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This certainly seemed plausible in the late-1990s, as groups like U2, Radiohead, and R.E.M. But the idea that electronic music could reach a wider audience was often predicated on a belief that its rise would relegate rock to an irrelevant form. And, as Moby soon discovered, these were also attractive qualities for selling tunes to advertisers. For many partisans, this was a perfectly suitable way to listen to music. It worked better in dance clubs than on home stereos, and was rarely created with album-length intentions. It trafficked in texture and ambience, shunning traditional songwriting techniques. In England, there is even a micro-genre called “ New Rave“-the discriminating lad’s rocktronica, if you will.īesides the fact that no real artists self-identified under the electronica banner, the genre’s moment evaporated because many of the accusations lobbed at the kind of electronic music on sale were more or less true. Meanwhile, younger acts such as Justice, Digitalism, Simian Mobile Disco, the Mercury Prize-winning Klaxons, and LCD Soundsystem have recalibrated the sound and posture of traditional indie rock. There is always the threat that Moby will return to the fold. Daft Punk has just completed a celebrated tour.
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This year, stalwarts such as Underworld, the Chemical Brothers, U.N.K.L.E, and even the Crystal Method (the reason someone saw fit to coin the awful term rocktronica) will release new material. Some 10 years later, that original vision of circuitry-obsessed infidels shaking the rock canon is very much upon us. And so electronica remained the music industry’s perpetual Next Big Thing, intriguing enough to merit the occasional push but too esoteric and weird for the general buying public. Perhaps it was the approach: Marketing the politest elements of rave culture to those with no taste for camouflage and little interest in dancing-in short, “electronica as thinking man’s jock jam”-may have missed the point. More about the festival: breakthrough never came. The site demands respect, and the festival strives to minimize its ecological impact, from offering (non-bottled) water at no charge to selecting food and art vendors based on their green commitment. The single-stage focus leads to deep dialog between festival fans and musicians, between people from radically divergent backgrounds, between the natural and sonic environment. “ We want to help participants learn to fully engage every single moment.” “ Most music festivals keep you flitting from place to place, which can be pleasant,” says Rasenick. Unlike many festivals, Beloved has only one stage, increasing the focus and encouraging people of different tastes, backgrounds, and faiths to listen intently to one another. Photo by Chris DecatoRasenick resolved to remedy that, and launched an open-air festival. “ The two communities had a lot to learn from one another, but never got together.“ “ There were these two different audiences, doing same thing and wanting the same thing,” explains Elliot Rasenick, founder and organizer of the Beloved Sacred Art & Music Festival. The Portland-based promoter got the idea for Beloved when he realized the audiences at the electronica events and kirtans (yoga-related chanting sessions popular in India) he organized had a great deal in common.
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“ We like to play with cultural collision and make it fun,” says Rasenick.
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Or they might see underground DJs entranced by Sufi devotional music. Mythic storytelling and healing rituals, yoga sessions and massage workshops-along with jubilant participatory musical performances and all-night dancing.Īlong with well-known artists and engaging teachers, festival goers might catch a champion throat singer, African hand drummer, and an ecstatic crowd making spontaneous music together offstage. Along with participatory performances, the Festival’s extensive educational programming offers fans a chance to explore a wide range of approaches to spiritual practice and self-care. This outdoor festival will also feature beautiful camping, yoga, and healing lectures.īeloved also includes kirtan chanting sessions, with call and response, and Sanskrit sounds to draw participants into states of reflection. Renowned world music artists like Bombino, Aurelio Martinez, Everyone Orchestra, and other musical acts will join festival goers from across the globe at the Siuslaw National Forest. Photo by Angel RomeroThe Beloved Sacred Arts & Music Festival 2012 will be held at the edge of Oregon’s Coastal Range during August 10 -13, 2012. Your Connection to traditional and contemporary World Music, including folk, roots, global music, ethno and crosscultural fusions