The majority of these Electronica musicians, with the help of advanced computer-based music equipment, could compose, record, and then press their new songs —re-imaginings of the same breaks -- onto a semi-permanent acetate record, which only lasted for about 50 plays, within one day Nate Harrison.
The evolution of a multitude of electronic sub-genres occurred simultaneously with the never-ending exchange of mixes and remixes, the landscape changing daily. In the 20 year-old DJ Richard David James and a friend founded the Rephlex Records label in the UK that featured the most talented and progressive artists who could incorporate the best elements from a wide spectrum of music.
Richard James would release his work under many monikers, such as Aphex Twin, AFX, Caustic Window, and Ace of Clubs to name just a few, and has released dozens of albums that cross the borders of Electronica, drawing from Jungle, Breakbeat, Ambient, drum and bass, drill and bass, and Avant-Garde.
James Album :. He has also released a series of albums in which he uses only the Amen break as a backbeat, at times heavily sliced and edited yet recognizable, under the alias Amen Andrews. When Richard James and Luke Vibert performed together live at Pukkelpop in Belgium a good portion of their set was a homage to earlier influential genres such as Jungle and ragga and heavily featured the Amen break Discogs. Michael S. Schneider deconstructs the waveform and clearly shows that the major peaks as well as the minor peaks exhibit the fractal nature of the Golden Ratio.
Schneider indicates that the drum pattern is perceived as being naturally harmonious to human listeners because it resembles the divisions of the human body in audible form. Whatever the reason may be the Amen break connects thousands of artists across a variety of genres, and without this one six second audio clip from a soul record released in the whole of Electronica would not be what it is today.
When a little company called the Independent Picture Company IMP came along and refused to work within Edison's rigid system, Edison didn't stand a chance. Not because he didn't have the financial or legal resources to fight the tough fight, but because IMP was offering something his pictures couldn't compete with -- creativity, a broader vision, and dramatic stories with recognizable actors.
Viewers flocked to IMP's movies because they were well, better, and that growth was created on the fringe of the system. That is -- until IMP, better known today as Universal Studios, became the system where it would go on to vehemently protect copyrights using their own massive system of financial and legal resources. The problem is that the entertainment industry's response to threat by innovation has been to try to stifle change through copyright and legislation for the past years, and that these tactics feed on themselves, growing increasingly draconian and restrictive.
When copyright first began as a government-regulated entity, the law prescribed a standard copyright term as 14 years. Granted, that was way back in in Great Britain with the Statute of Anne. Still, copyright provisions in the United States have been regularly expanded to the point that now, thanks to the Sonny Bono Copyright Term Extension Act, any work created since is under copyright protection for 70 years after the death of the author.
For work that was created for hire read: wealthy corporations , copyright protection can last for years after creation or 95 years after publication before the material hits the public domain. The long-standing hold this puts on creative development is especially absurd if you consider that copyright as a government-regulated concept is intended to strike a balance between encouraging creativity by protecting the rights of authors and encouraging creativity by allowing a free flow of information for the public good.
I would argue we're in a state of imbalance. When looking at media history, the threat of corporate entities seeking control over media they've laid claim to is practically ceaseless. As that happens, it will become more and more necessary to monitor the difference between copyright that protects the public good and copyright that advances private gain.
But the SOPA and ACTA protests remind us of another thing -- that audacious and dogged little trait called creativity and its remarkable ability to come out on top. If the survival of the creative arts against all regulatory odds isn't proof enough, the use of the "Amen Break" alone is a striking example of the human ability to make creative work under strict confines.
The self-imposed standard of jungle music to work within the "Amen" could have been its downfall, and yet to the DJs, each individual snare, each hi-hat, each bass drum was an open and limitless space for creation. Coleman with a band called the Winstons. A and even Slipknot. To take a deeper look into the history of this famous drum part, we asked Brooklyn-based artist and writer Nate Harrison to tell us about the long and fascinating history of the "Amen break.
Pseudonyms will no longer be permitted. By submitting a comment, you accept that CBC has the right to reproduce and publish that comment in whole or in part, in any manner CBC chooses. Many years later however, the drum solo from Amen, Brother influenced a new generation of musicians.
In the mids, sampling began to make its way on to the hip hop scene and the Amen break, as Coleman's solo became known, was rediscovered. In the early s, British music producers on the dance music scene looked to the US for inspiration. Old breakbeats were dug out and the Amen break featured heavily in jungle music. The same year, it also appeared at the beginning of David Bowie's hit song Little Wonder from the album Earthling.
Over the years, it has become one of the most sampled drum beats of all time. So why did these six seconds from become so popular? It's really conducive to chopping and rearranging.
It also sonically has this punch to it that makes it unique," he says.
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