Troubled singer Amy Winehouse, who has battled drink and drug problems, found dead at her London home at the age of 27.

RIP Amy Winehouse

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Extract from documentary ‘Roots Rock Reggae Inside The Jamaican Music Scene’ in which we can see Lee Scratch Perry and his Upsetters recording at Perry’s studio, in Jamaica.

[via Manolo Remiddi]

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Daniel Lanois the legendary producer, who has made his mark working with artists such as U2, Bob Dylan, Peter Gabriel, Neil Young and The Neville Brothers, among others, is gearing up to hit the road with his own band, the all-new Back Dub

Black Dub w/ Daniel Lanois: The Birth of Bellavista Nights from Daniel Lanois on Vimeo.

Video and Interview on musicradar.com

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Zimoun : 186 prepared dc-motors, cardboard boxes 60x60x60cm, 2010. from ZIMOUN VIDEO ARCHIVE on Vimeo.

by zimoun

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The New Musical Express (better known as the NME) is a popular music magazine in the United Kingdom.

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Ludwig‘s Black Beauty snare drum is without doubt one of the greatest snares ever made. First introduced in 1919, it remains one of Ludwig‘s most iconic creations.

The Ludwig Supraphonic snare drum is considered to be an industry standard for professional snares.

Originally made of chrome-plated brass, it was later made of a chrome-plated aluminum alloy.
Such notable drummers as Hal Blaine, studio legend, Joe Morello of The Dave Brubeck Quartet, John Bonham of Led Zeppelin, Alex Van Halen of Van Halen, Ian Paice of Deep Purple, Ginger Baker of Cream, Dino Danelli of The Rascals, John Densmore of The Doors,Mitch Mitchell of The Jimi Hendrix Experience, Mick Avory of The Kinks, Sandy Nelson, solo artist, Gary Chester, studio legend, Carl Palmer of Emerson, Lake, and Palmer, and Steve Gadd, all-around recording artist, used this drum exclusively throughout the 1960s and 1970′s.

Charlie Watts of the Rolling Stones also played it before switching to Gretsch drums, and Bobby Elliott of The Hollies played it after switching to Ludwig from Premier drums.
The Super-Sensitive strainer was introduced in the ’60s and was popular through the ’70s for its sensitive snare response.

In recent years some models of the company’s wood shell snare drums featured various exotic wood finishes supplied by Steinway and Sons.

read the full detailed review on www.musicradar.com

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In this new era of changes having a 3D hologram lead singer is just a natural step. Check out this video and let us know if she can be your new idol.

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Article from “The Wire”, November 1995

Earlier this year, Radio 3 sent a package of tapes to Karlheinz Stockhausen.
The tapes contained music by Aphex Twin, Plasticman, Scanner and Daniel
Pemberton. Then in August, the station’s reporter Dick Witts travelled to
Salzburg to meet Stockhausen and ask him for his opinion on the music of
these four “Technocrats”. But first, they talked about the German composer’s
own youthful experiments in electronic synthesis…
—————————————————————————-

DW: When you started as a composer, how different were the conditions from
today?

KS: I studied music as a pianist, and learning all the traditional
techniques of composing, in an institution called Stadtliche Hofschule für
Musik. We had about ten disciplines to study: choir, orchestra, conducting,
piano was my main instrument, then musicology, harmony and counterpoint. I
wrote several works in traditional styles, but also two works, so-called
‘free compositions’, one for orchestra and alto voice, a work which is still
available on CD called the Drei Lieder. I started composing at the age of
20, 1948, the first time I considered my music to be of some general
importance, and they are available, like the violin sonatina…

Why did you consider those works a beginning?

Because everything that could be studied with the professors at the
conservatory, the other students also were able to write. So there was
nothing special to write a fugue or to write a piece in the style of
Hindemith. But it was special to write something different from all other
composers. I wrote, for example a small theatre piece, Burleska, together
with two colleagues. We divided the piece into three parts. My part did not
sound as the newspapers said [of the other two parts] like Orff, or like
Hindemith, but different. So I was very proud that they said my section did
not sound ‘like’ something.

www.stockhausen.org

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