Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » Artists


Transfiguración: decolonizing AI, in Hexorcismos’ shamanistic music and art

Delivered... Peter Kirn | Artists,Scene | Mon 6 Jul 2020 11:57 am

Meet technoshamanism - a counterbalance to AI's use in state and corporate control and surveillance. Hexorcismos is transforming technology into something mystical - and producing beautiful images and music, at once both ancient and futuristic.

The post Transfiguración: decolonizing AI, in Hexorcismos’ shamanistic music and art appeared first on CDM Create Digital Music.

Time travel through polyrhythms: King Britt’s Back 2 Black, on repeat

Delivered... Peter Kirn | Artists,Scene | Fri 19 Jun 2020 4:58 pm

Production legend, accomplished live electronic musician, and inspiration and friend King Britt has been deep in his lab again. So hop in the polyrhythmic time machine, as you may want to set its controls to "loop."

The post Time travel through polyrhythms: King Britt’s Back 2 Black, on repeat appeared first on CDM Create Digital Music.

From the far edges of experimental electronic compositions, inside Elli Records’ In the Room

Delivered... David Abravanel | Artists,Scene | Tue 9 Jun 2020 10:06 pm

Radical times call for fearless experimentation - and fast. Elli Records bends polyrhythms, noise, and custom software to the breaking point. The toolmakers and sound alchemists talk to us about just what they've been building in there.

The post From the far edges of experimental electronic compositions, inside Elli Records’ In the Room appeared first on CDM Create Digital Music.

Electronic virtuoso Thomas Piper’s insistent voice delivers in honest, powerful “Permission to Live”

Delivered... Peter Kirn | Artists,Scene | Sat 6 Jun 2020 1:01 am

Thomas Piper's Permission to Live is a powerful, personal statement. It comes from one of the few people who plays Ableton Push like his main instrument, from an artist who draws from a hundred skills.

The post Electronic virtuoso Thomas Piper’s insistent voice delivers in honest, powerful “Permission to Live” appeared first on CDM Create Digital Music.

Real relief: Music releases to go discover now, in days of pleas for equality

Delivered... Peter Kirn | Artists,Scene | Fri 5 Jun 2020 11:17 pm

Part II - more music from black artists and organizing around social justice and racial quality, of course on Bandcamp. These are selections that really moved me today; I hope some do the same for you.

The post Real relief: Music releases to go discover now, in days of pleas for equality appeared first on CDM Create Digital Music.

Music lovers are sharing black artists, labels, and causes today on Bandcamp

Delivered... Peter Kirn | Artists,Scene | Fri 5 Jun 2020 9:42 pm

Alongside protests and conversation, it's a moment for black artists and labels to make themselves visible to one another - and for allies to amplify their voices and help organize, too.

The post Music lovers are sharing black artists, labels, and causes today on Bandcamp appeared first on CDM Create Digital Music.

Fall into the dislocated, glitching rituals of Microhm, latest project of Mexico’s Leslie Garcia

Delivered... Peter Kirn | Artists,Scene | Thu 21 May 2020 4:43 pm

Life post-apocalypse is mysterious, but somehow comforting – a digitally generated, AI-assisted woven blanket of sounds. There is calm in uncertainty – once you adapt. At least that’s the feeling I get personally, listening to the glitching electro-acoustic ambiance of Microohm, Infinita Incertidumbre. There are yawning caverns, gently shuffling rhythms, persistent electronic rattles and beeps […]

The post Fall into the dislocated, glitching rituals of Microhm, latest project of Mexico’s Leslie Garcia appeared first on CDM Create Digital Music.

Dark emotions pour out of quarantine-themed compilation from Moscow’s Kotä

Delivered... Peter Kirn | Artists,Scene | Thu 14 May 2020 3:27 pm

The strangest thing about the pandemic moment may be its incongruous surface of normality. That's where music can play a role. From Russia and beyond come some beautifully frightening sounds.

The post Dark emotions pour out of quarantine-themed compilation from Moscow’s Kotä appeared first on CDM Create Digital Music.

Pairing mode: Autechre to ayrtbh, Tehran to Shanghai, wonderful new music

Delivered... Peter Kirn | Artists,Scene | Fri 1 May 2020 6:40 pm

Some predicted that pandemic would mean less music, fewer releases – creative shutdown. Instead, sounds are one of the things most effective in fighting feelings of isolation. David Abravanel is back with more picks for CDM. -Ed.

Welcome to another Pairing Mode! As it were, my knockoff Bluetooth airpods are on the fritz, but I’ve been enjoying some deep listening with the Campfire Audio Andromedas – look forward to another post in the future about making music ITB with those.

As always, if you’ve got new music that you’re working on, please feel free to contact me at david[at]dhla[dot]me. And I’m on Twitter if you need to tell me to shut up.

Now let’s jump into it!

Cover: 0N4B.

Ae (Autechre endless)

Has any label ever done as much for the digital reputation of a non-label act as Ghostly Intl. has done for Autechre? Fellow #GhostlyAfterDark heads will be well familiar with the strange turn the Ghostly Twitter account takes at night, including satirical conspiracy theories and over-the-top devotion to the prolific (and still on Warp) duo. Honestly, I imagine we could at least see a Gescom EP on Ghostly before all of this is over (and if this is Ghostly’s goal, let me be the first to get #GescomOnGhostly #GOG trending). 

Anyway, Autechre are back, champs, with a slim 25-minute mini-album. JK of course, it’s nearly 8 hours of new live soundboard recordings from 2016 and 2018 gigs. IDM’s own Grateful Dead continue to excavate the sweeping breadth of their sound design prowess here; many of these shows are slow burners with a deep focus on murky moods and shiny percussive clangs. 

While Ae’s 2015 shows were a bit more rhythmically focused, there’s a lot more use of space this time around. It certainly suggests interesting things, given that the pair – who’ve been broadcasting and interacting again on their Mixlr channel – have also promised two albums to be culled from over 20 hours of studio recording. Given that their last “album” release was the 8 hours of (stunning!) NTS Sessions, I’m just going to pre-emptively buy another external hard drive. 

I can’t be more eloquent about this massive amount of music, but my personal favorite of the new sets is from Nijmegen. Maybe start with that one?

https://autechre.bleepstores.com

Temp-Illusion. Photo: Aslan Mohammadpour.

Temp-Illusion and painful realities

For some of us in wealthier countries, it might be hard to remember that there were enormous insecurities and threats on earth before COVID-19. For Tehran-based duo Temp-Illusion, the threat of war has sadly been all too present for years now. In response to escalating violence and instability, Shahin Entezami and Behrang Najafi produced the aural cold sweats of PEND, their latest release on the fantastic Zabte Sote label. 

Photo: Arash Bolouri.

I can feel my fists clench with some of the beats on PEND. “Construction of Insomnia” comes on and I’m immersed in the icy shiver that comes with staring at night become dawn. This is a funky nightmare the likes of which I’ve previously heard on albums like Skinny Puppy’s Too Dark Park, only this industrial glitch is a reflection of reality, not the fantastic – all the scarier. The dark knocks and surprising machine lurches of “Caustic Surface” squeeze out adrenalin like a sponge. Comfortable this is not – but compelling it certainly is.

Braille Brings Joy

Getting some respite from the darkness, there’s also the defiance of hope. It’s also now time for us to count our blessings and remember that this, too, shall pass. Praveen Sharma aka Braille (also ½ of Sepalcure) provides a wealth of sunny uptempo numbers on Too Much. We may not have social interaction, but we can still look up into the sky and dream, and wonder, much like the sample in “Constellation Conversation” encourages before an Amen break and steel drum melody takes us straight to Blisstonia. By the time “Do It Right” comes on, I feel the happiness of an outdoor shower in the sunshine, and love for humanity. Somehow only jungle does this, and damn if Praveen doesn’t kill it on this outing.

Digital Acid from ayrtbh

Our old friend Wang Changcun aka ayrtbh has a new mini album out, HTTP 508. Changcun’s Instagram feed provides a constant tease of his custom Max for Live tools that fuel his dense sound, in full display on such digitally-tinged acid workouts like “lcCc”.

While it’s the incessant acid lines that take center stage, HTTP 508 (which is, cheekily, the Loop Detected error code) also showcases some dynamite FM sound design as on “plPl”, and a case study in clanging intensity with closer “Lc7bm”.

Stew in it with Radere

Despite what influencers would have you believe, many of us are not able to maintain 100% smiles and sugar during an unprecedented pandemic. And sometimes there’s something oddly calming about dark and chaotic work – “oddly calming” being how I would describe my reaction to I Do Not Want What I Have, the latest from Carl Ritger aka Radere. 

Chronicling a tumultuous time for Ritger, I Do Not… continues with a temporary switch from guitar to modular synthesizer as a primary instrument. “Spitty Kisses,” the first of two side-length pieces here, is constructed from equal parts beautiful background reverberated melodies, and foregrounded, brutalized synth drones. “You’ve Been a Ghost Yr Whole Life”, on the other hand, feels simultaneously weightless and yet oppressive. An exercise in Lucier/Niblock-style minimalism, it’s a triumph of space that always seems to find me staring intently at a wall late at night.

I Do Not Want What I Have feels so wholly realized that it’s difficult to match it with the five bonus digital remixes, many of which can’t help but densify the formula and thus evoke very different moods. Though perhaps that’s the best way to approach taking on such challenging material – Ultraesthetic’s “jungle rework” of “Spitty Kisses” turns the original into fodder for a half-time atmospheric workout that would sound at home on Hyperdub or Samurai/Horo.

Listen on Spotify

https://boomkat.com/products/i-do-not-want-what-i-have

see also: https://radere.bandcamp.com

0N4B Keep it Deep

One of my favorite discoveries last year was 0N4B, the collaboration between Egyptian musicians Onsy and Abadir. In a year like 2019 that saw a lot of ambient contenders, 0N4B’s Supra/Infra/Intra really repainted the possibilities and depth of ambient for me. Follow-up bar(a)ca is equally lush but on the dubbier side, with sticky rhythms underlying many of the tracks. It’s a headphone treat for sure, featuring incessant rhythmic backbones and glitch ephemera which remind me of Terry Riley jamming with Phoenecia. Close your eyes, empty your thoughts, and let this one take over for a bit.

…Then, there’s a hard left turn. The final tracks on bar(a)ca – “bar(aaaaa)ca” and “bar(aaaaaa)ca” – earn the extra “AAAAAAAAAA”s with an onslaught that approximates a Commodore 64 imploding from a recursion and an incessantly nagging yet superbly sound-designed app notification. We can’t get uninterrupted peace right now, can we? At least we have great albums.

C. Lavender. Photo: Chris Woz.

C. Lavender Occupies Space

Field recording is the kind of thing that sounds simple on the surface, but in practice becomes something of a dark art. There’s the simple joy of listening back to natural recordings – see Annea Lockwood’s Sound Map series – and then there’s the alchemy of processing sounds and spaces to something familiar yet alien.

C. Lavender’s Myth of Equilibrium, in addition to featuring a perfect title for the current time, pulls some amazing aural landscapes from recordings within a geodesic dome. At times reminiscent of Lustmord’s subsonic space exploration and Ben Frost’s overdriven ambience, Myths also carries the spacious thrill you might have from listening to a bootleg concert recording of Suicide or Throbbing Gristle from the late 70s. 

Perhaps most fascinating is how much of the sound on Myths was derived with relatively little processing. As C. Lavender tells me: “The album had relatively minimal post-processing in my DAW. The combination of utilizing a binaural microphone, the geodesic dome’s unique natural reverb and my hyper-editing (as far as making cuts and moving sounds around) technique created a synthesized-sound to what was predominantly acoustic percussion. Some of the tracks also feature synthesizers (including a Doepfer modular system), electronics and my custom electric bass.”

Cosmin TRG Swims in Solitude

Moving from natural to unnatural atmospheres, we have the immense swells on “Proactive Synergasm”, my favorite track from Cosmin TRG’s recently-released Remote EP. Over his career, Cosmin has moved from the dubstep/bass mutations of his early work through to techno and then serene satirical sound on last year’s Hope This Finds You Well. Remote definitely has an active pulse, but the reverb and background hiss have things feeling like an old forgotten 45. 
To be frank (and basic), I like a happy ending, and “Having Said That” ends Remote with some defiantly hopeful pads. We’re alone, but we’re together. And we still have music.

Stay tuned for our next episode and more listening.

The post Pairing mode: Autechre to ayrtbh, Tehran to Shanghai, wonderful new music appeared first on CDM Create Digital Music.

Spend on Bandcamp if you can – but here’s how artists can exchange music free

Delivered... Peter Kirn | Artists,Scene | Fri 1 May 2020 4:07 pm

Today as in March and two upcoming dates, Bandcamp is highlighting buying music as a way of supporting artists. But what about artists wanting to listen, too?

There is something poetic about spending your music earnings on other artists’ Bandcamp releases. But with people out of work, losing day jobs, losing gigs, and facing new uncertainty, now is not the time for that for everybody.

In other words, I’m surprised how many people have music on Bandcamp but don’t understand the “codes” system.

Here’s how it works:

Where to find it

Bandcamp has a tutorial: https://get.bandcamp.help/hc/en-us/articles/360007902593-Track-album-code-tutorial

TL:DR – log in as an artist, menu on the top right (your label/artist icon will be there), Artist Tools > Track/album Codes.

You have to generate codes for a release if you haven’t already. If you’re on someone else’s label, point them to this same article and Bandcamp tutorial, and tell them to get the codes for you – it’s part of what they owe you as a label.

You can tell them I told them to say that. If they don’t like it, tell them to complain to me on Twitter @peterkirn. But I usually win arguments – fair warning.

What used to be called “download codes” is now called “track” or “album codes.” Regardless, the idea is that you give away this code to people with a unique URL for your artist page or label, and they can download your music.

How to keep track of codes

If you click export, you can save as a CSV file. You can open that in a spreadsheet like Excel, but even better is to upload to something like Google Sheets. That way, each time you give out a code, you have a record, so you don’t accidentally give out a used-up code to someone (ewww).

This is also necessary if you’re sharing codes between artists or an artist and a label.

Why use this for Bandcamp promos

There are advantages to doing it this way:

  • Codes are unique and can be used only once – unlike a Dropbox link, for instance.
  • They can choose which format they want. (WAV, FLAC, MP3, AAC, whatever.)
  • You don’t have to remember to tag your files – so later, when a DJ plays your MP3 in a mix or goes through their downloads, they’ll actually know what it was and not “Unknown Artist.”
  • If they’re logged in as a Bandcamp user, it’s added to their Collection.
  • It promotes your music on Bandcamp if they’re logged in, too, as it shows up in feeds and on your page.

And they should log in – it’s worth even reminding them! I use this all the time to keep track of music and promos.

Trade them!

Hey, we should listen to each other’s music! Otherwise, why are we in music, anyway? So trading codes is a great practice for artists, and it gets out of this constant self-promotional feeling.

Learn more about Bandcamp

Bandcamp can be confusing, but one of those tools many of us need to use as artists – as much so as our DAW or a mixer, even. So I wrote a guide for Riemann Kollektion:

https://riemannkollektion.com/blogs/techno-producer-knowledge-hub/bandcamp-guide

Pictured at top: https://anoderecords1.bandcamp.com

The post Spend on Bandcamp if you can – but here’s how artists can exchange music free appeared first on CDM Create Digital Music.

Instrument makers, technologists, synth lovers – let’s meet up virtually

Delivered... Peter Kirn | Artists,Scene | Fri 24 Apr 2020 6:17 pm

Human connections are what make the community around creative music and live visual technology matter. Since we don’t get to meet, here’s one chance to meet up virtually.

Previously, this time of year might have brought us together at events like Superbooth and Ableton Loop in Berlin – and I had originally planned travel to Russia, Greece, and more, as well. That travel is worthwhile partly because it’s tough to substitute for face-to-face communication.

That said, I’ve always been one to enjoy working a bit slowly. I like reading and taking time. I like writing rather than live streaming. I enjoy great still photos sometimes instead of video. I appreciate putting off listening to music weeks or months so I can find the right moment, close my eyes, put on headphones, and really get lost. So yeah, this idea that everything should be a multi-way Zoom chat or Facebook or YouTube stream is a bit strange to me.

Even when we’re together at events, there’s never enough time.

So if you’re a manufacturer – or artist, or just reader – with something on your mind, let us know. It’s the equivalent of grabbing a beer or Club-Mate and having a chat. And of course, some of you have never been able to come somewhere like Berlin, so now here’s our chance – in some weird way, we’re all the same distance from one another.

I have no idea what will get talked about here, but I promise some responses in the next couple of weeks, and to cover what I can on the site – slow style. And yeah, I’m keen to know what you’re doing just to pass the time, CDM related or not.

Also, if you do like streams, I’m on tonight with Hainbach on his live stream – plus Ableton are doing #loopathome on their channel, too.

Stay safe and healthy, thanks to all our CDM readers working on the front lines from health care to grocery lines, stay in touch.

Got some other ideas around this, too, but this was more fun than just asking for you to do a video stream or just send in news.

Form embedded below or head to https://forms.gle/tzmXSoj89gzGADQf9

The post Instrument makers, technologists, synth lovers – let’s meet up virtually appeared first on CDM Create Digital Music.

When these 3 orchestras couldn’t play Beethoven in person, this artist took them to 360 VR

Delivered... Peter Kirn | Artists,Scene | Mon 20 Apr 2020 4:06 pm

Three orchestras in Berlin had a concert that was the victim of social distancing. Artist Lucas Gutierrez was able to give them a new, virtual home together – and it’s Pastoral gone pastel, in 360 degrees.

Lucas has done some extraordinary 3D work in the past, including an ongoing collaboration with Robert Lippok (raster media). For this project, he had to work extremely fast, but the results are dazzling – sort of what looks like would happen if Lisa Frank did new color consulting for the planet Krypton.* (Uh, see bottom of the article…)

The project is produced in the real-time 3D platform Unity, as you can see from the screen grabs.

It’s yet another example of how augmented and virtual reality can be a more compelling form of delivery of live music, when being there in person isn’t possible. If the economics can be solved, this does seem the sort of thing that could endure post-virus.

More on the rest of Lucas’ work soon, since this is an example of how he works fast.

https://lucasgutierrez.com/trikestra_360

https://lucasgutierrez.com/

See also iheartberlin.de [ENG + DE]

I mean, Superman II was dealing with this notion of people on a two-dimensional surface which you rotate inside a three-dimensional environment. Amiright?

The post When these 3 orchestras couldn’t play Beethoven in person, this artist took them to 360 VR appeared first on CDM Create Digital Music.

Endlesss is a musical jam app; Imogen Heap, KiNK, Matt Black, more join a stream today

Delivered... Peter Kirn | Artists,Scene | Tue 31 Mar 2020 9:51 am

If you’re bored of just video chatting with Zoom, Houseparty, and the like, Endlesss might be the musical switch-up you need. And some big personalities are joining in a day long stream today to give you a taste of what it’s about.

First, Endlesss – it’s an iOS-only (for now) collaborative music creation app. The idea is, you get started right away building loops, using built-in instruments, playable pads, and add-on effects. That makes it accessible to first-timers – so it could be ideal for introducing your friends and family to some music jamming now, especially as an antidote to grainy underlit camera footage of all of us in sweatpants.

Plus, hey, slick visuals, for things like this:

Some apps might just dead-end there. But if you are a musician, you can push Endlesss further. There’s an all-critical microphone input, meaning skilled vocalists and rappers and beatboxers can blow this thing away. Instrument and effects packs go fairly deep. And for musicians, you can connect via Ableton Link, export materials (even as stems, at last), and choose custom key, scale, tempo, time signature and quantization.

Yeah, it’s almost like this thing was made by real musicians. And, of course, it was – Tim Exile has led the Endlesss team; he’s known to us as the ultra-virtuoso mega-geek behind Reaktor tools such as The Mouth and Flesh. And that sensibility is here, too – build on looping facilities to let your musical fancies take flight.

So it’s fitting that some key personalities are joining the stream today.

Imogen Heap is of course another defining artist in modern looping-vocal technique.

KiNK has proven that virtuoso live performance has a place on dancefloors, too, even in the age of linear CDJ mixing.

Matt Black and his act Coldcut built some of the software and performances that showed what audiovisual sampling cut-up culture could be.

And there’s more. Flux Pavilion is a major name in EDM at that meeting point between mainstage and producer, singer-songwriter and electronic production. Dan Le Sac is another legendary UK name (and also crossing into game production). And from our Internet music tech world, Gaz Williams of Sonic State is there both as a presence from journalism and synth and bass musicianship – hi, Gaz!

Twitch.tv, while first established for gaming, has of late become a refuge for musicians. Higher-quality streams, better community features that actually work properly, and proper monetization that might not drive artists further into the poor house all set it apart from the major US tech oligopoly providers. (You know who you are.) So this feed is appropriately launching on the channel by touring app Bandsintown with Twitch, just as artists look for ways to keep some trickle of funds and activity coming in during global lockdown.

https://www.twitch.tv/bandsintown/

Tune in today Tuesday daytime UK time. (I’m inquiring about replays for the USA, which will be slowly waking up toward the end of the programming.) If you’re personally puzzling on how to stream while dealing with competing platforms, they’re using the most popular tool for that, restream.io.

And if you’ve got an iOS gadget (iPad and iPod touch work, too), head to:

Endlesss – Multiplayer Music

The app is free, with in-app purchases of additional content.

https://endlesss.fm

The post Endlesss is a musical jam app; Imogen Heap, KiNK, Matt Black, more join a stream today appeared first on CDM Create Digital Music.

Blistering driving acid and searing glitches in Vee – Litha music video (CDM premieres)

Delivered... Peter Kirn | Artists,Scene | Tue 24 Mar 2020 12:37 pm

It’s a feverish, pounding acid nightmare – in a kathartic way. Get knocked back in your chair for Vee’s “Litha” on Failed Units, as we meet the artists.

“Litha” is the latest release from the aggressive, underground up-and-comer label Failed Units, a collaboration between musician Vee and visual artist ZOR.

This is perhaps even unintentionally on-zeitgeist; the music video combines moshed-to-death, AI-mangled hyperactive disintegrating visuals with relentless acid madness. It’s a digitally dying flow of imagery with echoes of a 2020 update to Emergency Broadcast Network. (see below to see what I’m talking about)

Watch. Crank up the volume. Obviously.

ZOR, short for Zion of Rudeness, sends along a statement and some idea of how this video came together. ZOR shares with us:

STATEMENT. Destroyed by overstimulation. The over-stimulation of the media propaganda machine. The system of enslavement in which we all play our part. The mainstream masses are kept going by torrents of fear and see-through fake happiness, like lab rats in an experiment.

PROCESS. In order to represent the everyday sensory overload, a rough cut was created for the first level, matching the music of Vee. This first level was then gradually cut or additional cut-outs and animated 3D objects were added so that the story played out on many different image levels at the same time.

The various levels were partially processed using data-moshing. I also worked with pixel sorting and other digital glitch processes. In one setting, the Google DeepDream AI [background] was used, for example, and alienated in the further process. After the files were destroyed, they were digitally cut out again and inserted into the overall picture. Finally, I digitally destroyed the work in several rounds in order to regain a certain consistency.

ZOR’s artist page: https://www.facebook.com/ZionOfRudeness/

And the release, from September – the label is centered between Manchester and Berlin, with the secretive Vee coming out of Manchester.

☨: This one’s come out wrong too
Ϟ: FUCK! This is not looking good…
☨: Who knows about all of this?
Ϟ: The directors will be expecting our report.


Ϟ: But what is going on?
☨: I don’t know. We’ve been following the protocol. I’ve run through the data again, there’s been no deviation…
Ϟ: … My head hurts.


☨: So what do we do now?
Ϟ: Put it with the other one.

Ϟ: We can’t let any of this filter out. I hope you understand?
☨: All clear. What do we tell them?

https://failedunits.bandcamp.com/album/dawn-of-the-failed-units-pt-2-vee

Failed Units makes these releases in a sort of sequential narrative, if you want to follow along.

We too often watch new media without any sense of history. Just as appropriate for the pandemic information meltdown is Emergency Broadcast Network’s “Channel Zero.” This early 90s group out of Providence, Rhode Island looks pioneering in its deconstruction of propaganda through audiovisual mayhem. And yeah, it seems the time is right for just this kind of resonance across the decades – EBN to Vee.

Of course, now we have AI and streaming alongside satellite dishes and television. Well, and no more channels.

STAY HOME.

WATCH TV.

Oh yeah, we actually have to do that now. Hey, as they say, there’s nothing wrong with that.

On that note, here’s the video ZOR produced last year for the ear-catching Duane Reade outing that debuted the label:

Failed Units lives exclusively on Bandcamp – and yes, should continue purchasing downloads there if you have the money; it still makes a big difference for artists and labels even minus Bandcamp’s own (minor) take:

https://failedunits.bandcamp.com/

Addedum, if it’s more glitch-y eye candy you’re after, the USA-based label Detroit Underground has a full channel crammed with nonstop music and visuals, running right in-browser, much of it also in a similar aesthetic musical and optical vein:

http://detroitunderground.net/du-vhs/

The post Blistering driving acid and searing glitches in Vee – Litha music video (CDM premieres) appeared first on CDM Create Digital Music.

Now is your last chance to register for Ableton Loop, coming to Berlin, April 2020

Delivered... Peter Kirn | Artists,Scene | Sun 3 Nov 2019 3:46 pm

After an edition in LA and a half-year break, the music-making summit hosted by Ableton is coming home to Berlin. Monday is your last chance to register if you want a chance to join.

After Live and Push, Loop has become a kind of third major product from Ableton. It isn’t an event about Live – Ableton’s software and hardware have seemed almost subdued in their role as the event has grown. It has instead become Ableton’s own contribution to bringing together the community of makers around their tools, with a strong emphasis on the diversity of that community – both in the people and how they work. (I’ve been at each edition.)

This year’s edition seems more than any before to promise to bring that full range of diversity back to the Berlin home base. So they’ve added Sylvia Massy, the experienced engineer who worked with the likes of Johnny Cash, REM, and Tool. But there’s also Mexican Sotomayor, continuing Loop’s interest in mixing electronic production with live instrumentation. There’s vocalist Colin Self, percussionist Evelyn Glennie, and the quartet Ex-Easter Island Head.

Very pleased Antenes is on the artist roster for this year – she embodies the spirit of creative production and DIY in her work, so CDM readers, take note.

That’s not to say tech or electronic music is getting short shrift. I’m really looking forward to seeing Antenes and Eric Pitra, who build their own instruments. Antenes, aka Lori Napoleon, is a singular personality who is both able to hold down epic techno sets around the world, and construct wild new experimental DIY instruments from telephone switchboards.

And we’re getting folks like the wondeful Deena Abdelwahed and Georgia Anne Muldrow, as well. It looks like a killer lineup, and clearly the Loop team continue to build on what is resonating with their audiences.

So, now is your chance. Monday the 4th is the deadline. A full pass is 275 EUR (or 375 EUR with one of the valuable workshops and studio sessions), but there are student and youth passes available (for 18-26 year olds), plus crucially subsidized passes for just 50 EUR which still include a studio session and workshop. (Details on who get subsidized are at the site.)

Ableton didn’t put me up to this – this isn’t an advert. I can’t think of anyone else in our industry doing anything like this. And the team at Loop have made an extraordinary commitment to removing boundaries based on gender, genre, age, and cultural background, as well as employing a strict code of conduct to make their spaces safe.

Of course, the one barrier to entry is, you do have to get yourself to Berlin and there are limited passes available.

And time remains a barrier. (Sorry, nothing we can do about that!) So you need submit by tomorrow Monday November 4, and then best of luck – I hope some CDM readers luck out in the drawing (or even with youth passes or subsidies).

You can do that here:

https://loop.ableton.com/2020/register/

https://loop.ableton.com/2020/

And here are some 2018 highlights, to either inspire you to register or, if you can’t, to let you sit back and make a little virtual Loop for youself in the comfort of your own home. (Now that’s also a nice way to spend a Sunday!)

The post Now is your last chance to register for Ableton Loop, coming to Berlin, April 2020 appeared first on CDM Create Digital Music.

Next Page »
TunePlus Wordpress Theme