Ze moeten er zijn... Partyflockers met het electro-hart op de juiste plaats! Mensen wiens hartje op hol slaat bij het horen van een setje van Dave Clarke, Anthony Rother of dr. Lektroluv.
LektroLovers laat je horen, en breng je favoriete nummer mee!
Mijn favo op dit moment is "Age" van Anthony Rother.
Bloc chaos – the full-as-possible story Police cordon called in as the apparently unwisely named electronica festival is shut down massive crowd and ticketing problems resulted in stampedes.
Reports are flooding in of chaos at London electronic festival Bloc, and that the 15,000 capacity festival has been shut down early, with enormous over-crowding on the boat.
The problems seemed to stem from a confusion over ticketing, reportedly handled by the extremely unfortunately named company Crowdsurge. One person we contacted, who wishes to remain nameless told us “there was a shambles getting in when it opened. No one seemed to have the right ticket, and security didn’t know the correct ones.”
Blogger Jamila Scott told us that by later on, this confusion had resulted in “two-hour” queues, so long that people burst over the fence. “People surged toward the front and jumped over the barriers by the toilets. There was then a stampede, with scores of people jumping over. Security went insane, screaming and shouting to try and stop it. Eventually though, they gave up and let anyone in.” She reported that no-one had checked her ticket.
One Johnny Beverton took the below picture of the mob trying to get on to the boat, the centrepiece of the electronic music festival.
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“Hillsborough”, the tragic 80s football crowd tragedy was mentioned more than once, and music writer Dan Hancox was one of many who snapped the police who were called in to manage the crowds. The below image was accompanied by the Tweet “Bloc is um a disaster right now. “we’re in the middle of a car crash”. Could it just be shut down?” at 11.46.
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Within the hour, Dan was proved right, as organisers pulled the plug. Another source reported being on the boat, and seeing “over 800 people trying to get the boat – even before they people were kicked out of the RA tent and the main stage. Then, on the boat, the emergency tannoy came on telling everyone to leave, as the music was shut off suddenly.”
The crowd then assembled outside and, in true rave fashion, partied outside the venue surrounded by confused police. Dan Hancox has Tweeted about a 60-strong drum chorus pounding on the shipping containers outside, and pointed out the poetry people dancing under an LED slogan “We wanted to be the sky” at venue accused of running before it could walk.
Jamila: “There are guys dancing on the cargo containers in fancy dress, loads of them, with everyone bashing the tins. The police are moving in around them, though no arrests seem to have been made. Everyone is annoyed, but it’s not threatening and it’s quite cheerful. It’s like a carnival.”
Here’s her picture of the scene:
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London Pleasure Gardens, the venue holders of the unfortunately named festival, have just issued the following statement:
We can confirm that this morning at 00:45, following advice from the Metropolitan Police, Bloc was subject to a controlled shut down due to health and safety concerns.
London Pleasure Gardens are currently co-operating with police to ensure all visitors leave the site and commence their onward journeys safely.
Our number one concern is always public safety, and sometimes tough decisions need to be made by on-site security, but we always act as we believe is necessary at the time to best protect visitors.
As far as we know, this is the first official word from the festival, and it is as yet unknown whether the festival’s second day will take place tomorrow, or the status of refunds. Rumours are currently abounding about overselling in the tens of thousands, with others reporting the opposite.
A screengrabbed picture of the Bloc Facebook page tells something of the frustration felt, though this thread has now been deleted. At present, both the Bloc Facebook page and Twitter feed are displaying nothing relating the unfolding drama, and they have not responded to our requests for quotes, though, in all fairness, it is 2.30am and we imagine them to have their hands rather full at present.
UPDATE: Bloc has issued an apology at 3.15am via Facebook, and confirmed tomorrow’s festival will not take place.
By now everyone will have heard that Bloc 2012 was closed due to crowd safety concerns.
We are all absolutely devastated that this happened, but the safety of everyone on site was paramount.
Given the situation on the ground, we feel that it was the right decision to end the show early.
Bloc will not open on Saturday 7th July so please don’t come to the site.
Dystopia was vet. Was alleen te druk. Ze lieten op gegeven moment ook alleen mensen naar binnen als mensen weggingen, zo druk. Kon er daardoor niet helemaal inkomen, maar wel ff losgegaan, werd dik gedraaid.
Om half 4 weggegaan voor de bus van 4 uur. Hoorde op weg naar de uitgang dat het bier ook op was. Dus wat dat betreft goede timing
Babypop is een klein gratis festival in Woerden bij de Babylon (cultuurpodiumpje). Volgens mij in de tuin daar ofzo of een parkje.
Een gast van Phono/Energyflash/Energytrash mag daar een stage prgrammeren. Het wordt dus een Energytrash stage. Daar kwam jij ook weleens toch op dat forum?
Gerald Donald aka Heinrich Mueller has spoken again in connection to Drexciya’s Journey of the Deep Sea Dweller series. This time he did it to Florian Sievers in the current issue of Groove but in a German text. I used a translation site which is not perfect but for the answers I fixed them up a bit better myself. It’s pretty interesting reading.
Drexciya have purists and Detroit Electro fanatics always addressed as nerds with European interest in African-American blues continuum. Today, many bass music producers refer to the now defunct duo from Detroit. Member Gerald Donald was always the silent technician - until now.
Back overboard, and you have the filter turned on: there is a different world underwater. Not only visually, with all the blue and green, but also sonically. From here, Drexciya have sent 1992-2002 their messages to the surface: While many electronics producers traveled the nineties to the Outer Space of Saturn and Milky Way, or retreated into the inner space, the narrative space of Drexciya was always the abyss of the oceans. Suitable to be found in their second-wave electro-liquid radio, streaming filters rides, hi-hat and emotional shoals, um: depth. In any case, Drexciya have published not just Electro plates. Drexciya had something to say. They had a concept: aesthetically, musically, and ultimately political. It was clear, from Africa. Examples illustrated in the booklet of music compilation The Quest of 1997. There were four cards arrows, first as slaves abducted in the southern United States and were later migrated to the urban centers of the North and West. In 1988, "Techno leaves Detroit, spreads worldwide". And lastly, finally, "The Journey Home (Future)": a dense network lines between North and South America and Africa, without directional arrows. The future has begun.
On Drexciyas 12-inches and albums on labels such as Underground Resistance, Tresor or warp track title were the names of mysterious places such as "Dead Man's Reef", with recurring characters such as Doctor Blowfin or dramatic sketches like "Sighting In The Abyss", the imagination flow freely. They could also be because there were few direct contacts in the deep. They knew that the Drexciya-submarine sat two. On the bridge, James Stinson said at least sometimes, while in the belly of the silent machinery technician Gerald Donald tinkering. Ten years after Stinson's death in 2002 expressed Donald now, even if only using Skype. He collaborated with Stinson as Elecktroids, solo releases under names such as Arpanet, Heinrich Mueller, Japanese Telecom and Rudolf Klorzeiger and was part of Der Zyklus, among other things, Dopplereffekt or Ectomorph. Donald calls himself consistently afrogermanisch "Mr. Jones" - and put his e-mails and Skype messages chosen as a mix of British colonial officials and megalomaniac scientist for tea time. He refused to face questions about the past, its obvious germanophilia and his current whereabouts. But he is closer to home than we think.
Mr. Mueller, why did Drexciya at all times plunge into the water?
We humans face two spheres of existence, the world of gas and the liquid state of the world. In the one we live in, the other is full of mystery and undiscovered regions. It makes up three quarters of the earth's surface, a huge unexplored space right next to us.
Is the water a place to which it drags you? An aquatopia then?
It would be tempting to exist there. We humanoids would need technology because we are air-breathers. Evolution would have us take a point at which we could exist there without technical aids. We know that organisms can adapt to most living conditions. It would need to be given sufficient time, millions of years.
The slave babies were going incredibly fast.
Could you specify that?
Your myth is that the underwater Drexciya people are the descendants of slaves unborn babies whose mothers during passage across the Atlantic as useless cargo and were thrown overboard and learned in the womb to breathe liquid oxygen?
This is a component of the theory, but not comprehensive.
Could you add more components?
Quite simply, the maritime world is a world in itself, and that includes hydrogen, a constituent of water, in abundance in the universe. And the first item of all.
Aha. What influence did example Parliaments play "Aqua Boogie" from 1978 and Miles Davis' album Water Babies of 1976 have?
Irrelevant. The theory developed in isolation.
They said initially been about technology. You have solo pieces with titles like "Biometric ID" or "Cherenkov Radiation". Where does your fascination for technology and physics?
Technology is the manifestation of the human understanding of the natural laws of the universe. Man understands these laws are not complete, but it only works with approximations. But these approaches are at least well enough to manipulate the laws of nature for advancing civilization. Man uses physical force to make machines and build his architectural designs. Technology is therefore extremely urgent for humanity. Music, whose topic this is, is a celebration of our progress.
The way you describe it sounds, but in such a way as if the man in your opinion, is not in full control and engages in risky ventures.
That is correct. Sometimes he loses control, just think of nuclear disasters such as those in Harrisburg, Chernobyl or recently Fukushima. This shows us that the nature and especially the atom are ultimately more powerful.
You just mentioned music, the topic is technology. Technology is the basis of techno, techno, or is a contemporary version of funk and disco - and something more human?
Techno as a sub-category of electronic music is a result of technology, which in turn is a result of scientific progress. But I advocate no such terminology.
Your former partner, James Stinson, worked as a balance to Drexciya as a truck driver. What do you do besides?
Sonic and conceptual research.
So you are a music producer?
In other words, yes.
Stinson died ten years ago, since then Drexciya has ceased. Will there ever be new sound transmissions under this name?
This era has been finalized and is not reinitialized.
That's respectable and consistent. What results of your new sonic and conceptual research can we expect from you instead?
Currently I am working in conjunction with Dopplereffect on a project called "neutrino", which is integrated in addition to the usual sound research astrophysics with electronic music.
Are you aware of the effect that Drexciya is tailored to the aesthetic of many contemporary dance-music-sheets from the dubstep genre? Many producers currently refer back to your boards from the early nineties.
Interestingly, this connection I was not aware. All musical forms interact with each other, there is exchange between different configurations of music. The established diversity.
It shows how ideas can live on, because some of these producers were not even born when your first EPs would have been released. How old are you?
Let me put it this way: I'm in a later stage of my life.
Ja ik had al zo'n vermoeden dat het vrij druk ging worden in Dystopia.
Klinkt als een leuk ding waar je moet optreden. Was idd wel een tijdje op Energyflash maar werd een beetje moe van het elkaar afzeiken daar (was leuk toen ik nog voor een baas werkte om m'n tijd mee te verdoen maar daarna werd het ergerlijk ) dus heb m'n account verwijderd
Ja, was leuk jullie weer eens te hebben gezien
Maar waarom vond je Alden Tyrell jammer dan? Hij speelde echt toffe nummers imho
En The Horrorist was toch wel vet hoor. Voelde me weer n klein gabburtje
Kraftwerk invented it in the seventies. Hip hop jacked it in eighties. Techno took it underground in the nineties. And then strange things happened in the noughties. House and dubstep co-opted the word "electro", shifting its meaning and confusing people. Good people. People like YOU.
You've forgotten what real electro sounds like. But that's ok, because we're here to remind you. Electro is the sound of robots dreaming of a science fiction future, making machine music in their bedrooms with pulsing drum machines, while their keytars gently bleep. OK, maybe not so much the keytars, but probably some squelching synths, and sci fi samples and even the occasional vocoder, all washed down with lashings and lashings of funk.
Today, electro continues to evolve, embracing modern production techniques and digital sound design, mutating into something so alien it barely resembles most of today's dance music. And yet it does. It SO does, and we have over 100 tracks that prove it, from relentless hardcore dancefloor tracks to intricately tweaked bedroom chin-scratchers; from melodic retro tributes to the escapist soundtrack of science fiction futures.
So why not consider parting with the princely sum of exactly zero money and opening your ears to the amazingly free Electro Compendium? Who knows, you might even learn something.
credits
released 23 August 2012
Compiled in 2012 by Dave Paton and Jean Paul Bondy
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