- How we’ve paid for music from 1983 to today, in one gif.
- Revealed: The Type of Music That Makes You Feel Most Powerful Spoiler: Queen “We Will Rock You”, 2 Unlimited “Get Ready for This”. Apparently it’s all about the BASS LINE.
- Charlotte Church on fifteen years in the music industry as a woman.
- You don’t play the ANS synthesizer (Russia, 1938) with a keyboard. Instead you etch images onto glass sheets covered in black putty and feed them into a machine that shines light through the etchings, trigging a wide range of tones.
- I am slightly horrified and fascinated by the This Exists channel on YouTube. For a starter, here’s a survey of the history of Scientology music.
- Terrorizer: Heavy Metal Is Gay: Why we need to tackle our homophobia.
Archive are a pretty superb combination of electronica, trip-hop, with progressive elements, something like a fusion of 65daysofstatic and Portishead. To say that they’ve put together some mighty fine tunes over the past fifteen years or so is understating their innovation and genius; a taster for the unfamiliar – ‘Lights’, you really must get ‘Lights’ to feel how progressive music should be constructed and rarely is. Axiom (2014) is their tenth album item since their debut ‘Londinium’ in 1996 (not including compilations), and is certainly an impressive project being released with an accompanying black and white short film. It is a notably shorter production, with the album being around 35 minutes and the film about five minutes longer. As a soundtrack and story combination it comes as a unified product with the track listing providing a narrative in its own right.
This post was submitted by Lev Lafayette.
Really. Pretty laborious, but this seems to actually work. Anyone tried it?
Hey, it worked for Christians, perhaps co-opting rap music will work for neo-Nazis! Multiculturalist site Imagine 2050 writes of White Power rap used as a recruitment tool in Germany. Artists include N’Socialist Soundsystem, Sprachgesang zum Untergan, Natürlich, MC Bock and Makss Damage.
Imagine 2050 fears the power of this stuff for recruitment, but anyone with ears will laugh within thirty seconds and switch it off within another thirty. I’m not linking any, but you can find it readily enough with a search.
(I am particularly pleased to categorise this story under “R’n’B”. “I turn black music into white music – like Elvis did back in the day.” Yeah, no.)
Some kind person has been collecting this stuff. Enjoy. HT Paul Makepeace.
Paul Wilson writes, in Audiophile Review, possibly the stupidest argument against double-blind tests I’ve read in some time. He doesn’t just argue the case for a special exemption from joined-up thinking in general — he dodges even arguing the case, and just asserts it. Oh, and double-blind tests are inherently biased against audiophile manufacturers. (That one I might buy.)
The commenters note at length that, by previously asserting that he can tell cheap from expensive HDMI cables, Wilson could handily win James Randi’s million-dollar challenge for proving apparently-supernatural phenomena in the lab. HT Peter da Silva.
A great photo essay by Olaf Shuelke in Roads and Kingdoms of punk rockers and their kids, in full mohawked peacockery, putting on unlicensed shows with a generator and speaking out against injustice.
(Rone: “what, no ‘Mission of Burma’ jokes? son, you are slipping.”)
“Helvete is a new open-access electronic and print journal of black metal theory.” Conceived after Melancology, the second Black Metal Theory Symposium, in 2011, and finally out. This definitely outdoes me for rocknerdery. The first edition. “Black Metal theory is an infection in danger of becoming an epidemic … Black Metal theory is the infection of Black Metal by theory; it is the brutal vivisection of Black Metal’s heretofore incorrupt body.” HT Ms. 45.
Matt Daniels answers the question you hadn’t thought to ask: who has the largest vocabulary in hip-hop? Counts done from first 35,000 released words. Ah, the trials of the popular poet in the modern age.
Pete Farnan of Boom Crash Opera writes about playing A Day On The Green, to the most irony-free audience possible. “The Hunters and Collectors recently did a tea towel which apparently sold out.” He’s still whinging about rock critics, though. Dude, the internet killed us too. Talk about yer disintermediation.
JOHN CAGE MATCH, Praxis, Wednesday (NTN) — The Wu-Tang Clan has announced the nonrelease of their new album Once Upon a Time in Shaolin, to be made available in an edition of no copies.
Mashing together public domain audio to get cash out of Spotify is too much like work. Vulfpeck, a funk band from Ann Arbor, have released an album consisting of ten 31-second segments of silence; they have asked their fans to stream it continuously on repeat so they can fund their next tour. That’s about $5 from each person for seven hours’ streaming. Spotify know about it, but don’t yet appear to have pulled the plug. This would be why Pandora and Netflix have the “I’m still listening/watching” button. Update: And it’s gone.
We’ve previously sent out email via the Subscribe2 plugin, but it keeps ending up in spam filters. The Jetpack plugin (turn your blog into a vassal state of wordpress.com!) includes email that gets through, so use that little box on the right of the front page and you’ll get new posts straight away.
Now this is an interesting thing. Amélie Ravalec and Travis Collins (the one from RTR) track down the conceptual origins of 1970s and 1980s industrial music, interviewing a pile of the original participants. The trailer is marvellous. They’ve put up mixtapes. There’s a Twitter and Facebook too. I’m looking forward to this one.
Why do we listen to our favourite music over and over again? Because repeated sounds work magic in our brains. Do anything repeatedly and it is music. And even if you consciously avoid repetition, listeners in studies consistently rate the same piece with a bit of repetition inserted higher than the version without.
Miller is not quite comfortable with the term “Krautrock”, and neither am I. But this is a delight for any decent record nerd, and particularly any record nerd who likes their bleep. I’m surprised he rated Radioactivity above Trans-Europe Express, but given it’s Daniel Miller I’m not going to quibble.
As a bonus, here’s Daniel Miller’s Modular Synth Masterclass at LEAF 2013 (including lack of fandom for Switched-On Bach — any bleep fan needs to watch this) and the BBC documentary Krautrock: The Rebirth of Germany.
Neil Young has unveiled at SXSW a new $400 pocket music player that only plays one specific file type, encoded at “high resolution”. The file type will only be sold through a single proprietary store.
Quite apart from the bit where the triangle edge sticks into your thigh — I think Jony Ive is losing no sleep here — just imagine how much of your expensive high-resolution audio will make it through your earbuds. Or your Beats by Dre. This is like bringing Betamax to the market in 1994.
The actual sound format appears entirely made of audiophile woo. Dig this from Friday’s press release:
Ayre’s custom designed and implemented digital filter. It is minimum phase, with no unnatural (digital sounding) pre-ringing. All sounds made always have reflections and/or echoes after the initial sound. There is no sound in nature that has any echo or reflection before the sound, which is what conventional linear-phase digital filters do. This is one reason that digital sound has a reputation for sounding “unnatural”.
Or, from today’s press release:
PonoMusic is a revolutionary movement conceived and founded by Neil Young with a mission to restore the soul of music – bringing the highest-quality digital music to discerning, passionate consumers, who hunger to hear music the way its creators intended, with the emotion, detail, and power intact.
I can play FLACs — including 24-bit ones — on my phone. Bit-perfect copies of my CDs. And it’s also a phone.
If Neil Young, age 68, who’s played feedback-drenched noise on stage for the past forty-odd years, can reliably tell a Pomo file from a FLAC prepared from said Pomo file in A/B/X testing, I will give you a lollipop. Two lollipops.
(HT Daniel Lopez on the RationalWiki Facebook group.)
Liberation Music really don’t like people using their music on YouTube. So when some guy used a recording they owned, they got it taken down. Then he claimed fair use. But they decided no, they weren’t putting up with that shit.
As it happened, the guy in question was Larry Lessig. Gentleman, scholar … copyright lawyer … founding member of Creative Commons … argues copyright cases to the US Supreme Court … former board member of the Free Software Foundation, Software Freedom Law Center, Electronic Frontier Foundation …
So it turns out that calling Mike Tyson a cunt may be bad for your facial integrity. And Lessig has proceeded to paint the canvas with their blood. Liberation Music has had to admit wrongdoing in issuing the takedown notice, apologise and pay Lessig compensation for the privilege. Really, we expect a better choice of battles from Mr Gudinski.
Filmmaker Austin Chapman was largely deaf from birth until, a year or so ago, he finally got hearing aids that didn’t suck. “It was like seeing the world through a pair of high definition 3D goggles, when he’d previously only witnessed monochromatic pixelated visuals.” See also his initial musical explorations on Reddit. The worst music he’s heard in this time? “‘Call Me Maybe’, Bieber, and ‘What Does The Fox Say’.”
It’s 1981. The disco empire has fallen. The Casablanca label has been bought by PolyGram and all the disco artists have been dumped. You are the Village People. What to do? Why not … a New Wave comeback!
Despite the Visage makeup, the sound dumped all danceability, taking its cue from the AOR of the time. Here’s the terrible single, which is probably the least-worst song on the record.
There exists a torrent. Pray for a lack of seeds.
A year later they went back to disco with the slightly less terrible Fox On The Box, a.k.a. In The Street, and the world was slightly safer.
HT Brad Coleman for bringing the existence of this thing to my attention. Thanks, I think.