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Indian E-music – The right mix of Indian Vibes… » 2020 » February » 07


Welcome to Hell: the marvelous, mad musical instruments of Ewa Justka

Delivered... Peter Kirn | Scene | Fri 7 Feb 2020 9:06 pm

Some people claim electronic music is the work of the devil. Inventor Ewa Justka creates things that could actually prove it.

Ewa is a Glasgow, Scotland UK-based, Polish-born sound artist, musician, and inventor. She can bang her way through a raw techno set, she can blind you wish flashing lights driven by homemade circuits, or she can open a gateway to evil realms in unbridled noise – all of this at festivals like CTM, Unsound, Insomnia, and Sonic Acts. But she also builds fantastic instruments of her own – and you can buy them for your own abuse, or if you’re lucky, catch her at a workshop and make it for yourself.

There’s the Ladder to Hell, a synthesizer. It started as a resonant ladder filter a la Moog, but devolved into something far more distorted and psychotic. There’s a WASP filter in there, too. There are SCREAM and DRIVE knobs that are … not tame. You can input CV to the Moog and Wasp filters – that’s resonance on the Wasp filter, for some real punishment.

Self-oscillate or even make some subtler distorted timbres, too.

It’s as effective as a sound processor as it is as a synth, thanks to an audio input. Check the manual and full specs.

Ladder to Hell at Etsy

Here are some samples of the instrument, which you can buy on Bandcamp, then play on your next dinner date.

https://ewajustka.bandcamp.com/album/ladder-to-hell-samples

Then there’s the WhOoPsYnTh, a combination sampler + delay + LFO with similarly masochistic sonic possibilities. It’s inspired by the Pete Edwards design for a similar architecture – and Pete, like Ewa, is also someone who builds creations, then takes them into ecstatic noisy performances.

The WhOoPsYnTh just goes all out with that idea, screaming in pain in a very Ewa Justka-ish sonic voice. But the beauty of it is, you can again use external CV – here for delay length. You can cut up sounds and stretch them with the delay. You can really warp audio inputs with this.

More documentation on how to play it soon.

WhOoPsYnTh @ Etsy

My favorite review: “…the Optodeafener is evil, dangerous, exciting, rhythmic and feral. Do not hesitate. “

You can find loads of stuff on the Optotronics site, shipped from Glasgow (she was formerly in London). All of this is painstakingly handmade by the artist, so you get something truly unique.

https://www.etsy.com/shop/Optotronics?ref=l2-about-shopname

These are elaborate, full instruments, but Ewa can also make dark magic with more economical sets of parts. Meet the VOICE_ODDER 2, a thing that takes inputs and makes them … odd. And makes your neighbors hate … you.

Using light-sensitive wave oscillators and a delay, it’s palm-sized mayhem.

Take a class with Ewa to turn this…
…into this.

You’ll be able to build one of these yourself at an event I’m co-hosting on February 22 in Kaliningrad, Russia, so if you’re nearby – say, Gdansk, or Lithuania, or Minsk, or somewhere like Moscow that has cheap flights – you should come learn these dark arts with us. Sign up for the Facebook event and we’ll tell you how to join the workshop and make one yourself:

Space.Zero Kaliningrad

Thanks to British Embassy in Moscow and the British Council for supporting UK artist Ewa’s Kaliningrad debut, as part of the UK-Russia Year of Music.

More of Ewa – who was also a co-host and a participant in the CTM Festival MusicMakers Hacklab with me.

https://ewajustka.tumblr.com/

The post Welcome to Hell: the marvelous, mad musical instruments of Ewa Justka appeared first on CDM Create Digital Music.

FCC Issues First EEO Audit of 2020 Targeting 320 Radio and Television Stations – Reviewing the Basics of the FCC’s EEO Rules

Delivered... David Oxenford | Scene | Fri 7 Feb 2020 4:23 pm

The FCC yesterday released another of its regular EEO audit notices (available here), asking that approximately 240 radio stations and about 80 TV stations, and the station employment units (commonly owned stations serving the same area) with which they are associated, provide to the FCC (by posting the information in their online public inspection file) their last two year’s EEO Annual Public File reports, as well as backing data to show that the station in fact did everything that was required under the FCC rules. Audited stations must provide copies of notices sent to employment outreach sources about each full-time vacancy at the stations as well as documentation of the supplemental efforts that all station employment units with 5 or more full-time employees are required to perform (whether or not they had job openings in any year). These non-vacancy specific outreach efforts are designed to educate the community about broadcast employment positions and to train employees for more senior roles in broadcasting. Stations must also provide, in response to the audit, information about how they self-assessed the performance of their EEO program. Stations that are listed in the audit notice have until March 23, 2020 to upload this information into their online public file.

The FCC has promised to randomly audit 5% of all broadcast stations each year. As the response (and the audit letter itself) must be uploaded to the public file, it can be reviewed not only by the FCC, but also by anyone else with an internet connection anywhere, at any time.  The license renewal cycle which began last year adds to the importance of this audit, as a broadcaster does not want a recent compliance issue to headline the record the FCC will be reviewing with its license renewal (see our article here about the license renewal cycle). So, whether you are on the list or not, this is a good time for broadcasters to review what is required by the FCC’s EEO rules.

Last summer, at the Wisconsin Association of Broadcasters annual convention, I did a presentation on the FCC requirements for EEO compliance. The slides from that presentation are available here. The FCC rules were designed to bring new people into broadcast employment positions – looking for broadcasters to recruit from outside the traditional broadcast networks when hiring new employees. Not only should broadcasters be reaching out to their consultants and employees for referrals, and using their own airwaves to promote openings, but they need to be using outreach sources that are designed to reach all groups within a community to notify members of these groups about the availability of open employment positions at a station. While the FCC used to require that outreach be made to a plethora of community groups, it has now recognized that online recruitment sources alone can reach the entire community (see our summary of that decision here) – but these sources need to be evaluated regularly to assure that they are in fact bringing in applicants for job openings from throughout a station’s employment area.

Stations need to keep the required documentation to demonstrate their hiring efforts, as the failure to have those documents can still lead to fines (see our article here). The documents should show not only the station’s hiring efforts in connection with job openings, but also the supplemental efforts that they have taken, even where they have not had job vacancies, to educate their community about broadcast employment and to train their employees to assume more responsibilities.  Stations should review their policies to make sure that they have the documentation to meet an FCC audit to make sure that the station’s EEO program is regularly bringing in recruits from diverse sources and that the station has done the required non-vacancy specific educational efforts on broadcast employment.

The FCC itself, when it abolished the FCC Form 397 EEO Mid-Term Report, promised to review the effectiveness of its EEO rules. A Notice of Proposed Rulemaking looking at how to make the program was released last year, bringing in some interesting proposals (see our article here). The proposals made in that proceeding are likely going to require further public comment before they can be adopted so, for now, the rules as they are remain in effect. As EEO enforcement was last year transferred to the FCC’s Enforcement Bureau (see our article here), we can expect that enforcement will be vigorous.

Consult with your attorneys to get a thorough understanding of the EEO rules and talk with the employees involved in employment matters at your station to make sure that they understand what they should be doing and are keeping the paperwork necessary to demonstrate your compliance with the rules. The FCC continues to enforce its rules and impose fines on stations that cannot demonstrate compliance, so make sure that you comply with the FCC’s obligations on EEO matters.

HMLTD: West of Eden review – riotous rock and grand guignol glam

Delivered... Michael Hann | Scene | Fri 7 Feb 2020 11:30 am

(Lucky Number)
The London band throw together glam, goth, electro, Kurt Weill … and have even added conventional pop to the mix

It seemed as though HMLTD’s moment had come and gone. A couple of years ago, their riotous gigs were the most fun you could have while paying too much for warm cans of lager, but a deal with Sony seemed a stretch for a band who, no matter how great they were live, didn’t seem to be rolling in radio-friendly hit singles. They were duly dropped and, as their contemporaries from the scene based around the Windmill in south London overtook them – Shame, Goat Girl, Black Midi – HMLTD seemed condemned to having been a brief but startling firework.

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Beatrice Dillon: Workaround review – a global future-folk manifesto

Delivered... Tayyab Amin | Scene | Fri 7 Feb 2020 10:30 am

(PAN)
These exuberant electronic experiments in mixing 150bpm dub-techno with live instrumentation fizz with the joy of artistic creation

At the end of last year, the Guardian declared Beatrice Dillon “the most thrilling new voice in British electronic music”, and her first full-fledged solo LP, Workaround, demonstrates why. Put together during stolen moments over three years, it feels as though it’s been in the works for even longer. She released a solo mini-album in 2014 and has busied herself with collaborations, DJ sets and art commissions since. Her musical knowledge came through countless hours absorbing music as a record shop assistant. Visual art, literary and other cross-media influences began to crystallise some time after her fine art studies, lending themselves to her installation work. Dillon’s defining feature, however, is the insatiable curiosity for sound that sees her follow sonic leads to their unpredictable ends and beyond. Playful percussion and electro-acoustic experiments are central to her records with Rupert Clervaux, with dubby, jazz-tinged house and techno coming into focus on her club-peripheral productions.

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La Roux: Supervision review – obliquely beautiful, contrarian electro visionary

Delivered... Rachel Aroesti | Scene | Fri 7 Feb 2020 10:00 am

(Supercolour Records)
Her second release as a solo artist sees 1980s pop muted though Elly Jackson’s idiosyncratic and unique sound palette

When La Roux came to prominence in the late-00s with two shrill synthpop smashes – Bulletproof and In for the Kill – the duo were frequently discussed in terms of their nostalgia value. With their tinny, falsetto-driven, slightly wobbly electro – not to mention vocalist Elly Jackson’s gravity-defying quiff – it did seem a bit like the band were indulging in some 1980s new wave cosplay. Yet, funnily enough, those two tracks now feel headily redolent of the era they were made in. Not just thanks to their ubiquitous popularity, but because they chimed with the direction pop was taking at that time, being of a piece both with Lady Gaga’s dead-eyed, big-chorused anthems and the honking electro practised by indie acts such as MGMT and Empire of the Sun.

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