{"id":273,"date":"2003-11-12T08:28:00","date_gmt":"2003-11-12T07:28:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/broken-beats-the-weather-beats-the-rhythm\/"},"modified":"2023-12-18T08:50:11","modified_gmt":"2023-12-18T07:50:11","slug":"broken-beats-the-weather-beats-the-rhythm","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/11\/broken-beats-the-weather-beats-the-rhythm\/","title":{"rendered":"Broken Beats: The Weather Beats The Rhythm"},"content":{"rendered":"<div class=\"shariff shariff-align-flex-start shariff-widget-align-flex-start\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Broken%20Beats%3A%20The%20Weather%20Beats%20The%20Rhythm https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F11%2Fbroken-beats-the-weather-beats-the-rhythm%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Von Anfang an hat mir die Musik gefallen. Die Songs sind alle einzigartig und gehen spielerisch mit vorhandenen musikalischen Genres um.<br \/>\n<!--break--><br \/>\nDa denkt man mal, man befinde sich in der Country-Musik, einer wohlweislich d\u00e4nischen [Track 1: bring it], denn die Musiker stammen aus D\u00e4nemark. Danach kommt ein hochkomplexer aber softgrooviger Song [Track 2: the beat], der nach bester Liedherstellung klingt. Das wirkt ebenso stilsicher wie auf eine freundlich bestimmte Weise anspruchslos. <\/p>\n<p>Kopfstimmig und posaunig dann No. 3 &#8220;the last song&#8221;. Und so geht es weiter und weiter. Eine wunderbare Platte, die zum aufgedrehten Zur\u00fccklehnen animiert. F\u00fcr den Freund feinster Songideen ebenso interessant wie f\u00fcr den Partymacher.<\/p>\n<p><i>the broken beat: \/the weather beats the rhythm\/<br \/>\nHazelwood: HAZ 025<\/i><\/p>\n<p>PS: Wenn mans nicht w\u00fcsste, k\u00e4me man nicht darauf, dass es d\u00e4nische Musiker sind. Die Musik klingt im vorteilshaften Sinne so schlampert, so hinterrotzig &#8230; jawohl.<br \/>\n<!--more--><\/p>\n<div class=\"rightbox\"><%image(20031111-cd-broken-beats.jpg|150|134|Broken Beats)%><\/div>\n<p>Jetzt liegt die Scheibe schon einige Tage, Wochen bei mir herum und irgendwie fehlen mir die Worte. Von Anfang an hat mir die Musik gefallen. Die Songs sind alle einzigartig und gehen spielerisch mit vorhandenen musikalischen Genres um.<br \/>\n<!--break--><br \/>\nDa denkt man mal, man befinde sich in der Country-Musik, einer wohlweislich d\u00e4nischen [Track 1: bring it], denn die Musiker stammen aus D\u00e4nemark. Danach kommt ein hochkomplexer aber softgrooviger Song [Track 2: the beat], der nach bester Liedherstellung klingt. Das wirkt ebenso stilsicher wie auf eine freundlich bestimmte Weise anspruchslos. <\/p>\n<p>Kopfstimmig und posaunig dann No. 3 &#8220;the last song&#8221;. Und so geht es weiter und weiter. Eine wunderbare Platte, die zum aufgedrehten Zur\u00fccklehnen animiert. F\u00fcr den Freund feinster Songideen ebenso interessant wie f\u00fcr den Partymacher.<\/p>\n<p><i>the broken beat: \/the weather beats the rhythm\/<br \/>\nHazelwood: HAZ 025<\/i><\/p>\n<p>PS: Wenn mans nicht w\u00fcsste, k\u00e4me man nicht darauf, dass es d\u00e4nische Musiker sind. 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Oktober 2005","format":false,"excerpt":"Die Broken Beats waren auch schon mal in Beobachtung der Kritischen Masse. D\u00e4nische Musiker mit ungew\u00f6hnlich guter Musik \u2014 also nichts gegen die D\u00e4nen an sich, nur mal so und Kierkegaard sowieso. Die neue Platte, so ganz neu ist sie ja nicht mehr, ist ebenso wunderbar. Beginnt mit einer Spieluhr-Sache,\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":297,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/12\/2003-topps-und-flopps\/","url_meta":{"origin":273,"position":1},"title":"2003 in Topps und Flopps","author":"huflaikhan","date":"20. Dezember 2003","format":false,"excerpt":"Es geh\u00f6rt sich nicht und doch passierts jetzt zum ersten Mal. Eine Liste mit sch\u00f6nen Dingen, die sich im letzten Jahr ergeben haben. Bei Nennungen handelt es sich daher nicht zwingend um Neuheiten. Musik Corinne Douarre: Virages Bernd Begemann: Rezession Baby! the broken beats: the weather beats the rhythm Iannis\u2026","rel":"","context":"Mit 2 Kommentaren","block_context":{"text":"Mit 2 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/12\/2003-topps-und-flopps\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":366,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/03\/rez-house-williams-revolutionist\/","url_meta":{"origin":273,"position":2},"title":"[Rez] House Williams: Revolutionist","author":"huflaikhan","date":"3. M\u00e4rz 2004","format":false,"excerpt":"F\u00e4ngt an wie ein St\u00fcck von Lou Reed und John Cale. Hometown ist wie Smalltown in den Songs for Drella. Ich sch\u00e4tze, diese N\u00e4he war nicht zuf\u00e4llig, nur das Home=Main \u0096 Town ist. Frankfurt eben, irgendwie auch eine Kleinstadt, vielleicht die gr\u00f6\u00dfte deutsche. Die Musik auf dieser Scheibe grabbelt sich\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8702,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2017\/05\/you-tube-the-world\/","url_meta":{"origin":273,"position":3},"title":"You Tube The World","author":"der huflaikhan","date":"22. Mai 2017","format":false,"excerpt":"In einer Studie, die Google beauftragt hat, sollte eine investigative Forschungseinheit untersuchen, ob You Tube den Musikmarkt kannibalisiere. Irgendwie interessiert das so wirklich eher niemanden. Im deutschsprachigen Raum finden sich kaum Lekt\u00fcren des Textes, der \"Privileged and Confidential\" ist und unter dieser Adresse als PDF gelanden werden kann. Nun, es\u2026","rel":"","context":"In &quot;\u00c4sthetische Kunstfehler&quot;","block_context":{"text":"\u00c4sthetische Kunstfehler","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/aesthetische_kunstfehler\/"},"img":{"alt_text":"Brain farts","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2004\/06\/20040618-brain.jpg?fit=450%2C338&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8557,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2015\/05\/null-punkte-sind-gar-nix\/","url_meta":{"origin":273,"position":4},"title":"Null Punkte sind gar nix","author":"der huflaikhan","date":"25. Mai 2015","format":false,"excerpt":"Der wichtigste Tag des j\u00e4hrlichen Musiklebens ist nun vorbei. Der Eurovision Songcontest wie er ja hei\u00dft. Zeitgleich mit dem Bundesfinale \"Jugend musiziert\" in Hamburg. Es gab Sieger, es gab Verlierer. Wen st\u00f6rt es. Die eigentliche \u00dcberraschung des Abends war, dass der Dirigent Paavo J\u00e4rvi offenbar Zeit hatte, sich das Spektakel\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/QgKRsBXEraw\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2488,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2008\/09\/schwestern-beissen-sich\/","url_meta":{"origin":273,"position":5},"title":"Schwestern bei\u00dfen sich","author":"huflaikhan","date":"10. September 2008","format":false,"excerpt":"Hier die Pressemeldung: Die GEMA ist in Deutschland erfolgreich gegen die niederl\u00e4ndische Verwertungsgesellschaft Buma\/Stemra und den Online-Musikanbieter beatport vor Gericht vorgegangen. Am 25.8.2008 hat das Landgericht Mannheim sowohl gegen den Downloadanbieter beat-port als auch gegen die Buma\/Stemra eine einstweilige Verf\u00fcgung erlassen. In dieser Verf\u00fcgung wird es beatport verboten, bestimmte Werke\u2026","rel":"","context":"In &quot;das Netz&quot;","block_context":{"text":"das Netz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/dasnetz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/273","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=273"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/273\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=273"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=273"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}