El Caballero de la Luz en la Fiesta Nacional de Francia en el Hatillo

Monday, July 2, 2007, 10:17 AM – Música & Videos

La agrupación musical franco-venezolana El Caballero de la Luz presentará su espectáculo músico-teatral CELTIC este próximo 14 de Julio en la Plaza Bolívar del Hatillo para celebrar la Fiesta Nacional de Francia.

Este evento, gratuito gracias al auspicio de la Cámara de Empresarios del Municipio del Hatillo se efectuara dentro del marco del convenio de cooperación cultural entre Montmartre y El Hatillo.

Las actividades empezaran a las 10 de la mañana en la Plaza Bolívar con una ofrenda floral y la interpretación de los himnos nacionales de Venezuela y Francia. La celebración contará con la presencia de representantes de la Embajada de Francia y de la Alcaldía del Hatillo.

A las 3 de la tarde, El Caballero de la Luz entrará en escena e interpretará los temas de su último Single: Los signos del amor y Avalon, además de deleitar al público con su espectáculo CELTIC, una combinación de música y de teatro, donde cada canción está representada por un performance lleno de colores y magia que trasladará a los espectadores a tiempos medievales.

Este grupo fue creado en 1995, su vocalista y tecladista Jean-Luc Couat, tiene una larga trayectoria musical, en la que ha estado al lado de grandes estrellas venezolanas como Melisa, la rockera de los años 80 y Karina a quien compuso el tema Sony. Trabajó también al lado de músicos emblemáticos del ámbito nacional como Maria Rivas, Antonieta Colon y Ángel Rada.

El Caballero de la Luz, con su estilo único, ha participado en festivales de prestigio nacional como: El Festival de Música Urbana y el Festival de las Artes de Baruta. Se presento en la concha acústica del Parque del Este, en la Plaza de los Museos y también ha sido aplaudido en eventos auspiciados por la Embajada de Francia y las Alianzas Francesas en Venezuela.

La invitación se extiende a todo el público en general para que disfrute de estás actividades el 14 de julio en la Plaza Bolívar del Hatillo.

Eurock began as a 1 hour FM radio program in 1971 in Central California. That was followed by the beginning of Eurock Magazine in 1973. From there it has been a long and winding road creatively, including import distribution companies, teaching music history in schools, releasing music on cassettes, LP and CDs, publishing a multimedia CD-ROM, and ultimately a Eurock book.

A History of… is a sort of audio book, derived from the series of classes I taught in the early 1980s on the Roots of Euro Rock. They were first offered in a community school setting, then on the Portland Public High School level, finally as lectures at Reed College during their Paidea mid-term sessions.

Early on I recorded several of the class lectures which were filled with tall tales, cultural musing, and perhaps even some facts. The narratives were enhanced by music from bands that were happening at that time in various countries around the world. Some continue on today, others have vanished. The music selections included here are only meant to serve as sample excerpts. If you like what you hear, some of the material has been reissued. You are encouraged to search it out and buy the CDs from any of the various sources that make it available today!

This material was first offered as a LTD. EDITION cassette series in the mid 80s. It is not meant to be definitive by any means, but does in fact serve I think as a good general overview & interesting artifact of that time. Over the years people have asked about them, so its been decided to re-release them as a LTD. EDITION once again. Considering the time and source of the recordings, the overall quality is quite good.

The 7 CDs in the set present an abridged version of Eurocks history, chronicling my own personal experience of discovery. The disc titles illustrate the various music scenes covered. The contents highlight what I came to know of them at that point in time, via contacts and listening to a ton of new music over approximately the first 15 years of Eurock.

Some of the artists featured are: Amon Dl II, Can, Embryo, T. Dream, Klaus Schulze, Popol Vuh, Faust, Magma, Ange, Gilbert Artman, Yochko Seffer, Le Orme, Banco, Franco Falsini, Pierrot Luniare, Niemen, SBB, Begnegrad, Laibach, Phoenix, PPU, DG 307, Los Jaivas, Congreso, Egberto Gismonti, Vytas Brenner, Angel Rada Miguel Angel Noya, Brast Burn, Magical Power Mako, Yoshitaka Azuma, and more.

Hearing this now some 20+ years later there are some miscues and false starts. Hindsight is 20/ 20, and the original tapes hail from the mass media stone ages. Today with digital, computers, fax, email, cheap long distance and Google, everything is magically at your finger tips. Then it was like being a hunter gatherer of rare vinyl, odd tapes, and first or second hand information. The sense of musical adventure however was high, and thrill of discovery offered glimpses of nirvana at times. Have fun listening!

Eurock ~ A History Of…
(7 CD Audio Book $75 Post Incl. USA, Add $10 Foreign Air) Add to Cart

VOL.1: German Space Rock ~ VOL.2: German Electronics
VOL.3: French Art Rock ~ VOL.4: Italian Rock Renaissance
V. 5: East Euro ProgRock ~ V.6: So. American Fusions ~ VOL.7: Zen Electronics

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Eurock was in 1971 een radioprogramma ergens in Centraal-Californië. Twee jaar later werd het de benaming van een tijdschrift over Europese progressieve rockmuziek. De uitgever was Archie Patterson. Hij had een eigen label met artiesten zoals Gandalf, Erik Wollo, Robert Julian Horky, Green Isac en anderen.

Progressieve rockbands zoals Pink Floyd, Yes en Genesis werden steeds groter en groter in de jaren ’70. In andere Europese landen ontstonden tal van gelijkaardige rockbands die zelf een rockscene vormden, Eurock was ontstaan.

Een opsomming van enkele bekende Eurockbands: Can, Machiavel, Laibach, Phoenix, Yochko Seffer, Le Orme, Banco, Embryo, T. Dream, Klaus Schulze, Popol Vuh, Faust, Magma, Ange, Gilbert Artman, Franco Falsini, Pierrot Luniare, Niemen, SBB, Begnegrad, PPU, DG 307, Los Jaivas, Congreso, Egberto Gismonti, Vytas Brenner, Angel Rada Miguel Angel Noya, Brast Burn, Magical Power Mako, Yoshitaka, Amon Dl II, e.a.

Het genre kende een geringe aanhang, maar was wel succesvol in de jaren ’70. Later verloor het genre aandacht en werd de benaming Eurock alsmaar minder gebruikt.

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History

Origins

Main article: Detroit techno

Techno was primarily developed in basement studios by “The Belleville Three”, a cadre of African-American men who were attending college, at the time, near Detroit, Michigan. The budding musicians – former high school friends and mixtape traders Juan Atkins, Derrick May, and Kevin Saunderson – found inspiration in Midnight Funk Association, an eclectic, 5-hour, late-night radio program hosted on various Detroit radio stations including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles “The Electrifying Mojo” Johnson. Mojo’s show featured heavy doses of electronic sounds from the likes of Giorgio Moroder, Kraftwerk, and Tangerine Dream, among others.

Though initially conceived as party music that was played on daily mixed radio programs and played at parties given by cliquish, Detroit high school clubs, it has grown to be a global phenomenon. High school clubs such as Snobbs, Hardwear, Brats, Comrades, Weekends, Rumours, and Shari Vari created the incubator in which Techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with innovative DJs and eclectic new music. As these local clubs grew in popularity, groups of DJs began to band together and market their mixing skills and sound systems to the clubs under names like Direct Drive and Audio Mix in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices and YMCA auditoriums were the early locations where the underage crowds gathered, and where the musical form was nurtured and defined.

The music soon attracted enough attention to garner its own club, the Music Institute at 1315 Broadway in downtown Detroit. It was founded by Chez Damier, Derrick May and a few other investors. Though short-lived, this club was known internationally, for its all night sets, its sparse white rooms, and its juice bar stocked with “smart drinks“(the Institute never served liquor). Relatively quickly, techno began to be seen by many of its originators and up-and-coming producers as an expression of Future Shock post-industrial angst. It also took on increasingly high tech and science-fiction oriented themes.

The music’s producers were using the word “techno” in a general sense as early as 1984 (as in Cybotron’s seminal classic “Techno City”), and sporadic references to an ill-defined “techno-pop” could be found in the music press in the mid-1980s. However, it was not until Neil Rushton assembled the compilation Techno! The New Dance Sound Of Detroit for Virgin Records (UK) in 1988 that the word came to formally describe a genre of music.

Techno has since been retroactively defined to encompass, among others, works dating back to “Shari Vari” (1981) by A Number Of Names, the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder’s “I Feel Love” (1977), and the more danceable selections from Kraftwerk‘s repertoire between 1977 and 1983.

In the years immediately following the first techno compilation’s release, techno was referenced in the dance music press as Detroit’s relatively high-tech, mechanical brand of house music, because on the whole, it retained the same basic structure as the soulful, minimal, post-disco style that was emanating from Chicago, Illinois and New York City, New York at the time. The music’s producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and being influenced by house in particular. This influence is especially evident in the tracks on the first compilation, as well as in many of the other compositions and remixes they released between 1988 and 1992. May’s 1987–88 hit “Strings Of Life” (released under the nom de plume Rhythim Is Rhythim), for example, is considered a classic in both the house and techno genres. At the same time, there is evidence that the Chicago sound was influenced by the Belleville Three — allegedly, May loaned Chicago-based house musician Keith “Jack Master Funk” Farley the equipment to make the classic track “House Nation”; early Detroit techno records reportedly sold well in Chicago; and Atkins believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound. [1]

Derrick May is often quoted as comparing techno to “George Clinton and Kraftwerk stuck in an elevator”. For various reasons, techno is seen by the American mainstream, even among African-Americans, as “white” music, even though many of its originators and producers are black. The historical similarities between techno, jazz, and rock and roll, from a racial standpoint, are a point of contention among fans and musicians alike. Derrick May, in particular, has been outspoken in his criticism of the co-opting of the genre and of the misconceptions held by people of all races with regard to techno.

Developments

In the late 1980s and early 1990s, different subgenres of techno music began to emerge including hardcore techno, an intensefied style typified by a fast tempo (160-300 bpm and up) and the rhythmic use of distorted and atonal industrial-like beats and samples, and ambient techno, with artists such as The Orb and Aphex Twin producing dub and ambient influenced techno that later had an influence on IDM and minimal techno artists. In the mid 1990s, acid techno developed, influenced by the heavy use of the Roland TB-303 for bass and lead sounds in the acid house sound. This style also went on to influence acid trance. Tech house music combines the basic structure of house music with elements from techno such as shorter, often distorted kicks, smaller hi-hats, noisier snares and more synthetic or acid sounding synth lines.

Less well-known styles related to techno or its subgenres include Yorkshire bleeps and bass or “Bleep,” which was prominent in the very early 1990s, wonky techno, ghettotech, which combines some of the aesthetics of techno with hip-hop, house music, and Miami bass, and the subgenres of hardcore techno including gabber, speedcore, terrorcore, Schranz, breakcore and digital hardcore.

Occasionally, well-funded pop music producers will formulate a radio or club-friendly variant of techno. The music of Technotronic, 2 Unlimited, and Twenty 4 Seven were early examples of this phenomenon. Established pop stars also sometimes get techno makeovers, such as when William Orbit produced Madonna‘s album Ray of Light.

In recent years, the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy aka Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genre’s more dubious mythology. Techno has further expanded into the charts as more artists such as Orbital, Underworld and Moby have made the style break through to the mainstream pop culture while producers and DJs such as Laurent Garnier, Dave Clarke Richie Hawtin and Jeff Mills have continued to explore newer sounds.

Musicology

Techno features an abundance of percussive, synthetic sounds, studio effects used as principal instrumentation, and, usually, a regular, 4/4 beat usually in the 130–140 bpm range—sometimes faster, but rarely slower. Some techno compositions have strong melodies and bass lines, but these features are not as essential to techno as they are to other dance genres, and it is not uncommon for techno compositions to deemphasize or omit them. Techno is also very DJ-friendly, being mainly instrumental, and produced with the intention of being incorporated into continuous DJ sets wherein different compositions are played with very long, synchronized segues. Although several other dance music genres can be described in such terms, techno has a distinct sound that aficionados can pick out very easily.

There are many ways to make techno, but a typical techno production is created using a compositional technique that developed to suit the genre’s sequencer-driven, electronic instrumentation. While this technique is rooted in a Western music framework (as far as scales, rhythm and meter, and the general role played by each type of instrument), it does not typically employ traditional approaches to composition such as reliance on the playing of notes, the use of overt tonality and melody, or the generation of accompaniment for vocals. Some of the most effective techno music consists of little more than cleverly programmed drum patterns that interplay with different types of reverb and frequency filtering, mixed in such a way that it’s not clear where the instrument’s timbres end and the added effects begin.

Instead of employing traditional compositional techniques, the techno musician, called a producer, treats the electronic studio as one large, complex instrument: an interconnected orchestra of machines, each producing timbres that are simultaneously familiar and alien. Each machine is encouraged to generate or complement continuous, repetitive sonic patterns that come relatively ‘naturally’ to them, given the capabilities and limitations of early sequencers — such sequencers, especially those built-in to old drum machines, tend to encourage the production of repeating 16-step patterns with a limited number of instruments being playable at once, yet they also allow sounds to be arranged in any order, regardless of whether live musicians could easily reproduce them. Rather than just mimicking arrangements playable by live musicians, the techno producer is free to prominently feature unrealistic combinations of sounds. Most producers, however, strive to achieve a listenable, dancefloor-friendly balance of realistic and unrealistic arrangements of mostly synthetic, semi-realistic timbres, rather than a demonstration of machine-powered extremes.

Depending on how they are wired together, the machines sometimes influence each other’s sounds as the producer builds up many layers of syncopated, rhythmic harmonies and mingles them together at the mixing console.

After an acceptable palette of compatible textures is collected in this manner, the producer begins again, this time focusing not on developing new textures but on imparting a more deliberate arrangement of the ones he or she already has. The producer “plays” the mixer and the sequencer, bringing layers of sound in and out, and tweaking the effects to create ever-more hypnotic, propulsive combinations. The result is a deconstructive manipulation of sound, owing as much to Debussy and the Futurist Luigi Russolo as it does to Kraftwerk and Tangerine Dream.

The techno producer’s studio can be anything from a single computer (increasingly common nowadays) to elaborate banks of keyboards, synthesizers, samplers, effects processors, and mixing boards wired together. Most producers use a variety of equipment and strive to produce sounds and rhythms never heard before, yet stay fairly close to the stylistic boundaries set by their contemporaries.

Important artists

The “originators”, the “first wave” artists often credited with inventing techno, are as follows:

• Juan Atkins
• Derrick May
• Kevin Saunderson

Other “second wave” Detroit-area techno producers active since 1988–1990 include the following people:

• Angel Rada
• John Acquaviva
• Blake Baxter
• Mike Clark
• Carl Craig
• Drexciya
• Eddie Fowlkes [some argue that he is an "originator"]
• Mike Banks
• Mike Grant
• Richie Hawtin
• Robert Hood [some argue that he is an "interpreter"]
• Kenny Larkin
• Jeff Mills
• Terrance Parker
• Alan Oldham
• James Pennington
• Stacey Pullen
• Kenny Dixon, Jr.
• Theo Parrish

Bibliography

Works that comprehensively explore the subject of techno music and its related culture:

• Simon Reynolds: Energy Flash: a Journey Through Rave Music and Dance Culture (UK title, Pan Macmillan, 1998, ISBN 0330350560), also published in abridged form as Generation Ecstasy: Into the World of Techno and Rave Culture (North American title, Routledge, 1999, ISBN 0415923735)
• Dan Sicko: Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999 ISBN 0823084280

See also

• Detroit Electronic Music Archive
• Freetekno
• Ishkur’s Guide to Electronic Music

External links

• Sounds Like Techno – an online documentary exploring techno music, from its roots and early influences in the USA to its place in Australian music today.
• From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House – reminiscences by techno and house innovators
• Techno: Detroit’s Gift to the World – exhibit at Detroit Historical Museum (Jan 2003 – Jun 2004)
• Techno Music Style – Guide to techno music style; includes reviews of techno music and links to techno sites.
• A Brief History of Techno – Gridface overview from 1999

La musique New Age , parfois appelée musique de l’espace, est un style généralement très mélodique et souvent entièrement instrumental. Néanmoins, les frontières de ce genre restent assez floues et le définir de manière précise est assez difficile. C’est pourquoi classifier certains groupes ou albums comme de la musique New Age s’avère parfois une source de controverse parmi les fans. Beaucoup d’artistes, en partie en raison de l’affiliation de quelques autres avec la pensée New Age, ont déclaré qu’ils ne considéraient pas leur propre musique comme appartenant à ce style.

Une forte proportion des œuvres qualifiées de New Age sont électroniques et instrumentales, fréquemment basées sur des accompagnements soutenus ou de longs passages de séquenceur. Des chansons très longues, jusqu’à 20 minutes et plus, ne sont pas rares. Les arrangements vocaux et l’utilisation d’instruments acoustiques sont plus rares (dans beaucoup de cas, des échantillons de haute qualité sont employés à la place de ces derniers.)

Des enregistrements de bruits naturels sont parfois utilisés comme introduction à une piste ou dans tout le morceau. Lesdits dispositifs s’appliquent également à beaucoup de genres secondaires de la musique ambiante, et il n’y a aucune frontière définie entre la musique d’ambiance et la musique New Age.

Définitions

Il y a trois principaux groupes de fans possédant chacun sa propre conception de la musique New Age et son opinion quant aux artistes qui devraient être classifiés en tant qu’artiste New Age. Les trois points de vue sont les suivants:

La musique New Age est une branche de la musique électronique qui inclut la musique mélodique et non-dansante, avec différents types d’arrangements (par opposition aux modèles typiques de danse comme la techno et ses genres secondaires, la musique électronique expérimentale qui peut être non-mélodique, la musique de bruit, plusieurs styles de musique d’ambiance, etc.) Selon ce point de vue, les artistes et les groupes comme Enigma de Michael Cretu, Enya, Elements City, Jean-Michel Jarre, Angel Rada, Kitaro, Mike Oldfield, Deep Forest, Popol Vuh, Klaus Schulze, Stone Age, Suzanne Ciani, Tangerine Dream, Vangelis et Yanni, appartiennent tous à la catégorie New Age.

La musique New Age est une branche de la musique électronique qui apparaît la plupart du temps sur les CDs de méditation ou de relaxation, qui sont fréquemment vendus dans des librairies New Age et autres magasins de musique. Ces œuvres sont en majeure partie calmes, mélodiques et peuvent sembler un peu monotones. Anugama, Cusco, David Arkenstone, Gandalf, G.E.N.E., Karunesh, Kitaro et Space comptent parmi les artistes. L’exactitude de cette définition peut être remise en cause, puisque pratiquement tous les artistes mentionnés ci-dessus ont sorti de nombreux morceaux qui sont stylistiquement proches des CD de méditation.

La musique New Age est une musique électronique qui est mélodique, apaisante et aux mélodies douces, avec des accompagnements aux résonances larges et calmes relativement simples, et caractérisée par de longs morceaux. Cette définition n’est également pas précise.

Cependant, puisque beaucoup d’artistes composent seulement dans ce genre spécifique de musique, elle est fréquemment employée. Selon cette définition, quelques albums de Vangelis et de Tangerine Dream peuvent s’appeler de la musique New Age, mais les artistes ne peuvent revêtir eux-même l’étiquette New Age puisque leur répertoire est très diversifié. De même, la musique de Suzanne Ciani est New Age, mais celles de Klaus Schulze et d’Enya ne le sont probablement pas, parce que tous les deux ont un style très distinct, différent de la musique électronique générique, mélodique et apaisante.

Influences et thèmes.

Les influences évidentes sont la musique électronique à ses débuts, la musique classique européenne, les pionniers de la musique d’ambiance comme Brian Eno et Popol Vuh , la musique ethnique, la musique du monde et des artistes comme Klaus Schulze, prog-rock et Krautrock.

La musique minimaliste de Terry Riley et Steve Reich peut également être citée comme influence, avec des artistes comme Tony Conrad, La Monte Young qui a utilisé des bourdons depuis les début des années 1960. Le regain d’intérêt pour le chant grégorien durant la deuxième moitié du XXe siècle est reliée à la création de la musique New Age.

Les thèmes populaires dans la musique New Age incluent l’espace et le cosmos, l’environnement et la nature, la santé de l’être, l’harmonie avec soi-même et avec le monde, les rêves et les voyages de l’âme ou de l’esprit. G.E.N.E. a produit une série d’albums qui décrivent, musicalement, des lieux comme l’Océan Pacifique et des îles méditerranéennes, et un CD spécial contenant des enregistrements des sons de chaque océan.

Le groupe Software a sorti plusieurs albums qui mettent spécifiquement en avant le caractère électronique de la musique, tels que Chip Meditation, Electronic Universe (tous les deux en deux parties) et Digital Dance. Les titres de chansons New Age sont fréquemment descriptifs : par exemple Principles of Lust (prinipes de convoitise) (Énigma), Purple Dawn (aube pourpre) (Anugama), Shepherd Moons (lunes de berger) (Enya), Straight’ a Way To Orion (Chemin direct pour Orion) (Kitaro), The Quiet Self (l’individu tranquille)(Gregorian).

Arturo Plascencia: Un guerrero del cine.
Por: Rodolfo Izaguirre

Arturo Plascencia hizo cine en los años 60, una época en donde esa actividad prácticamente era casi imposible, pero más que aquellos intentos, que hoy muchos desconocen, de hacer un cine propio, a Plascencia se le recuerda por su extravangate forma de llamar la atención. La noticia de su muerte, apareció en el diario La Voz de Guarenas en una pequeña nota, mientras que en la página web del Sidndicato Nacional de los Trabajadores de la Prensa, al cual pertenecía el cineasta, se informaba de la misma bajo el rótulo de “El periodista Arturo Plascencia, otra vícitima del hampa desatada”, fechada el día 19-09-2004. Como un merecido in memorian a una figura que forma parte de la historia del cine venezolano, reproducimos, en exclusiva para Gran Cine, un texto sobre el cineasta escrito por el reconocido crítico Rodolfo Izaguirre.

Murió el cineasta Arturo Plascencia y apenas una breve reseña de su muerte fue publicada en algún diario local de Barlovento, región en la que residía ocupado, al parecer en asuntos inmobiliarios. De acuerdo con el texto escueto de aquellos despachos, fue una muerte violenta, criminal, que seguramente jamás será aclarada. Ningún otro medio de comunicación publicó o trasmitió la noticia de esa muerte; hecho por demás extraño y desconcertante si se considera que Arturo Plascencia, en vida, dio motivos suficientes para que todo el país conociera la desmesurada pasión por el cine que le impulsó a tomar medidas límites que, por extravagantes o excesivamente personales, lograron suscitar no sólo la curiosidad de un país indiferente ante las precariedades del cine nacional y los contratiempos que deben enfrentar sus cineastas, sino para hacer que los reclamos del cine venezolano encontraran, ¡oh, vana ilusión!, algún eco en los niveles de poder y toma de decisiones.

Arturo Plascencia realizó tres largometrajes de ficción: Twist y crimen (1964), Más allá del sexo (1967) y Huyendo del sismo (1971), películas que al igual que muchas otras en el cine venezolano, no alcanzaron ninguna difusión pero que merecerían, en todo caso, una proyección para valorarla y tratar de encontrar en ellas algunas señales de la irrepetible personalidad de su autor.

Lo que hizo de él un personaje conflictivo y provocador dentro del cine nacional fueron, en todo caso, sus constantes desafíos mediantes los cuales trató de promover, apoyar y defender al cine nacional, a su manera, con un empecinamiento pocas veces visto en nuestra cinematografía y en la actitud de nuestros cineastas. Ninguno de ellos ha hecho lo que Arturo Plascencia hizo por el cine venezolano: sin entrar en consideraciones sobre su rigor legislativo, él redactó un Proyecto de Ley de Cine y para hacerlo valer se vino a pie desde Maracaibo recogiendo a su paso firmas para apoyar “su” proyecto; en otra ocasión, hizo desnudo fugaz en la Cota Mil para llamar la atención a sus demandas en favor de una Escuela de Cine. Para protestar por el tratamiento indiferente que por parte de las autoridades culturales recibía la escuela que montó en Sabana Grande, sostuvo una huelga de hambre a las puertas del Celarg, el Centro de Estudios Literarios Rómulo Gallegos, cuando Luis Pastori era su director. Todos lo vimos, tendido sobre una colchoneta rodeado de pancartas de su propia elaboración. En abierta alusión a Luis Pastori, una de ellas decía: “¡No sueñe tanto, poeta!” Un reclamo desacertado porque los poetas lo único que saben y deben hacer es…¡ soñar!

Escribió un libro, que nunca publicó, en el que recogía sus personalísimas teorías sobre el arte del cine. Una de ellas, tal vez la más resaltante, aseguraba que el montaje no era necesario; y lo vi una vez, en los sesenta, repartiendo por el boulevard de Sabana Grande un folleto explicativo de una nueva oferta religiosa llamada Luzpan de la que nunca más tuve noticias. También en aquellos años su nombre apareció asociado a una pizzería en Las Mercedes, fugaz como el desnudo de la Cota Mil, cuyo mayor atractivo era el carácter y ambiente cinematográfico que allí se respiraba: las sillas, de lona como las que usan los directores en la gran industria, mostraban con orgullo los nombre de las más cotizadas vedettes de Hollywood. ¡Una de ellas se engalanaba con el nombre de Arturo Plascencia!

Fue un hombre que amó al cine y creyó en él. Fue tanta la pasión que puso en defenderlo que cruzó los límites e hizo de la extravagancia un arma de combate. ¡Se convirtió en un guerrero!

Contents

1 The ethnosonic Dawn
2 Trascendelia Music and NU WAVE
3 The Deep Abyss
4 THE MUDSLIDE DARKEST PROJECT
5 AWARDS AND REVIEWS
6 CONCERTS
7 See also
8 External links
9 References

The ethnosonic Dawn

Angel Rada began to study music with his Uncle Gustavo Requiz Fernandez, the master and director of the orchestra Banda municipal de Caracas en Venezuela, his Uncle each Thursday teach him theory and solfeggio, after angel went to Music School ” Jose Angel Lamas” to end in the Friederrienne Universitat in Germany, where he has received his degree. Rada was impressed about German electronic music (krautrock) whe he was visiting Kling Klang studio, where Kraftwerk was recording his music, there he knew Klaus Schulze, his master in electronic music, then UPADESA ideas was becoming true and the opera prima as said Cesar prozag, journalist from Brazil. Angel went back to Venezuela in 1980 to record Upadesa, one of the most relevant music besides Autana of Miguel Angel Noya, the meeting between Angel Rada and Miguel Noya will produce the most amazing music in Venezuelan stages, different in context and concepts but both masterworks open the door to others electronic musicians. Angel Rada created his own Record Label,URANIUN RECORDS, one of the Indie record Label of Venezuela, he began with the home studio and the midi technics in Venezuela. It was very difficult to Angel Rada to be admited in stages, many people didn’t accept his proposal, because it was not commercial for producers and A&R peoples, only some archie or monkees music was playing by Venezuelan bands…it was 1981. In 1982 Rada has released another Album , the double album “Viveka” more experimental than Upadesa, this album became the Record of the week in Mexico and make Rada played in The buddokan in Tokyo Japan, the mos prestigious festival of spring “the original concert” sponsored by Yamaha. Rada released another record called Concert Solar for Bhagavan [[1983], the proposal of a pre-ethnosonic music project, here began the minimalism to mark Rada’s music and some elements of ambient music. In 1984 there another double album, ” Armaggedon and the third wave revolution”, it was inspired in the book “the Third wave ” written by Alvin Toffler, using some new ideas of Fritjof Capra, Rada created the most beautiful Aria based in the opera Alexander Nesky de Sergei Prokofiev, but the ethnosonic elements was not defined yet. This double album has many pictures behind the Berlin wall, and it was released through the black market in the Soviet union, right now it’s a rare collection work. in 1985 “contuinuum” is released and the ethnosonic music is on the way to reveal new textures in Rada’s music. Finally for 1990 “ethnosonic impressions” was released, the music in Venezuela was changing to electronic trends, the Rada concerts were amazing, with all laser shows and quadraphonic sound … the vanguard until now in Venezuela was a 60′s music or Disco music.

Trascendelia Music and NU WAVE

Rada in Black and White
In 1991 Lyrics the Venezuelan Record Label sign Angel Rada for more than 5 years, they released a new Cd called “Imperials paths to the raising sun” , this did that Angel Rada goes outside of Venezuela, dos speacials shows in Venezuelan TV, “Venezolana de Television”, Lasertronik and abisal whisperings marked the new ethnosonic music at world stages. The journals el Nacional and El Universal consider Angel Rada the pioneer of the electronic music and Venezuela besides a Miguel Angel Noya, but Rada went into another space: the ethnosonic music, the new CD was “Imperials path to the rising Sun” followed by Novilunium : one of the most relevant, 1991 Margarita Dàmico, an art journalist of El Nacional proposed a gallery expo with Victor Lucena. Asdrubal Colmenares, Michelle Dì Lalla and Angel Rada, the expo called “Umbrales Etnosonicos” in the Astrid Paredes Gallery, today disappeared it. In 1993 the Venezuelan record label released “Solaris” a great hits of all Vynil records of Rada, but in this project showed two beautiful themes: Primitive ecctasis and Cosmic whales, the first time that Rada add the songs of the humpback whale in a concert: also the Kali Dance used by David Copperfield show tour, meanwhile Rada was preparing the most ambitious project, the investigation of the Amazonian aborigen, the yanoammas: sons of the moon, it shows the most extraordinare music showing an old culture, their rituals and songs..this project was called “Biosonic woods” (maderas biosonicas). Margarita D’amico wrote about the project and the research was done in I.V.I.C (Scientific research Venezuelan institute) Instituto Venezolano de investigaciones cientificas, where she was using and electronic microscope to get some pictures of a very old tree “kiyayukuri“. all frequencies of the electronic microscope was used to do the bioloops , after Rada was using the sampler keyboard from roland to feed the sounds for this project.

The Deep Abyss


After the Cd Biosonic Woods releasing, maderas biosonicas, Angel Rada go into a new submarine world, The ABYSS ZONE to look for the Bassogigas profundissimus, a fish that live in Marianna abyss nearby Mariana Islands , this journey in a batiscaph with some National Geographic Society members gave the ideas for a new CD “ABYSAL WHISPERINGS” (Susurros Abisales) where Rada use some new technics of sampling, this CD had a special TV program released by Venezolana de Television Channel 8 in Venezuela, the producer named Numa Roades did “In Concert” (En Concierto) an alive experience with Angel Rada using a Blue Screen like the cinema or video effect, before than others that was using it, for use a 3-D stage with submarine scenes and stereo sound. The sound engineering used some new format to record and to mix this CD, one of the most experimental in the New Age music. In the meantime,Angel Rada is studying the posibilities to do an Antology of the earlier works, but Lyric was requesting him anew project with new technology as the sampler keyboards and the protools technnics,the proposal of Rada was the transpersonal psychology and his relation with Ken Wilber and another psychologists and mind freaks,oneof the ken wilber book that have impressed to Rada was “EYE to EYE”, the concept of three eyes of mind was a revolution in Psychology in 1994-1995, form this ideas Angel Rada produce a new CD “Trascendelia“, using the 3 levels of conciousness of the theory of Ken Wilber.Angel Rada exposed in this CD, all theories about conciousness and altered states of mind. Angel Rada was researching about Samadhi and satori, two exceptional ecctasis from yoga and buddhism Zen philosophy.

THE MUDSLIDE DARKEST PROJECT


In 1999 Venzuela suffered the most relevant tragedy and the most relevant political change, Angel Rada was working in a new project called “the Golden Flame“, when began a rain period too heavy and continously, Angel Rada was living in Macuto, Vargas ,Venezuela when was ocurring this big mudslide tragedy where more than 100.000 peoples lost their lives, Angel Rada lost his home, his keyboards, all his recording studio, he was homeless, meanwhile Hugo Chavez Frias became president of Venezuela, the Golden Flame was a tribute to all people of Vargas and the most beautiful concert “America Cristo Mio”, a recording of all sounds of that days. In this period it was to heavy for artists, because it was a coup d’ètat and a general strike , nobody works, all music industry was stopped … The golden Flame was standstill in the stores … Eurock gave a big support for this CD in 2002 … Angel Rada rose up again. Rada understand a new significant on his Art, the simplicity and few tools to proposal a new step in his music, then he began to write the most recent project, with the idea to be acoustically and virtual, the AVR MUSIC venezuelan record label requested him an Unplugged CD. Rada gave them “The Amazonia Rain: the virtual unplugged”, one of the best Cd produced in Venezuela … it became in 2006 the most renewal reference for all southamerican musicians. It was first time Rada played with others musicians and used another Recording technics with the help of his Sound Engineer, Karen Gonzales, she produced the recording session sound in The Golden Flame and Amazonia Rain. Rada, this time use the external loudspearkers of a Yamaha PSR 740 and Leonardo 8600 synths to take the sound for the project using air pressure to produce a rich sound with too many harmonics to get a virtual unplugged sound, rich acoustically. Electronic music became more natural and less cold. Also Rada and Karen used the wall of sound proposed by the sound engineer Phil Spector to recreate a new version of High hopes of the original song of Pink Floyd. Sting influences was presented in the song “Desert Rose” recreated virtually and acoustically. Roundabout a classical song of the symphonic Rock Band “Yes” to give some density and heavynees to project. In June 2005 Angel suffered a Heart stroke that keep him in the hospital more or less 15 days, then a new project is on the way..the performance Roof Art and the next step for a new CD. At last Amazonia Rain was released in November 2005. One of the best ethnosonic blues played by Eduardo Soto in hering Harmonica and Angel Rada, also the song “Nostalgia” the most beautiful Venezuelan waltz played by them, one used a transversi flute and Angel Rada played the Leonardo 8600 using the loudspeaker of Marshall Amplifier. The most relevant guitar riff was played by Karen Gonzales in the song “Plasma Light”, all these songs are including in the CD “Amazonia Rain: The Virtual Unplugged”, but the song “amazonia Rain” have many Jimmy Hendrix elements and structures of his song “Hey Joe” . The next release of Angel Rada for 2006 was “Neuronal Connections project”, a diferent Sound View with a wide landscape of analogical and digital process including new technics.

AWARDS AND REVIEWS


2005 International Review awards : The song “TAKE ME DOWN” sing by DHARMAKALI, Angel Rada’s wife received the following awards: Image File history File links Neuronalconnections. … Image File history File links Neuronalconnections. …
Track of the Day on 20Aug2005 in Electronic Best Female Vocals in Electronic, week of 15Aug2005 Best Female Vocals in Electronic, week of 22Aug2005 Best Female Vocals in Electronic, week of 29Aug2005 Best Female Vocals in Electronic, week of 5Sep2005 Best Female Vocals in Electronic, week of 12Sep2005 Best Keyboards in Electronic, week of 5Sep2005 Best Keyboards in Electronic, week of 19Sep2005 Best Production in Electronic, week of 15Aug2005 Best Production in Electronic, week of 5Sep2005 Best Lyrics in Electronic, week of 15Aug2005 Best Melody in Electronic, week of 15Aug2005 Best Mood in Electronic, week of 15Aug2005 Best Mood in Electronic, week of 22Aug2005 Best Mood in Electronic, week of 12Sep2005 Best Mood in Electronic, week of 19Sep2005 Chill-Out Track in Electronic, week of 12Sep2005
An excellent piece of work. The Jazz/blues groove throughout was beautiful and haunting, its the type of song that goes straight to the gut and holds on. Your lead vocalist has a beautiful voice, perfectly suited for this type of music. I would have like to hear just a little more clarity in the lyrics, but only if the song was intended to be used as a main lead tune on an album. As a background song on a film it suits well for staying in the background and not interrupting dialog. Maybe a little more modulation towards the end, i.e. take her up an octave for the last minute of the song where there really aren’t any lyrics, accentuate the mellow depression and give it a frantic feel. (just a possibility, and opinion only) The keyboards were perfect. I loved the haunt that they added to the back end, the slow flanger (I think thats the name) worked well. If there was anything missing at all, it might be a small organ or grand piano solo in that last minute, maybe take the main melody and twin with the vocals, bring it down at the end with some nice Jazz minor chords. (again, opinion only) Overall production was beautifull, classy, and just…choice. again the only thing I didn’t like was the last minute and a half of groove. Take the last minute and rip it up, have some fun with it, you’ve got the skills for it. Run with it. Review by Micras
The song “KAMIKAZE” was awarded with the following awards : Best Keyboards in Electronica, week of 10Oct2005 Best Keyboards in Electronica, week of 17Oct2005 Best Programming in Electronica, week of 10Oct2005 Best Programming in Electronica, week of 17Oct2005 Best Programming in Electronica, week of 24Oct2005 Best Programming in Electronica, week of 31Oct2005 Best Production in Electronica, week of 10Oct2005 Best Production in Electronica, week of 17Oct2005 Best Production in Electronica, week of 24Oct2005 Best Beat in Electronica, week of 17Oct2005 Most Original in Electronica, week of 7Nov2005
Hey this is a cool experiemental work. I enjoyed this. This has a sci. fi. sound quality. Love that. The half of the track had wild and unusual experiemental sound effects. Then the rest of the track switched to great techno danceable sound effects with great drum beat, tempo, and all. I can dance into this. It is indeed interesting that you started out with odd experiemental sounds that are not made to dance into then switched into the sounds that turned out techno for dancing. The keyboards sound fantastic. I can tell you know what keys to use and how to put them all together. Very poppy and bouncy. This work reminds me of a disbanded techno British band Shamen. Great work. Keep it up!
That sound in the beginning is very cool. You know, the one that’s under that crazy voice clip….I’m already impressed with the production and the chord choice. Enter the drumkit: HELL YEAH. Gotta tell ya, though, I’m not really a huge fan of the female vocs at that part. Hope that beat comes back. I really like the diversity of this piece. You get presented with the song and see “7:11″ for length and you’re like “awwww. another long one.” This is by no means boring. That voice clip that brought in the song is cool for the beginning, but I think it’s a little over used in the piece. (a little.) I wish I had the equipment to do this…. WOW this really gets fun toward the end. Didn’t expect to go the trance way here, but it’s well done. I sure would have liked to hear more of that live kit drumtrack, though. Well, it’s over and I’m glad I heard it. It’s well produced (even those vocs I didn’t really like) and the overall music is diverse and well developed. Well done all around. Thanks Reviewed by Dj Wild Poet
The song “TURNING ON YOUR MIND” won the following International awards:
Best Programming in Electronic, week of 12Dec2005 Best Melody in Electronic, week of 21Mar2005 Best Beat in Electronic, week of 19Dec2005 Best Beat in Electronic, week of 9Jan2006
Intense, dancy, cinema graphic! Explosive, dynamic, crunchy, electro master! The Labrador is monstrous, it’s uncanny, and it’s insane. We open this mighty, weaving beast with what sounds like the devil himself greeting us; be told in the mighty vice. He mumbles to us all as if he wants to take us in for dinner. The ever unfolding electronic beat is equally impressive. These wicked samples of voices in the backdrop works with splendor! I just love the part where someone hollers out “shake that ass! Ooh ya baby! And all the while as the preceding is a more dangerous, explosive electronic addition to this monstrous madness. Fanatical in height, stellar in its seducing core, electro work in the lore! Then to make matters even more kick ass the devil re-enters the glory, with a unrelenting, ever, forever powerful trance; he says something; oh I don’t know what he is saying, but it is oh so sweet, it’s wicked. We then pick the pace right back up, in army flight! As for the overall mix it just kicks major ass. It does make me reminiscent the mortal combat music, but this stuff is oh so much sweeter; it’s stellar by the boulder. Boy it is wacky, it’s crazy. It is so energetic it makes me think that I am the great one, who is destined for greatness, but yet all along my path hideous monsters await to challenge me. And sometimes they want to run forth towards me and chew my brains to bits. And so these monsters certainly seem ready to consume me with all the delight of mankind! What a beautiful world we live in hey, yet we chew it up every day! Towards the end the tune gets a little jazzy, not an ending I would have expected, very surprising, experimental! I like surprises and surprises are good! A mesmerizing, uncanny adventure, oh and don’t forget to flush those 7 gallons of water down the toilet. He he he! Great composition man, men, who ever you are, and keep up with this grand slender idea! As for clear cut answers, the keys, seduce me, the arrangement brings forth hunger to my eyes, and this rapturous mix unravels my brain into a pool of steamy spaghetti sauce! The beefy eatery, in the wine; I simply love this music, so much so that if it was in my bowl, I would devour it whole,. Shall we dance, dance in the corridors of hell! Reviewed by PHDARK

ANGEL RADA CONCERTS:

(1981-1982)
International Original Concert Buddokan Tokyo Japan.
Palacio del Artista Madrid Spain.
Teatro Manuel de Falla Granada Spain.
Cuevas de Málaga Málaga España.
Aula Magna Universidad Central de Venezuela Caracas Venezuela.
Lasertronik Centro de Estudios Latinoamericanos
Rómulo Gallegos Caracas Venezuela.
Marquee Club London United Kingdom.
Primer Festival de música Electrónica CELARG Caracas Venezuela.
Alianza Francesa Caracas Venezuela.
Electric Circus New York U.S.A.
Fillmore East San Francisco U.S.A.
(1983-1991)
Teatro Manuel de Falla Granada Spain.
Carmen Blanco Sacro monte Granada Spain.
Jardines del Generalife La Alambra Granada Spain.
Festival de Música Electrónica San Sebastián Spain.
Chapelle de la Sarpetriere Paris France.
Blow Up Munich Alemania.
Odeon Theater Londres United Kingdom.
Ateneo Alejandro Caturla La Habana Cuba.
Teatro Nacional Buenos Aires Argentina.
BAROCK Buenos Aires Argentina.
Segundo y Tercer Festival de música Electrónica CELARG Caracas Venezuela.
Rainbow Theater Londres UK.
Museo Pompidou Paris Francia.
Festival de los Insurgentes Galería Arte Nacional Caracas Venezuela.
Festival del Sol Ruinas Aztecas Iztlan Guatemala.
Festival de la nueva música Valle Gizeh El Cairo EGYPT.
Arenas de Verona Verona Italy.
Anfiteatro Acrópolis Atenas Greece.
Il Palazzo della Musica Milán Italy.
Planetarium Madrid España.
International Original Concert Buddokan Tokyo Japan.
Festival de Invierno Kamakura Japan.
Black & Blue Festival Palladium Londres UK.
Festival Topkape Estambul Turkey.
Festival De Kampuchea Kampuchea India.
Festival Diwahli Varanasi India.
(1992-2004)
Lasertronik Venezolana de Televisión Caracas Venezuela.
Susurros Abisales Venezolana de Televisión Caracas Venezuela.
Alianza Francesa Caracas Venezuela.
Roof Art Urb. Caribe Caraballeda Vargas Venezuela.
Teatro Cagigal Barcelona Venezuela.
Teatro de la Opera Maracay Venezuela.
Festival Experiencia Roja Aeropuerto La Carlota Caracas Venezuela.
Virtual Unplugged MTV Latinoamérica Buenos Aires Argentina.
Discoteca El Piojo Maracay Venezuela.
Ateneo de Maracay Maracay Venezuela.
Concha Acustica de Bello Monte Caracas Venezuela.
Alianza Francesa Caracas Venezuela.

See also

BBC Radiophonic Workshop
Computer music
Dance music
Electronic art music
Ishkur’s Guide to Electronic Music
Synthesizer
Video game music
Winter Music Conference
Schaffel music
Sampling (music)
New Age
New age music

External links

EL UNIVERSAL
Angel Rada
Discography and biography
Angel Rada paintings
Diario El Nacional
Asdrubal colmenares
Michele Di Lalla
EUROCK
Angel Rada in Garageband
Discography of Rada
Kosmische Musik 1969 – 1972
Introduction to German Krautrock
http://www.phinnweb.org/krautrock/
krautrock website
The Crack In The Cosmic Egg Krautrock Encyclopedia
Paintings of Angel Rada
Tragedia de Vargas (spanish)
SACVEN-Sociedad de autores y compositores de Venezuela

References
Nielsen, J. G. and Munk, O. 1964. A hadal fish (Bassogigas profundissimus) with a functional swimbladder. Nature, 204: 594-595
Vladimir Bogdanov, Chris Woodstra, Stephen Thomas Erlewine, John Bush (editors) All Music Guide to Electronica: The Definitive Guide to Electronic Music (AMG All Music Guide Series), Backbeat Books, 2001 ISBN 0879306289
Ben Kettlewell Electronic Music Pioneers, ArtistPro.com, 2001 ISBN 1931140170
Iara Lee, Peter Shapiro (editor), Simon Reynolds Modulations: A History of Electronic Music: Throbbing Words on Sound Distributed Art Publishers, 2000 ISBN 189102406X
Mark Prendergast The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age, Bloomsbury, 2001 ISBN 0747542139, ISBN 1582341346 (hardcover eds.) ISBN 1582343233 (paper)
Simon Reynolds Energy Flash: a Journey Through Rave Music and Dance Culture (UK title, Pan Macmillan, 1998, ISBN 0330350560), also released in US as Generation Ecstasy : Into the World of Techno and Rave Culture (US title, Routledge, 1999, ISBN 0415923735)
John Schaefer New Sounds: A Listener’s Guide to New Music HarperCollins, 1987 ISBN 0060970812
Dan Sicko Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999 ISBN 0823084280
Criminal Justice and Public Order Act 1994
Categories: Musicians Composers Krautrock Progressive rock Electronic music genres