Gather we lovers singing our hearts out,
into bliss we climax in crescendo,
and repeatedly rise and fall,
soaring our hearts high–
our egregore reverence.

With elation we breath sweet lush vapors,
subtle elements in sound,
dazzling vibrations in light,
and melting together in harmony–
our love shining bright.

We grow higher as our celebration continues,
flashing smiles,
peels of laughter,
so blissed out are we to move as one–
leaping into beloved’s abyss,
dissolving primordially,
singing an ecstasy.

Danyew is awesome.

Go check him out now. Search it on youtube. last.fm. Whatever.

The lyrics are so grippingly meaningful, and the music has the different sparkle to it, that just can’t be found everywhere.

But about the music, let me set it out like this:

Most of Chris Tomlin’s songs have that contemporary guitar sound, sometimes, like with “Jesus Messiah” or “God Almighty”, they’ve achieved a better orchestrative sound,

but still, it’s mostly like “How Great Is Our God” or “Holy is the Lord” sound, that acoustic guitar strum covered with other stuff.

Don’t get me wrong, I like Chris Tomlin. What I’m saying is the sound of the songs usually have a sound like this.

Same way, but in a perpendicular rock style, Sanctus Real has got this great lyrics and great songs and a sound that sometimes is different in a way, but mainly revolves around the same thing,

the rock sound.

And last example, Starfield, which has a lot of great songs, and great lyrics, but all the songs, have the same fullness sound. However, this is kind of a different sound, but all the songs

sound like this.

But, let’s shift to a different view.

The David Crowder*Band. Their sound I’m labeling as the crowdersound. Why? It’s so different. Their first album, Illuminate had a very similar Chris Tomlin-y sound throughout the album, but then their next album, A Collision (aka, the smash-breakthrough-blockbuster Christian album of the year 2005) was this combination of sounds of all sorts. From the slight-rock sound of “Here is Our King”, to the electronic-synthesizing sound of “Do Not Move”, to the bluegrass in “I Saw The Light” and the end of “Be Lifted/Hope Rising”, it was just an awesome jumble of different sounds all over. Then, they came out with Remedy, and this CD, unfortunatly wasn’t as favored as A Collision, this was a half-return to acoustic sound, with some pretty awesome electronic stuff in the middle. I liked Remedy, but a lot of older crowderfans didn’t. Then: Church Music. This was awesome. It was quite amazing too. It was this sewn together CD with this completely different sound throughout the album, with all of the songs blending into the next one, and all this awesome stuff.

This is different sound = defined = crowder*band

Then Danyew.

These guys got this awesome orchestrative piano electronic synthesizive sound I can’t get over. It’s just awesome.

Check them out.

Now.

Over the weekend I received another link to an online quiz maker. In the past I found many of these to be a bit hokey and not worth much, but since I received this from multiple sources and they all thought that it was a great resource, I decided to check it out. I have to say that I was pleasantly surprised. The ease of putting together a quiz was very intuitive and the process was simple and straight forward. I was able to create a quiz in just a few minutes which is another plus in my book. The use of this in a classroom as an introduction activity would be great, since you can add all types of media to the quizzes. This could be a great way to introduce an upcoming topic or review past knowledge before moving on. Another plus for me was the fact that it was free. All you need to do is create an account and you can start making quizzes; however, they do advertise and that could be an issue for some school districts. Overall this is one that I may use in the future and definitely earned a bookmark. Thanks guys for the link and tip.

thanksgiving_day_quiz

Molte volte mi è capitato di ascoltare dei brani su youtube davvero belli; un vero peccato non poterli ascoltare se la connessione al noto sito viene a mancare.

Per questo viene in nostro soccorso VidToMp3 , questo fantastico sito permette una volta inserito il link del video di scaricarne l’audio ,trasformarlo in mp3 e dare un semplice e comodo link dove potremmo scaricare il file creato.

Bè che dire una cosa STUPENDA per chi come me ama la musica e  cerca di portarsela sempre dietro.

In più il sito permette di scaricare l’audio anche da YouTube, MegaVideo, Dailymotion, Metacafe, Veoh, Myspace, Break, iFilm, Google Video, Bolt, ClipJunkie, ClipShack, CollegeHumor, FunnyJunk, Glumbert, GoFish, Grouper, Hallpass, MilkandCookies, Putfile, SantaBanta, Sharkle, Shoutfile, Vimeo, vSocial, Yikers, ZippyVideos, e in futuro altri….

Che dire, un repertorio completo.

A voi basta andare sul sito di hosting dove si trova l’audio del video da prelevare , prendere il link, andare su VidToMp3 immettere l’url nell’apposito spazio e aspettare che la conversione finisca, dopo di chè verrà inserito un url nella pagina che vi rimanderà al download del file mmp3 (se la conversione è riuscita ovviamente).

OVVIAMENTE e’ tutto GRATUITO, quindi potrete usufruire del servizio quanto volete.

In più se non trovate la canzone su youtube o megavideo etc. esiste un modulo di ricerca che permette di ricercare l’audio già convertito in formato mp3 direttamente nei db del sito, quindi potrete risparmiare anche tempo.

Un fantastico servizio , che vale la pena di mettere tra i preferiti

Ecco il link al sito : VidToMp3

Torna alla HomePage

“Goldfish” Two individuals from Cape Town, who through their rhythmical sounds and scintillating beats they’ve changed the way South Africans see music.

A electronic Funk Duo utilizing elements such as effects, bass, saxophone, samplers and the list is endless. From two varsity students, and now two music phenoms who truly have inspired a nation of musicians. Caught in the loop of music, parties and everything goldfish.

They have traveled the world from Miami to Ibiza and have sold out at each show nothing really gets better than this. Their new album Perception Of Pacha Remixed, promises to be great.

What is “Goldfish”?

Two guys from Cape Town who love to make music!

1.What has been your motivation to make that difference.

We just heard a different sound of music to what was available, so we tried to make it ourselves.

2.The world has seen nothing like you what makes you unique and African?

What makes us African is that we don’t try to sound like a band from overseas. We were born here and our music should reflect that. We also love working with different vocalists and musicians from Africa!

3.Will you make a impact on those individuals who you inspire?

You’d have to ask them! We’re stoked to inspire people with the music we make

3.If you were to live your life all over again, what would you do differently?

Nothing…

4.What’s next for goldfish?

Touring SA as part of our tour promoting our new CD, and then playing some shows in Australia for New Years Eve. Next year a new artist album.

Cheers dude! Go and shine your own star:)

It was a great evening! Many people came and had to wait in line for a long time before we could come in and see them. If you have not yet heard their music, please do so!

The music is different, soft and hard at the same time and sounds like no other. The concert was truly amazing!!

You might remember a concept that I pulled out very soon after I completed the main research stage of my project, looking at attracting attention through noise. If not, take a look here: (click for a bigger look)

Essentially, the idea looked at the idea of attracting attention to a product as it is removed from display by a customer. Shop owners know the high-risk items within a retail environment, and act to protect them to the best of their ability (selective tagging, items close to the till etc.) – the idea is to replace traditional methods of knowing when anyone is interacting with them (EAS etc.) with another method that is equally, or more effective than what is available at present. The use of sound is ideal for this, as currently, electronic gates only alert staff once stock is on its way out the door – new concepts can bring the alert back into the retail environment, making it more likely that the shoplifter will be caught, and ultimately, that they will not attempt the theft in the first place.

Initially, the idea was based around the idea of the plastic ring system that holds six-packs of beer together – a customer would snap off a product from this ‘pack’ and the material would make a noise, alerting the staff to the interaction. However, before going too far with this concept, it became clear that this continual breaking of material presented sustainability and cost issues for the retailer, and was not ideal. As a result, a new material was sought, and balsa wood was considered as a result to the plastic of the initial concept.

This idea also addressed the concept of how products could be locked into the rack itself, utilising a simple fastening method that allowed tight fitting to the product, as well as the display itself. However, I still felt it was too wasteful – broken material is still produced as the items are sold. While the idea of sound as an alert method makes sense, it doesn’t make sense to substitute EAS tags (which are ultimately re-usable) for something that will deplete over time.

Considering this, the idea of noisy materials emerged as a direction for development – materials that can make a noise, but do not lose their functionality as a result. The clearest example of this is Velcro, which make a hell of a racket when you pull it apart, no matter what you do to try and stifle it (as highlighted by a course mate who talked about trying to open his bag during a presentation).

My primary idea on this looked at using tags on the products, allowing them to stick to a Velcro-surfaced rack, meaning they would make a loud noise every time they were removed from the surface. The main issue with this is the need for sticky velcro tags to attach to the product, which again produces waste – the tags are left on the product, costing the store money every time they have to put a new one on a replacement product.

The development of this removed the need to have sticky-backed Velcro tags on the product itself, thus removing any waste in the process of the removal of any item. The product is simply rolled up in a double-sided Velcro ‘blanket’ which is fixed to the display rack. The item is prevented from sliding out, using simple technology employed in Motocross goggles, which utilises the friction between rubber bands on the inside of the goggle strap, and the smooth surface of the helmet to effectively prevent movement – the bands can be seen on the strap in the image below.

This design then prevents the removal of the product from the display without making noise, and thus alerting the staff to the fact that someone is trying to take one of the product off the shelf. Legitimate customers can still access the product to view it, but a shoplifter, based on the research done to date, will not be keen to draw attention to themselves and will not attempt the theft. However, following discussion with another of my tutors, I’m keen to keep developing this idea, as the re-stocking ability of the concept is a bit clunky – each item has to be wrapped in the display ’strap’, and the volume of items of display is clearly limited by the system. Currently, I’m looking at other methods of utilising audible alerts, and will post back when I’ve got something new…

From the various ideas that I’ve had about this problem, one thing keeps coming into my head, based on the idea I had earlier that looked at the idea of sound in the retail environment.

Speaking to the various different stakeholders I’ve met, and also looking at other research material online, one of the biggest deterrents amongst shoplifters appears to be based around the presence of staff. Equally, staff feel most comfortable about loss prevention when their high-risk items are within sight. This allows them to see when people are interacting with them – regardless of whether this is in a criminal manner, or a legitimate one. For a legitimate customer, the presence of staff is ultimately useful in their shopping experience (as long as the interaction does not stray into a cack-handed instance of a store detective following them).

So how can I make the most of this?

Having a think about the sensory interactions that a store employee may use to become aware of a shoplifter – or suspicious behaviour in general – it’s clear that there are two main senses involved in the process. Excluding taste and smell (unless someone is willing to counter that store detectives can actually smell the fear of a potential criminal), touch relies too much on the close proximity of a shoplifter – something that is very much avoided by thieves. Realistically, sight and hearing are what retail staff rely on the most, and increasing the range and ability of these senses should ultimately improve their perception of what’s happening on the shop floor. (Click the image to enlarge)

So with these two senses as the primary methods of increasing awareness amongst staff, what is their role in aiding loss prevention?

Predictably, previous methods of preventing theft in retail environments have focused on both these areas before. In relation to hearing, EAS systems utilise loud alarms to alert staff to the theft of items from the store, while CCTV systems augment the visual perception of the staff, allowing the recording of theft, and ultimately allowing the identification of individuals who are stealing from the store. However, the reality of both these systems is a costly one. Both require staffing to allow them to function at their best (CCTV requires monitoring to ensure criminals are caught in the act, whilst EAS needs security staff to catch those leaving without paying). In both instances, staffing is the key to their function, and security-specific staffing is not preferable amongst small businesses. Additionally, EAS only allows identification of theft upon leaving the store, which is too late to prevent it happening.

The point of all this? Well, it’s clear that the solutions that exist in this area, at present, offer partial coverage utilising relatively high-tech equipment. Given my aim of low cost, low tech solutions for small business who cannot justify these methods, it seems clear that there is the opportunity to alert staff to potential loss without relying on electronics. How can I stimulate sight and hearing in a manner that fits with my brief?

[限時免費] Kill All Sound Boards：音效器，上線頭幾天免費。

itunes link

**我實在不懂音樂，所以無法多加評語或解說。
**app描述看到有wifi可從電腦傳音效檔案到這個app裡的功能。還可以跟朋友分享音效檔案。

Se volto lo sguardo a destra lo vedo: in tweed, le valvole ancora calde dal pomeriggio di intenso uso… Era da un bel po’ che non mi divertivo così!

Tutto comincia ieri mattina. Svegli alle 8, colazione veloce e partenza. Prima sosta: ufficio postale. Ricarico una postepay per un Boss CS3 comprato su mercatinomusicale.com e spedisco un pacco. Seconda sosta: banca necessario prelevamento! E poi, prendo l’A8 e mi dirigo in direzione Voghera. Il viaggio è lungo e noioso, anche se per un certo verso eccitante; con in sottofondo Live in Gdansk di Gilmour ripenso alla marea di strumenti che ho cambiato nella mia “carriera” musicale: almeno una 15ina di chitarre, 4 ampli, innumerevoli pedaliere multieffetto e pedalini vari e chi più ne ha più ne metta… Se avessi risparmiato sulla musica a quest’ora mi compravo un monolocale!!!

Arrivo a destinazione, breve prova  dell’ampli, mi piace , pago e lo prendo! Fantastico… Allungo un pò il giro e di ritorno mi fermo a Borgomanero a prendere un Little Big Muff da un altro tizio di mercatino musicale.

Finalmente alle 14 collego tutto. Iniziale spavento per il segnale muto degli effetti. Poi cambio un cavo difettoso e tutto funziona bene. Che dire di questo Peavey? A prescindere dall’estetica, molto chic a mio parere, il suono è indescrivibile. Attacco la strato, regolo l’eq in flat e subito ottengo un suono bluesy alla Clapton; il riff di Layla parte da solo e la resa è ottima. Strimpello qualcosa di SRV, di James Brown, Dire Straits… Perfetto! Ora è il momento del crunch: mamma mia…. Una goduria unica! Il suono è come burro fuso su una buona bistecca, le note hanno un pastosità incredibile, variando il pre gain si va da un suono blues ad uno hard rock senza problemi e senza toccare l’equalizzazione. Versatilità a manetta per questo combo…

Già che ci sono collego la pedaliera e provo “la Piccola Grande Muffa”…. A bocca aperta!!! Ma quanto è cattivo il big muff? Suono tipico del Gilmour più incazzato, smanettandoci un po’ sopra riesco ad ottenere un fuzz di hendrixiana memoria, ma anche tante sfumature diverse. Altro che DS1!!! Poi faccio un’esperimento: attacco il crunch dell’ampli. Subito il suono diventa oscuro e ne viene fuori un ottimo lead per soli malinconici e melodiosi. Incredibile…

Con questa accoppiata (Peavey, Big Muff) riesco ad ottenere 3 suoni uno più bello dell’altro. E deve ancora arrivare il Blues Driver!!! Decisamente il suono che pian piano sto costruendo mi piace sempre di più. Ora non vedo l’ora che arrivino il Cs3 e il Bd2 e poi, come regalo di Natale, spero di riuscire a prendere il Nova Delay di TC Electronics: il delay definitivo!!!

Appena posso posterò dei sample audio del Peavey e del Big Muff.

Well this album came out on November 10th, but I think it needs to be reviewed.  Bon Jovi’s eleventh album is “The Circle.”  The title does sum up what this band has done in their career.  This album is a mixture of original Bon Jovi rock and a little bit of country style.  The do tend to on the song “When We Were Beautiful” sound a little bit like U2.  On some of the songs it seems like they took  country songs and changed the words a bit and added a rock beat.  I do like how they did this, but it doesn’t seem like a different direction.  It is just a compilation of all their work.  I do like the different work that they have done, but this really is not that much of a new sound.  If your looking to get this album still consider your tastes.  If you are more of into the old eighty’s type Bon Jovi you may want more of a song like “Thorn in my Side.”  And if you like more of the country rock version you may want “Work for the Working Man.”

Overall this is an average album for Bon Jovi.  The title says it all that they have come full circle with a mash of all Bon Jovi sounds.

Sabem é engraçado e por vezes inacreditavél como as coisas realmente são…

just like the echoing sounds…

Eu já deveria estar acostumada, tudo é tão ridiculamente igual e fascinante. Previsível e nada mais.

just like the echoing sounds…

Eu tenho segredos que nem eu mesma deveria saber!

Eu sei de coisas que até Deus dúvidaria – e eu não teria porque achar diferente se, por algum motivo, alguém duvidasse de mim, só a minha certeza me basta. Eu não gosto de me enganar! E eu não preciso provar nada a ninguém.

just like the echoing sounds…

Como e por que? Ah, são duas coisas incompreensíveis e que por hora eu não posso explicar!

just like the echoing sounds…

trying to keep this quiet, trying to keep a secret

Hoje eu acordei com milhares de músicas na minha cabeça, cloquei alguns links no meu Twitter não resisti…já que  cada uma delas (em determinados trechos) relatam exatamente as coisas como elas são. Precisa ser sagaz pra conseguir ter a pegada do lance!

Não é tudo tão simples como parece – é muito mais complicado em si, ainda mais pra quem está de fora achando que sabe de alguma coisa (poor ones…eu me divirto!).

Como nos tempos de guerra se volta a trocar mensagens ocultas, disfarçadas e nada é mais o que parecer ser…

Eu tenho a mensagem, você sabe o código e essa é você:

.

AFI – Endlessly She Said

“Walked into our world and made
Horrible sounds.
I can still hear them today
[Strangely they seem
Beautiful now]
Though they outlast my love.

Still each time I always meant,
Every word,
Every one.
Though in time they finally bent,
Every word,
Every one.
Endlessly, She Said
not me

‘I wont wait for you’ She said…
Endlessly and never more
So spoke,
Misery”

I got this fantastic img from Tino, a great photographer that gives me this pic! Tks a lot I loved

Pls. follow the link bellow to check this better:

Tino’s Galery on Flickr

If you remember this,

I have been loving this song since I first heard it MONTHS ago.

and the video is finally here!

It’s safe to say…Toni Braxton is back…and I love it!!

{oh and check out Brooke Hogan playing the skank other woman}

Alright, this is semi-weird since I went to school with these guys [they're a year younger], but I can’t deny that they’re pretty awesome.
I Will Be King hails from Portland, OR and consists of Josiah Marshall [vocals and bass], Brennan Hickok [guitar], and Julien Ehrlich [drums].
They currently have two songs on their Myspace, so be sure to check those out. They also have a show tomorrow [November 21st] at Hawthorne Theater in Portland, OR. Show starts at 7 PM and tickets $10 at the door. You can also contact the band and get tickets through them for $9. I, personally, would buy through the band since it looks good when they can draw a crowd themselves.
Anyways, I really dig their sound, and their group shot is pretty awesome as well.

piccola anticipazione: stiamo lavorando ad altri due pezzi, e queste sono le anteprime:

il primo è quasi finito, ci sono da aggiustare un paio di cose, e non sentirete (per ora) l’introduzione e la seconda parte.

il secondo, invece, è assolutamente embrionale: come i più attenti noteranno subito, le chitarre sono riprese da una precedente versione di grhh.

Probabilmente una delle più belle canzoni di questo decennio. The Divine Comedy.

I’m a big fan of Rahsaan Roland Kirk, but I wasn’t aware of this odd film featuring Kirk and John Cage, with Cage providing the libretto and some of the mix and overdubs to Kirk’s music. Some people think Kirk is just a freak show, the man who can blow three horns and play a 23 minute saxophone concerto without stopping to take a breath. He is all that, and a whole lot more. Playing multiple horns produced a rich chordal texture, a one man horn section not precisely that of a big band but slightly discordant because the horns were often blowing in different keys while the idle horns served as do drones do in a bagpipe. His talking flute technique, humming or singing or whistling into the instrument takes it to an entirely new dimension of sound. And that’s what Kirk was about, the sound and taking it (and the listeners) to new places.

Just count me among the Freaks for the Festival.

The full film is on Ubu or you can just skip to Part 2 and Part 3 on YouTube.

Väth, ein Name der uns bekannt ist und sicherlich in dem einen oder anderen Erinnerungen an nie vergessene Nächte/Produktionen/Lebensgefühle und Emotionen auslöst. Der Name Väth verbindet Leidenschaft, Kreativität, künstlerischen Ausdruck und einen ganz bestimmten Lebensstil. Doch wollen wir heute nicht über den allzu bekannten Bruder Sven berichten, sondern viel mehr über Mike – seinen Bruder, welcher sich schon in den 90′er Jahren durch den besonderen Ausdruck an künstlerischer DigitalArt einen Namen gemacht und durch seine langjährigen Reisen seiner Suche nach Inspiration folgte, welche ihn schließlich auch – in seinem heutigen Streben prägten.

Geboren 1967 in Frankfurt am Main, hat Mike, der ein echtes Frankfurter Original ist, natürlich auch durch die Verbindung zu seinem Bruder, die elektronische Musik und die damit verbundenen Ereignisse und Veränderungen der Szene – beginnend Mitte den Einflüssen der 80′er und der 90′er Jahre gelebt.

Mit René Walliczek und Paul Schulte, welcher fünf Jahre lang eine Hälfte von Earth Nation und früher auch Drummer von D.A.F. war – bildete er 1999 – 2000 erstmals einen Live Act: „Das Mike Väth Project“ Walliczek begleitete damals dies am Maschinenpark, Schulte an den Drums und Mike agierte als Frontman. Es war daher nur noch ein Frage der Zeit, dass er der Liebe zur Musik nicht nur in Bildern seine Aufmerksamkeit schenken wollte, sondern auch an den Plattentellern projizieren musste. Nach Schließung des eigenen Wohnzimmers, dem legendären Omen in Frankfurt im Jahre 1998 – nahm dieser Gedanke noch mehr Gestalt an. Mittlerweile lebt Mike in der Schweiz und feiert große Erfolge, doch die Liebe zu Frankfurt und seinen Wurzeln ist geblieben.

Seit 4 Jahren nun steht Mike regelmäßig an den Tellern, was nicht unbeobachtet blieb. So ist er seit einiger Zeit bei Anthony Rothers Label „datapunk“ (www.datapunk.de) unter Vertrag und zeichnet sich nicht nur durch den außergewöhnlichen Sound, sonder auch die Art, wie er hinter dem Mischpult steht, aus.

Interview:

Sabrina Anna:
Mensch Mike, Du hast ja schon jede Menge miterlebt, was die beginne der elektronischen Musik, sowie der Entwicklung der Szene angeht. Wie siehst Du als einer, der alten Hasen (nimms nicht persönlich), die Szene heute? Was macht z.B das heutige Puplikum im Vergleich zu dem der sehr prägenden Zeiten der elektronischen Musik in den 90′er Jahre
für Dich aus?

Mike Väth:
Der Unterschied liegt hauptsächlich darin, dass es damals am Anfang der Technobewegung es für alle etwas ganz Neues war, etwas was es in unserem Leben in dieser Form nicht gab. Es gab zwar schon immer Sub-Kulturen, denkt man an die 60er Jahre, aber der Synthesizer-Sound, die ersten Atari Klänge, das war etwas nie da gewesenes. Die Neue Generationen wächst im Gegensatz zu damals mit einer Vielzahl an elektronischer Musik auf, vor allem die vielseitigen Genres innerhalb des elektronischem Musikstils kannten wir so nicht. (Minimal, Techno, Trance, House, Progressive usw.) Der Sound ist vielfältiger geworden.
Sabrina Anna:
Mike, wenn Du die Projekte der letzten Jahre für Dich zusammenfasst, welches hat Dich am meisten berührt und hat eines dieser Projekte etwas mit Deinem neuen Leben in der Schweiz zu tun? Warum hast Du Frankfurt verlassen?

Mike Väth:
2006 war für mich ein ganz besonderes Jahr, da ich mich entschlossen habe meinen sicheren Beruf als Creativ Director nach 7 Jahren aufzugeben. Die Gründe waren sicherlich die einschneidenden Erlebnisse in diesem Jahr. So konnte ich z.B einem Jungen aus Polen mit meiner Stammzellenspende das Leben retten, bin Vater eines Sohnes geworden und habe meinen Vater bis in den Tod beigestanden, dass war eine sehr intensive Zeit und als mir in dieser angeboten wurde bei einem Freund in Zürich bei musicbon.de als Produktmanager einzusteigen, stand für mich die Entscheidung fest, Deutschland zu verlassen. Die Entscheidung habe ich bis heute nicht bereut, ich habe sehr viel Spass in meinem Beruf, ausserdem liebe ich Zürich.

Sabrina Anna:
Mike, ich weiß der ständige Vergleich zu Deinem Bruder ist eines der Dinge, die man Dich ständig fragt, doch ist es mir wichtig zu projizieren, dass Du schon immer Dein eigenes Dinge gemacht hast – Dennoch, was hat Dich bewegt vor 4 Jahren nun auch an die Plattenteller zu gehen?

Mike Väth:
Ganz einfach, es ist und bleibt die Musik, sie ist einer meiner ständig gepflegten Kanäle, welche auch die bildende Kunst und meine Schwerpunkte im Leben miteinander vereinen. Da ich wohl einer der Ersten war, der sich mit digitalen Umgang mit der elektronischen Musik beschäftigte und ich die Entwicklung heute betrachte, war ich wohl schon sehr frühzeitig in dieser Richtung ein Trendsetter. Das hatte und hat mit Sven nichts zu tun.

Sabrina Anna:
Für Dich war lange die digitale Kunst der Weg sich auszudrücken und Du hast dies in den frühen 90er Jahren mit Musik kombiniert – bei Ausstellungen oder Veranstaltungen. Wird es so etwas in dieser Richtung nochmal von Dir geben und wenn ja, welche Visionen hast Du?

Mike Väth:
Nein, mein nächstes Ziel ist es nun ein Album zu produzieren und mich generell noch mehr dem Auflegen zu widmen. Dann schau ich mal wohin mich das bringt (lacht). Es ist unheimlich spannend und macht mir unendlich viel Spaß da ich nun auch mit Datapunk eine Base gefunden habe, mit welcher ich mich aktuell sehr gut entwickeln kann. Ich bin
mit tollen Menschen und Talenten auf Tour wie z.B. Frank Kusserov, Kazim Aprendiz, Anthony Rother und unserem Booker Turgay Avioglu. Das geniesse ich sehr und die Zusammenarbeit klappt sehr gut.

Sabrina Anna:
Wenn Du heute nochmal 15 Jahre zurückgehen könntest, was würdest Du in die heutige Zeit mitbringen?

Mike Väth:
Nichts, weil es ist nichts gibt was verloren gegangen ist, die Dinge haben sich nur weiterentwickelt, mir fehlt nichts.

Sabrina Anna:
Genug Worte über die Vergangenheit, reden wir über die Zukunft. In der Schweiz scheinst Du glücklich zu sein und bist dort auch sehr gefragt und erfolgreich. Wenn Du Frankfurt nun mit Zürich vergleichst, was sind für Dich die prägnantesten Unterschiede in der Szene?

Mike Väth:
In Zürich herrscht ein weicherer und vielseitigerer Umgang mit elektronischer Musik. Es ist eine Stadt mit sehr viel Sub-Kulturen in diesem Bereich. Die Szene ist sehr gepflegt, aber auch mit einer sehr intensiven, sehr Salonfähigen Afterhour-Kultur. Das habe ich in Frankfurt so nie kennengelernt. Dort ist das schon eine Nummer härter, doch das ist auch gut so. In Zürich sind vor allem die Einflüsse der Vielsprachigkeit zu spüren. Ich finde Frankfurt und Zürich, sind wie Bruder und Schwester. (lacht)

Sabrina Anna:
Kommen wir mal zu Deinem Stil, man sagt Dir nach er sei treibend und experimentell – was braucht eine Produktion, damit sich Dich erreicht und schliesslich auch den elektronischen Lebensstil gerecht wird?

Mike Väth:
Dazu sage ich nur wie bereits erwähnt, 2009 werden wir zum Datapunk Jahr machen, mit allem was dazu gehört. (lacht) Das wird diesem Lebensstil dann mehr als gerecht!

Sabrina Anna:
Du hast eine Tochter, Theresa – ihr hattest Du vor 10 Jahren mal eine Produktion gewidmet, welche damals auf Macrolon erschien. Wie ist heute Euer Verhältnis heute? Die junge Dame könnte sich ja schon bald selbst an die Teller stellen, würdest Du dies fördern?

Mike Väth:
Ich habe das Glück eine wirklich wundervolle Tochter zu haben, sie hat mir schon sehr früh gezeigt, dass sie sehr gut auf sich selbst aufpassen kann. Wenn sie möchte, wird sie zu mir kommen und sich alles zeigen lassen, allerdings ist sie mit so vielen Talenten bestückt, dass sie Ihren Weg wie wir Väths, auch alleine gehen kann. Ihre Schwerpunkte sind ähnlich wie bei Dir die Kraft der Worte, sie schreibt unendlich spannende Geschichten und erzählt sie so illustrativ, dass es Dich einfach nur weghaut. (beide lachen)

Sabrina Anna:
Mike, (schmunzelnd) wenn ich mich in 20 Jahren nochmal mit Dir zu einem Interview treffen möchte, wo muss ich Dich dann aufsuchen?

Mike Väth:
Ich hoffe zu erst einmal, dass du mich kerngesund wie immer auffinden wirst und ich dir dann erzähle wie ich den 14.12.2012 überlebte und mit meinen neuen Freunden aus dem fernen Weltall, einige interplanetarische Raves besuchte, um neue Soundgalaxien zu durchreisen. (beide lachen)

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Dieses Interview wurde unter anderem auf nachtagenten.net veröffentlicht.

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