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Indian E-music – The right mix of Indian Vibes… » 2018 » May » 09


Volt synth 1.2 gets a big update and goes universal too (plus it’s on sale)

Delivered... Ashley Elsdon | Scene | Wed 9 May 2018 9:53 pm

Volt synth is a pretty impressive synth app, and unique in that it features MPE (multidimensional polyphonic expression) support and works with the Roli Seaboard out of the box. In this latest update update Volt goes universal too.

Here’s all that’s new:

  • VOLT is now Universal and supports all iPhones starting with the iPhone SE
  • Keyboard: next to classic/piano and the mpe/seaboard style layout a a third, string based layout is now available
  • Keyboard: added support for scales (string layout only)
  • Keyboard: redesigned keys
  • Keyboard: now supports velocity (mapped to y axis of a key)
  • Keyboard: now supports pressure (on iPhones capable of 3D touch)
  • Keyboard: now supports performance mode with larger keys (iPhone only)
  • Keyboard: added revamped settings including seaboard style sensitivity sliders for glide, slide, pressure and velocity
  • Keyboard: added support for multiple rows
  • Keyboard: performance mode with larger keys is not available on iPad as well
  • Keyboard: improved playability
  • Keyboard: fixed an issue with the MPE keyboard where slide and glide were sent on wrong channels resulting in unexpected MPE behaviour
  • Keyboard: fixed key labeling which was offset by one octave
  • Keyboard: changed the way bending/glide is handled
  • Keyboard: added touch overlays for increased playablility
  • LINK: fixed an issue where manual BPM input would be ignored while LINK was active
  • ARP: fixed sequencer mode (when latched, you can new enter as many notes as you like, repeats are possible as well)
  • ARP: fixed an issue where disabling the arpeggiator would not clear it’s notes
  • MIDI: Fixed poly aftertouch
  • MIDI: added support for multiple inputs
  • MIDI: when playing in unison mode, note priority now defaults to last-note
  • MIDI: fixed an issue where MPE would not work properly in combination with note priority in mono/unison patches
  • MIDI: added support for multiple input devices and channel
  • DSP: Fixed an issue where LFO triangle output would be scaled up in tempo synced mode leading to unexpected behaviour in some cases
  • DSP: App no longer crashes if the audio engine fails to start but displays an error message instead.
  • DSP: fixed an issue where changing patches could cause audio glitches
  • DSP: fixed an issue where FM patches could crash the app in some cases
  • DSP: Improved aliasing in FM patches
  • DSP: Improved CPU usage
  • DSP: Optimized memory footprint
  • Presets: Fixed Preset Export
  • Presets: Preset Export is now also available in AU mode
  • UI: Fixed an issue where some knobs would behave oddly when near their min or max values
  • UI: controls such as knobs and sliders now become less sensitive when moving further away from a control while dragging
  • UI: controls such as knobs and sliders now use the upper right display for real time readouts
  • UI: tweaked 10.5 and 12.9 inch layout
  • UI: Keyboard and synth controls now remain accessible while favourites selector is visible
  • UI: Standalone version now hides the iOS status-bar and displays it’s own battery indicator instead

Volt synth is now on sale until the 16th of May and is down to $9.99. After the 16th it’ll go up to $19.99

The post Volt synth 1.2 gets a big update and goes universal too (plus it’s on sale) appeared first on CDM Create Digital Music.

Is AUv3 the future? Sugar Bytes certainly think so

Delivered... Ashley Elsdon | Scene | Wed 9 May 2018 9:18 pm

As they’ve just updated their Unique apps for iOS (iPhone and iPad) to remove both Inter-App Audio and Audiobus. They’ve decided to do this as, in their view, AUv3 is now the future for iOS, which is an interesting view. I’m not saying I disagree, but for some users it will certainly limit choice, and of course, not everyone is an audio units fan.

I’m guessing that they’ll follow along with the rest of their apps in due course, so we can expect the same treatment in Cyclop, Effectrix and WOW Filterbox.

They’re view of AUv3 is …

Thanks to AUv3 you now have a plugin interface that offers you the most features currently available.
No longer switch between apps or rely on work-around solutions with extra steps and messy MIDI problems.
Simply run Unique within your favourite iOS DAW just like you would on desktop.
Go wild running multiple instances, record parameter changes in real time and automatically save/restore Unique’s state within the host app.

But it’s not all bad news for Unique synth, in addition to adding audio units to both apps, they’ve also added iCloud drive for sharing of presets across multiple devices, which I know will please a lot of users.

Unique for iOS iPhone version

Unique for iOS iPad version

The post Is AUv3 the future? Sugar Bytes certainly think so appeared first on CDM Create Digital Music.

All the best new gear and modules from Superbooth, in one place

Delivered... Peter Kirn | Scene | Wed 9 May 2018 12:21 pm

If you love synths, you’ll want a guide to Berlin’s Superbooth. What was still just an actual booth a few years ago has grown into one of the world’s biggest synthesizer showcases. There was so much new, it’s actually hard to keep track. Here’s some assistance.

About the festival: Superbooth, held in a former East German children’s community center in the city’s Köpenick suburb, was more packed in 2018 than ever.

That’s partly a sign of the growth of modular makers. This event calls Berlin home thanks to Schneidersladen (née Schneidersbüro), the boutique synth shop that became a landmark and a beacon to lovers of electronic instruments, particularly as analog circuitry and Eurorack modular synths have seen major growth in the 21st century. Andreas Schneider and his team, and later their ALEX4 distributor and the Superbooth operation itself, have helped champion those instruments.

But like that shop, Superbooth also gathers boutique makers of many stripes, plus big manufacturers like KORG, Elektron, and Roland, each of whom had commanding presences (among others).

The overall feeling is of a place where synth makers and musicians come together, with gear at center stage. (There are panels and performances, too, but they feel a pleasant side show to the workshops and booths.)

This year’s themes: There are still wires everywhere. But “analog” sound sources aren’t the major concern they once were – or, for that matter, classic gear as models (even if Behringer clones were a big buzz). Now, you’ll see plenty of computer-like sequencers in racks, digital oscillators (including FM synthesis), more alternative control interfaces (from touch to gestures to biosensing), and fresh ideas built around digital tech.

Actually, maybe the openness of ideas is a big part of Superbooth’s easy-going atmosphere. Because modules aren’t complete products in themselves, they often seem as much a physical embodiment of an idea as a product. Even with some builders marketing complete “systems,” there was a hunger to connect gear.

But even if you’re not into modular… Here’s the funny thing. Superbooth has managed to become the world’s premiere synth show, not just modular show. Computers were mostly eclipsed, and you didn’t see a lot of guitar- or vocal-focused gear, but every other object that generates sound – from desktop synths to Theremins – was on hand, with some pretty big news.

The List.

Okay, there’s so much stuff – I’m going to make this a really fast log with some in-a-nutshell descriptions.

Things I left out of this list:

1. Stuff introduced earlier / shown before (as at NAMM in the USA, earlier this year)
2. Things I forgot / didn’t see

On #2, please feel free to remind me or make a case for something you found interesting. There’s actually way too much stuff to cover everything, though, so I did intend to pick highlights but …. I’m sure there’s more.

The show-stealers

Erik Norlander (also creator of the Alesis Andromeda) shows us the IK Multimedia UNO he worked on with Soundmachines’ Davide Mancini.

I’ve covered these already, as they made some of the biggest impact at the show (and on general audiences), perhaps with the exception of the Behringer clones (more on that in a bit).

MFB’s Tanzbär-2 was instant drool-worthy stuff, combining analog drum sounds, digital drum sounds with sample loading, and an analog bassline with easy access to sounds and faders. And it’s made in Berlin, so – score one for the home team.

The Polyend/Dreadbox Medusa is a deep synth paired with an expressive grid and extensive live recording and sequencing features. And as with the MFB, pretty much everyone I talked to instantly wanted one, so there’s that.

The $199 IK Multimedia UNO. Combining a powerful analog synth with a sequencer and lots of modulation, all in a battery-powered unit you can play right away at a low price, is an easy win. It’s also the work of a collaboration between soundmachines and IK.

Erica Synths Techno System just does everything you need for percussion and bassline and distortion and mixing thereof, and sounds amazing.

Roland’s SYSTEM-500 modules strike a nice balance between features of the 100m line, the SH-5, and newer ideas. Plus, again, Roland got to stake out the super-cool space-themed part of the building.

Bastl’s modules are noteworthy, even if not the most buzzed-about gear at Superbooth this year, for two reasons: one, I think they’ve got waveshaping interface down with Timber, and two, the 1983 MIDI-to-CV module does clever automatic tuning, for polyphony across modules.

Desktop synths and toys

The Center for Haptic Audio Interaction Research chair.audio. This is perhaps the most exciting innovation shown at Superbooth. Vibration-based sensing and haptic technology produces a control interface that behaves more like an acoustic instrument. It’s the result of a research team based in Weimar, Germany – check their complete site for an explanation, but more on this on CDM soon, for sure. The results are stunning – suggesting a new kind of performance interaction, and a window to the worlds of electronic sound that descends more from acoustic percussion and less from organs and keyboards. Watch – it’s jaw-dropping:

Dave Smith Instruments Prophet X. Dave Smith have gone to the high end with this one – it’s a new flagship Prophet, combining a digital 8-voice stereo digital synth, a new sample-based sound engine, and those signature DSI analog filters and circuitry. Basically, you get a Prophet workstation – part Prophet synth, part sample engine with 150 GB content, and all the extras. And it costs four grand, though this seems like a new generation of workstation keyboard / computer sample engine replacement. (Dave Smith for Hans Zimmer?) DSI have posted a complete product page. It’s sort of a shame Keyboard Magazine (USA) is no longer printed on trees, as obviously this would be on the cover.

Soulsby Atmultitron. This is like the 8-bit workstation to DSI’s high-res one. No gigs of samples or high resolution here – just a keyboard packing all of Paul Soulsby’s brilliant and weird 8-bit creations into a single keyboard with joystick and controls.

Pittsburgh Modular Electronic Sequence Designer. Sequencers were all over the place at Superbooth, but perhaps the most useful was Pittsburgh Modular’s entry – a 4-channel, 32-step sequencer with loads of performance and composition options. It’s a little like having a KOMPLEX Sequencer from KOMA, but in a more manageable form factor.

Twisted Electrons introduced some toys in the best sense. The 8-bit uAcid8 borrows from their bigger acid8 wavetable synth, while the 4-voice hapiNES is “inspired by” the NES game synth. Both have push-button access to some clever features like filter wobble, and both cost just 99EUR. The inspiration of the Teenage Engineering Pocket Operators was left in the open – they even had a couple of those plugged into these, jamming together.

A hardware tool for the Prologue. KORG hinted that they were bringing hardware SDKs to play with that would allow developers to make stuff for their Prologue polysynth. KORG’s Etienne Noreau-Hebert talked to us about it. It’s basically one Prologue voice on a board (with cute lasercut side stands), with audio in and out jacks so you can hear what you’re doing, and exactly the circuitry you’d have on the full keyboard. Writing in C (with limited C++ extensions), you can make your own oscillators and effects, then ship them to the Prologue user base. There’s not much to this other than that, apart from a handful of conveniences like lookup tables, but it still seems like fun. And it’s the first instance I can think of that a hardware platform worked in this way.

Holon bio interface. This was crazy fun to play with. Using an Apple Watch or a custom wristband sensor (or just your iPhone), this interface tracks your pulse as well as movement. The upshot: jog around, and music responds. It’s like having a generative composer following you around, writing music for your workout – so that even when you pause to wait for a light to change at an intersection, the music answers accordingly. They also have a modular interface for this. Awaiting Apple approval. (holon.ist site seems not to be up quite yet, either).

Soundmachines Arches. Touch interfaces were everywhere, but Soundmachines’ Arches was a standout. Not only does it provide touchable strips, but you get light-up feedback, recording and looping, pressure sensitivity and z-axis control, and tons of patchability in addition to MIDI and USB. It’s really a gestural sequencing instrument as well as control interface, with loads of pattern controls for automating as you play. See the full product page for more.

Snazzy FX pedals. If you feel a bit left out of the fun as an instrumentalist looking for pedals, Snazzy has you covered – some brilliant and completely weirdo guitar pedals from the USA, found in the Erica Synths booth.

Modular

u-he Civilization. With lite-brite rainbow colors and just a few pots, the entry of plug-in developer into the modular world was a strange one. This module is a 4×4 matrix mixer – but, with some taps of those pots, it’s also a quantizer and sample & hold module – and all of that is color coded. Basically, a single space lets you command a bunch of connections and modules quickly, making Civilization an interesting choice for saving space.

It’s a bit nuts, but it also shows some of the advantage of multi-functional thinking from software blurring over into hardware.

Humble Audio Quad Operator. Hailing from San Francisco, Humble Audio have delivered a four-operator FM synth in a Eurorack module – complete with a matrix of pots. Everything can be modulated – and you can patch in audio signal. You can choose algorithms, or mix together your own sound shapes. It’s basically everything you’d want from a software FM synth, but in modular form – brlliant stuff, and hope to look at it more.

NERDSEQ is a chip music-style tracker in a module. It’s not new – I saw some pre-modular prototype years ago even at Musikmesse – but each year, its developer takes it further. This year, cartridges containing open source synths, including the full MeeBlip anode with analog filter, were available. So you can plug in an entire synth and use it in the tracker, just as easily as you would play Excitebike. Don’t blow on the synth cartridge, though.

You can plug in a game controller, too.

Hexinverter Mindphaser. Well, this is basically your dream oscillator – an analog “complex oscillator” with phase modulation and waveshaping. And in addition to beautiful controls and patching, it just sounds ridiculously good:

In a way, maybe this is one of the best Superbooth moments. It demonstrates analog circuitry, behaving futuristic – voltages making those computer bits a little jealous. (I may seem like I’m now anthropomorphizing numbers whilst my hypocrisy takes down the very name of my site, but just remember the CDM motto – the ‘d’ stands for whatever you want it to.)

I just wish I hadn’t failed to get on the Eurorack manufacturing craze or the cryptocurrency thing, because now I … can’t afford all that mindphasing. (Or at least, thinking about it is causing some mindphasing.)

Insane Clone Posse

Behringer have gone clone mad – with Roland Corporation circa 1980 (give or take a couple of years) being a particular target.

Roland’s SH-101 synth (1982), VP-330 vocoder (1979), TR-808 (1980), and even two pedals based on the JUNO-60 (1982) were on the show floor, not to mention the announcement that Behringer’s cut-rate Eurorack line will be based on the SYSTEM-100 module line. And no one can argue that Behringer are bringing back products that Roland won’t, since Roland has unveiled the SH-01, VP-03, TR-08 (and TR-8S and TR-8), and JU-06, plus their own SYSTEM-500 Eurorack, respectively. Behringer aren’t just copying Roland from decades past, in other words – their whole brand strategy comes straight out of the 2017-2018 Roland product catalog.

Behringer’s offerings are cheaper, yes. But those aren’t profits going to some rich fat cats: they pay for the marketing and support operations of Roland worldwide, which arguably helps create the market Behringer can then come in and exploit (and certainly which pays for some jobs).

It’s not just Roland. Behringer copied Sequential Circuits (now Dave Smith Instruments) Pro-One, though the prototype on the floor copied the look and feel more effectively than the architecture. There was also the ARP Odyssey, which had recently been re-engineered and re-released by KORG. And Behringer also showed the Neutron, which looks suspiciously in board layout like Moog’s Mother-32 semi-modular.

Nowhere to be seen: the DeepMind, the one synth Behringer created that’s actually new.

On the other hand, maybe what makes this less remarkable at this point is that the 101 and 808 in particularly already have countless clones in software and hardware. Behringer is, perversely, almost trading on their reputation for being the clone maker.

Behringer’s strategy (via parent Music Tribe) and its impact on the industry deserves more investigation. Past clones have landed the company in legal trouble with Roland/BOSS and Mackie. I’m researching that story and will report more separately.

But were there new products from Behringer? Well, no – not unless you’ve been in cryogenic stasis since 1982.

Meanwhile, the oddest reaction to this has to be this, from Synthtopia’s comments:

It justifies Behringer’s hardware clones with a reference to all the human … cloning … going on. Really, human cloning? Wasn’t aware.

Weirdness

Oh, so much weirdness. Want a beer tap in a module, for instance?

Or laughing gas (via Errorinstruments)? (Makes me think about dentists.)

What did we miss?

It’s not possible to cover everything. But let us know if there was anything that particularly excited you – and that was new around this show.

(It was great seeing the Teenage Engineering OP-Z, the Snyderphonics Manta, the Polivoks, the Synthstrom Deluge … but none of those was exactly new, I think!)

The post All the best new gear and modules from Superbooth, in one place appeared first on CDM Create Digital Music.

Einsamkeiten und Verfall

Delivered... Holger Lund | Scene | Wed 9 May 2018 6:00 am

Soziale Gefüge benötigen beides: Zusammenhalt und Platz für den Einzelnen als Einzelnen. Ist diese Balance noch gegeben? Letztlich verhält es sich ambivalent: Vereinzelung wird als Gefahr erlebt, Einsamkeit jedoch auch als Befreiung. Aktuelle Musikvideos zeigen das Ringen um eine soziale Positionierung. Aus dem Norient Buch Seismographic Sounds (hier bestellbar).

Selbst Skulpturen sind manchmal einsam (Photo © by Pxhere, 2018)

Norients Anfrage für einen Text zum Musikvideothema Einsamkeit war mit der Frage verknüpft, ob «Einsamkeit wirklich ein Thema ist, das die Musikschaffenden beschäftigt». Vor Sichtung der von Norient ausgewählten aktuellen Musikvideos schien es mir, das Thema würde womöglich eher das Publikum beschäftigen. Denn die Entsolidarisierungsstrategien des Neo-Liberalismus zielen ja darauf, vereinzelnd jeden gegen jeden loszulassen, zum Wohle des Kapitals. Digitale Egopornobastelstuben wie Facebook und Instagram liefern dafür den traurigen Beweis in Selfieform. Mithin vermutete ich: bei dem Thema könnten sich Musikschaffende sicher sein, ihr Publikum gut abzuholen. Denn es ist schon da: in der Einsamkeit.

Nach Sichtung der Musikvideos ergab sich dann ein entsprechendes und doch etwas anderes Bild. Denn es handelt sich um ganz verschiedene Einsamkeiten. Sie haben unterschiedliche Ursachen und Kontexte. So macht es für die Bewertung des Phänomens einen Unterschied, ob Einsamkeit erwünscht ist oder gemieden werden soll. Zumal Einsamkeit nicht nur ein soziales (Negativ-)Phänomen ist. Einsamkeit inmitten vieler Menschen ist ein Phänomen, dem man ebenso positiv (Video Nr. 33) wie negativ gegenüberstehen kann (4). Und was ist mit Einsamkeiten, die gänzlich ohne Menschen auskommen, wie die Landschaften und Tiere bei Eric Holm (13)? Was ist mit gewünschter Einsamkeit? Dem eigenen Tod, wie bei Mondkopf (25), oder dem Tod anderer, wie bei Willis Earl Beal (34), der eine befreiende Einsamkeit erzeugt?

Partikularisierung als Haupttendenz

Auf den ersten Blick ist eine thematische Zersplitterung der Phänomene zu verzeichnen. Nicht immer ist Einsamkeit dabei das Hauptthema, oftmals handelt es sich nur um einen Aspekt von gewichtigeren Themen wie Liebe, Krankheit oder Tod. Vom albtraumartigen Gejagtwerden von unsichtbaren Feinden (3), dem Sich-Verlieren in sozialen Rollen und Maskierungen (4), den vergessenen Menschen, die erschöpft die Linie einer Mailänder Strassenbahn bevölkern (6), der unheimlichen Einsamkeit auf einer verlassenen Strasse im nächtlichen Wald, changierend zwischen Caspar David Friedrich und Blairwitch Project (11), der zufriedenen Einsamkeit des älteren Mannes auf seinem Board im Meer (9), dem Astronauten, der planetensehnsüchtig auf der Erde herumstreift (24), der sexuellen Einsamkeit im Gender Trouble (17), über die robotische Einsamkeit (12), die imaginierende Einsamkeit (15) bis hin zur minimalistischen Einsamkeit (27) – all diese Einsamkeiten sind unterschiedlich motiviert. Sie werden bereits in den Videos von den Betroffenen oder Agierenden unterschiedlich bewertet, und so mit Sicherheit auch von den Betrachtern. Die Videos spiegeln dabei die diagnostizierte gegenwärtige soziale Vereinzelung sowie das Fehlen von sozialen Bindemitteln.

Zwar lassen sich kleinere thematische Cluster bilden, wie etwa zu den Themen pubertäre Einsamkeit ((16), (21)), Liebeseinsamkeit ((8), (30), (31)) beziehungsweise die Annäherungen und Distanznahmen beim Pas-de-Deux mit dem Auflösen von Einsamkeit in Zweisamkeit und umgekehrt ((10), (26), (29), oder Einsamkeit wegen Drogenkonsums ((1), (2), (18)). Doch umfassendere, klare Tendenzen lassen sich so noch nicht dingfest machen. Eher ist die Absenz von deutlichen Tendenzen als Zeichen von Partikularisierung die klarste Haupttendenz.

Die Einsamkeit des Vergessens

Erst auf einem abstrakteren Niveau könnte man von einsamkeitsrelationierten Tendenzen sprechen. Eine derartige Tendenz wäre die Auffassung von Musik als Gegenwelt oder als Welt in der Welt. Es verhält sich ähnlich wie beim Musikhören in der Stadt mit Kopfhörer: Die natürlichen Geräuschquellen werden ausgehebelt, eine artifizielle und fremde musikalische Geräuschumgebung wird der erlebten visuellen Welt beigestellt. Musik kann hierbei als trennende Kraft wirken, lösend von banalem Alltag, sogar magisierend. Beispiele dafür wären Stromae (30) und Kwab (20). Einwenden liesse sich: Das gilt per se für alle Musikvideos, die akustisches Geschehen von visuellem Geschehen entkoppeln, nicht nur für diejenigen, die Einsamkeiten thematisieren. Nur wird bei letzteren das Phänomen geradezu verdoppelt, weil es strukturell (akustisch-visuell) und thematisch erscheint. Das wäre dann die Einsamkeit des Musikvideos qua medialer Struktur, welche jene der behandelten Themen verstärkt.

Eine weitere umfassendere Tendenz ist jene zur selbstfixierten Einsamkeit. Sie erscheint in mehreren der Videos, oftmals verbunden mit Tanz ((7), (14), (22), (24), (28), (30)). Auch diese Einsamkeit kann unterschiedlich motiviert sein. Was jedoch auffällt, ist das Sich-Drehen um sich selbst, die Selbstfixation, die ein Zugehen auf andere einschränkt oder gar verhindert. Die selbstfixierten Momente in den Videos verweisen dabei wiederum auf die Vereinzelung als Anschlussunfähigkeit in sozialen Gefügen. Vielleicht ist es jedoch auch sinnvoller, sich jener Fälle besonders anzunehmen, die eine spezifische Atmosphäre schaffen oder eine speziell intensive Atmosphäre. Etwa die groteske Einsamkeit einer singenden Reinigungskraft bei August Schram (5). Oder die prollig-tragische Einsamkeit bei Koudlam (19). Hier wird der selbstfixierten Einsamkeit von Menschen in der Menge die Monotonie des Textes beigefügt. Zu sehen sind Menschen, die zusammen sind und doch isoliert, die emotionalen Ausdruck suchen, der doch nur in Leer- oder Klischeeformeln zerfällt. Wir sehen eine Feierkultur mit einer (Selbst-)Vergessenheit, die in einer Einsamkeit des Vergessens – und nicht in einem Vergessen der Einsamkeit – mündet.

Zuletzt sei Max Cooper ((23) herangezogen. Das Video zeigt den Idealmenschen 4.0: vernetzt, selbstoptimiert, überwacht und konsumierend. Der Mensch ist dabei nicht nur Teil eines Räderwerks, er erscheint selbst als Räderwerk. Die Entmenschlichung des Menschen ist dabei die Einsamkeit, um die es hier geht: Die Einsamkeit der scheinbar idealen Maschinerie. Nicht nur diese verweist auf den neoliberalen Kapitalismus, der von Videos wie bei The Bug (32) in eine verfallende post-kapitalistische Dystopie überführt wird. Nimmt der sozial isolierte Räderwerk-Mensch seine Wirklichkeitsdroge in Pillenform einmal nicht, so bricht die Matrix sogleich auf fulminante Weise zusammen, den faulen Zauber in seiner verfallsträchtigen Fäulnis offenbarend.

Erwähnte Musikvideos (alphabetisch nach Vornamen)

[1] Adana Twins: «Strange (Acid Pauli & NU Remix)»
[2] All Leather: «An Insufficient Apology»
[3] alt-J: «Hunger of the Pine»
[4] Ariel Pink: «Picture Me Gone»
[5] August Schram: «August sings M.-A. Charpentier Triste Déserts»
[6] Avatism feat. Federico Rizzo: «Laments»
[7] Baby Alpaca: «Sea of Dreams (Turbotito Remix)»
[8] Bad Blocks: «Circulate»
[9] Christophe Calpini: «Descent»
[10] Colin Stetson: «Who the Waves Are Roaring For»
[11] Cubby: «Steady Now»
[12] Damon Albarn: «Everyday Robots»
[13] Eric Holm: «Stave»
[14] Flume & Chet Faker: «Drop the Game»
[15] Flying Lotus: «Tiny Tortures»
[16] Goldfrapp: «Annabel»
[17] Iceage: «Against the Moon»
[18] Jaloo: «Bai Bai»
[19] Koudlam: «Negative Creep»
[20] Kwabs: «Pray For Love»
[21] Lil Silva: «Mabel»
[22] Lump200: «LaMoon – Beata Version»
[23] Max Cooper feat. Kathrin deBoer: «Numb»
[24] Merz: «Postcard From a Dark Star»
[25] Mondkopf: «We Watched the End»
[26] Oceaán: «Veritas»
[27] Olimpia Splendid: «Jukka-Pekka»
[28] Sia: «Chandelier»
[29] Sigur Rós: «Valtari»
[30] Stromae: «Formidable»
[31] SZA: «Babylon»
[32] The Bug: «Function / Void»
[33] The Gregory Brothers: «DJ Play My Song (No, Leave Me Alone)»
[34] Willis Earl Beal: «Evening’s Kiss» (unofficial video)

Eine kürzere Version dieses Textes wurde erstmals publiziert im zweiten Norient Buch «Seismographic Sounds». Klicke auf das Bild, um mehr zu erfahren.

Mehr zum Thema auf Norient

> Angie Balata: «Escaping Loneliness Online»
> Kaspar Aebi: «Gemeinsam einsam – Laptop-Musikvideos»
> Sandeep Bhagwati: «On Native Aliens»

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