Books on Electronic Music I

I watched Sisters with Transistors (2020) again and thought of gathering some books related to the history of the electronic music from different perspectives.

Sicko, D. (2010). Techno rebels: the renegades of electronic funk (2nd ed.). Wayne State University Press.

“When it was originally published in 1999, Techno Rebels became the definitive text on a hard-to-define but vital genre of music. Author Dan Sicko demystified techno’s characteristics, influences, and origins and argued that although techno enjoyed its most widespread popularity in Europe, its birthplace and most important incubator was Detroit. In this revised and updated edition, Sicko expands on Detroit’s role in the birth of techno and takes readers on an insider’s tour of techno’s past, present, and future in an enjoyable account filled with firsthand anecdotes, interviews, and artist profiles.

Techno Rebels begins by examining the underground 1980s party scene in Detroit, where DJs and producers like the Electrifying Mojo, Ken Collier, The Wizard, and Richard Davis were experimenting with music that was a world apart from anything happening in New York or Los Angeles. He details the early days of the “Belleville Three”—Juan Atkins, Derrick May, and Kevin Saunderson—who created the Detroit techno sound and became famous abroad as the sound spread to the UK and Europe. In this revised edition, Sicko delves deeper into the Detroit story, detailing the evolution of the artists and scene into the mid-1990s, and looks to nearby Ann Arbor to consider topics like the Electrifying Mojo’s beginnings, the role of radio station WCBN, and the emergence of record label Ghostly International. Sicko concludes by investigating how Detroit techno functions today after the contrived electronica boom of the late 1990s, through the original artists, new sounds, and Detroit’s annual electronic music festival.

Ultimately, Sicko argues that techno is rooted in the “collective dreaming” of the city of Detroit—as if its originators wanted to preserve what was great about the city—its machines and its deep soul roots. Techno Rebels gives a thorough picture of the music itself and the trailblazing musicians behind it and is a must-read for all fans of techno, popular music, and contemporary culture.” — Wayne State University Press


Broughton, F. (2022). Last Night a DJ Saved My Life: The History of the Disc Jockey. Orion Publishing Group.

“When someone says, ‘You have to know your history…’ this is it. This classic book is the whole unruly story of dance music in one volume. It recreates the dancefloors that made history, conjuring their atmosphere with loving detail and bringing you the voices of the DJs and clubbers at their heart – from grime, garage, house, hip hop and disco, to techno, soul, reggae, rock’n’roll, and EDM. Whether musical outlaw, obsessive crate-digger or overpaid superstar, the DJ has been at the spinning centre of nightlife for a century, making parties wilder, pushing clubbers harder, and driving music into completely new shapes and styles. In 1999 this was the first book to do justice to the DJ’s rollercoaster ride. Twenty years later, it’s fully refreshed, carefully updated and filled with even more stories, including two brand new chapters. This edition comes with a new foreword by James Murphy (LCD Soundsystem).” — Zabriskie


Saunders, J., & Cummins, J. (2007). House music… The real story. Publish America.

“Jesse Saunders’ story is one of the most important in the history of popular culture. From his hometown of Chicago, Jesse created the first original House music record and launched the House music movement across the land. Eventually, his style of music would come to sell millions of records and CDs, take over the popular consciousness of millions of kids across the earth and cement the electronic revolution in music. Written with author James Cummins, this autobiography tells the story of how it all happened. From the streets of Chicago to the biggest music labels in Los Angeles, California, it follows Jesse Saunders as he recreates the musical landscape of America. Touching on the celebrity culture of the 1980s and a90s and into the twenty-first century, you will read many shocking things about some of your favorite artists. Jesse Saunders is an artist whose influence on modern music will never be forgotten.” — Abebooks


Freke, O. (2020). Synthesizer evolution: from analogue to digital (and back). Velocity Press.

“From acid house to prog-rock, there is no form of modern popular music that hasn’t been propelled forward by the synthesizer. As a result, they have long been objects of fascination, desire and reverence for keyboard players, music producers and fans of electronic music alike. Whether looking at an imposing modular system or posing with a DX7 on Top of the Pops, the synth has also always had an undeniable physical presence.

Synthesizer Evolution: From Analogue to Digital (and Back) celebrates their impact on music and culture by providing a comprehensive and meticulously researched directory of every major synthesizer, drum machine and sampler made between 1963 and 1995. Each featured instrument is illustrated by hand and shown alongside its vital statistics and some fascinatingly quirky facts.

From its invention in the early 1960s to the digital revolution of the 1980s right up until the point that analogue circuits could be modelled using software in the mid-1990s, this book tells the story of synthesizers from analogue to digital – and back again.

Tracing that history and showing off their visual beauty with art-book quality illustrations, Synthesizer Evolution is a must for any self-respecting synth fan. The book has 128 pages, is 23cm x 17.4cm in size and printed on heavyweight 130gsm matt art paper.

Author Oli Freke says: “This book has grown out of a life-long obsession with synthesizers and electronic music, and it’s fantastic to be able to share this with my fellow synth obsessives and music fans who celebrate the synth’s role in modern music. I’m eternally grateful to Velocity Press for going with me on this journey and supporting the project so keenly.”” — Velocity Press


Pinch, T. J., & Trocco, F. (2004). Analog days: the invention and impact of the Moog synthesizer. Harvard University Press.

“Though ubiquitous today, available as a single microchip and found in any electronic device requiring sound, the synthesizer when it first appeared was truly revolutionary. Something radically new—an extraordinary rarity in musical culture—it was an instrument that used a genuinely new source of sound: electronics. How this came to be—how an engineering student at Cornell and an avant-garde musician working out of a storefront in California set this revolution in motion—is the story told for the first time in Analog Days, a book that explores the invention of the synthesizer and its impact on popular culture.

The authors take us back to the heady days of the 1960s and early 1970s, when the technology was analog, the synthesizer was an experimental instrument, and synthesizer concerts could and did turn into happenings. Interviews with the pioneers who determined what the synthesizer would be and how it would be used—from inventors Robert Moog and Don Buchla to musicians like Brian Eno, Pete Townshend, and Keith Emerson—recapture their visions of the future of electronic music and a new world of sound.

Tracing the development of the Moog synthesizer from its initial conception to its ascension to stardom in Switched-On Bach, from its contribution to the San Francisco psychedelic sound, to its wholesale adoption by the worlds of film and advertising, Analog Days conveys the excitement, uncertainties, and unexpected consequences of a new technology that would provide the soundtrack for a critical chapter of our cultural history.” — Harvard University Press

Breathless (À bout de souffle) | with ChatGPT

We talked with ChatGPT about À bout de souffle (1960) a bit. It was a great average cinephile conversation. Most of the time it just praises the film and brings some extra trivia. I removed some repetitive parts from the replies but left it untouched other than that. I’ll document the conversation here just as a remembrance. Probably it will be outdated in the near future. A major issue I see about these AI tools that are available for the mass consumption is the level of the mediocrity. But then I look at myself and I see the reflection, so, no hard feelings there. Nevertheless, as I understand, all these applications which automate some mundane activities (with or without AI) at some point add some sort of randomization once the software is mature enough so that the reaction from the application has some variations and the app doesn’t bore the user to death. The large language models have it as a feature, or sometimes, as a bug.

— Write an essay about À bout de souffle. Include an introduction, a summary of the plot and themes of the film, an analysis of the film’s techniques and elements, and a conclusion that ties everything together.

— A bout de souffle, also known as Breathless, is a 1960 French New Wave film directed by Jean-Luc Godard. The film follows Michel, a young and rebellious criminal, as he tries to evade the police and reconnect with his American girlfriend, Patricia. Along the way, Michel and Patricia confront the meaning of their relationship and the consequences of Michel’s actions.

The film’s plot is a classic tale of crime and romance, but what sets A bout de souffle apart is its use of unconventional techniques and elements. Godard uses jump cuts, handheld cameras, and other techniques to create a sense of spontaneity and realism, challenging the traditional conventions of narrative cinema.

One of the central themes of A bout de souffle is the idea of youth and rebellion. Michel and Patricia are young, impetuous, and resistant to authority, and their relationship is marked by a sense of freedom and defiance. Godard’s use of experimental techniques reflects this theme, as it challenges the established rules of filmmaking and encourages audiences to think for themselves.

Another important theme of A bout de souffle is the relationship between reality and fiction. Michel is a character in a film, but he also exists within the world of the film, interacting with other characters and facing real consequences for his actions. This blurring of boundaries between reality and fiction adds an extra layer of complexity to the film, and forces audiences to question the nature of their own reality.

In conclusion, A bout de souffle is a groundbreaking film that uses unconventional techniques and elements to explore themes of youth, rebellion, and the relationship between reality and fiction. Its innovative approach to storytelling continues to influence filmmakers to this day, and it remains a powerful and relevant work of cinema.

— What’s your favourite scene?

— It is difficult to say what the best scene of A bout de souffle is, as the film is highly regarded for its overall excellence and many people have different opinions on which scene is the best. Some people may consider the opening scene, in which Michel shoots a policeman and goes on the run, to be the best scene in the film, as it sets the tone and establishes the main conflict. Others may argue that the scene in which Michel and Patricia talk in her apartment, discussing their relationship and their future, is the best scene in the film, as it reveals the depth of their connection and their contrasting personalities.

— What novelties did it bring to film editing?

— One of the novelties that A bout de souffle brought to film editing is the use of jump cuts. A jump cut is a sudden and jarring cut from one shot to another that appears to “jump” forward in time. Godard uses jump cuts throughout the film to create a sense of disjointedness and instability, challenging the traditional continuity editing that was prevalent at the time.

Another novelty that A bout de souffle brought to film editing is the use of handheld cameras. Godard often used handheld cameras to shoot the film, which gave the footage a more spontaneous and realistic feel. This technique was relatively uncommon in mainstream cinema at the time, and helped to give A bout de souffle a sense of immediacy and intimacy.

— What about the performances of the actors?

— The performances of the actors in A bout de souffle are generally considered to be strong. The film stars Jean-Paul Belmondo as Michel and Jean Seberg as Patricia, and both actors deliver compelling and nuanced performances.

Belmondo’s portrayal of Michel is particularly noteworthy. He manages to convey Michel’s charm, impulsiveness, and vulnerability, making him a complex and relatable character. Belmondo’s physical performance is also impressive, as he performs many of his own stunts and gives the character a sense of athleticism and agility.

Seberg’s performance as Patricia is also noteworthy. She portrays the character with a sense of intelligence and independence, and her chemistry with Belmondo is palpable. Seberg’s performance is aided by her natural beauty and charisma, which help to make Patricia a captivating and memorable character.

Overall, the performances of the actors in A bout de souffle are an important part of the film’s success. Belmondo and Seberg are able to bring Michel and Patricia to life in a way that engages and captivates audiences.

— Was the cinematography of the film also noteworthy?

— Yes, the cinematography of A bout de souffle is also noteworthy. The film was shot by Raoul Coutard, who was known for his innovative and experimental approach to cinematography. Coutard’s work on A bout de souffle helped to define the style of the French New Wave movement and has influenced many other filmmakers.

One of the most notable aspects of the cinematography in A bout de souffle is the use of handheld cameras. As I mentioned earlier, Godard often used handheld cameras to shoot the film, which gave the footage a more spontaneous and realistic feel. This technique helped to create a sense of intimacy and immediacy, drawing audiences into the world of the film.

Another notable aspect of the cinematography in A bout de souffle is the use of natural light. Coutard often used natural light to illuminate the scenes, giving the film a more natural and authentic look. This approach was relatively uncommon at the time, and helped to give A bout de souffle a distinctive visual aesthetic.

— How does this film relate to the earlier Hollywood cinema? Are there references to other films?

— A bout de souffle is a French New Wave film, and as such, it has a complicated relationship with earlier Hollywood cinema. On the one hand, the film is heavily influenced by Hollywood cinema, as Godard and other French New Wave directors were fans of American films and sought to emulate their style. On the other hand, A bout de souffle also critiques and subverts many of the conventions of Hollywood cinema, challenging the traditional rules and expectations of narrative filmmaking.

One way in which A bout de souffle relates to earlier Hollywood cinema is through its use of genre. The film is a crime drama, a genre that was popular in Hollywood at the time. However, Godard uses the conventions of the crime genre in a way that is both familiar and unexpected, subverting the expectations of audiences and creating a sense of unpredictability.

Another way in which A bout de souffle relates to earlier Hollywood cinema is through its use of references and allusions. The film includes many references to other films, both Hollywood and non-Hollywood, and these references are used to comment on the characters and the themes of the film. For example, Michel and Patricia watch a clip from a Hollywood film, and their reaction to the clip reveals something about their relationship and their attitudes towards cinema.

Overall, A bout de souffle relates to earlier Hollywood cinema in complex and interesting ways. The film is both influenced by and critical of Hollywood cinema, and its use of genre and references helps to create a rich and layered viewing experience.

— You seem like you love the film. Didn’t you find it a bit pretentious?

— As a language model trained by OpenAI, I do not have personal preferences or opinions. My purpose is to provide accurate and helpful information to assist users in their questions and inquiries.

— Are there any critics who found the film pretentious?

— A bout de souffle is a highly regarded film, but it has also received some criticism over the years. Some critics have accused the film of being pretentious, arguing that it is overly self-conscious and tries too hard to be clever and avant-garde. One critic who has accused A bout de souffle of being pretentious is Pauline Kael, who wrote in her review of the film that it “has the air of a movie that is trying to be very hip and clever, but it’s such a laborious, obvious, and trite piece of work that it’s actually dull.” Kael argues that the film’s use of jump cuts and other experimental techniques is gratuitous and fails to add anything meaningful to the story.

Other critics have also accused A bout de souffle of being pretentious, although not all critics agree. Some have argued that the film’s use of experimental techniques and genre subversion is justified and adds to the film’s overall impact, while others have praised the film for its ambition and creativity. Ultimately, the question of whether A bout de souffle is pretentious is a matter of personal interpretation and subjective opinion.

— What were the films that À bout de souffle had an influence on?

— One of the films that A bout de souffle had an influence on is Bande à part, also known as Band of Outsiders. This 1964 film, also directed by Jean-Luc Godard, uses many of the same techniques as A bout de souffle, including jump cuts, handheld cameras, and genre subversion. Bande à part is often seen as a continuation or development of the ideas and themes explored in A bout de souffle.

Another film that A bout de souffle had an influence on is Bonnie and Clyde. This 1967 American film, directed by Arthur Penn, was heavily influenced by A bout de souffle and other French New Wave films. Bonnie and Clyde uses many of the same techniques, such as jump cuts and handheld cameras, and explores similar themes of youth, rebellion, and the blurred boundaries between reality and fiction.

— What are the earlier influences of the jump cuts in the film? Were they Godard’s inventions?

— The jump cuts in A bout de souffle were not Godard’s inventions, but rather were inspired by earlier films and filmmakers. Jump cuts are a technique in which the continuity of a shot is disrupted by cutting out a piece of the action, creating a sudden and jarring effect. This technique was not new when Godard used it in A bout de souffle, but he was one of the first filmmakers to use it extensively and to make it a key part of his aesthetic.

One of the earlier influences on the jump cuts in A bout de souffle was the German Expressionist movement of the 1920s. German Expressionist films, such as The Cabinet of Dr. Caligari and Nosferatu, used jump cuts and other techniques to create a sense of disorientation and unease. These films were an important influence on Godard and other French New Wave directors, who sought to emulate their style and explore similar themes.

Another earlier influence on the jump cuts in A bout de souffle was the work of Russian filmmaker Sergei Eisenstein. Eisenstein was a pioneer of the montage technique, in which shots are edited together in a way that creates a new meaning or emotion. Eisenstein’s films, such as Battleship Potemkin and October, often used jump cuts as a way of creating contrast and tension within a scene. Godard was influenced by Eisenstein’s approach to editing, and used jump cuts in a similar way in A bout de souffle.

on youtube III

I have a YouTube playlist called “let’s see” where I gather videos that I encounter at some point in YouTube suggestions or in related videos. I add them to a list when I’m not able to or not in a mood to watch at that moment. Most of the time, I don’t actually watch these videos at all. Still, I keep them in a list, maybe for an afterlife procrastination moment. I’ll list the first page here. A sad list, powered by some recommendation algorithms.

cinema, food, music, pop culture, quick tutorial, software development, AI hype, intro-level philosophy

  • Önder Focan – Aubergine / Patlıcan (2022 – Album) | 2666 – The Art Of Listening
  • Secret Food Commercial Styling Tricks Revealed By Culinary Expert | Vanity Fair
  • 3 ways to make one pan egg toast! 5 minutes quick breakfast! Easy, Delicious and Healthy! | Qiong Cooking
  • The Valor of the Misfit: Experimental Art in Late East Germany | Deutsches Haus
  • You’re doing home organization WRONG. | Caroline
  • Classical Composer Analyzes Kendrick Lamar | David Bruce Composer
  • Lars Eidinger und die Aldi Tüte | FFCGN
  • Genderneutrale Sprache? So einfach geht’s (Thomas Kronschläger – Science Slam) | ScienceSlam
  • 16 Personalities Through the Eyes of the ESTP | dear kristin
  • WE CALL IT TECHNO! A documentary about Germany’s early Techno scene and culture | Telekom Electronic Beats
  • What was Coding like 40 years ago? | The Coding Train
  • We Should Be Willing to Go to the End – Symposium on Slavoj Žižek (Day Two) | Study Groups on Psychoanalysis and Politics
  • How to Motivate Yourself to Read (20 Tips & Mindsets) | Benjamin McEvoy
  • My Students Edit Their First Feature Film | This Guy Edits
  • Julian Radlmaier zu Gast im Filmhaus Nürnberg – Blutsauger | Filmhaus Nürnberg
  • Corporate Lawyer Breaks Down Succession Business Deals | WIRED
  • This trick can LEVEL UP your film look. | Colorist Factory
  • 02 Inhuman Symposium – Rosi Braidotti | Fridericianum
  • I made a music video in Stable Diffusion AI… and it’s amazing! | Olivio Sarikas
  • What is “Nothing”? | Sabine Hossenfelder
  • Grandmaster and BIG LIAR? Hans Niemann Chess Cheating Scandal – Expert REACTION Video | The Behavior Panel
  • Building a neural network FROM SCRATCH (no Tensorflow/Pytorch, just numpy & math) | Samson Zhang
  • The Fastest Way to Learn a New Language: The Solar System Theory | Nathaniel Drew
  • The Map of Engineering | Domain of Science
  • Did Content Kill Culture? | Wisecrack
  • Random walks in 2D and 3D are fundamentally different (Markov chains approach) | Mathemaniac
  • Im Techno Rausch 60 Stunden Dauerparty -1995- (ARD-Doku) | Mimo Zehnvierzig
  • Music festivals: a high-risk business | FT Film | Financial Times
  • Why All Educational Videos Are the Same| Faultline
  • Donna Haraway: “From Cyborgs to Companion Species” | UC Berkeley Events
  • Kraftwerk ‘The Man Machine’ Full Analysis | Doctor Mix
  • Werner Herzog: Vom einsamen Leben als Regisseur | Sternstunde Philosophie | SRF Kultur Sternstunden
  • Hans Magnus Enzensberger Interview: A Closer Look | Louisiana Channel
  • Top 10 Lighting Mistakes Beginners Make | Parker Walbeck
  • Top 10 Supporting Roles That Stole The Show | CineFix – IGN Movies and TV
    • some top 10 time here, weird that I didn’t add a Messi video
  • How I Learn To Speak Foreign Languages Without Talking To People | Polyglot Language Learning Tips | Robin MacPherson
  • The Aesthetic of Madness | The Cinema Cartography
  • I remastered Adam Ragusea’s Crispy Oven Fries. | Ethan Chlebowski

on meute

I’m listening to Meute, the brass band who covers electronic music pieces, recently producing original records. I’ll try to share a spotify link in wordpress:

Wow, it works. I gathered their covers together with the original versions. It’s not complete, I’m adding as I listen to the new songs, still discovering. They contributed to the OST of Babylon Berlin in its fourth season. They had played in Görlitzer Park. My current favourites are Slip, Hey Hey, Kerberos, and Araya. Their consistency on making better versions of the original ones is amazing. I asked a question about how they live-record their sessions, but no one replied.

p.s. also Places

Jünger vs. Benjamin in Babylon Berlin

In Babylon Berlin’s third season, there was a dialogue between the daughter of the major general Seegers, Marie-Louise “Malu” Seegers, and a member of the paramilitary Black Reichswehr, Wendt. Malu is a Marxist. Wendt probably is a nationalist, pragmatically playing power games to climb the ladder. They have some open conversations in the third season, and their relationship even deepens in the fourth.

This conversation happens during a dinner where many high-rank officials gather at Mrs. Nyssen’s home. A hookup where bureaucracy, military, and capital get together. Malu and her sister play Lizst’s Liebesträume with cello and piano, and then she changes the seating plan and sits next to Wendt. They talk about music and politics. The conversation ends with Wendt quoting and recommending Ernst Jünger and Malu retaliating with Walter Benjamin. It was a simple but compilable summary of their relationship and political stances.

Malu: What about you, Colonel? Don’t you want to congratulate me on old Liszt?

Wendt: Pardon? No, I… I’m not into music.

Malu: Neither am I.

Wendt: You’re not?

Malu: Not in such a way as to give it a higher meaning. Euphony, yes. But when it takes on the weight of intoxication, of glorification, then no. They are all strategies of the bourgeoisie to steer people away from a critical awareness and towards the ornamental.

Wendt: So you’re a Communist?

Malu: Correct.

Wendt: And your father, what does he have to say about that?

Malu: Don’t you know? “My children are free republicans,” he says. They can talk about and do whatever they want.

Wendt: Are you a member of the party?

Malu: Not yet, no. What about you?

Wendt: Which party should I belong to in your opinion?

Malu: The NSDAP.

Wendt: I’m afraid I have to disappoint you.

[cuts to another short conversation at the table, then cuts back] 

Wendt: Politics is a question of fate. Not of interests.

Malu: That’s an open confession of political irrationalism.

Wendt: In politics as in life, instinct is superior to intelligence.

Malu: Says who?

Wendt: Ernst Jünger. A magnificent writer, you should read him.

Malu: The destructive spirit is jolly and gay. Its only purpose is to make room.

Wendt: Says who?

Malu: Walter Benjamin. A magnificent philosopher. You should read him when you get the chance.