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Indian E-music – The right mix of Indian Vibes… » 2018 » January » 02


Here’s the music in 2017 that gave us strength

Delivered... David Abravanel | Artists,Labels,Scene | Tue 2 Jan 2018 8:46 pm

Music can make us stronger, helps us face challenges. So forget talking about which music was “best.” Here’s some music that made us better.

For guidance, CDM turns to its resident music contributor David Abravanel, whose background spans music writing and technology alike. He walks us through some selections for challenging times – some of which you’ve no doubt seen elsewhere on lists of stand-out music from the year, but some of which you probably haven’t.

And if this is electronic music in many cases, that’s not just because we’re nerds (though indeed we are), but because new times and new expressions call for new sounds, and we’re lucky that machines give us a pathway to find them.

Framed this way, of course, this is immensely personal – but that’s by design. These lists should always be filled with blank pages at the end for you to fill in and reflect, holes where we missed music, because music discovery should never become a competition for a limited number of slots. It should always be boundless. So sound out on comments.

Here’s David:

2017: A … ??? Odyssey?

It’s hard to think of a good person for whom 2017 didn’t feature a bevy of turmoil and stress; as such, music was more important than ever. As an agitator. As a uniting force. As a challenge. As comfort. As sense in a confusing world. As further confusion to prove that, yes, things could always be worse. As celebration to remind us of the good that still happens among the bad. As love, hate, and everything in between.

For me, 2017 was also the year when music technology finally caused me to retreat a bit and pause. Since my early teens, I’ve obsessively followed new music, seemingly devouring more each year. This year was the first time that I took a step back and tried to refine my focus. As such, there are pillar albums from this year that I perhaps just flat-out missed, or ones which I could appreciate but didn’t force myself to come back to. There’s a lot on this list that is personal – perhaps it’s a sign of 2017, turning to the voices of friends, or perhaps it’s also that so many acquaintances live in similar worlds.

While I listened to fewer albums this year, I formed stronger attachments to more of what I heard. As such, pairing this list down to 25 was an unforeseeably difficult endeavor. I’d love to just list all 116 albums that I heard this year, but that wouldn’t do for a list, would it?

B12 – reissued.

As per usual, I haven’t ranked the lists, but if I had to pick number ones, it’d probably be Alexi Perälä’s Paradox for album, B12’s Electro-Soma I & II Anthology for reissue, Patten’s Requiem for EP, and KiNK’s “Yom Thorke” for track.

A/T/O/S.

The award for “I do not understand how they aren’t huge” goes, much as it probably did in 2014, to A/T/O/S. Outboxed one-upped the debut as a leaner affair with a looser and more frantic feel, climaxing with the overwhelming vocal effects on “Blackout”. People, Mala has great taste. He signed this duo for a very good reason and we all owe it to ourselves to pay more attention to them.

Speaking of which, bass – didn’t it take some new shapes this year? Emptyset tweaked the formula to embrace new instruments and produced some intensely sandy rattles, while Jana Rush continued her slingshot back from a 20-year hiatus for an album that proves that anyone getting “tired” of footwork just has lazy ears. This makes a good segue to Jlin, whose own album just missed the list, and who appears alongside an ensemble cast including Scratcha Dva, Zora Jones, Sinjin Hawke, and more on Visceral Minds 2, a sequel to Fractal Fantasy’s 2016 compilation which managed to Empire Strikes Back the whole formula. And hey, let’s see Sophie’s “Ponyboy” sounds on cheap bass stacks.

Ed.: Shout out to say these artists – and Jlin, and Emptyset – were all just as thrilling live, and easily make my live highlights of the year, naturally. Assume that’s true of many of the others I didn’t see. Kudos to Atonal Festival and CTM Festival Berlin, Lunchmeat Festival Prague for some real highlights. -PK

Jana Rush.

Zora Jones.

Some of 2017’s best also reduced (or outright eliminated) percussion to focus on atmospheres. It was an especially daring move for King Britt’s Fhloston Paradigm project, and one that seriously paid off. Elsewhere, Dopplereffekt further the Calabi Yau Space mythos with arpeggiated science fiction, and GAS showed that Wolfgang Voigt still had plenty of ambient classical … gas in the tank (sorry for the pun).

Aleksi Perälä.

Aleksi Perälä is a fascinating fellow with an intriguing premise and insane release diarrhea. Even the two Colundi Sequence compilations couldn’t stop the feeling that we were hearing the arpeggiated bells experiments of a person who couldn’t quite separate the wheat from the chaff. Then came Paradox, where just a little more adherence to techno structure resulted in magic. Further, let’s have some hands up for [record label] трип this year. Kudos to [label boss] Nina Kraviz and her collaborators for bringing forth such a consistently enjoyable stream of experimental dance music (hey PTU!).

I’ve read a bit about the demise of indie rock, and while I don’t much have an opinion there, I heard plenty of brilliant songs this year – whether from the aforementioned A/T/O/S, the ever-reliable Goldfrapp, or returning champs Slowdive.

Lastly, for certain Gen-Xers and Millennials, 2017 was definitely “The Year We Started To Feel Old Because Of Anniversaries And Stuff™.” The bright side was that we got a steady stream of excellent reissues – from Roni Size to Underworld to Leftfield, it was a dynamite time to be a 90s “electronica” classic.

Oh, and listen to that COH Cohgs album too. There’s some real minimalist beauty, plus a wrenching collaboration with Jhonn Balance.

(all lists in alphabetical order)

Selections

Fhloston Paradigm, by John Kaufman.

Top 25 albums

Actress – AZD (Ninja Tune)
Artefakt – Kinship (Delsin)
A/T/O/S – Outboxed (Deep Medi)
Biosphere – The Petrified Forest (Biophon)
Björk – Utopia (One Little Indian)
Call Super – Arpo (Houndstooth)
COH – Cohgs (Editions Mego)
Dopplereffekt – Cellular Automata (Leisure System)
Duran Duran Duran – Duran (Power Vacuum)
Ekoplekz – Bioprodukt (Planet Mu)
Emptyset – Borders (Thrill Jockey)
Fhloston Paradigm – After… (KingBrittArchives)
GAS – Narkopop (Kompakt)
Goldfrapp – Silver Eye (Mute)
Robert Hood – Paradygm Shift (Dekmantel)
Aleksi Perälä – Paradox (трип)
Jana Rush – Pariah (Objects Limited)
Shed – The Final Experiment (Monkeytown)
Slowdive – Slowdive (Dead Oceans)
Special Request – Belief System (Houndstooth)
Steffi – World of the Waking State (Ostgut Ton)
Tobias – Eyes in the Center (Ostgut Ton)
Alan Vega – IT (Fader)
Various – Visceral Minds 2 (Fractal Fantasy)
Zomby – Mercury’s Rainbow (DDS)

10 Great Reissues

B12 – Electro-Soma I & II Anthology (Warp)
Thomas Brinkmann – Retrospective (Third Ear)
Leftfield – Leftism 22 (Columbia/Hard Hands/Sony)
Theo Parrish – Parallel Dimensions (Sound Signature)
Prince & The Revolution – Purple Rain (Warner Bros.)
Radiohead – OK Computer OKNOTOK 1997-2017 (XL)
Ron Trent – Word, Sound & Power (Rush Hour)
The Smiths – The Queen is Dead (Warner Bros.)
Roni Size/Reprazent – New Forms (UMC/Mercury/Talkin’ Loud)
Underworld – Beaucoup Fish (Warner Bros.)

Top 10 EPs

Burial – Rodent (Hyperdub)
Inner8 – Myths (In Silent Series)
Kuyawow – Dark Days (Kuyawow)
Lorenzo Senni – “XAllegroX” / “The Shape of Trance to Come” (Warp)
Lrusse – Part of the Plan (Nite Owl Diner)
Nu Era – Geometricks (Omniverse)
Objekt – Objekt #4 (Objekt)
Patten – Requiem (Warp)
PTU – A Broken Clock is Right Twice a Day (трип)
WK7 – Rhythm 1 (Power House)

Top 10 tracks/songs

Björk – “Sue Me” (One Little Indian)
The Brian Jonestown Massacre – “Resist Much Obey Little” (‘a’)
The Bug vs. Earth – “Snakes vs. Rats” (Ninja Tune)
Goldie – “Horizons (ft. Swindle)” (Metalheadz/Cooking Vinyl)
Robert Hood – “Nephesh” (Dekmantel)
Jack Peoples – “Song 05 Vocal” (Clone Aqualung)
KiNK – “Yom Thorke” (Runningback)
Peter Kirn – “This Circle in All” (The Establishment)
Shackleton & Vengeance Tenfold – “Dive into the Grave”
Sophie – “Ponyboy” (Transgressive)

Ed.: Ha, I really did NOT put David up to including me or expect that, so … here it is so you know what the heck he’s talking about!

Listen Now on Spotify

The post Here’s the music in 2017 that gave us strength appeared first on CDM Create Digital Music.

January Regulatory Dates for Broadcasters – Quarterly Issues Programs Lists and Children’s Television Reports, FM Translator Window, Main Studio Rule Change and Streaming Requirements

Delivered... David Oxenford | Scene | Tue 2 Jan 2018 6:21 pm

The holidays are over, and while the regulation never stops, it is time to once again buckle down and look at what is on the horizon for broadcasters. While, in the next few days, we will have our typical look ahead at the broadcast regulatory agenda in Washington for the New Year, we also need to look at more immediate deadlines in the month of January. As we are at the beginning of a calendar quarter, the tenth of the month is the date for broadcasters to add their Quarterly Issues Programs Lists for the just completed quarter to their public file – whether it be the online public file for TV broadcasters and the many radio groups that have already converted to the online file, or into the paper file for those radio broadcasters waiting until the last minute before making the conversion to the online file as required by March 1. These Quarterly Issues Programs lists are the only FCC-required documents showing how a broadcaster has met its public interest obligations to serve their communities and, as we have written many times (see, for instance, here and here), the FCC considers them to be very important, and thus have led to numerous substantial fines for broadcasters who have not met the FCC’s requirements.

TV broadcasters also need to file their Children’s Television Reports with the FCC by the 10th of the month, and place information into their public file about how they complied with the commercial limits on children’s television programming. As we have written before (see our articles here and here), these, too have been the subject of numerous FCC enforcement actions when the Commission becomes aware that the reports were not filed, or were submitted late. So be sure to timely file these reports with the FCC, and place the information about compliance with the commercial limits in your online public file by the deadline.

TV stations that are being repacked to a new post-auction channel also must file their quarterly FCC Form 2100, Schedule 387 Transition Progress reports by the 10th of January. See our article here about the initial FCC reminder on these reports.

For AM broadcasters, the second window for filing for new FM translators to pair with their AM stations is open from January 25 through January 31. This window is for Class A and B AM stations who were not allowed to file in the window that opened earlier this summer but only if the stations did not buy a translator and use a 250-mile waiver in the window that the FCC had opened for moving translators last year. See our article here on this upcoming window. We would also expect to begin to see applications granted for many of the FM translator applicants that filed long-form applications last month for their translator applications filed in the window earlier this year for Class C and D AM stations. And keep in mind that, in connection with the upcoming window, there will be a freeze on the filing of minor change applications for FM translators, FM booster stations and low power FM stations from January 18-31.

The effective date of the elimination of the FCC’s main studio rules is January 8 (see our article here). So we would expect some broadcasters to begin to take advantage of the flexibility that this rule change provides as to the location and staffing of their station operations. Obviously, station operators still need to serve the public interest in their communities (and demonstrate it in the Quarterly Issues Programs Lists mentioned above), but their local studio and staffing requirements will disappear as of January 8.

For broadcasters who stream their signals on the Internet and other webcasters, as we wrote here, January 1 brings higher royalties to be paid to SoundExchange, as the royalties set by the Copyright Royalty Board at the end of 2015 for the period from 2016 through the end of 2020 have been adjusted for inflation. Also, under many of the royalty regimes in place under the CRB decision, minimum fees for the year must be paid to SoundExchange by the end of the month.

As in any month, these are just some of the highlights on the regulatory calendar. Every station should be on alert to make sure that they address those compliance issues that need to be addressed, when they need to be addressed, to avoid regulatory issues down road.

Get a kid to explain clock: Caitlin’s modular clock tutorial is must-watch

Delivered... Peter Kirn | Scene | Tue 2 Jan 2018 6:15 pm

If The Mad Music Machine thought that getting young Caitlin in her Christmas crown to explain modular clock signals would grab attention … they were right.

Kids seem to have a natural affinity for synthesizers, after all – I know my love affair started early, and I didn’t have access to anything like this! And Caitlin’s video tutorial on signal is sharp, cheery, and to the point.

The idea: patching signal allows you to introduce time and rhythm to composition, here demonstrated on a Moog Mother-32 – a great place to start with modular concepts – and their Mutant Drums.

Within the modular paradigm, it’s also fun to subdivide rhythms – something musicians naturally do with beats, applied to the patch-and-plug metaphor. So they’ve also made use of the 4ms Rotating Clock Divider in the mix.

Good stuff – thanks, Caitlin!

And, of course, if you don’t have modular hardware nearby, now is a good time to mention our tutorial from last week, in which Ted Pallas shows you how to get up and running with VCV Rack. We present that tutorial without the assumption that you know how basic modules work in synthesis, so if you’re new to this, this can be a place to start:

Step one: How to start using VCV Rack, the free modular software

h/t Synthtopia

The post Get a kid to explain clock: Caitlin’s modular clock tutorial is must-watch appeared first on CDM Create Digital Music.

THE COACHELLA LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 2 Jan 2018 1:15 am
The Weeknd, Beyonce and Eminem all headline! SZA, Kygo, Haim, Tyler The Creator, ODESZA and Portugal. The Man also lead the lineup! Passes go on sale Friday, January 5th at Noon PST.
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