Saturday, April 5, 2014


t o n i g h t (Saturday, 5 April 2014)
sound system vol.8
Sound of Wax // MassiveWhat

Lobby Level, 
Bellagio Mansion,
Lingkaran Mega Kuningan.

021 300 505 10

Tuesday, October 8, 2013

MassiveWhat?: with Gerhan (Akamady Records/Quirk it!)


With Guest DJ :

Gerhan (Akamady Records/Quirk It!)

And also :


Friday, 11th October 2013
9pm - End
At Cafe Mondo
Jl. Kemang raya no 71i
Jakarta Selatan

supported by:
Quirk it!
Cafe Mondo

Wednesday, October 2, 2013

Brian Eno Imaginary Landscapes

A film by Duncan Ward and Gabriella Cardazzo, Imaginary Landscapes is the ideal and most direct path for gaining insight into Brian Eno's mental, musical world. The filmmakers intercut Eno interviews and conversations with atmospheric, moving landscape shots, both urban and rural. Coupling Eno's music with the visuals, Ward and Cardazzo have, in essence, realized one of Eno's own goals: to generate in listeners an imaginary landscape -- a place, specific or vague, where he wants his music to take them. The film moves viewers through mood-evoking atmospheres as if they are passengers on a quiet, smooth-running train. Eno's music serves as the perfect soundtrack for the documentary about its creator.

During the 40-minute video, Eno discusses a myriad of audio-visual-related subjects, at times positioned at the helm of his synth and using it to present examples. He makes the distinction between an instrument's sound options and its useful sound options, preferring just a few really choice sounds over an overwhelming number. He speaks of making music for imaginary film soundtracks and touches on many abstract concepts, including his desire to create music with "the Long Now and the Big Here."

Imaginary Landscapes also highlights Eno's video installations, particularly Mistaken Memories of Mediaeval Manhattan (1981), borne of his love for New York cityscapes (especially the tops of skyscrapers contrasted against the sky). In addition, Eno expresses his fascination with using water-related images ("water is constant but not solid") like rivers ("a river is always going somewhere") in his lyrics and composition titles.

As Eno's music is most often based on his own musical theories and theoretical positions, it is only natural that, above all else, Imaginary Landscapes portrays him as a thinker. Mystic Fire Video released the tape in 1989, and it's still in print. Essential for Eno fans, it is also possibly eye-opening for those familiar with him only as a producer for popular bands like Talking Heads and U2.

Sunday, September 29, 2013

Friday, September 20, 2013

The Shape Of Things That Hum

The Shape of Things That Hum 
is a synthesizer documentary series that first aired by Channel 4 in the UK during 2001.

The series focused on electronic instruments that helped shaped modern music, with every episode focusing on a specific instrument. The episodes were broadcast between 01.30am and 01.41am, and featured musicians talking about classic vintage synthesizers, including the DX7 that defined the sound of the 1980s.

Production company Allied Forces
Producer Jacques Peretti
First broadcast 2001
Original channel Channel 4 (UK)
Genre documentary
No. of episodes 8
Length 11 minutes (episode)


Mini Moog (15-01-2001) - Cult electronic instruments that helped to shape modern music.

Vocoder (22-01-2001) - Developed as a scrambling device in World War II, includes interviews with Orbital and Rick Wakeman.

DX7 (29-01-2001) - Synthesizer that defined the sound of the 1980s. Interviews with Vince Clarke and Nick Rhodes.

Fairlight (05-02-2001) - Computer based snthesizer offering sampling, digital recording, sequencing and editing. Includes Nick Rhodes.

Simmons (12-02-2001) - Includes producer Arthur Baker talking about making "Planet Rock".

Roland TB-303 (19-02-2001) - House innovators Coldcut and Orbital discuss the Roland 303 synthesizer.

Roland TB-808 (26-02-2001) - Includes producer Arthur Baker, plus Ray Keith talks about the importance of the bass.

Akai Sampler (05-03-2001) - Instrument that helped fuel the rave scene and the white label explosion