120 años de música electrónica (1870-1990)

120 años de música electrónica,  si te gusta la música electrónica, la música en general, los instrumentos, el vuelco que ha dado la tecnología a los utensilios tradicionales del hacedor de sonidos y silencios, si te atrae la historia…

120 años de música electrónica

120 años de música electrónica
En la imagen, diagrama de la Free Music Machine, de Percy Grainger & Burnett Cross (Australia/EE. UU.), 1948.

Nuestro método está creciendo

Nuestro método

¡ Nuestro método ! los miembros de METHOD estamos que no paramos entre la música el vídeo y la promoción de nuestro trabajo, aunque es una dura y ardua tarea, se están empezando a recoger los frutos de horas y horas trabajando es un sueño que se está vislumbrando y materializando poco a poco.

Empezamos a salir por la radio, en webs especializadas en música electrónica nos linkan y ponen nuestro trabajo a la disposición de sus usuarias y estamos esperando la confirmación de varias actuaciones entre ellas una bastante importante

Ahora solo falta encontrar una discográfica y sacar nuestro primer larga duración,  ya que se podría hacer, porque disponemos de bastante material, incluso algún que otro máxima con remezclas.

Estoy sumamente contento y doy gracias a todos los que nos estáis apoyando, dando muestras de ánimo y por que no decirlo, criticas sinceras para poder seguir creciendo y enriqueciéndonos constructivamente.

La portada de la primera maqueta del grupo.
Nuestro método
Carátula frontal
Nuestro método
Parte interior del Cd
Caratula trasera (In line)

 

Captura de pantalla de la web.

P.D Se busca Discográfica.

Songs & Machines – Bochum Welt

Bochum Welt

 Bochum WeltHace ya tiempo que se avecina una explosión de cambios en mi vida y en mi forma de ver las cosas, aunque de forma general esa transformación la siento en muchos detalles y cosas diferentes, la música de Bochum Welt esta siendo uno de los iconos mas representativos de cambio radial de forma de ver los acontecimientos.

Hasta no hace mucho solo me apetecía escuchar música gothic, pasando por estilos varios como el deathrock mas ecléctico, el industrial mas machacón y como no haciendo alguna parada bastante larga por el darkforlk.

Pues bien ahora la realidad es que se esta transformando en una sucesión de lo que escuchaba hace unos años, La electrónica era lo que mas me apasionaba pero por supuesto no toda,mas bien me centraba en lo que se empeñaron en llamar intelligent thecno y otros estilos como el avant tecno, ambient, y la música destinada al chill out. Lo demás lo dejaba para los clubs, en casa casi nunca me puse house o estilos bailongos, prefería algo mas tranquilo y que no me desconcentraba en mis quehaceres.

Eran los principios de los 90 y la evolución llevo hasta pasados la media década, creo que en esa época se cocieron los mejores grupos y los mejores álbumes, la gran mayoría tenían grandes dosis de conceptualismo, la lastima que el mercado acabo desmitificado a muchas de las bandas y ahora son meros trabajos ruidosos o lo que es peor ultra comerciales para las pistas de baile.

En esa época descubrí muchos grupos y artistas muy interesantes como Auteche, Orbital, Aphex twin etc.… pero uno que me atrajo por su estilo y sonido a lata era Bochum welt (Gianluigi di Constanzo), su paisajes naif junto con una melodía y una estructura muy cuidada me cautivaron enormemente, su música la tenia un poco olvidada hasta que el otro día me dio por buscar si tenia nuevos trabajos, y para suerte mía tiene uno recién editado este año,

Sin duda recomiendo su música a las personas que les guste la electrónica con cara y ojos, Además recomiendo a Solvent y Skanfrom que son dos artistas que trabajas en la misa línea creativa. Una línea que rememora el pasado de la maquina, a veces recuerdan a los veteranos Kraftwerk, pero con ideas de los 90 y estos años de principio de siglo.


Aquí dejo un pequeño artículo sobre su último álbum:

Bochum Weltfans of solvent’s and lowfish’s self-styled ‘robot music’ will find much to like here, as bochum welt (gianluigi di constanzo) is a veteran of the electronica ranks and an old hand at fashioning tasteful electro synthpop. he’s contributed to the scene since the early ’90s, having released numerous mini-albums on rephlex, and shows himself to be a deft master here too.

the analogue, retro-futurist style established immediately by the glimmering intro ‘terpsitone’ is perpetuated by the seven pieces that follow. the moody ‘mannequin’ even includes a classic lo-fi drum machine alongside its ’80s synths. still, he manages to fit in a diverse array of moods within the mini-album’s brief span ranging from the ominous (crystalline synth lines and detonating clusters in ‘telegame’) to the becalmed (‘gte’ and its orchestral synth layers). church-like synths brighten the sunny ‘home’ while the mood turns reflective in the becalmed ‘mvs.’ darker moods prevail, however, in ‘vectors’ with its dissonant squalls, and ‘la nuit (original version)’ offers a brief coda of squealing synths that’s anthemic and procalamatory.
the only thing wrong with kissing a robot goodbye is that, at a mere twenty-five minutes, it feels like an appetizer, a tasteful one admittedly but an appetizer nonetheless.
reviewed by ron schepper .

Gianluigi di Constanzo es un apersona polivalente además de sus álbumes a creado música para el BALLETTO TEATRO DI TORINO (Il mondo dell’artista mito della Pop Art ANDY WARHOL) y trabajo si no recuerdo mal como consultor.

Entrevista a : Bochum Welt

Bochum Welt is Gianluigi di Constanzo, from the North of Italy. He had a record out on Rephlex last year which was very innovative and it was very refreshing to hear some material like this come from this otherwise ‘commercial’ country. The tracks on Rephlex have been released before on Kromode records, a label started up by himself and some friends.

Surreal : What does Bochum Welt mean ?

Gianluigi : Bochum was the name of a new telescope, which was able to explore new area’s in space. Welt is World in German. Bochum Welt means something like “to see the world with different eyes”.

Surreal : What is the underground scene like in Italy at the moment ?

Gianluigi : There are some clubs who, occasionally organise ambient parties, but there isn’t a real scene where I live. Sometimes this is positive, because I don’t like pressure. Here I have the possibility to create music without being diverted.

Surreal : What are your most important influences, musical or other ?

Gianluigi : I have been influenced by the electronic scene of Dusseldorf (Kraftwerk), Thomas Dolby and Ryuichi Sakamoto, and the romantic English scene (Human League, Eno, Heaven 17, Roxy Music, ABC…). I like English literature and the romantic movement, in particular the poetry of Byron. I’m a science student at the university of Milano, so I’m interested in science and technology.

Surreal : You have worked with the Axodya people and the people at Rephlex, how did you get in touch with them ?

Gianluigi : After my first release on Trance Communications, Rephlex contacted me because they were interested in what I was doing, and they offered me the possibility to become one of their artists. I was impressed by the quality of their releases and I really love the works of Aphex twin. Rephlex are really wonderful friends and each time I have the possibility I take an air plane and stay some days with them in London.  I have met Stefan and Marco from Axodya during a concert in Switzerland, they are also working with Rephlex. We Worked in a friendly and nice atmosphere. They are running a good label.

Surreal : Sci-Fi is a big influence in your music, as it is for many musicians, what are your views on the future ?

Gianluigi : Sci-fi is fascinating because it gives us the possibility of dreaming of changes in our society. The development of technology in the next years will improve some aspects of our society. Telecommunications will help us in obtaining more information and our culture will probably grow. Music will have different channels of diffusion and it will be easier having access to.

Surreal : What is your favourite instrument ?

Gianluigi : I don’t have one favourite instrument. I use analogue synths, analogue drum machines and old samplers, each instrument has it’s unique characteristics.

Surreal : What is your opinion on using vocals in music ? It’s not very common with techno people, will you ever try it ?

Gianluigi : I think only a few artists are able to use vocals in a creative way that is contributing to the music. I like Martin Fry from ABC, David Sylvian, Thomas Dolby. Yes, I would like to compose some electro pop songs in the future.

Surreal : Do you think Italy will have a bigger underground scene in the future ?

Gianluigi : I don’t know, European mainland labels aren’t respected here, so if there are any artists, they would have to find a label abroad. Maybe with the development of Internet there will be more possibilities for new artists.

Joost de Lijser
Courtesy of Surreal Sound
1994


Discografía

Kissing A Robot Goodbye CD/LP (2004)

1 Terpsitone (2:48)
2 Mannequin (4:06)
3 GTE (2:12)
4 Telegame (4:04)
5 Home (2:56)
6 MVS (4:18)
7 Vectors (2:58)
8 La Nuit (Original Version) (1:23)

Fashion 3 CD Hymen (2001) Limited to 800 copies
1. Fashion
2. Saint Tropez (remix)
3. Neutron
4. Sain Tropez
Eldar by Modernist vs. Bochum Welt – Art Of Perception – Ep 12 vinyl (2001)

A1 The Modernist Alphatier Brain (Live Update)
A2 The ModernistEurojah (Immigrant Dub)
B1 Bochum Welt “Entering The Warp
B2 Eldar Soul

Program11 EP (1999)

1 program2
2 new europa
3 melodie d’aout
4 program3
5 program4
6 program5
7 program6

Martians And Spaceships (1999)

1 Altre Forme
2 Vega
3 Star Cluster
4 Theme
5 Interlude
6 Claire De Lune
7 Blue Atmosphere

Module 2 + Desktop Robotics CD (1998)

Avtomaticesk.
2 Radio Propulsive.
3 Paph.
4 Lunakhod.
5 Asteroids Over Berlin.
6 B2.
7 Mechanique.
8 That’s Mutuality.
9 Desktop Robotics.
10 Leafs Brought By The Wind.
11 Hug Me Tight.
12 Asteroids Over Berlin (Live).
13 Arnos Park

Desktop Robotics Ep (1997)

1 Desktop Robotics Bochum Welt.
2 Leafs Brought By The Wind Bochum Welt.
3 Hug Me Tight Bochum Welt.
4 Asteroids Over Berlin (Live) Bochum Welt Bochum Welt.
5 Arnos Park Bochum Welt.
6 (CD-Rom Extension For Macintosh).

Feelings On A Screen Ep (1997)

1 Greenwich Bochum Welt
2 Fortune Green Bochum Welt
3 Feelings On A Screen Bochum Welt
4 La Nuit (Slumber Mix)

The Voder (1996)
Strictly Limited to 200 Copies, Translucent Blue Vinyl
A1 Mannequin.
B1 Terpsitone.
Module 2 CD/LP (1996)

01 Avtomaticesk
02 Radiopropulsive
03 Paph
04 Lunakhod
05 Asteroids Over Berlin
06 B2
07 Mechanique
08 That’s Mutuality

Telestatt (1995) 12 vinyl

A1 Phlagstaph (Tele 1).
A2 Terminal Welt.
B1 Phlagstaph (Tele 2).
B2 Mailand Overture.

Phial EP (1995) 12 vinyl

1 Phon.
2 Phaedra.
3 Retroflex.
4 Fegda.
5 Chicago.
6 Machination.
7 Arial.
8 Opah.

Les Dances D’été 12 Ep (1995)

A1 Mélodie D’ Aoùt
A2 Le Silence Du Temps
B1 La Pensée
B2 La Nuit

Scharlach Eingang 12 Ep (1994)

A1 CH Riot On Proxima Centauri
A2 Phlughaven Alphard (Kinesthesia Mix)
B1 Phobos
B2 Omicron

JX1 12 Ep (1994)

1 Ch Riot (On Proxima Centauri)
2 Phobos
3 Omicron

 
Real name Gianluigi Di Costanzo
Pseudonyms Bohcum welt
Contact gianluigi@bochumwelt.com
Links http://www.bochumwelt.com/
Location Milano, Italy.
Labels Trc/Warner Chappell, Future Sound Recordings, Sony, Rephlex, Fuzzy Box, Digital Narcis

Bochum WeltItalian electro/techno composer Gianluigi Di Costanzo is the name behind the Milan-based Bochum Welt, whose smattering of atmospheric acid and electro releases have been quick in establishing him as an artist at the edge of post-rave experimental electronica. Inspired by the ’70s Dusseldorf scene through such figures as Ralf Hutter and Florian Schneider (both of Kraftwerk), as well as artists such as Brian Eno and Ryuichi Sakamoto, Di Costanzo released his first work as Bochum Welt on the Italian Trance Communications label starting in 1994, at the age of 21. Focusing mostly on acid and more typical floorbang techno, Di Costanzo worked as often on atmospheric electro and ambient, little of which saw release until many years later (most notably on the Phial EP). Though Italy is hardly a stronghold of techno experimentation, Di Costanzo’s early Trance twelves, as well as a collaboration with labelmates Zenith attracted the attention of Aphex Twin Richard James, whose Rephlex imprint reissued several tracks from the Bochum Welt back-catalog as the Scharlach Eingang EP in 1995. Di Costanzo followed up his Rephlex debut the following year with a full-length for the label, Module 2; Desktop Robotics followed in 1997, trailed two years later by Martians and Spaceships. He has also released material through his own label, Kromode, and the Swiss Axodya labe

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