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Clockwerk
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Combining an array of computer technology, samplers, and vintage synthesizers; Clockwerk creates a tightly rhythmic audio assault. Their motives are politically ambivalent, yet socially critical. Live performances are complimented by a charged video installation. They seek to arouse and incite their audience into a politically driven frenzy.
Why this name?
The name 'Clockwerk' was inspired by the reality that everything is ruled by one thing: time. Civilizations rise and fall, buildings are erected and slowly crumble, animal populations reach predominance and then become extinct. Time is the operating ground for the interaction between entropy and evolution.
Do you play live?
Yes, we do play live shows.
How, do you think, does the internet (or mp3) change the music industry?
Recording technology widened the variety of commercial and functional uses for music (elevator music, dance music in clubs, recorded music in concert with film and advertising, sale of recordings, etc.). Similarly, MP3 expands the options of access to and availability of music. Instantaneous access to a virtually unlimited selection of music increases the speed and volume at which music is consumed commercially. For the positive, this allows the consumer a wider selection of music to explore and learn about. For the negative, this makes music as a product quite disposable.

Additionally, MP3 blurs the distinctions of ownership of music... which aspects of music are capable of being sold? the medium on which it is recorded? the performance? the configuration of sounds and words? the "rights" to a specific recording of a performance?

As a medium, CD's and Lp's are items that are easily packaged and sold. MP3 as a format, being electronic rather than material, poses the problem of the elimination of a sellable physical product. Most importantly about the format is the ease and speed with which it is transferred from user to user. Free exchange of MP3 based music removes the need for record labels, distributors, and record stores from consumers. This, of course, is the cause of much litigation on the part of record labels, whose profits are curtailed by "piracy". The shift in demand and outmoding of record labels has caused the music industry in the United States to practically turn on its consumers with threats of numerous lawsuits. Ironically enough, few people are asking the question of how this change in technology will affect the artist. We believe that digital music will free artists and audiences to experience direct commerce between oneanother, without the threat of oligopolization by media corporations. We believe that artists will be able to have more direct and immediate control and ownership their work.
Would you sign a record contract with a major label?
Not without a very very clear contract and an able entertainment attorney. Compromising our message is not an option.
Band History:
We are three very different people with very different backgrounds in electronic music. Our union is contingent upon what we perceive as a need for music of protest in the current international political climate. Our history is irrelevant. Our future is vital.
Your influences?
CLOCK DVA - BURIED DREAMS, FRONT 242 - TYRANNY >FOR YOU<, GEORGE ORWELL - 1984, MINISTRY - TWITCH/THE LAND OF RAPE AND HONEY, EINSTURZENDE NEUBAUTEN - TABULA RASA, PARAMAHANSA YOGANANDA - AUTOBIOGRAPHY, GLOBAL POLITICS, HORROR FILM SOUNDTRACKS, THE TENSIONS BETWEEN ENTROPY AND EVOLUTION AND THE DIFFICULTY DISCERNING THE TWO
Favorite spot?
NYC
Equipment used:
tracking programs, subtractive synths, sample arrangement programs, bass guitar, various effects devices, ewi, electronic/accoustic percussion
Anything else...?
http://www.wm3.org
http://www.votergate.tv
http://www.guardian.co.uk/
http://myspace.com/clockwerk