AMBIENT-TECHNO: A BRIEF HISTORY AND TIMELINE - PART II - by Funky Jeff

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Dear readers, we continue to dig up more history up on Ambient- Techno, or IDM. We recommend Part I, and now here is PART II. Another academic work by our man in Montreal, (drum roll, please) Funky Jeff - THE DJ, Journalist, Electronic music lover and... walking Encyclopedia of Music. More on Jeff and his work on the end of this text, where we would give you links to his mixes. I must say mixes are conceptualy organized, and great. But for now let's continue and finish it, shall we!?

And if you have any comments, or want to write something, or making music, mixing music we are always searching for new material!!!

The essentials albums:

       Aphex Twin – SAW 1&2 (Warp)

The music here has a lot of texture; there are only the faintest traces of beats and forward movement. Instead, all of these untitled tracks are long, unsettling electronic soundscapes, alternately quiet and confrontational; although most of the music is rather subdued, it is never easy listening. While some listeners may find this double-disc album dull (both discs run over 70 minutes), many listeners will be intrigued and fascinated by the intricately detailed music of Aphex Twin.

British electronics wunderkind Richard James (alias Aphex Twin, AFX, Polygon Window, etc.) claims he heard the compositions on Selected Ambient Works, Volume II in lucid dreams. Like abstract paintings composed of shades of a single color, James’s resonant explorations of specific timbres linger close to a central idea on each cut, incorporating just enough variation to remain disturbing. 

While its predecessor, Selected Ambient Works ’85-’92 drew on seven years’ worth of material, the uniform quality of these untitled tracks, plus their judicious sequencing, suggests they were assembled over a shorter period. Clocking in at over 150 minutes, the double-disc set (if this is “selected,” how many hours of outtakes remain?) provides an exemplary introduction to the quieter facets of James’s expansive, idiosyncratic aesthetic. It’s much smoother and lower in frequency. About half the tracks have deep beats of some sort or another, and a few tracks have controlled freakiness. Genius is often close to craziness and RDJ is indeed proof of this.

        Autechre – Amber (Warp)

The music of Autechre is polarizing: either IDM fans worship it, or casual fans of EM despises it, and cannot stand it and prefer their older material from 1993 to 1997, I tend to fall on the latter category. However if there is one agreement that Ae fans can share is that their best album is probably 1994’s Amber. Take the track ‘’Piezo’’ for example, it starts with a small snaredrum before morphing into a brooding, dark and eerie piece of ambient. I remember listening on a cassette a friend had taped me from the CD (Thanks Olivier!) I couldn’t believe what I was hearing. It’s like watching a David Lynch movie for the first time: you don’t know what the heck it is, but you know, it’s brilliant, it’s shocking at first. I undermines your core beliefs. What is music? How can one album change your outlook on music that is quite simply quite an accomplishment?


                                     

Even more so, that it stood the test of time.  In fact, the album is the facto very dark but also quite enjoyable and easy to listen to – try it on a Sunday am! Even 25 years after its inception, it’s fair to say that the album still resonates amongst ambient and techno fans. According to Autechre, Incunabula was sketchy at best. Amber does sound like polished material but the sad thing is that Ae never graced us with a proper follow-up. This is almost as sad as the day Charlie Cooper retired! (Plumper pass bbw porn star circa 2011).

           Boards of Canada – Music Has The Right To ChildrenMusic Has the Right to Children is the debut public album of the Scottish electronic music duo Boards of Canada. It was published by Warp Records and released on 20 April 1998. Q magazine has said that MHTRTC is the hair equivalent to Super 8 movies and it’s clear by several listen that BOC took electronica into space. Cleverly referencing the esoteric side of ’70s Test Card music in all its trippy glory.

                                         

You can think of this album as music as a journey, as a ticket to a trip. This is one of those albums you should not be casual about. This is a recording where you sit or lay down and just kind of let it enter your head. It is perfect listening for a lazy Sunday, as daylight is fading but the air is still warm. I think that is why I like this album so much. It completely transcends its genre and takes you to a place, a mood and maybe even a time in your life.


                                       

But there is something very candid and childlike in some of these songs– like roygbiv or aquarius–that remind one of the innocence of childhood, and hazy memories of eating cheerios while watching Saturday morning cartoons, catching grasshoppers, and playing in the park immediately come to mind. But other songs like telephasic workshop sound much more grown up (my favorite) begins crackly and muffled like an old favorite record, but gradually works itself up to a beat-intensified frenzy, with really cool voices lapping over one another as they compete with a beat that gradually overtakes them. BOC is a reference to the National Film Board of Canada. Best known for its documentaries, in the 70’s and early 80’s they produced some exquisite wildlife films. Music has the right to children is a mesmerizing and dreamy place where you would like to spend some countless of time.

Future Sound Of London – Lifeforms

What can be said about Lifeforms that hasn’t been said before? It’s an epic ambient-techno album that has stood the test of time. Truly gorgeous samples such as Klaus Schulze AND Ozric Tentacles. The album is mixed and is meant to be listened from start to finish, so seamless. It has a couples of samples from b-movies like Millennium (You will awake now, remain calm) and Repo men (Miller explains the weirdness in the world). It’s probably one of the most well reviewed album of his genre and by countless of people all around the world. The peak of FSOL career.

                                       

But the greatness of Lifeforms lies in the fact that, much like great sampling artists like DJ Shadow or DJ Premier, FSOL were able to grasp just a few seconds of a Andrew Grossart lush track and make it into an even bigger, more brooding track. The atmospheres here are dark, sharp, crisp, and cunning. They were meticulously crafted with dexterity and ingenuity. Those samples here often only last 5 or 10 seconds. To take these quick snippets and make them into epic ambient-techno tracks takes some bloody geniuses. The vision, the artwork, the seamless, floating tracks that makes this album flawless as a whole; when combined (Much like Bytes by BDP), it is sheer brilliance.

     

Global Communication – 76:14One of the most significant releases to cross the ambient currents of the 1990s, 76:14 places itself alongside benchmark electronic releases from Brian Eno, the Orb, and the Future Sound of London. This synth-dominated venture allows the armchair traveler to indulge in atmospheric wanderings which suggest virtual galactic discovery. But often enough the textured beats keep things grounded to dissuade the listener from being lost in the void. Vocal samples from nine languages also remind us of the international and diplomatic intentions of this otherwise electro-instrumental album. Strap in and enjoy the lift-off for all mankind.

Check this mix: fabric 26 - Global Communication

Tempering the industrial tilt of their previous Reload material with slower, more graceful rhythms and an ear for melody unmatched by any in the downtempo crowd, Mark Pritchard and Tom Middleton produced the single best work in the ambient house canon. The tick-tock beats and tidal flair of “14:31″ nowadays called Ob-selon-mi-os is proof of the duo’s superb balance of beauty with a haunting quality more in line with Vangelis than Larry Heard (though both producers were heavy influences on the album). On several tracks the dark side appears to take over — the pinging ambience of “9:39″ — but for most of 76:14 the melodies and slow-moving rhythms chart a course toward the upbeat and positive.                           

                                     Global Communications - 14:31

Global Communication: Ob selon mi os or know as 14:31 (Notice how naming songs after minutes makes the listener focus on the music instead of the namechecking…) released in 1994 on Dedicated: Album 76:14. 

         The Orb - The Orb's Adventures Beyond the Ultraworld

The Orb virtually invented the electronic genre known as ambient house, resurrecting slower, more soulful rhythms and providing a soundtrack for early-morning ravers once the clubs closed their doors. The group popularized the genre as well, by appearing on the British chart show Top of the Pops and hitting number one in the U.K. with the 1992 album U.F.Orb.
Frontman Dr. Alex Paterson’s formula was quite simple: he slowed down the rhythms of classic Chicago House and added synthwork and effects inspired by ’70s ambient pioneers Brian Eno and Tangerine Dream. To make the whole a bit more listenable, as opposed to danceable, obscure vocal samples were looped, usually providing a theme for tracks which lacked singing. Much like the early Orb-related project recorded as Space, Adventures Beyond the Ultraworld simulates a journey through the outer realms — progressing from the soaring ambient-pop of “Little Fluffy Clouds” and the stoned “Back Side of the Moon” (a veiled Pink Floyd reference) to “Into the Fourth Dimension” and ending (after more than two hours) with the glorious live mix of “A Huge Ever Growing Pulsating Brain.” A varied cast of samples (Flash Gordon, space broadcasts, and foreign-language whispers) and warm synthesizer tones provide a convincing bed for the midtempo house beats and occasionally dub-inflected ambience. With a clever balance of BBC Radiophonics Workshop soundtracks, 70s ambient meister-works by Eno, Steve Hillage, and Floyd, plus the steady influence of Larry Heard’s sublime Chicago house, Adventures Beyond the Ultraworld is the album that defined the ambient house movement.



                   

The first Orb album was also entirely new when it appeared : a low-key dance record, with echoes and swells more than up-front tunes, stoner-level dub bass, and all sorts of samples and sounds like seagulls, film clips, astronaut voices, bits of disco–fluttering through the mix like hallucinations. Essentially a techno album for tired dancers, it’s held up nicely over time, thanks to its intricate, dreamy sonics. Beyond the classic “Little Fluffy Clouds”–a set of interlocking synth hooks and loping percussion, held together by a cut-up sample of Rickie Lee Jones talking about the skies on Little fluffy clouds.

One of my top 5 favorite records ever was released in 1990. Not talking about Celine Dion but Little Fluffy Clouds by The British band The Orb, founded by Alex Patterson  and Jimmy Cauty of KLF fame. The Orb’s name comes from Woody Allen’s Sleeper, where The orgasmatron, a fictional electromechanical related device, an orgasmic orb, in the fictive future society of 2173, acts as a large cylinder big enough to contain a single person. Once entered, it contains some future technology that induces orgasms. It’s as if Patterson would suggest The Orb’s music is capable of generating orgasm, which may do so after repeated listening… Little Fluffy Clouds was the first single from The album Adventures Beyond the Ultraworld. Back then, their music was classified as ambient house but it was so weird and original. I don’t think people appreciate how much the ORB were geniuses of an era. They updated Brian Eno and Tangerine Dream’s soundscapes with the post-rave era, and builded a genre in itself : ambient dub. They were pioneers in bringing slow motion dubby beats with ambient atmosphere, and that was way back in 1989 and 1990, 22 years ago. This was the first “techno” record I had heard and I fell totally in love with the genre from the get go. Atmospheric music with beats, a different array of samples, amazing production and above all, a genuine sense of humor. Little fluffy clouds was centered on clips from an interview with Rickie Lee Jones in which she recalls picturesque images of her childhood. Critics and fans sometimes attribute the odd nasal tonality of Jones’ voice to drug use, though Jones later claimed that it was the result of a heavy cold. The sample comes from a conversation between Jones and Levar Burton (who played in the TV series Roots) on the children’s television program Reading Rainbow. The quote taken as the voice sample goes on like this:


                   

Jones: “They went on forever – They – When I w- We lived in Arizona, and the skies always had little fluffy clouds in ‘em, and, uh… they were long… and clear and… there were lots of stars at night. And, uh, when it would rain, it would all turn – it- They were beautiful, the most beautiful skies as a matter of fact. Um, the sunsets were purple and red and yellow and on fire, and the clouds would catch the colors everywhere. That’s uh, neat cause I used to look at them all the time, when I was little. You don’t see that. You might still see them in the desert.”

The song also uses a harmonica sample from Ennio Morricone’s The Man With The Harmonica (from the film Once Upon a Time in the West) and parts of Electric Counterpoint, a piece for multitrack guitars composed by Steve Reich and recorded by Pat Metheny. Reich was quite happy with the end result. “Little Fluffy Clouds” was used as the music to a Volkswagen commercial for the New beetle in the late 1990s, accompanied by video of the New Beetle rotating and changing color to the beat of the music. As for the rest of the album, Adventures Beyond The Ultraworld opens with the crowing of a cockerel, the rich tones of a Radio 4 announcer declaring that, “Over the past few years, to the traditional sounds of an English summer – the drone of lawnmowers, the smack of leather on willow – has been added a new noise…”, which could refer either to the fictional testing of The Orb’s spaceship or to the 120bpm music that burst out of warehouses in the late-eighties, before the hazy sounds of Rickie Lee Jones fondly recalling the summer skies of her childhood drifts in.

                                                      

What The Orb thinks about music industry.

So begins Little Fluffy Clouds, the still wonderful opening track on the album. Although this is often erroneously called ambient house, there is little of Brian Eno’s Music For Airports here – Little Fluffy Clouds is a glorious flashback to the acid house boom of a few years earlier and the familiar burbling of a Roland 303 underpins Jones’ story. Rickie Lee Jones claimed that her suitably influenced tones were the result of a heavy cold and sued Big Life, The Orb’s record company settled out of court with her, but Little Fluffy Clouds provided Jones with her most memorable song in many years and even after twenty two years, it still sounds fantastic.

      Orbital - 2 (Brown Album)

On Orbital the duo aimed to make more atmospheric music than the dance raves of their first album. They used more complex rhythms and denser arrangements on the appropriately named pieces entitled "Lush" but still proving themselves capable of making quality pop music on "Halcyon + On + On", with vocals from Kirsty Hawkshaw of Opus III.

The album begins with "Time Becomes", which uses the same speech sample by the actor Michael Dorn in Star Trek: The Next Generation (Time squared - season 2 episode 13, Worf - 20'30 : "There is the theory of the Möbius. A twist in the fabric of space where time becomes a loop") which opened their first album. The piece uses phasing, a technique popularized by Steve Reich, in which two identical samples are repeated at slightly different speeds.

The second song on the album, "Planet of the Shapes", contains a sample from the movie Withnail & I ("even a stopped clock gives the right time twice a day").

"Remind" is based on Orbital's previously-released "Mind the Bend the Mind" remix of "Mindstream" by Meat Beat Manifesto. It is effectively an instrumental version of that mix, with the last remaining elements of MBM's original track removed.

The brothers enjoy aural puns, and the use of the sample from Star Trek: The Next Generation (which appeared on the opening of their first album) was meant to play with listeners by making them believe for a few seconds that they had bought a mispressing. The muffled intro on "Planet of the Shapes" has the intentional addition of record static and crackles, followed by the sound of a needle skipping grooves then scratching across the record, also meant to trick fans who bought the vinyl edition, by making them think their copy was less than perfect.

"Halcyon + On + On" and parts of "Lush 3-2" were used in the 1995 Mortal Kombat film soundtrack. The album received widespread acclaim. In the UK, NME praised the record, saying, "The techno album is a doughty brute to master. Only a few have managed it successfully [...] but Phil and Paul Hartnoll have done it twice... The expression 'intelligent ambience' is bandied around to describe spacey dance music with undue regularity, but Untitled actually satisfies the description. Scientific and terrific."[4] Q also recognised that the duo had made a second successful album, saying, "Like their first album, Orbital's current effort is a finely balanced combination of mus<br />o trickery and astute dance tracks... Again, like the latter, it benefits from repeated listening."[5] Melody Maker claimed that "This new album (untitled, like the first) puts them firmly back in the firmament". In a reference to the most talked about band at the time of the album's release, Suede and their sexually ambiguous frontman Brett Anderson, and including a pun on "Anarchy in the U.K.", the debut single by the Sex Pistols, the review concluded, "As warm as plasma and as eerie as ectoplasm, Orbital's (out-of-)body-music is the true sound of Androgyny-in-the-UK." Vox observed that "this collection sees Paul and Phil Hartnoll drifting still further into the heart of the machine, touching upon the sometimes fragile soul of Techno", before declaring that "Orbital are still leading the field".



                                      

        Aphex Twin – On EP/remix 2 XLP

      Aphex Twin's On EP is clearly one of Richard James's most successful works, both artistically and chartwise (hitting the low 30s on the British charts--not bad for a rabid experimentalist). 

      His first major release in the U.S, the weirdly club-friendly yet organic title track is composed of (in order of appearance) four pleasant, reverberating piano notes played in succession; a cascade of ascending and descending keyboard notes that quickly approximate a waterfall; the sound of actual water itself in form of a rainstorm; synth washes for ambient coloring; skittering sequencer rhythm notes; an antique Suicide-style beat box that sounds as if powered by steam; and a deliciously distorted, bass-heavy, repeated squeal noise that serves as the focal point of the entire piece. It's pretty neat, enough so that it's one of James's essential recordings. 

Global Communication – Chapterhouse remix album

Pentamerous Metamorphosis is an album by Global Communication originally released in 1993 on Dedicated Records. It is a reworking of the Blood Music album by Chapterhouse (indie band) and was originally only available as a bonus CD bundled with the Chapterhouse album. It was rereleased as a standalone album in 1998.The 1998 re-release was remastered and had minor changes to two tracks: (Beta Phase) to remove an uncleared sample from the film Return of the Jedi and (Delta Phase) was shortened by eight bars.
The removed sample: EV-9D9: "How many languages do you speak?"

C-3PO: "I am fluent in over six million forms of communication".

Tom Middleton commenting on the creation of Pentamerous Metamorphosis in the liner notes to the 76:14 album remaster/reissue said "One day we got a call from Andy Sheriff from Chapterhouse who loved our work, and asked if we wanted to remix their entire album? What an amazing opportunity. Sampling from the multi-track tapes, embellishing the themes and distilling the lyrical content from Blood Music into five new pieces. The result was Pentamerous Metamorphosis."

It is one of those rare start-to-finish gems. Absolutely stunning. Celestial, ethereal, out of this world. I never grow tired of listening to this album and it puts me somewhere else, as I suppose all good music should. The one track on that CD that haunted me was Global Communication's Epsilon Phase. I downloaded the entire Pentamerous Metamorphosis. The first time I listened to the entire disc was very late at night, alone, in the dark. I was blown all the way to outer space and back.

Among the Brian Eno's, The Orb's and the countless other amazing electronic ambient acts, there stands Global Communication.
Anyone who's heard of them will immediately think of their timeless album, 76:14. However, Pentamerous Metamorphosis is Global Communication's best album and quite possibly the iconic album in the entire ambient genre. Alpha Phase opens the 5-tracker quite nicely. Dark, grueling and nearly sinister in nature, its abstract beats chug the track along before reaching a piano infused crescendo. Pentamerous Metamorphosis is THE diamond in the rough for any ambient fan. Simply one of the most overlooked and amazing albums of our time and simply put, if you have the ability to obtain this album, do so.

Biosphere -  Substrata & Microgravity

Biosphere is the main recording name of Geir Jenssen (born 1962), a Norwegian musician who has released a notable catalogue of ambient music. He is well known for his early “ambient techno” aesthetic and later for his “arctic ambient” style, his use of music loops, and peculiar samples from sci-fi sources. His track “Novelty Waves” was used for the 1995 campaign of Levi’s. His 1997 album Substrata was voted by Hyperreal as one of the all-time classic ambient albums. But over the last few years his albums (such as Cirque, Shenzou, Autour de la Lune, Dropsonde and N-Plants) have embodied some touches of jazz, classical, drone and even some dub-techno. His unique sound signature is quite special: an immense feeling of being absorbed in the cold winter. Suffice to say, in my opinion, Biosphere isn’t just making ambient music, his music IS pristine ambiance only equaled by Pete Namlook from to 1992 to 2012. The music that space colonies would probably play. 
Geir Jenssen trancends any genres of music. He adopted Biosphere, as his alias in a nod to many of his compositions having been assimilated into an ‘Arctic Sound’ a somewhat reductive term concerning his work since it is much more than a simple reflection of his environment-he proposes. Animated by attention to detail, rich textures, a natural minimalist aesthetic-aquatic brushstrokes, echoes of distant vessels, and glacial glitches-and other frequency maneuvers, he composes a ‘cinema for the ears’ that irremediably positions the listener in a profound and pensive sonic dimension. His music  echoes impressions and slides, and eschews any pretences of rigid formalism or the dichotomy often found between sound and image. His digital manipulations of natural images or extreme situations from everyday life enhance perception, while constituting a genuine invitation to an escape toward infinite horizons. A dual display as unreal and poetic.

If several producers of the genre tend to adopt the then micro-house as minimalist approach, Jenssen him, continued to explore the atmosphere through the sequencers: Substrata is devoid of rhythm almost entirely. Jenssen focuses more austere in the neurasthenic atmospheres. The compositions of the Norwegian artist are still filled with subtle melodies and melancholic soundscapes. As such, the album is reminiscent of the highlights of 76: 14 and of collaborations between Biosphere and another ambient artist, Higher Intelligence Agency, on the album Polar Sequences.


Words by: Funky Jeff 

More on Funky Jeff, check his mixes, you would not be disappointed, quite opposite:
https://soundcloud.com/funky_jeff

https://www.mixcloud.com/elviswong772/


What do you think?? What's yours top ambient-techno albums, and why!?
Please get in the conversation, we would like to hear what YOU think!!!

Project: ILLUMINATIONS

Illumination is one of the Banja Luka's strange party promoter. Why strange? Cause most (not them all) party promoters always thinks "bigger is better - more money, more chicks, music: bitport top10", and strange thing is that Illumination it's all about "Less is More". They even organized parties in Germany, always invest their money in sound, no sponsors at all, and always crossing the beetween escapism of, in this case older deep electronic dance music, and fine arts as painting, always keeping number of crowd to 100 dance freaks. Also they are my friends. 
Here is small interview with persona x (not the real name), it is here to promote and to be  part of larger, abstract "being" Illuminations?

D : Can you tell us more about project ILLUMINATIONS, what is it, what is the mission and purpose?

ILLMN: Illuminations as a project actually is active for over a year, when we saw opportunity to start subcultural movement, the project was a reaction - let's say some kind of a revolt against current political and social state in our society, which is  STILL going in totally wrong direction, the society were normal social values are turned upside down and  were politics are in total disorder, here in Bosnia and Herzegowina. We manage to bring together our friends, same mindlike individuals, who are also artists and quite creative people. The people who have common interests, even if they are from different background.  

One of them bring out the propose that we are in need to create the platform, were we could all bring in new ideas, and work on them together, so we could grow, and to do show the public: there are other ways, and far more creative ways to have fun and to be creative, also to become aware of the current situation in society. 
And one thing in particular: to show that is possible: to have quality over quantity - there is no need to be trendy-and-poppy, that false image with the one we are all bombarded, actually it is the way to keep people satisfied, and in status quo with the upside down social values. Our work relates on interpersonal relations, communication, art, therefore all this is done through the organization of music events. In order to achieve this, it was necessary to create a primarily mature atmosphere, etiquette, especially the vibe first; through which our fellow associates, artists and the people we work with, so we can present our work in a quality way, where our work and desire for the same will be understood and accepted by the audience, in hope, it will be turned in a good "feed back" - to get in touch, create contact with our audience: where they can become a part of it. Because we all want to have fun together and enjoy it, to create community. The basis is therefore is not quantity, it is not making money, it is not about becoming mainstream, and absolute it's not to create an image, specially commercial one - it is quality.
It is important that each of us can express themselfs, create a bond with an audience, specially ones that understands and accepts spiritual body, mind, soul moments. 
According to the statistics we are monitoring and analyze any data, during the organization of event and even after the event, and we have significantly attracted attention, which means that we are doing a good thing, and most important that people "dig it" - they recognized our ideas, and that pleases and pushing us forward. We really do not know where this will take us all, life is so unpredictable, but we certainly know that we will try to do smaller parties, because what we do is, unfortunately, not for everyone.
We couldn't do anything about society in which we live, and we are witnessing the times where more money is spend on image and popularity - where everything is marketing to make more money. So Culture, Art, and their diversities, and even subcultures here are... well it's needlees to speak about it here. The scene is somewhat lethargic due to all that, but there are people who are still working hard and still doing it well. However, all this can be done with far better quality and more creativity, as it was before.

D: You were organizied few parties in Germany, so what was your expirience, and what was reaction of the party-goers and partners?

ILLMN: In Germany is quite different situation then here. In BiH there are always some kind of problems: is it with event space, an/or budget and equipment, but in Germany almost every club receives subsidies annually from the state for its cultural contribution. There is, let's call it, clubbing as a way of life and part of General Culture. People are educated, confident in themselves, which is not the case with us.
When we shared our experiences and presented the way we do it in our country, our colleagues were really in awe, and they certainly gave us a chance to work together because it turned out that we are really great: becuse we have expirience in organising the event without basic means of work such as space, club and budget, while they all have it all!!! The audience certainly felt another vibe that was produced by the indescribable desire and passion and flow that dragged us through the events we were doing. If the Germans understand your potential, and your abilities, they also recruit you for their team, because they understand how healthy common interest and growth is healthy, which is certainly not the case with us.

D: Again, I want ask you about comparison with scene here, and scene in the World, and also Your vision of the Future:

ILLMN: Hyper has become everything... real business. It is necessary to remain consistent with ourself and to recognize the right values. It is generally reduced to self promotion and profit.
When it comes to the future, surely the quality will be crystallized. It has become global a long time ago, and different influences became real, even more people are going into experimentation, right now. And in different directions, where new hybrids are being created, and it is very difficult to predict the music on what it will sound.
We are looking our own "bussiness", and our possibilities, in our society and what it provides us. We are looking whats happening in the World, but we must still be realistic, and above all to be what we are and what we want to be: we do not want to compromise our values, and on the other hand we have a flavour or original style. Yes, something original, which was created by our society and social situations.

D: Your next event is on 24. November 2018., and what do Illuminations have in it for us?

ILLMN: This time we will experiment with multimedia arts. When it comes to the music program, this time we will host the producer / DJ - Verona Italy/DJ  Omar Contri formerly known as Shinoby 

Since the launch of his imprint Istheway in 2015, Shinoby has laid the foundations to a fruitful body of work, that defies categories and easy classification.
The discography includes remixes from Madteo, Jamal Moss, Tzusing & Samo DJ, MGUN, The Analogue Cops and an cooperation with legendary Hypnobeat (James Dean Brown & Helena Hauff).
In the last two years he released on his label two 2x12" albums (Celestial Bliss and R.I.S.E) played all over the world.
http://shinoby-istheway.com/
https://www.residentadvisor.net/dj/shinoby
https://shinoby-istheway.bandcamp.com
https://www.discogs.com/artist/2996779-Shinoby
https://soundcloud.com/shinobyistheway

Nemanja Krstic is a music producer and DJ from Belgrade, Serbia who mostly performs live. In the year of 2011 he releases his first track named Novi Beograd Underground for a French label My Love is Underground and in 2016 released track for Rough House Rosie. His music can be described as Detroit and Chicago influenced sound which contains elements of Deep house and Techno.

 https://nemanjakrstic.bandcamp.com/
https://www.discogs.com/artist/2551799-Nemanja-Krstic
https://soundcloud.com/nemanjakrstic .....

VJ is young artist Arabella Poe. https://www.facebook.com/arabella.poe .

You can also enjoy in pictures of two Banja Luka's artist, academic painters Petra Simić https://www.instagram.com/simic5ra/,

and Djurdjica Bjelošević

https://www.instagram.com/djurrurux/.

Party is at our Temple Of Freedom "DKC Incel" https://www.facebook.com/dkcincel/ .

Start 22h, end 05h, minimal donation: 10KM

Event  https://www.facebook.com/events/1490414951102596/

https://www.residentadvisor.net/events/1179393

more info illuminationsbih.bih@gmail.com

Also you can go to pre-party at "world famouse" Ziza; https://www.facebook.com/kafeziza

Warm Up: Milica Kulić a.k.a. April. Here is her page: https://www.facebook.com/DJAcidApril/

Event : https://www.facebook.com/events/333301177428695/

D: Can you tell us more about Tillian?

ILLMN: We're not going to tell you anything except that Tillian is someone who is trying so fuckin hard to arrange such unoffical events and to bring us all together in one place. You definitely need to support and listen. 

We will use the opportunity to ask you once more:

PLEASE RESPECT OUR NO PHOTO POLICY!
NO PHONES ON THE DANCEFLOORS!

D: Message for younger generations:

ILLMN: Listen to music, watch carefully, dig up, explore further, do not accept or accept only what you are eagerly offering and what is easy to get, remember for all great things you have to put some blood in it, read books, engage in sports, travel, visit clubs in the cities you visit, explore their subculture, it's not a point to do this to be in the phase, because then you will certainly not be, be responsible for yourself, and come to DKC Incel on Nov 24.

Explore further, do not accept or acceptable. Be who you are, do not allow yourself to be programmed!!!

Learn to illuminate!!!