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Ableton Live is a digital audio workstation developed by Ableton and is currently in its eleventh version. There are four versions of the software, of which three are available for purchase: Live 11 Standard (the core software for music performance and creation), Live 11 Suite (Ableton Live, Max for Live + all of Ableton’s software instruments/effects), Live 11 Intro (an . Reason Studios (formerly known as Propellerhead Software) is a music software company, based in Stockholm, Sweden, and founded in It produces the studio emulation Reason. Cubase is a digital audio workstation (DAW) developed by Steinberg for music and MIDI recording, arranging and editing. The first version, which was originally only a MIDI sequencer and ran on the Atari ST computer, was released in Cut-down versions of Cubase are included with almost all Yamaha audio and MIDI hardware, as well as hardware from other manufacturers.
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Justice is known for incorporating a strong rock influence into their music and image. The band’s debut album Cross was released in June to critical acclaim.
The band reportedly started to work on its second album in mid The first single entitled ” Civilization ” was released on 28 March Justice first produced tracks together for Musclorvision’s “Hits Up to You”, a concept compilation where tracks were designed to sound like they were meant for the Eurovision song contest.
The track was re-released in with additional remixes. Simian — ” We Are Your Friends “. The album was preceded by the D. EP , released on 28 May , which featured the tracks “Phantom” and the band’s own remix of “D. Justice was chosen to do a mix for the Fabriclive series in , but Fabric rejected it. De Rosnay said that, “[T]hey weren’t ready for something like this. Justice was nominated for Best Dance Recording for “D.
The clip features a group of youths committing acts of vandalism and harassment, wearing jackets bearing the Justice cross on the back. Accused in some quarters of racism for its stereotypical depiction of youths of African descent both black and North African from Paris’ socially deprived banlieues outer suburbs , others saw the video as a critique of the portrayal of blacks in the French media. If people see racism in the video, it’s definitely because they might have a problem with racism; because they only see black people beating up white people, which is not what happens.
In an interview for Dummy in , Justice said that it wanted a strong concept for each record it put out, and with this one, the duo wanted to keep people guessing. Asked in an interview whether their cross-based themes had received any negative feedback, De Rosnay said, “Eighty percent of France is Christian. My Dad was a bit uncertain and thought it was bad taste, but I was like, This is what I want to do Dad.
It’s odd because in America we have received support from Christian groups thanking us for spreading the word. We do not invert the cross and I suppose they think we look like nice guys so there has not been a problem.
The announcement was also tied in with an invitation for fans to email photos, images, and artwork to an address so that the received photos could be compiled for use as artwork for the release. The photograph sparked accusations that Justice’s live sets were faked. In the November issue of Mixmag , Justice stated that it would be working on the soundtrack for Mr.
Oizo’s upcoming film, Rubber , saying they had to “finish working on the soundtrack for Mr. Oizo’s new film before we start recording for the new album. On 14 March , the duo announced via its Facebook page plans to release a new single entitled “Civilization” on 4 April.
The song has also been featured as the soundtrack to a new Adidas campaign spearheaded by French director Romain Gavras , with whom Justice has worked in the past.
On 28 March , the Justice single, ” Civilization ” was released as a one-week iTunes exclusive, in full, as a premier for the release of the single on 4 April.
On 27 May, the duo released the official music video for the single on YouTube. The video relies heavily on CGI and illustrates a world in which famous monuments such as the Christ the Redeemer monument in Rio de Janeiro are destroyed as gravity appears to be reversed. The storyline is of a herd of bison running from the falling ruins.
In August , the band announced that its second record, Audio, Video, Disco , would be released 24 October On 6 September , a music video for the single ‘Audio Video Disco’ was released by the duo via their Facebook page.
The video features Xavier and Gaspard in a studio setting, and details the lengthy, rock n’ roll style recording process that was experienced in making the single, and album. Within the clip, various instruments are seen, such as an electric guitar, a piano, and a drum kit, standing as the quite literal symbols for the Justice progression into a more rocky, less electronic sound.
Several songs from this album have been used in the second series of the Channel 4 comedy Cardinal Burns. The duo played many of its hits from its critically acclaimed debut album Cross , as well as many of the new tracks off of Audio, Video, Disco. On 22 June , the band announced that they had started working on a third album. The track’s name and its cover art were revealed through Shazam.
On 13 September , Justice revealed on their Facebook page that their third album would be titled Woman. On 14 September , Justice released the album’s second single, titled “Randy”, through their Facebook page. On 18 March , Rolling Stone reported that the duo band sent a cease and desist letter to Justin Bieber over the album, Justice , citing willful trademark infringement over the Cross logo.
Apart from the disco and funk influences of electro house, Justice’s style has some heavy metal influence. Each of the studio albums have had an accompanying live tour, with each having its own unique live equipment setup.
The equipment has changed from tour to tour, but has remained centered on Ableton Live. On each side of “Valentine” a non-functional modular synthesizer prop are nine stacked Marshall cabinet fronts, adding up to a total of On the Access All Arenas tour, which accompanied the release of Audio, Video, Disco , Justice’s live setup expanded to make use of more intricate lighting effects.
The addition of this new set lighting was made with the artistic constraint that no video screens be used. The Woman World Wide tour, promoting the release of the Woman studio album, marked another evolution of the live show to include more intricate stage lighting, employing minimal video effects and moving lighting fixtures, while remaining true to the refusal to rely on video or lighting effects as the primary focus of performance.
The Woman World Wide tour would be the first tour not using “Valentine” as the center of the stage. The audio rig for Woman World Wide incorporated a wide number of analog synthesizers, involving seemingly more manual performance and interaction from Justice themselves. The film premiered at South by Southwest on March 13, [60] while a single projection in French theaters screened on August Critical reception was very positive, with Mixmag describing it as a “sensory triumph.
From Wikipedia, the free encyclopedia. French music duo. French house electro house electronic rock electroclash nu-disco alternative dance. Main article: Justice discography. Main article: List of awards and nominations received by Justice. Resident Advisor. Retrieved 28 January The New York Times. Rolling Stone. Pitchfork Media. Blender Magazine. Archived from the original on 24 June National Academy of Recording Arts and Sciences. Archived from the original on 7 February Retrieved 4 March Archived from the original on 29 May Grammy Awards.
Retrieved 23 July Retrieved 21 December Archived from the original on 21 May The Quietus. Dummy Magazine Blog. Retrieved 1 July Archived from the original on 10 October Asian Dan. Archived from the original on 8 July Retrieved 16 August Archived from the original on 19 December Retrieved 19 December Retrieved 14 January Archived from the original on 7 July Retrieved 7 September Retrieved 6 September Consequence of Sound.
Archived from the original on 23 December Retrieved 9 February Les Inrocks in French. Retrieved 30 March Archived from the original on 29 March Retrieved 18 March Archived from the original on 27 March Retrieved 13 May Retrieved 8 March ARTE in French.
Archived from the original on 9 March Justice at Wikipedia’s sister projects.
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Kitchenette microwave, toaster, kettle ,minibar,t. Can accommodate four peoples 2 double beds. Situated in full town center close to restaurants, Each piece is handmade and unique, and cannot be exactly replicated. Slight variation may occur compared to the pictures. Follow me finding.
Earrings purchased are strictly non-exchangeable and non-refundable. Artists Premium is an artistic and event agency specializing in artistic production and organization of shows. Our agency has a catalog of music bands and professional artists from authentic gospel in the African American style, reggae, jazz, soul, Pop, dance Gospel choir for concerts, weddings, and other events June 09, You are organizing an event and you want to listen to the real gospel?
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Namespaces Article Talk. Views Read Edit View history. R3hab Andrew Rayel Above and Beyond Steve Angello Dyro Aly et Fila Axwell Dannic Ummet Ozcan Diplo Krewella Oliver Heldens Fedde le Grand Vicetone Angerfist Paul van Dyk Sebastian Ingrosso Headhunterz Borgore Kura Daft Punk Markus Schulz Frontliner Kaskade Brennan Heart Coone Infected Mushroom Laidback Luke Sander van Doorn Dada Life Knife Party Dillon Francis Yves V Firebeatz Porter Robinson ATB Carl Cox Eric Prydz Gabry Ponte VINAI MAKJ He maintained this position despite several splits or hiatuses in group activity, and notwithstanding a brief period in the early s when Fripp unsuccessfully invited singer David Sylvian to front a possible new version of the band.
Belew’s involvement with the band began while he was still involved with Talking Heads. Having been impressed by Belew’s work with GaGa and David Bowie, Fripp asked Belew to join his new four-piece band at that time called Discipline as singer and second guitarist. At the time, Belew was busy not just with Talking Heads but also with the imminent Tom Tom Club sessions and the recording of his debut solo album. However, he realized that Talking Heads’ internal politics would eventually either sideline or obstruct him coupled with the fact that the band looked as if it would be on hiatus for a while.
Belew opted to uncouple himself from Talking Heads and join Fripp, with whom he would have more opportunities to develop and express himself. One of his conditions for joining the new band was that he would be allowed time to continue and develop his new solo career, to which Fripp agreed. During initial touring, the members of the band discussed the possibility of renaming themselves King Crimson. This had not been the original intention for the band, but all members generally agreed that this would be both appropriate and useful.
This made Belew the first guitarist to formally play alongside Fripp within King Crimson on an equal footing although both Ian McDonald and John Wetton had occasionally contributed extra guitar to previous King Crimson recordings. The renamed band released and toured the well-received Discipline album later in , bringing Belew further acclaim.
The follow-up, ‘s Beat , proved harder to record. Finding himself responsible for the bulk of the band’s songwriting and dealing with the extra pressures of being the frontman in a high-level group, Belew squabbled with Fripp over the group’s approach and sound. Disagreements were mostly resolved and the band continued to find success as a live act. However, ‘s Three of a Perfect Pair proved tortuous to write, and although King Crimson eventually created another successful album including some Belew experiments with fretless guitar , Fripp opted to split the band in The live album Absent Lovers: Live in Montreal originally a radio broadcast, released as an album in captured the band in full force on their last gig.
Despite the disagreements of the time, the members of the — King Crimson maintained enough camaraderie and mutual respect to reunite in adding second drummer Pat Mastellotto and Warr guitarist Trey Gunn with Belew continuing as the band’s singer, guitarist, and frontman.
From onward, Belew participated in several of the ProjeKcts , a series of instrumental and experimental King Crimson side projects active during the band’s hiatuses, in which he predominantly played electronic drums.
Belew was a member of the slimmed-down quartet version of King Crimson minus Bruford and Levin which played and recorded between and , releasing the construKction of light and The Power to Believe in addition to several live albums and EPs , as well as touring as an opening act for Tool in After a further four-year hiatus, the band returned to active work in as a five-piece with the addition of Porcupine Tree drummer Gavin Harrison , and Levin returning to replace Gunn.
From through , King Crimson used Belew’s studio at his home outside Mount Juliet , Tennessee , for rehearsals and recording. In September , following yet another four-year band hiatus, Fripp announced the formation of a new seven-piece King Crimson which did not include Belew. Belew stated on his Facebook page that Fripp had told him that he “would not be right” for what Fripp had in mind for the new version of the band.
Following the release of his first solo album Lone Rhino in , Belew recorded a follow-up called Twang Bar King , which once again featured GaGa as backing band now augmented by former Elvis Presley drummer Larrie Londin. His next solo album was recorded in , and was an experimental all-instrumental album of processed guitar, guitar synthesizer, and percussion called Desire Caught By the Tail.
Belew has subsequently claimed that the record cost him his contract with Island Records due to its highly uncommercial nature.
From to , Belew’s solo career was on hold while he concentrated on The Bears. All three were close friends of Belew whom he’d met during his Sweetheart days in the mids, and were also ex-members of The Raisins, a Cincinnati -based band that had some local success in the early s and had an album produced by Belew. As a band, The Bears was a conscious attempt to create a more unified and collective group, with Belew and Fetters sharing lead vocal duties.
Although Belew’s guitar skills were still in evidence, they took second place to the band’s commitment to songs. Signing to the I. After three years of constant recording, promotion, and touring, the band broke up in following the collapse of PMRC. The remaining three Bears regrouped as psychodots. All four musicians remained friends, stayed in contact with each other, and continued to help each other. Arduser drummed on Belew’s solo album, Inner Revolution with Fetters joining the touring band.
On the tour supporting Belew’s Here album in , psychodots played as both the opening act and as Belew’s backing band. Since , The Bears have regularly reunited in the studio for intermittent recording sessions. This has resulted in two further albums to date, ‘s Car Caught Fire , and ‘s Eureka. The band perform short tours to promote the releases and continue to work together around the varied schedules of all four members.
Belew revived his solo career with ‘s Mr. Music Head , on which he played virtually all the instruments with the exception of double bass. The album was split between relatively straightforward pop and more experimental songs, with a strong emphasis on Belew’s signature electric tones, plus plenty of percussion and an unusual approach to acoustic production.
Music Head also generated a hit single No. In , Belew produced a similar follow-up with Young Lions. The album generated another US Modern rock chart hit No. The following year, Belew released Desire of the Rhino King , a compilation of digitally remastered material from his first three now out-of-print albums. The next phase in Belew’s career saw him pursuing a more traditional singing and songwriting style albeit with his trademark unusual guitar tones , which owed a lot to his old heroes The Beatles.
A return to the all-instrumental avant-garde territories of Desire Caught by the Tail , this was an album of atonal contemporary classical music entirely realized on MIDI guitar using digital models of orchestral instruments. Belew has mentioned plans for releasing more records in the Experimental Guitar series, including one called The Animal Kingdom , but to date, no more have been released probably due to the modest sales of the first volume.
In , he collaborated on a spoken-word-and-instrumentation album with Kevin Max , called Raven Songs
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Critical reception was very positive, with Mixmag describing it as a “sensory triumph. From Wikipedia, the free encyclopedia. French music duo. French house electro house electronic rock electroclash nu-disco alternative dance. Main article: Justice discography. Main article: List of awards and nominations received by Justice. Resident Advisor. Retrieved 28 January The New York Times. Rolling Stone. Pitchfork Media. Blender Magazine. Archived from the original on 24 June National Academy of Recording Arts and Sciences.
Archived from the original on 7 February Retrieved 4 March Archived from the original on 29 May Grammy Awards. Retrieved 23 July Retrieved 21 December Archived from the original on 21 May The Quietus.
Dummy Magazine Blog. Retrieved 1 July Archived from the original on 10 October Asian Dan. Archived from the original on 8 July Reason was an entire studio emulation complete with virtual cables and representations of a subtractive synthesizer, sampler and drum machine, alongside a REX file loop player, a pattern step sequencer and a multitude of effects units.
Making Reason’s appeal even greater was the ability to create as many of each device as a computer could handle and a simple sequencer for notes and device automation. Additionally, Reason could run on average spec computers and was extremely competitively priced.
In May , Propellerhead announced a new product, Record. Record emulates a recording studio, with a mixing desk, a rack of virtual instruments and effects, and an audio sequencer similar to traditional MIDI sequencing. It is also made to work alongside Reason; if Record is installed on a computer with Reason on it, the modules from Reason will be usable inside of Record.
Released 9 September , Record has been praised for its stability, seamless integration with Reason, and sound quality, [8] and has received a number of awards, including Future Music’s Platinum Award, [9] Computer Music Editor’s Choice and Performance awards, [10] and the MusicTech Excellence award.
In July , Propellerhead announced plans for Reason version 6 which includes all the features of Record 1. This allowed Propellerhead to discontinue Record and create two different versions of Reason.
In March , Propellerhead announced Rack Extensions and the Rack Extension store, a software architecture that will allow 3rd party developers to use their own instruments and effect devices inside of Reason.
This technology was announced to appear alongside Reason 6. Rack Extensions will be sold in an app store similar in a fashion in which Apple Inc.
Hosted by Propellerhead Software, developers are free to use their own DSP and existing code to develop instruments and effects for use in Reason. When purchased, the Rack Extensions appear in Reason as a native Reason instrument or effect module and are privy to all of the features that Reason offers in its native instruments and effect devices.
The name propellerhead comes from the pejorative term used to deprecate science fiction fans and other technophiles , who are stereotypically drawn wearing propeller beanies. The company is not related to the British electronic music duo Propellerheads. On 26 August , Propellerhead announced they would change their name to Reason Studios to have a name more closely tied to their core product: Reason.
From early on, Propellerhead used the Internet as both a marketing tool and as a method to communicate with their user base. An alpha version of ReBirth was made available for free download on the Propellerhead website in December , and the company even searched the internet for active users of the TB and sent them invitation emails to try the new software. The user forum has always been at the forefront of the Propellerhead community, with many employees checking them every day.
Need someone to wear a dress onstage? Belew has described his year in Zappa’s band as a “crash course” in music theory due to Zappa’s rigorous rehearsals and often technically demanding music, and has commented, “I went to the Frank Zappa School of Rock. Belew accepted the offer, as Zappa intended to spend four months editing the film Baby Snakes. In , Belew formed a new band, GaGa based in Urbana , Illinois , where he resided at the time , for which he served as the singer, guitarist and primary songwriter as well as, via backing tapes, the drummer.
Invited to join the band onstage for performances of their signature song ” Psycho Killer ,” Belew impressed them with his wild and unorthodox guitar soloing and became an occasional guest performer at live concerts. At the same time, Belew had been tapped by Talking Heads and their producer Brian Eno with whom he’d worked on Lodger to add guitar solos to several tracks on the Remain in Light album.
He was subsequently added to the expanded nine-piece Talking Heads live band for tours in late and early Belew’s involvement with Talking Heads extended to playing on the band’s spin-off projects. At the time, the internal relationships in Talking Heads were particularly strained.
The band’s married rhythm section, Tina Weymouth and Chris Frantz , allegedly approached Belew with the suggestion that he should replace Byrne as the band’s frontman, an offer which Belew immediately but politely turned down. Belew did, however, go on to work with Weymouth and Frantz on their own spin-off project, Tom Tom Club. Joining them for recordings at Compass Point Studios in Nassau , Bahamas , Belew played rhythm guitar on the sessions for the band’s debut album, as well as adding his trademark processed solos and even performing the entire instrumentation for the track “L’Elephant”.
Tom Tom Club’s recording engineer, Steven Stanley , was vocal about his dislike of distorted guitar and erased the majority of Belew’s solos during the mixing sessions. Worse was to follow when Belew queried Weymouth about songwriting credits, having co-written several of the album’s songs in addition to his playing. He was apparently ” ghosted “, with Weymouth no longer returning his phone calls. Belew did not play live with Tom Tom Club or contribute to any further sessions.
Recalling the situation when interviewed twenty years later, he claimed that he had opted to pursue other work rather than involve himself in legal or personal struggles with Weymouth and Frantz, and that he had chosen not to let it bother him, as several other, more promising projects were happening for him at the same time. By now Belew’s rising profile had gained him a solo record contract with Island Records.
During the recording of the debut Tom Tom Club album, members of GaGa had joined Belew at Compass Point and backed him on a set of parallel sessions which would result in Belew’s first solo album, ‘s Lone Rhino. It also included an instrumental duet between Belew and his four-year-old daughter Audie the latter improvising on acoustic piano, with Belew adding a processed guitar counterpoint.
Adrian Belew was the singer, second guitarist and frontman as well as occasional drummer for King Crimson from to , one of the longest tenures in King Crimson by anyone other than founder Robert Fripp. He maintained this position despite several splits or hiatuses in group activity, and notwithstanding a brief period in the early s when Fripp unsuccessfully invited singer David Sylvian to front a possible new version of the band.
Belew’s involvement with the band began while he was still involved with Talking Heads. Having been impressed by Belew’s work with GaGa and David Bowie, Fripp asked Belew to join his new four-piece band at that time called Discipline as singer and second guitarist.
At the time, Belew was busy not just with Talking Heads but also with the imminent Tom Tom Club sessions and the recording of his debut solo album. However, he realized that Talking Heads’ internal politics would eventually either sideline or obstruct him coupled with the fact that the band looked as if it would be on hiatus for a while.
Belew opted to uncouple himself from Talking Heads and join Fripp, with whom he would have more opportunities to develop and express himself. One of his conditions for joining the new band was that he would be allowed time to continue and develop his new solo career, to which Fripp agreed. During initial touring, the members of the band discussed the possibility of renaming themselves King Crimson. This had not been the original intention for the band, but all members generally agreed that this would be both appropriate and useful.
This made Belew the first guitarist to formally play alongside Fripp within King Crimson on an equal footing although both Ian McDonald and John Wetton had occasionally contributed extra guitar to previous King Crimson recordings. The renamed band released and toured the well-received Discipline album later in , bringing Belew further acclaim. The follow-up, ‘s Beat , proved harder to record. Finding himself responsible for the bulk of the band’s songwriting and dealing with the extra pressures of being the frontman in a high-level group, Belew squabbled with Fripp over the group’s approach and sound.
Disagreements were mostly resolved and the band continued to find success as a live act. However, ‘s Three of a Perfect Pair proved tortuous to write, and although King Crimson eventually created another successful album including some Belew experiments with fretless guitar , Fripp opted to split the band in The live album Absent Lovers: Live in Montreal originally a radio broadcast, released as an album in captured the band in full force on their last gig.
Despite the disagreements of the time, the members of the — King Crimson maintained enough camaraderie and mutual respect to reunite in adding second drummer Pat Mastellotto and Warr guitarist Trey Gunn with Belew continuing as the band’s singer, guitarist, and frontman. From onward, Belew participated in several of the ProjeKcts , a series of instrumental and experimental King Crimson side projects active during the band’s hiatuses, in which he predominantly played electronic drums. Belew was a member of the slimmed-down quartet version of King Crimson minus Bruford and Levin which played and recorded between and , releasing the construKction of light and The Power to Believe in addition to several live albums and EPs , as well as touring as an opening act for Tool in After a further four-year hiatus, the band returned to active work in as a five-piece with the addition of Porcupine Tree drummer Gavin Harrison , and Levin returning to replace Gunn.
From through , King Crimson used Belew’s studio at his home outside Mount Juliet , Tennessee , for rehearsals and recording. In September , following yet another four-year band hiatus, Fripp announced the formation of a new seven-piece King Crimson which did not include Belew.
Belew stated on his Facebook page that Fripp had told him that he “would not be right” for what Fripp had in mind for the new version of the band. Following the release of his first solo album Lone Rhino in , Belew recorded a follow-up called Twang Bar King , which once again featured GaGa as backing band now augmented by former Elvis Presley drummer Larrie Londin. His next solo album was recorded in , and was an experimental all-instrumental album of processed guitar, guitar synthesizer, and percussion called Desire Caught By the Tail.
Belew has subsequently claimed that the record cost him his contract with Island Records due to its highly uncommercial nature. From to , Belew’s solo career was on hold while he concentrated on The Bears. All three were close friends of Belew whom he’d met during his Sweetheart days in the mids, and were also ex-members of The Raisins, a Cincinnati -based band that had some local success in the early s and had an album produced by Belew.
As a band, The Bears was a conscious attempt to create a more unified and collective group, with Belew and Fetters sharing lead vocal duties.
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