces in both halves of the city. Clubs, galleries, ateliers and studios spring up – only to disappear again a few weeks later. Soon Berlin has become the epicentre of a new culture, attracting enthusiastic followers from all over the world to clubs like the Tresor and the E-Werk. Wearing gasmasks and welding goggles they dance the night away to the jackhammer sound of previously obscure Detroit DJs. Among them are writers, artists, photographers, designers, DJs, club-owners, music producers, bouncers and scenesters, people from the centre of the movement and from its peripheries – in Der Klang der Familie they all get to have their say and paint a vibrant picture of a time when it felt like everything was possible.
Author: Dan Sicko
Publisher: Wayne State University Press
An updated, expanded history of techno music with special attention to its roots in Detroit.
Author: Anke Fesel
Publisher: Gestalten Verlag
Shortly after the Wall came down, subcultures boomed in Berlin's Mitte district. The compelling photography in this book brings an almost forgotten era back to life and shows just how much the city has changed since then. The striking photography in Berli
Lost and Sound
Author: Tobias Rapp
Author: Michel Gaillot, Jean-Luc Nancy, Michel Maffesoli
Publisher: Dis Voir Editions
One of the more intriguing aspects of contemporary culture, is techno music more than mere escapist entertainment'. In terms of how it has appropriated technology for festive and aesthetic purposes, the techno movement could be considered a sort of artistic and political laboratory of the present. This book explores techno from all vantage points.
Author: Peter Schneider
Publisher: Farrar, Straus and Giroux
A smartly guided romp, entertaining and enlightening, through Europe's most charismatic and enigmatic city It isn't Europe's most beautiful city, or its oldest. Its architecture is not more impressive than that of Rome or Paris; its museums do not hold more treasures than those in Barcelona or London. And yet, when citizens of "New York, Tel Aviv, or Rome ask me where I'm from and I mention the name Berlin," writes Peter Schneider, "their eyes instantly light up." Berlin Now is a longtime Berliner's bright, bold, and digressive exploration of the heterogeneous allure of this vibrant city. Delving beneath the obvious answers—Berlin's club scene, bolstered by the lack of a mandatory closing time; the artistic communities that thrive due to the relatively low (for now) cost of living—Schneider takes us on an insider's tour of Germany's rapidly metamorphosing metropolis, where high-class soirees are held at construction sites and enterprising individuals often accomplish more without public funding—assembling a makeshift club on the banks of the Spree River—than Berlin's officials do. Schneider's perceptive, witty investigations on everything from the insidious legacy of suspicion instilled by the East German secret police to the clashing attitudes toward work, food, and love held by former East and West Berliners have been sharply translated by Sophie Schlondorff. The result is a book so lively that readers will want to jump on a plane—just as soon as they've finished their adventures on the page.
Joining the ranks of Please Kill Me and Can’t Stop Won’t Stop comes this definitive chronicle of one of the hottest trends in popular culture—electronic dance music—from the noted authority covering the scene. It is the sound of the millennial generation, the music “defining youth culture of the 2010s” (Rolling Stone). Rooted in American techno/house and ’90s rave culture, electronic dance music has evolved into the biggest moneymaker on the concert circuit. Music journalist Michaelangelo Matos has been covering this beat since its genesis, and in The Underground Is Massive, charts for the first time the birth and rise of this last great outlaw musical subculture. Drawing on a vast array of resources, including hundreds of interviews and a library of rare artifacts, from rave fanzines to online mailing-list archives, Matos reveals how EDM blossomed in tandem with the nascent Internet—message boards and chat lines connected partiers from town to town. In turn, these ravers, many early technology adopters, helped spearhead the information revolution. As tech was the tool, Ecstasy—(Molly, as it’s know today) an empathic drug that heightens sensory pleasure—was the narcotic fueling this alternative movement. Full of unique insights, lively details, entertaining stories, dozens of photos, and unforgettable misfits and stars—from early break-in parties to Skrillex and Daft Punk—The Underground Is Massive captures this fascinating trend in American pop culture history, a grassroots movement that would help define the future of music and the modern tech world we live in.
Author: Simon Reynolds
Publisher: Soft Skull Press
Ecstasy did for house music what LSD did for psychedelic rock. Now, in Energy Flash, journalist Simon Reynolds offers a revved-up and passionate inside chronicle of how MDMA (“ecstasy”) and MIDI (the basis for electronica) together spawned the unique rave culture of the 1990s. England, Germany, and Holland began tinkering with imported Detroit techno and Chicago house music in the late 1980s, and when ecstasy was added to the mix in British clubs, a new music subculture was born. A longtime writer on the music beat, Reynolds started watching—and partaking in—the rave scene early on, observing firsthand ecstasy’s sense-heightening and serotonin-surging effects on the music and the scene. In telling the story, Reynolds goes way beyond straight music history, mixing social history, interviews with participants and scene-makers, and his own analysis of the sounds with the names of key places, tracks, groups, scenes, and artists. He delves deep into the panoply of rave-worthy drugs and proper rave attitude and etiquette, exposing a nuanced musical phenomenon. Read on, and learn why is nitrous oxide is called “hippy crack.”
The economic geography of music is evolving as new digital technologies, organizational forms, market dynamics and consumer behavior continue to restructure the industry. This book is an international collection of case studies examining the spatial dynamics of today’s music industry. Drawing on research from a diverse range of cities such as Santiago, Toronto, Paris, New York, Amsterdam, London, and Berlin, this volume helps readers understand how the production and consumption of music is changing at multiple scales – from global firms to local entrepreneurs; and, in multiple settings – from established clusters to burgeoning scenes. The volume is divided into interrelated sections and offers an engaging and immersive look at today’s central players, processes, and spaces of music production and consumption. Academic students and researchers across the social sciences, including human geography, sociology, economics, and cultural studies, will find this volume helpful in answering questions about how and where music is financed, produced, marketed, distributed, curated and consumed in the digital age.
This book approaches Australo-German relations from comparative and interdisciplinary perspectives. It maps new pathways into the rich landscape of the Australo-German transnational encounter, which is characterized by dense and interwoven cultural, historical and political terrains. Surveying an astonishingly wide range of sites from literary translations to film festivals, Aboriginal art to education systems, the contributions offer a uniquely expansive dossier on the migrations of people, ideas, technologies, money and culture between the two countries. The links between Australia and Germany are explored from a variety of new, interdisciplinary perspectives, and situated within key debates in literary and cultural studies, critical theory, politics, linguistics and transnational studies. The book gathers unique contributions that span the areas of migra tion, aboriginality, popular culture, music, media and institutional structures to create a dynamic portrait of the exchanges between these two nations over time. Australo-German relations have emerged from intersecting histories of colonialism, migration, communication, tourism and socio-cultural representation into the dramatically changed twenty-first century, where traditional channels of connection between nations in the Western hemisphere have come undone, but new channels ensure cross-fertilization between newly constituted borders.
Art Sex Music
Author: Cosey Fanni Tutti
Publisher: Faber & Faber
Art Sex Music is the autobiography of a musician who, as a founding member of the avant-garde group Throbbing Gristle and electronic pioneers Chris & Cosey, has consistently challenged the boundaries of music over the past four decades. It is the account of an artist who, as part of COUM Transmissions, represented Britain at the IXth Biennale de Paris, whose Prostitution show at the ICA in 1976 caused the Conservative MP Nicholas Fairbairn to declare her, COUM and Throbbing Gristle 'Wreckers of Civilisation' . . . shortly before he was arrested for indecent exposure, and whose work continues to be held at the vanguard of contemporary art. And it is the story of her work as a pornographic model and striptease artiste which challenged assumptions about morality, erotica and art. Art Sex Music is the wise, shocking and elegant autobiography of Cosey Fanni Tutti.
As the 1970s gave way to the 80s, New York's party scene entered a ferociously inventive period characterized by its creativity, intensity, and hybridity. Life and Death on the New York Dance Floor chronicles this tumultuous time, charting the sonic and social eruptions that took place in the city’s subterranean party venues as well as the way they cultivated breakthrough movements in art, performance, video, and film. Interviewing DJs, party hosts, producers, musicians, artists, and dancers, Tim Lawrence illustrates how the relatively discrete post-disco, post-punk, and hip hop scenes became marked by their level of plurality, interaction, and convergence. He also explains how the shifting urban landscape of New York supported the cultural renaissance before gentrification, Reaganomics, corporate intrusion, and the spread of AIDS brought this gritty and protean time and place in American culture to a troubled denouement.