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Indian E-music – The right mix of Indian Vibes… » Artists

Hugo rattled Berghain’s enormous system, talked to us about sound

Delivered... Peter Kirn | Artists,Scene | Fri 9 Mar 2018 9:41 pm

What do you do when faced with a sound system associated with a very particular techno sound? One answer: push the speakers until they scream, in a good way.

That’s what Hugo Esquinca did last month at CTM Festival – okay, under the watchful eyes of one of the club’s technicians. (That tech seemed happy with the results; I saw him leap over to Hugo after the show, grinning.)

It’s just another creative sound art experiment from Hugo and fits perfectly with the ethos of the collective he’s part of, oqko.

As part of our new series Cues, I’ll be talking to artists about musical creativity and live performance. And so for this one, we get an exclusive live performance – recorded in front of us at Maze, a club underground Kreuzberg – and chatted with Hugo about his work. Listen (I’ll have podcast subscription information for you next week, too):

If you’re tired of commercial boilerplate for electronics, feast your brain on this text Hugo shared on his creation:

Study on (in)operable rigour at this years edition of CTM @ Berghain was a site-specific composition in which the extensive differences and categories assigned as dimension to space and duration to time were but variables among variables in various algorithmic operations which precisely exposed those values to intensive micro temporal variations, where indeterminate modulations produced a multiplicity of events ranging from aleatory amplification of certain room mode resonances, errors in the sound card deriving from random oversampling which produced unexpected sonorous incidents to emerge, and where regarding a recursive mode in the programming where no halt was assigned, the composition could have potentially runned for an indefinite amount of time, as it was precisely by means of my intervention in ‘stopping’ the events that they were prevented and/or terminally halted.

Here’s a closer look at some of the Pd and Max mayhem:

For his site:


And we’ve covered oqko previously:

Transmissions from the magnetic ooze, in new oqko video premiere

How sound takes Lvis Mejía from Mexico to a collective unconscious

Check their site:


The post Hugo rattled Berghain’s enormous system, talked to us about sound appeared first on CDM Create Digital Music.

Get that signature jungle filter sweep with Mumdance’s Euro module

Delivered... Peter Kirn | Artists,Scene | Thu 1 Mar 2018 11:43 pm

Out with vinyl; now anyone who’s anyone releases on Eurorack? Regardless, the Akai S950-inspired module from Mumdance and ALM Busy Circuits sounds brilliant.

There does seem to be a new correlation between people pushing musical innovation and making their own hardware. And it’s no coincidence Mumdance, aka Jack Adams, would get into modules – the man is a certified Eurorack synthesizer nut.

Back in November, FACT were granted an in-depth look at the module and its inspiration and evolution, featuring both Mumdance and ALM’s Matthew Allum:

Mumdance and ALM Busy Circuits have made a Eurorack filter module that can “fucking scream”

Now, they’re back in the studio with Mumdance to have a look:

Unlike some muddled modules, this one is the model of simplicity: big cutoff knob, big resonance knob. From there, you have ample, complete control – dual audio ins, and the ability to control essentially everything via voltage, as you’d desire. Frequency, resonance, and the amplitude of incoming signals are all patchable. Also, standing apart from many modules, you get fine-grained attenuation of cutoff and resonance and a handy manual control for input level. (Sheesh, it’s almost like they think you may know what you’re doing or something.)

There’s also an internal control, as the video notes, that gives you the ability to fully close the filter – something the Akai couldn’t do. (That might be worth the adjustment, simply because now you’ve got CV control over cutoff and not only, like, your hand.)

This comes at a nice time, as Mumdance has made a fine name influencing every aspect of the scene around him in London. There’s his exceptional radio program, which has been on top of some of the best artists operating at the moment. There’s his ability to span genres, from grime to techno to hardcore (nicely embodied in this module, in fact). He’s made Roland presets for their relaunch. And there’s his label.

I point this out because, while it does require the luxury of time (gah!), these are things I think that can’t really be faked. Trying to fill all these different roles certainly isn’t advisable for every artist, but Mumdance does exemplify what’s possible in radical multitasking – when there’s a guiding sensibility.

I hope that this clears the way, meanwhile, for the weirdo modular builders outside of the music in-crowd to get some respect as musicians, too. It should be plainly obvious that the once-separate categories of musician and “modular builder freaks” are no longer distinct.

Keep an eye on Mumdance:


And label (with Logos – more on that Chevel release that’s coming end of the month soon, as it’s brilliant):


Equal credit to ALM Busy Circuits. They’ve stayed nicely focused – and this sort of filter just calls out for the modular treatment, as a color you might want to add to any particular place in your work.

The module:


More of that:


The post Get that signature jungle filter sweep with Mumdance’s Euro module appeared first on CDM Create Digital Music.

Admina and the patriarchy-smashing edges of Bucharest’s underground

Delivered... Peter Kirn | Artists,Scene | Fri 9 Feb 2018 9:51 pm

Call it a second post-Communist Romanian revolution: artists are reshaping the scene just as quickly as they can keep the clubs open. Meet Admina and Corp.

We were inspired by Admina’s performance on the Moogfest stream, and her musical reputation precedes her, as a kind of hero to similar counter-cultural scenes tucked here and there worldwide. Simona Mantarlian, a DJ/critic, Bucharest insider, and native Romanian herself, talks to Admina about the scene and how it connects to musical life . There, finding a space is a matter of personal, creative, real survival – but it’s also working, and that means there’s a lot for us to learn from Bucharest’s fringe frontiers. -Ed.

Bucharest is a fast-paced stellar ride, defying entropy, as its underground dance clubs open — and reach insolvency — and find another way to surface and go on. We’re talking about epic places like Ponton [see here and here for an impression], then Kran, and also the abrupt curve Control Club has followed after its rebranding, where underground bookings came back on the roster after a posh-makeover-phase — we’ll pass.

The constant that drives the process lays in the strong crews of selectors, who never compromise in the quality, levity, and obscurity of their finds. A new crew called Corp. caught our attention through its podcasts and intense activity around the scene. The female and queer collective, founded by [European supported] SHAPE platform resident Chlorys and DJ/ producer Admina, pushed a new generation of musicians whose voices challenge the male-dominated status quo. We spoke with Admina about the context of Corp.’s philosophy, and took a virtual trip to Bucharest’s queer parties, transporting us to a new post-Internet realm, and beyond.

Admina’s video: Destroy Patriarchy.

Simona: First, what is Corp., and what are you up to with it?

Admina: Corp. is a Bucharest-based project and platform. It aims to represent and showcase female-identified musicians and DJs in electronic music, while also being dedicated to acquiring and exposing obscure sounds, spanning from experimental and traditional forms to contemporary ones. Its activity is dedicated to broadening the focus on female-identified artists within the context of Bucharest’s local scene, as well as beyond the borders of the country.

The main urgent drive behind Corp.’s initiative is to open and sustain a studio where women will have the space and time to further develop their skills and communicate.

Corp. members: Admina, Beatrice Sommer, Chlorys, Cosima von Bülove.

A few weeks ago, you were part of the all-female-identified stream that launched Moogfest. What did it mean for you to be involved in this Moogfest stream, and in the lineup? Is it significant to you that they did choose to feature women and non-binary artists in this context of the stream and announcement?

Being part of [Moogfest] is a good opportunity for me and also for Corp. It’s great exposure; I’m really glad and excited that I’m part of the show.

Can you tell us a little bit about your live performance there?

I thought of myself being most of the time a nostalgic and melancholic person. Music was also a guide for me. It’s hard to show those feelings while you are playing a set for people to dance, but I always try to get that feeling on the stage. So maybe I will use this opportunity embrace this through dark and experimental sounds — a little bit of sadness and nostalgia.

So, “destroy patriarchy.” Is patriarchy at home in Romania? What is the society like?

Every society is to a certain extent patriarchal; each society “encourages” differences between men and women, in the way they are educated, treated, taught, etc. Romania remains a patriarchal society, where women are perceived mainly as wives and mothers and are denied access to more powerful positions in the business world.

How does Corp. as collective relate to that?

Gender inequalities are a reality in our country. Corp. is proposing an incipient ambition to construct a new language for sexual (gender) politics in the Romanian electronic scene and clubbing.

We want to establish identity as power, a collective visibility. Identity as a declaration of the self, identity as claiming and naming common qualities.

There weren’t many women DJing in Bucharest, say, two years ago, and we can rightfully say things have changed. What was the reaction of the guys in the scene? Were they helpful with putting up Corp. gigs at the clubs they were booking?

Parallel to Corp.’s foundation in Romania, in Western Europe and America, voices of women in electronic music began to be heard. And their gender equality statistics were worrying already for many festivals and clubs around the world.

So, when we started Corp platform, let’s say that the idea was well received, the promoters and organizers have begun to pay more attention to gender equality in lineups.

Watching “Destroy Patriarchy”, the video for your first single, I recognized a lot of new DJs from Bucharest who are getting popular right now, beyond the limits of Bucharest-universe (Beatrice Sommer, Paula Dunker, boivoid, Ana Secheres). Some of them learned their skills via Corp. crew. What made you decide to do the opposite of what everybody does – share knowledge instead of putting extra effort to make it even more inaccessible?

The project also aspires to go beyond the performing artists and to include studio musicians, producers, sound engineers, technicians, cover artists, distributors, promoters, and festival organizers. We want to share everything we know with others. It’s not a big deal to play music. It’s simple, you just have to enjoy music and have the pleasure to share it with others. Why not be accessible to everyone — especially women and queer people who did not have access to technology, or trust to do it? We want to build that trust together. Let’s remember that music is there to bring people together and to create a community.

Back to “Destroy Patriarchy”, where did you record and mix the music and what’s the gear you used?

“Destroy Patriarchy” is a reaction to an oppressive system, aiming to send out a clear and empowering message. The video was recorded at Kiseleff Park in the specially-designed space for outdoor fitness. The music I made it in Ableton using an Akai MPK Mini MIDI controller.

Your nickname has an early internet / message board-era ring to it. How did it find you? What is your connection to the Internet?

Everything started with the word admin, and that was my first idea of DJ nickname. At that time I managed Facebook pages to make money, and it was just funny to call myself like that. And because in English the word didn’t have a feminine pronoun, I only heard about administratrix, which sounds totally hot, but it was too long and I didn’t want that much to assume a gender since I identify myself as a non-binary. With all of that, my friends have found a way to feminize it. Putting an “a” to the end, made it sound more feminine in Romanian. After that I found out, that Admina is actually a name, a Hebrew name, and it means “Of the red earth.” “People with this name have a deep inner desire to inspire others in a higher cause, and to share their own strongly held views on spiritual matters.” I said it was perfect for me.

What is the earliest memory that you track your obsession with music to?

When I was very young, I wanted to play the violin, but I went to fine art school eventually, because my mother had no money to buy me a violin and it was impossible to go to the music school without it. Now I am very glad I didn’t. I consider my visual experience very useful and closely related to how I understood music now.

What is the starting place you’d recommend to someone who never got into electronic music before?

To trust themselves … I don’t know what point is best for someone. Just begin with what they have already, and they will learn on the way what they need. It’s good to have a limited number of tools; it makes you more creative.

Tell us about a fun club experience we missed in Bucharest.

It’s good to know that we have Queer Night. It’s the only fun club experience I really enjoy ever ytime, because we all can be ourselves. Also we intend to organize our own parties in Bucharest so — be prepared!

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Noise generator: a chat with Uchi, as LA celebrates electronic sound

Delivered... Peter Kirn | Artists,Scene | Fri 26 Jan 2018 12:59 pm

Uchi is a fresh face as LA collective BL_K NOISE meet up with Berlin’s Raster – and that’s a perfect time to catch up with her and reflect.

Dive in, commit. It’s that moment when the mixer fader is up and you start your live set, the let’s-screw-up-our-lives risk-taking bigger moments we make sometimes for musical passion. It’s the willingness to screw up live and screw up life, maybe.

That sums up why a lot of us are here as well as anything. And so that makes Uchi’s approach refreshing. Just as your email promo inbox is full of drab, sound-alike techno and washes of disinterested distorted ambience, Uchi kind of doesn’t follow any rules. Her DJ sets are diverse and daring, her live sets going deep and abstract and back again. And she talks to us a bit here about that abandon.

It’s also paying off. Born in Venezuela but making her name as a came of age in tbe Miami scene, Uchi has made a recent move to new Germany and become a regular at Berlin’s most sought-after slots – including Berghain’s upstairs Panorama Bar and its darker, weirder new ground floor Säule. But the best part is, I think we don’t know quite what she’ll do next. There’s a couple of EPs, a full-length album, and various podcasts coming and … well, the hell with predictability. The artists you want to watch are the ones that will surprise you.

January is definitely when we celebrate new music gear, thanks to Anaheim, California’s massive NAMM convention show. But then why not celebrate new noises, too? BLK_NOISE has assembled for Saturday a party made up of artists willing to push their electronic instruments until they hurt. From team USA, you’ve got Richard Devine, Surachai. From Germany, label Raster – the imprint formerly known as Raster Noton – Grischa Lichtenberger, and label co-founder Byetone. (Carsten Nicolai aka Raster Noton is going solo again, reverting his label to Noton.) And then there’s secretive BLK_NOISE anchor Belief Defect, who have feet in both Berlin and LA.

And then there’s Uchi. Let’s get a soundtrack: here’s a CDM exclusive debut, off her upcoming EP. Ingredients: KORG ElecTribe ER-1 [synth], Moog Minifooger [MF] Delay, Eventide Space reverb and “rat distortion.” (I think she means Pro Co RAT, but — this is New York, so…. it could have been, like, an actual rat.)

PK: What’s the set you’re preparing for LA? I loved this noise set that just streamed from Halcyon [in New York].

Uchi: I don’t know what happened there! It’s so weird! I have the recording of it myself; I gotta hear it and see!

I think for this show I’m going to use somewhat similar setup I’ve been using for most noise shows these days, a narrow selection of stuff, and complete improvisation — or zero preliminary sequencing. It’s the first time I’ll try an AV setup, which is exciting!

It seems like you’ve had some pretty significant shifts in your life, your musical direction … especially as some of the folks who will be hearing you in LA as well as our readers may not know you yet, what’s the trajectory been from Miami to Berlin? How did you get where you are currently?

Yeah, I guess there’s been a lot of changes the last couple of years. I lived in Miami since age 10, up until college. After I finished a degree in Computer Science, I took DJing (obtained from radio hosting at University) more seriously, as well as actually working on something I used to do for fun — (Ableton fiddling) making music.

The Boiler Room set came about from Juan Del Valle, now a friend. His influence was to convince me to make a live set. That being said, it was my first live set ever, and it was on Boiler Room – lol! BUT it was a great way to learn how to use hardware! Then Berlin came after the release on Plangent Records, which made the first gig in Panorama Bar happen. That made me decide not to get a flight home, basically.

The interesting thing is that just before I left Miami, everything had already started changing. I was pretty active in the noise scene, which was a whole different level of exploration in music, the exact opposite of composition and programming or what I used to make the Boiler Room set. Noise changed also the way I record, too. It seems I find single takes, and master out mixes more interesting than spending hours on a single detail or mixing down. I guess trying to finish ideas in one day if the case has a lot of details, otherwise just simple pressing record (mistakes included) and room recordings.

I made the album and the last couple EPs basically playing them. Since moving to Europe, which changed literally everything about what I knew, and also playing for promoters in different cities, I’ve had the chance to do something different. Nowadays, I’m combining all influences together — noise improvisation, changing patterns, speed, writing melodies or lack thereof, depending on so many different things. For instance where, when, and for whom each show is prepared for, relative to time, and where things are for me at the moment — it’s never the same. I’m still figuring it out, but if there is something to expect, it should be to expect something new.

These Saüle appearances have been great … in this age and (city!) people can cling to a somewhat narrow and clasutrophobic view of genre, so that’s a relief. Can you talk a little bit about you’ve been playing lately?

Well, I guess Säule was a bit of the turning point. It made me realize its not far-fetched to combine everything into one presentation. Funny you say claustrophobic view of genre! That puts it a bit better in perspective actually. I think the first time was probably one of the most liberating DJ sets of my life, the first time I felt like myself. The struggle of genre has been real for a really long time, but thanks to that lately, I reeeally don’t care for dance floor “rules” too much, and follow just, whatever feels right at the time. I’m curious to what you would describe those gigs as.

Mmm, eclectic? This is why I wouldn’t really call myself a music journalist, just a musician. So to that — what are you using to play for this live set? Not just to sort of get gear-focused, but instead — what does this mean as far as instrumentation, as composition?

For sure, it will be a Moog Mother [Mother-32 synthesizer] running, pitching it sporadically, plus vocal whale sounds … maybe some screaming. Also some Koma Elektronik noises generated from the Field Kit [“electro-acoustic workstation”] and BD101 [analog gate-delay pedal] as main effects, messing with any signal sent to the aux [input] of the Field Kit.

I guess as “composition,” I suppose breaking it down by frequency – the vocal stuff is a lot of mid-range melodic, of course, with a ton of reverb and delay, the Moog for low-end and the Koma stuff for texture, high-pitch screeching, and pulsating static. These have been my favorite pieces of gear to use for noise shows. I made the last album using the Moog heavily, so it’s kind of been my main instrument for almost two years, along with Koma stuff which is heaven for noise freaks — the Moog sounds on another level! And some classic reverb and distortion pedals, Boss DS-1 [distortion pedal, since 1978] and Eventide Space.

What do those instruments mean to you; how do they impact how you play spontaneously?

They are my children!!! I supposed their user interface totally affects how they are played. For example, the large knobs of the Mother and the semi-modular part for patching and combining it with it with the BD10 light sensor (which kind of acts like a theremin), and putting that in the Field Kit mixer, which has got a life of its own. The signals kind of bounce with each other. Feed-backing is waaay fun. Also, the continuity of LFO’s makes it easy to do multiple things at once. Whatever instruments I’m using at the moment play a really large role in every live set, if not the biggest role. I hope to be switching to full-on modular this year! Wish me luck.

Thanks, Uchi!

If you’re in LA, check out the event! I wrote about Belief Defect’s live rig here and for Native Instruments; now it’s America’s turn to get that live. Co-hosted with Decibel Festival:

[BL__K NOISE]: Raster Label Showcase


Photos courtesy the artist.

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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.


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)


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

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Here’s what artists in the 50-hour Moogfest live stream have to say

Delivered... Peter Kirn | Artists,Scene | Wed 6 Dec 2017 11:30 pm

As Moogfest runs an international, 50-hour livestream of women and transgender artists, here are those voices talking about music, technology, and inspiration.

We’ll update this piece as we hear from more artists, so keep reloading in the next couple of days for more. (At top: Ana Paula Santana.)

See also our full writeup of this project and the first wave lineup announcement from the festival. All images courtesy Moogfest and the artists.

Ana Paula Santana (Guadalajara, Mexico)

1. What was your first access to electronic music technology? Where did you go to learn more about it – and did you find any obstacles to doing so?

I started to do experimental sound compositions when I was working for a Mexican radio as an editor. In the beginning I was doing soundscape with some electronic instruments in Ableton Live, and then I integrated different keyboards and voice. After a wile doing this I went to Barcelona to study a master degree in sound art, and there I met electronic musicians with whom I collaborated. From this last experience I learned many tricks and techniques to create with.

2. What is your choice of instrumentation for the stream, and where in it do you draw inspiration?

I’m going to play with a Microkorg synthesizer, four contact microphones and one midi interface. I also do atmospheres with my voice and I use the feedback in the space as a frequency generator to play with in the midi keyboard.

I’m inspired by constant machine sounds, the sound of the city and the speed in contrast with natural and random soundscapes. I’m also inspired by love stories; ’cause what I do I think it has a lot of melancholy in it.

3. What does it mean to participate in this stream for you?

I’m very happy, it’s a great opportunity to share my work and I love the idea of it being a festival to celebrate the creation of female sound; also I feel very honored to share my work together with artist who I admire.

FARI B (London, UK)

1. What was your first access to electronic music technology? Where did you go to learn more about it – and did you find any obstacles to doing so?

Through sewing and knitting I learned algorythmic thinking, and I studied acoustic music and later journalism which taught my how to edit sound. But at 12 I had a ZX Spectrum…! I used to load the games with a cassette player…
Obstacles were there was no culture among my friends to learn this stuff, or my schools or colleges, I had to find my interest group by volunteering at an arts music radio station called Resonance 104.4FM in 2004 as an engineer.

2. What is your choice of instrumentation for the stream, and where in it do you draw inspiration?

A whole load of found objects and hand made instruments and keyboard…inspiration comes from the many journeys and performances Ive done around the world, from Novi Sad to Isle of Wight.

3. What does it mean to participate in this stream for you?

That something’s shifting in interest and perception, about whose voices we are listening to. Mainstream can’t cater for everyone! Humanity is starting to reflect itself back at itself in media properly, at last.

Maia Koenig (Buenos Aires, Argentina)

1. What was your first access to electronic music technology? Where did you go to learn more about it? Did you find any obstacle to doing it?

In 2008 I started playing in Mielcitas Trash Me where I played bass, I did not have money and I needed a distortion pedal, I found a friend who helped me build it, from there I relate to electronics in a very intuitive way. It’s a little complicated at the beginning, but after you let go, encouraging a new project “D.I.Y” is always an enriching challenge.

2. What is your choice of instrumentation for the broadcast and where is it inspired?

In the last few years I have been playing mostly Gameboy with the LSDJ tracker, I also incorporate a casio pt80 keyboard, a cacophonator (DIY), and something else that comes up in the moment, I like to improvise with the environment and energy that instant in the only one that I live, the present.

3. What does it mean to participate in this current for you?

The electric current, the action / reaction, an impulse, an expansive flare, the electromagnetic network that unites us in a sometimes very destructive world, where music and other arts are part of a transmutation, that’s why noise is necessary as a protest aware that we can change things a little.

Nesa Azabikhah< (Tehran, Iran)

1. What was your first access to electronic music technology? Where did you go to learn more about it? Did you find any obstacle to doing it?

My first access to electronic music would be purchasing a software by the name of “FL Studio“. I started working with the software and getting more familiar and involved with electronic music. Also, before I purchased this software I also started working with CDJ and DJ mixer. In addition, I also started learning from people around me who also played at that time. So I started using FL Studio, Logic, Reason, and now I work with Ableton.

2. What is your choice of instrumentation for the broadcast and where is it inspired?

What I have chosen for this steam is a one hour dj set from different music genre. I’m using my laptop, cdj and mixer. I’m not using any instruments, because I’m not playing live and I’m only playing a one hour dj set. Because, since I have more than one play I didn’t have the opportunity to prepare a live for this stream and that’s why my only choice was a dj set.

3. What does it mean to participate in this current for you?

Lastly, I have to say I am very excited and mostly honored to be part of the 50 artist for this live stream. I’m also happy to be part of this team. This a new and interesting experience for me. I am also looking forward to see even more growth and accomplishment for the women artists and artist who are part of the transgendered and non-binary community.

Caz9 (Dublin, Ireland)

1. What was your first access to electronic music technology? Where did you go to learn more about it? Did you find any obstacle to doing it?

The first time I sought access to learning about electronic music technology was after I discovered some female artists using Ableton LIve and Push. I started to research it, and found the Ableton website, and videos on youtube etc. The Irish Rights Music Organisation (like PPI) sent me an invite to to a talk and discussion on Ableton and Push with Create Sound, and I started learning at home and got some of their crew to give me a couple of one-one sessions to get started. The biggest obstacle was that I had to pay to learn how to use it, and I didn’t really know where to start in terms of doing my own research online; there’s so much content that it’s difficult for a beginner to find appropriate tutorials.

2. What is your choice of instrumentation for the broadcast and where is it inspired?

I’m using Ableton Live and my Push controller. I only started learning how to use music software about 2 years ago, and in that time I’ve become really comfortable with the software and the controller. My setup for the stream is my laptop, controller, and I have my good buddies Stephen Byrne and Danni Nolan accompanying me with live guitar and drums. Ableton is has been instrumental in drawing inspiration for my EP ‘Phase II’ and the rest of the set I’ve put together especially for ‘Always On’ – I’ll debuting six new songs during my stream. Being able to create any sound that I hear in my head and then arrange it so I can trigger loops and play electronic instruments in conjunction with live ones is the dream.

3. What does it mean to participate in this current for you?

It’s such an honour and special full circle moment for me to be involved in this stream. Before I discovered Ableton I had taken a massive step back from music and hadn’t written or performed in years. As a young woman in the irish music industry, I had gone years without meeting a female producer, engineer, or DJ and it never seemed like something I was allowed to participate in. So it makes me feel so lucky that I am now a part of such a wonderful community and project, celebrating female, female-identified, trans and non-binary sonic artists in such a fun and inventive way. Bring on the stream!

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Watch Moogfest kick off with epic 50-hour livestream, lineup – minus men

Delivered... Peter Kirn | Artists,Events,Scene | Wed 6 Dec 2017 6:20 pm

Women and transgender artists have too often seen their work in electronic music pushed to the margins. Moogfest’s launch this year puts them first.

Moogfest this year promises to have the mix they’ve been brewing in the latest editions: part music festival, part conference, with music and music technology meeting up with larger themes around science and innovation. The difference is, instead of the presence of female and transgender artists being just another box for curators to tick — “hey, look, we booked some women” — here, they’re leading the announcement. That includes both a 50-hour livestream of back-to-back sets from a pretty amazing and diverse set of artists, plus the first wave announcement of artists.

Here’s Madame Gandhi explaining the idea:

The result is a mixture of people you know really well (legends like Suzanne Ciani, Moor Mother) alongside a lot of artists who are almost certainly new to you – particularly as they’ve been drawn from disparate genres and geographies. Indeed, these are the kind of people who have been quietly pushing music in new directions, but who might get lost in the fine print of music programs, or pushed to the side in music headlines. In fact, I think the upshot is a potential victory not only for gender equality, but for independent and out-of-the-mainstream music, too. And knowing CDM readers, irrespective of your gender, I think that’s a value you’re likely to enjoy seeing represented.

As Ciani tells The New York Times:

For Ms. Ciani, the theme for Moogfest 2018 is only natural. “Women have long been intimately connected to electronic music, perhaps because it offered a path outside male-dominated conventional music worlds,” she said. “What has changed is an awareness of women in the field historically as well as a huge influx of contemporary talent.”

Moogfest Shines a Spotlight on Female, Nonbinary and Transgender Musicians

To that I’d add that it’s worth noting that the “influx” and “contemporary” parts are also closely tied to international artists. Our own CDM contributor will have a conversation with a fellow Romanian woman in the Bucharest scene for one link to that; I’ve also had conversations recently with a some Iranian artists about the situation for women making music there (and the resulting international scene as they travel), and … well, look down the list of countries below.

Moor Mother, the ground-breaking experimental project of Philadelphia’s Camae Ayewa, is one of many people deserving of first-wave headliner recognition – and now getting it.

We’ll have some interviews with artists shortly, so Moogfest’s lineup is your gain, wherever you are.

To watch the livestream:

You can watch from anywhere beginning at 12pm ET on Wednesday December 6 until 2pm ET on Friday December 8.

Or watch here:

I’m also cross-posting to our CDM Facebook page.

The beginning is – starting very radical, in a nice way! Unfortunately, upstream bandwidth / encoding looks … very choppy. Hoping some of the artists sort that out better. (This is a real roadblock of livestreaming, but that’s a topic for another time.)

Livestream artists:

(Bucharest, Romania)
Adriana T
(Athens, GA, USA)
Alissa Derubeis
(Asheville, NC, USA)
Amy Knoles
(Valencia, CA, USA)
Ana Paula Santana
(Guadalajara, Mexico)
Andrea Alvarez
(Buenos Aires, Argentina)
Annie Hart
(Brooklyn, NY, USA)
(Durham, NC, USA)
(Seoul, South Korea)
Bells Roar
(Albany, NY, USA)
(Dublin, Ireland)
(Bay Area, CA, USA)
Despicable Zee
(Oxford, UK)
DJ Haram
(Philadelphia, PA, USA)
(Los Angeles, CA, USA)
Ela Minus
(Bogota, Columbia)
(London, UK, USA)
Emily Wells
(New York, NY, USA)
Fari B
(London, UK)
(Chile, Santiago)
(Tokyo, Japan)
Jil Christensen
(Durham, NC, USA)
(Bandung, Indonesia)
(Melbourne, Australia)
Katie Gately
(Los Angeles, CA, USA)
Kim Ki O
(Istanbul, Turkey)
Lauren Flax
(New York, NY, USA)
Lilith Ai
(London, UK)
Lucy Cliche
(Sydney, Australia)
Lya “Drummer”
(London, UK)
Madame Gandhi
(New Delhi, India)
(Los Angeles, CA, USA)
Moor Mother
(Philadelphia, PA, USA)
(Almaty, Khazakhstan)
Nesa Azadikhah
(Tehran, Iran)
Nicola Kuperus
(Detroit, MI, USA)
Nonku Phiri
(Johannesburg, South Africa)
OG Lullabies
(Washington, DC, USA)
OTOMO X (Fay Milton & Ayse Hassan)
(London, UK)
(Durham, NC, USA)
Pulpy Shilpy
(Pune, India)
(Samarinda, East Borneo)
Sassy Black
(Los Angeles, CA, USA)
(Asheville, NC, USA)
Sui Zhen
(Melbourne, Australia)
Suzanne Ciani & Layne
(Bolinas, CA, USA)
Suzi Analogue
(Miami, FL, USA)
Therese Workman
(New York, NY, USA)
Vessel Skirt
(Hobart, Tasmania)
(Durham, NC, USA)

Of course, even better than live streaming is – being there in person. (No buffering issues! Or… if there are, seek medical attention!)

Here’s the first-wave lineup announcement, including a couple of friends (and a couple of idols)!

Amber Mark
Annie Hart
Armen Ra
Aurora Halal
Carla Dal Forno
CEP (Caroline Polachek)
Caterina Barbieri
Ellen Allien
Emily Sprague
Fatima Al Qadiri
Gavin Rayna Russom
Helen Money
Honey Dijon
Jamila Woods
Jenny Hval
Kaitlyn Aurelia Smith
Katie Gately
Kristin Kontrol
Lawrence Rothman
Madame Gandhi
Maliibu Miitch
Midori Takada
Nadia Sirota
Nicole Mitchell
Pamelia Stickney
Sassy Black
Shanti Celeste
Upper Glossa

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Deerful, aka Emma Winston, is a singer-songwriter gone mobile tech

Delivered... Peter Kirn | Artists,Scene | Thu 28 Sep 2017 6:50 pm

Deerful is the singer-songwriter imagined by mobile developers, found in real life. She’s not just another producer, but an earnest lyricist.

You can follow Emma on her YouTube channel, crooning covers to Game Boy accompaniment or deftly playing with a Novation Circuit in place of guitar. And now she’s got a full-length LP to her name, called Peach, released on London indie label wiaiwya (CD/vinyl/download).

Ed.: With Emma’s unique take on music production with apps and mobile gear, we turn over interview duties to the writer who turned us on to her work – and who foresaw just this kind of creative application for such tools. Ashley Elsdon, recently joining CDM and helming our Apps channel, having built the influential Palm Sounds blog on mobile tech, understands the advantage of mobile instruments, apps, battery power, and simple design empowering creativity. So, he’s the ideal person to lead this conversation with fellow UK resident Emma Winston. -PK

I’ve been following Deerful for some time now. Mostly people who make music with the kind of gear she’s using tend to electronic and dance genres, rather than the kind of singer-songwriter material she’s creating – producing more melodic output than you might associate with apps and mobile gear. And I’ve found her lyrics quite unusual, and her musical voice unique.

So, I took the opportunity to ask her about reflect her creative process, how tools fit in, and her sources of musical inspiration.

CDM: How do you make the decision to use a particular technology or instrument in your music?

Deerful: I am actually not very logical or rational about this. Almost every instrument I own, I own because I fell in love with it. (I think the only exception is the [KORG] Electribe 2 I use live – it’s a bit of a pain, but I absolutely could not find a practical alternative which wasn’t wildly expensive.) Consequently, my gear collection is pretty quirky. Nobody needs a [Teenage Engineering] OP-1 or a Pocket Operator or a [Critter & Guitari] Septavox or a Game Boy, but I adore all of them, and it makes me even more excited to make music. It’s also because I feel like a lot of staple gear can be covered by software much more cheaply, so if I’m going to buy hardware, I want it to be special.

You seem to use a lot of mobile gear in your music. Is that a conscious choice?

It’s more that I really love miniature things, and also producing in bed and on the sofa. I definitely like not having to think about wires/speakers. It’s cool to be able to get down ideas with very little gear, but I think it’s more that the tiny, compact, quirky gear I gravitate towards is often mobile, rather than that I consciously look for mobile gear.

Being able to run off batteries also helps when I’m dealing with a live sound engineer who’s never seen an electronic instrument before and wants to have as little to think about as possible, but again, a lesser consideration!

How do you approach the writing process in technology terms? Do you start with a device or a specific technology, or does the song / track come first and the technology support it?

It depends. Sometimes the song comes first, and I’ll decide later exactly how it gets made or arranged. But if I have absolutely no ideas and a deadline to meet, my first recourse is always to pick up a device and see where it takes me. Something always comes from it.

This also varies from device to device and app to app – Korg Gadget, for instance, is an app I pretty much always go to when I already have an idea and want to flesh it out fast – I use it pretty much entirely as an ultra-fast DAW. The Pocket Operators are the opposite – I think of them primarily as idea-factories and a jumping-off point.

Aside from Gadget, do you use other iOS, or indeed Android apps? What’s your motivation for using them? How differently do you find using apps from using hardware?

I definitely use Gadget more than anything else. It’s funny, because I see people talking about it as a groovebox app that’s best for looping, and that’s not how I use it at all. It essentially replaces Ableton for me when I don’t want to haul my laptop around, or if I need to get something that sounds fairly polished together fast and don’t have much time to do lots of production on it.

For actual idea-generation and more groovebox-type applications, my favorite app at the moment is Studio Amplify’s KRFT; it has a really nice interface that’s flexible enough not to just lock you into endless looping, which is what I feel like a lot of iOS apps veer towards. (They also have a more stripped-down free version called NOIZ, which is fun). For more experimental stuff, I love Samplr. I made my first EP mostly in Nanostudio, so that one’s worth a shout-out, although I’ve had a bit of a break from it since – it was the thing that was finally both flexible enough and un-intimidating enough to stop being scared of trying to produce and actually do it.

Every app is different, just as every piece of hardware is different, which is one reason I find the idea that one is somehow inherently better than the other and that you have to pick to be extremely strange. The fastest thing I can do to generate ideas when I’m stuck is switching to a new interface, whether that’s on a touchscreen or on my laptop or boxed up as a dedicated synth. It depends how I’m feeling and where I am and what I need.

I don’t own an Android device entirely because of the relative lack of music apps. I’m really hopeful that will change as their issues with audio improve – mobile music was a huge part of getting me into production and I would love it if that experience was available to more people on a platform with broadly much lower-cost hardware. I said this in an iPad music forum once and people were amazingly defensive about it. As far as I am concerned, all access to music-making is good, and if the 70% or so of smartphone users who own an Android device had a music market as rich as the App Store available to them, I would be stoked about it.

If you could design an app that would be perfect for you, what would it look like and what would it do?

Terrible response, but it would honestly just be Ableton optimized for a 10” touchscreen. Ableton, if you’re reading this, I’m your mobile market.

How do you approach writing lyrics? Do the lyrics come as part of your overall inspiration for a track, or is that something you find separately? What makes you feel like you have a great lyric?

I have recently started referring to myself as a singer-songwriter-producer, because honestly that’s what I am. I’m a songwriter who tells my own stories in performance, but does it with a box with buttons on it instead of a guitar. The lyrics and the song itself and the details of how it’s put together are equal parts. Sometimes a lyric comes first, sometimes a riff, sometimes a chord sequence – sometimes they’re simultaneous.

It’s very much a symbiotic thing. I’m constantly looking for ways to balance the abstract and the specific in my songs – describing moments and fragments of time in detail, but without so much specificity they become alienating.

Who are your influences musically, and who do you find inspiring in terms of technology and approach to process?

The Postal Service was the band that started me out wanting to make electronic music, and I still adore them. I feel like there’s still this idea that electronics are not particularly well-suited to singer-songwriters, which I find so strange because it gives you so much opportunity to design, right down to the sonic building-blocks which make up the song. It becomes part of the storytelling, and I think the Postal Service did that in such a beautifully tactile and warm way. I can literally point to the sample that comes in at 0:28 of ‘Nothing Better’ as the moment I realized I wanted to make electronic music myself – it acts almost like a third vocal melody but also this kind of plaintive emotional punctuation, warm and bit-crushed and sad.

I’ve been listening to a lot of the stuff that’s come out of the label PC Music over the last couple of years. I feel like a lot of what they’re doing is almost the polar opposite to Deerful, which is an almost embarrassingly honest project – they’re very self-aware, very detached, very cool, all things I’m not. A lot of people seem to respond to their artists as if the whole thing is completely ironic, but I hope (and believe) it’s not, because they’ve released some of the most intensely joyful pop music I’ve ever heard, and I desperately want that intensity of happiness to be real on some level.

EasyFun’s “Full Circle” is the track I’ve had on repeat for the last few days. It’s hyper-fun EDM-pop, but there are all these odd details thrown in, strange pitch-shifted samples, bizarre non-functional harmonies that are thrown into the chord and never repeated, weird, unnatural reverb tails and a lead vocal that’s chopped up and treated like a synth. I don’t sound anything like EasyFun, but I really want to get to the point where I can marry full-on unashamed fun with bizarre experimentalism in a similar way and have it all hang together.

In terms of process, I also find Grimes hugely inspiring – she made Visions in three weeks, in GarageBand, because it was what she knew, and she smashed it. She works fast when she needs to, but she knows when to zoom in, when to work on detail, when to really hone in on sound design and tone and tempo. (There’s a great interview where she talks about using samples of dentist drills to add aggressiveness to an 808 in ‘Venus Fly’, and it’s something I never would have even thought of.) I find her confidence and adaptability and willingness to move between pop and noise really impressive. It seems like she’s never held back by limitations or expectations; she just ploughs in and makes what she wants to make and it’s always brilliant.

Finally, let’s talk about your new album. When you set out to create it, what were your specific inspirations? What were you looking to achieve and how successful do you feel you’ve been?

Stylistically, Emily Reo’s gorgeous fuzzy alt-electropop has been a huge influence on all my releases so far (I also accidentally stole the album title, Peach, from one of her songs – it genuinely was an accident, but I think it probably speaks of how much her work has lodged itself in my creative brain.) I credit her music with finally giving me the push I needed to start writing and performing myself. Owen Pallett’s songwriting and storytelling has also always been a huge inspiration, but I’m not sure if that really comes through in the resultant album – I wish it did!

What was I looking to achieve? God, I’ve no idea. Everything is an experiment and an exploration. Everything I release, I do so having no idea how anyone’s going to react to it, and being excited to find out. It’s a brilliant lesson in exactly how bad at mind-reading I am. In general people seem to have liked it; I’ve no idea how it’s sold, and from an artist perspective that doesn’t really matter. When I listen to it now three months after release, I hear a lot I would do differently – I’m very proud of it but also excited to move on to the next thing!

CDM: Thanks, Emma!

It’s been an enlightening experience talking to Deerful. It’s shed light on her music and I’m certainly looking forward to listening to whatever the ‘next thing’ is she’s got planned, and also understanding how it was put together.

Deerful’s latest ablum can be found at wiaiwya and is available as a download, CD, or vinyl.

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How magnetic oscillations of a comet became a new album of music

Delivered... Peter Kirn | Artists,Scene | Fri 15 Sep 2017 8:45 pm

In Francesco Novara’s new EP Astron, space exploration is both inspiration and the literal source of all the sounds you hear.

There are few moments in our generation of spaceflight quite like the Rosetta mission – buzzing past Mars and asteroids to land on a comet. And sound played an unexpected role in the discoveries of the Rosetta Plasma Consortium (RPC) investigating the comet.

Indeed, you can think of the comet – that’s Comet 67P/Churyumov-Gerasimenko or “67P” for short – as a kind of oscillator. The magnetometer on board the Rosetta spacecraft detected a major variations in the magnetic field around the comet.

Translate those oscillations into sound, and 67P “sings”. This isn’t an artificial thing to do, either. Just as a lot of space imagery translated unseen spectra (infrared, for instance) into visible colors so we can see, reinterpreting magnetic oscillations as audible sound means we perceive this reality much in the way the magnetic detector does.

ESA’s Marco Trovatello explains to CDM: “It’s being sung at 40-50 millihertz, far below human hearing, which typically picks up sound between 20 Hz and 20 kHz. To make the music audible to the human ear, the
frequencies have been increased.”

German composer Manuel Senfft created that first sonification, in collaboration with the Technical University Braunschweig:

You can read a detailed explanation of the physics involved:

WHAT MADE THE COMET SING? [European Space Agency]

Working with the European Space Agency, and CDM’s label Establishment, we released an EP of music derived from that experiment by Italian composer Francesco Novara. The music makes use of the Creative Commons-licensed data and sonification – and, in turn, is available to you to share, remix, and reuse under a Creative Commons license.

What’s stunning is that Francesco didn’t just pluck a couple of samples on top of some music and call it a day. Instead, pretty much everything you hear (minus one vocal) is created from that one singing comet sound. (There’s also some audio from the mission on one of the tracks.)

The result is a cool, collected downtempo album with one earworm single at the end. It’s to me the perfect musical embodiment of ESA and modern spaceflight – less Major Tom trip, more mission control.

It’s also some seriously awesome sound design work. Francesco, apart from having been the first composer to score an ESA launch, is a gifted sound designer and prolific TV and film composer. It’s part of what I wanted to do with Establishment – shine a light on musical craft and not just musical personalities.

So, I asked Francesco to walk us through just how he turned this one eerie sample into a full meal of music. We get a nice quick master class in Ableton Live:

Take a listen to the full musical release on Bandcamp:

It’s been great to have an ongoing collaboration with European Space Agency, as well as a friendship with ESA’s resident music lover and Creative Commons advocate, Marco. Open licenses for materials from space bring together the handful of explorers, engineers, and scientists with the public and with artists.

“Collaboration with artists as well as free and open access to scientific information and data are important building blocks of ESA’s Space 4.0 strategy to innovate, inform, inspire and interact,” Marco says about the project. The license here opens up other possibilities – “Attribution-NonCommercial-ShareAlike”.

We really do appreciate your support for this album and independent music. Because the music is all under a Non-Commercial license, any proceeds from sales we’re using to cover our costs on design and mastering, and then using the rest to fund more Creative Commons-powered space music projects. Of course, that means we’d also love to hear any remixes of this music, if you’re so inclined. (There’s a lot of talent in our community, I know.)

Comet photo: ESA/Rosetta/NAVCAM – CC BY-SA IGO 3.0.

The post How magnetic oscillations of a comet became a new album of music appeared first on CDM Create Digital Music.

Yves Tumor’s new free LP is an ethereal reverie for late summer

Delivered... Peter Kirn | Artists,Scene | Wed 13 Sep 2017 11:50 pm

Yves Tumor, aka Rahel Ali, has garnered attention in a crowded music landscape for sonic tales that are personal and poignant.

And as we enter autumn, with its orchestrated parade of releases, this new one has an informality to it – the emotional immediacy of a demo tape. Ali (aka Sean Bowie) is an artist who seems made for an Internet audience, intimate in recorded form, in some blurred place between localities. Ali is American, raised in Tennessee, but now is based in Turin, with recording sessions spanning the USA and Leipzig.

And now, Experiencing The Deposit Of Faith is some sort of daydream, beautiful and sad, looped textures that grow in urgency as the record progresses. It’s a half-remembered drama, a series of warm tableaus made soft by dusty fuzz and fragmented into unresolved questions, unstable nostalgia.

No doubt the free self release will get some deserved attention, the third release from the artist. (#1 was self-released, #2 got a bigger spotlight thanks to label PAN.)

That antique, analog quality seems not pastiche but earnestness. A worthy download:

From earlier this summer, unsettling (and, warning, sometimes graphic) video, to arresting and asymmetrical sounds featuring Oxhy:

(Video – Sam Dye & Bliss Resting.)


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TĀLĀ is right – Teenage Engineering OP-1 is a great desert island synth

Delivered... Peter Kirn | Artists,Scene | Wed 23 Aug 2017 1:02 am

It could have easily been a cute design toy. But the compact, crazy-fun OP-1 synth has stood the test of time.

FACT have added to their roster of clever video ideas with a series asking artists which instrument they’d take with them on a desert island. But maybe the most convincing of these comes from London artist TĀLĀ, who chooses the sweet, surprisingly powerful OP-1 from Teenage Engineering.

And the thing is, I’ve heard similar sentiments from other OP-1 owners. The OP-1 has had a strange life – the center of attention at its launch, then falling out of favor almost immediately, but then becoming beloved to those who hung onto them, particularly as the Teenage Engineers piled on smart updates.

Watch TĀLĀ sum up why it’s cool:

Now we just need to check in on their upcoming OP-Z.

More music:

The post TĀLĀ is right – Teenage Engineering OP-1 is a great desert island synth appeared first on CDM Create Digital Music.

Jimmy Edgar’s Ultramajic label gets its own sound pack

Delivered... Peter Kirn | Artists,Labels,Scene | Tue 15 Aug 2017 10:57 pm

The California-fresh mystic futurism of Jimmy Edgar now finds itself in sound pack form, by way of Web subscription service Splice.

I’m normally loathe to write about soundware, but this one gets a particularly synth-y good flair. It’s interesting to hear a label identity that might work as a sound pack, but Ultramajic has enough of a sonic signature to work. (Actually, the weirdness of the labels – something is techno and minimal and tech house – kind of speaks to that.) And there’s some nice gear. It strikes me as the rare sound pack that might help jolt me out of a rut.

Their description covers the gear; you had me at Serge.

Ultramajic Sounds Vol. 1 is the first pack from Jimmy Edgar’s innovating electronic label, Ultramajic. The label brings its artists’ together with samples from 90s digital hardware, including a TR808, vocoder and the renowned Serge Modular. All sounds were recorded through top end equipment such as Neve preamps, vintage Lexicon reverb, and API eq/compression.


The post Jimmy Edgar’s Ultramajic label gets its own sound pack appeared first on CDM Create Digital Music.

In Moscow, a major convergence of synth makers and lovers

Delivered... Peter Kirn | Artists,Events,Scene | Tue 15 Aug 2017 3:20 pm

One of the year’s biggest events on the synthesizer calendar isn’t in the US or Germany or the UK. It’s an event called Synthposium, in Moscow next week.

And where better? The city is dotted with monuments to cosmonauts; the country gave birth to Theremin and Polivoks, to ANS and optical synthesis, and spun fantastic science fiction tales that inspired the invention of the laser and dreamed of futuristic utopias.

Now, a younger, post-Communist generation is taking up the task of generating new futuristic musical energies. They’re mixing an enthusiasm for the avant-garde of the past and its heroes with a the latest technologies, patching connections between their countries and the world.

Well, the world seems to be taking notice. Synthposium, a packed art festival cum expo/conference next week, balances Russia’s own industrious community of artists and builders with counterparts from around the world. Alongside Berlin’s SuperBooth and Anaheim’s NAMM show, it might just be one of the big events on this year’s calendar in adventurous music technology.

The annual event hits next week, 24-27 August, at WINZAVOD Contemporary Art Center and Moscow Film School.

East coast and west coast synthesis? Try Eastern Bloc. On the hardware side, you get makers like the reborn Polivoks, the former brand reborn as a coveted 21st century brand, one that retains its original character but can be breathed in the same sentence with Moog and Buchla. But you also get an introduction to other makes, like Sputnik Modular, SSSR Labs, or Latvia’s Erica Synths (which inherits some of Polivoks’ former Riga legacy). There’s America’s TipTop Audio, too, plus MDR.modular, VG-Line, L-1 Synthesizer, Pribore Electronics, DNGR:TECH, Svarog Audio, and Uoki-Toki. Experimentalists and educators Playtronica join in, too.

Engineer Roman Filippov of Sputnik Modular will premiere his “Deckard’s Dream,” a Blade Runner-esque 8-voice polyphonic analog synth. Talks and workshops from the likes of BBC’s Matthew Sweet and Robert Aiki Aubrey Lowe (Lichens) and former KORG analog maven Tatsuya Takahashi will add to the discussion.

There are also a whole lot of artists, mixing local and international personalities. The lineup looks like headliners from a major electronic festival, if that electronic festival were, well, sort of hyper-nerdy. Ulrich Schnauss and Thomas P. Heckmann join Max Cooper and Richard Devine and many others. (Yes, that also includes me – and of course expect plenty of CDM coverage of the event.)

See the full list below, plus some images of what’s coming.

Music — Expo — Conference — Interactive — Art — Festival
Tickets — https://goo.gl/0aLc9M


101 — LT
Alden Tyrell — NL
Ave Eva aka Ghostape — CH
Barker — DE
Baseck — US
Biodread — FIN
Conforce — NL
Denis Kaznacheev & Fake Electronics — RU/DE
Denny Kay — UK
Ekke Västrik — EST
Frank Muller aka Beroshima — DE
Felix K — DE
Interval — US
Jacek Sienkiewicz — PL
Kadaver — CZ
Karsten Pflum — DK
Konakov — UA
London Modular — UK
Max Cooper — UK
Mehmet Aslan — CH
Morgan Fisher — JP/UK
Morphology — FIN
Mustelide — BLR
Opuswerk — CH
Peter Kirn — DE
Plast — CZ
PRCDRL aka Procedural — DE
Richard Devine — US
Richard Fearless of Death in Vegas — UK
Robert Aiki Aubrey Lowe — US
Solar X — UK
Synxron — UA
Taeji Sawai — JP
Thomas P Heckmann — DE
Throwing Shade — UK
Todd Sines — US
Ulrich Schnauss — DE
Vertical Silence — US

Alex Pleninger
Alexander Ivanov
Alexey Yepishev
Analog Sound
Andrei Orlov
Anton Lanski
Art Crime
Bad Zu
Black Lenin
BMB Spacekid
Boorane aka Boora & Krane
Boris Belenki aka C-Rob
Dasha Redkina
Dessin & Peterkan
Dmitri Mazurov
Dyad and the Sleepers Club
Egor Sukharev aka Khz
Eye Que
Fedor Vetkalov
Fung Bui Lao
Grisha Nelyubin
Id303 & FMSAO
Igor Starshinov
Karina Ratiani
Karolina Bnv
Kovyazin D
Magnetic Poetry
Maria Teriaeva
Maksim Panfilov
Meow Moon
Midimode aka MDMD
Misha Alexeev
Mr. Pepper
Nairi Simonian
Nord City
Normality Restored
Operator Uno
Perfect Human
Places and Stuff
Rhizome aka Nikita Zabelin
Roma Zuckerman
Roman Filippov aka Filq
Sasha Prana
Secrets of the Third Planet
Shadowax aka Ishome
Sickdisco aka Cross
Sirius C
Slow Life Program
Timur Omar
Unbroken Dub
Valya Kan
Vanya Limb
Vlad Dobrovolski
Vladislav Interesniy

Expo — music tech interactive exhibition and showcase:

Alex Nadzharov
Alexey Taber
ASD — Analog Sound Devices
Bastl Instruments — CZ
Compositor Software
Deckard’s Dream
Erica Synths — LV
Eternal Engine EMI
Eugene Yakshin
Evgeny Yakshin
Gieskes — NL
Igor Varshavets
Keen Association Moscow
L-1 Synthesizer — BLR
Leonid Vasilyev
Logich Synth Service
Motovilo Audio Lab
Peter Kirn
Pioneer DJ
Popobawa Sound
Pribore Electronics
SOMA Laboratory
Sputnik Modular
Steampunk WSG synth
Stone Voices
Sur Modular
Svarog Audio
Synthstrom Audible — NZ
VG Line
Zll Modular
Zvukofor Sound Labs

On Air — lectures, workshops, public talks, various educational events:

Alex Pleninger
Alexander Grigoriev (Pribore Electronics)
Alexander Serechenko (Solo Operator)
Andrey Orlov
Andrey Smirnov
Beroshima (Frank Muller)
Danila Plee
Dmitry Churikov
Dmitry Morozov (::vtol::)
Ekke Västrik
Gijs Gieskes
Gleb Glonti
Ildar Yakubov
London Modular
Matthew Sweet
Maxim Zaharchenko (Svarog Audio)
Misha Alekseev
Nick Zavriev (Ambidextrous)
Oleg Makarov
Peter Kirn
Philipp Alexandrov (Bad Zu)
Richard Devine
Richard Fearless
Robert Aiki Aubrey Lowe
Roman Filippov
Sergey Kasich
Stanislav Charifoulline (HMOT)
Taeji Sawai
Tatsuya Takahashi
Thomas P Heckmann
Ulrich Schnauss
Vadim Epstein
Valentin Zvukofor Victorovich (Zvukofor Sound Labs)
Vladimir Kuzmin

Art — installations, a/v performances & experiments, objects:

Abram Rebrov
Alexey Rudenko aka arhew0
Anastasya Alekhina
Andrey Guryanov
Ekaterina Danilova
Formic Acid
Ildar Yakubov
Galina Leonova
Grigoriev Misha
Misak Samokatyan
Noa Ivanova
Pasha Seldemirov
Vahram Akimyan — ARM


Winzavod Contemporary Art Center
Moscow Film School
— more TBA

Initiative – Main In Main

https://synthposium.ru/ [in Russian]

Facebook event

The post In Moscow, a major convergence of synth makers and lovers appeared first on CDM Create Digital Music.

Radical electronics on a grand scale: Berlin Atonal in its fifth reboot year

Delivered... Peter Kirn | Artists,Events,Scene | Thu 10 Aug 2017 2:22 pm

Berlin’s idea of a summer holiday is a bit different: shroud yourself in black, retreat into a giant concrete bunker, and prepare for an onslaught of experimental sound and light.

But that’s Berlin Atonal Festival in a nutshell. It’s what Tresor entrepreneur Dimitri Hegemann calls “a platform for radical ways in electronic music … in an industrial cathedral,” a packed-solid schedule of music and media art in the hulking abandoned shell of the power plant above the techno club.

This film affords probably the best insight into that

And now, Atonal is at an interesting inflection point. While the festival had its roots in the former West Berlin, 1982-90, it got a fairly significant reboot after a 13-year hiatus. So, sure, Hegemann himself carried over from the festival he first started. But a new curatorial team, a new context, this whole, uh, computer thing that happened, the reunification of Germany, the transformation of Berlin into international capital, the explosion of techno – these are non-trivial changes. That’s to say nothing of the move from a fairly conventional club (SO36) to a DDR-constructed behemoth that is literally used to record reverb impulse responses.

And the festival that once hosted the likes of Einstürzende Neubauten now treats listeners to a brand of experimental music that, while still adventurous, is starting to become commonplace in the festival circuit.

But maybe that’s the state of “radical” electronic music in general, certainly in Europe and the islands of media art chic around the globe. A fifth year festival isn’t going to be a shock that the first-year one is. But more than that, there’s a brand of violently sensory, retina- and eardrum-blasting but intelligent and high-concept experimental festival fare. And it’s grown popular. That popularity also transforms at least a circle of people making it. Their sound may be distorted and aggressive, but now it’s out of the tiny basements and blown-out crap PAs, and onto expensive speaker arrays, surround sound. There are sound technicians, even.

I’m of the opinion this doesn’t make experimental sound less experimental – on the contrary, it ups the acoustic and optical firepower and precision available to artists, which gives them a wider spectrum to exploit. It inarguably makes it less underground, but it also need not destroy underground aesthetics – and I think artists being able to eat is a good thing.

Of course, the future is already here, it’s just not very evenly distributed yet. So I’ve watched curators cherry-pick their favorite acts from past Atonal, then import them to their own festival the following year. But that’s in something of a bubble, centering around Berlin (and London, and Amsterdam, and other capitals) in Europe, and festivals like MUTEK in the Americas (now a kind of pan-American festival franchise, in fact). It’s to the point where I can’t recall which festival discovered whom.

That consistency is easy to criticize, particularly for anyone jealous of Atonal’s grand spectacle (as a curator), cool crowds (as an audience member), or artist opportunities (for music and media art makers). But on the other hand, for this circle, it can begin to allow refinement. Audiovisual works in particular benefit from repetition and iteration, as you rely on multiple media to mature in parallel, collaborations to deepen. And a certain oneupmanship among lineups can drive artists to hone their craft.

This leaves us the question, what makes Atonal special?

Well, the obvious edge is its space. The artists interviewed aren’t kidding: you can’t imagine how big Kraftwerk is until you enter. It’s bigger than cameras can capture, vaster than words can convey. The Atonal organizers have found a way to tune the experience for listeners center stage, amazingly stopping it from turning into mud. And artists are adjusting their sets, too. But I agree with Sam Kerridge – it’s a unique pleasure to wander the space. Festivals are so often a pre-packaged, linear experience, a proscenium blasting a pre-determined significance to a packed crowd. In Kraftwerk, you can explore a set the way you would an art museum after closing. You can stand under the stage. You can find a sweet spot by a wall where reflections transform your perspective. You can find yourself gazing in complete stillness at some installation. And Atonal combines this with Ohm (the former battery room of the power plant, an intimate tile-walled affair) and Tresor (the basement, with its famous metal-bar booth).

That says something about Berlin as it is now, citywide, year-round. It’s too much music, and it’s dark and industrial and sometimes monotonous. But you’re free in that overabundance to chart your own way, to come and go in a music culture that seems to have no beginning, middle, or end.

Photo: Helge Mundt.

And this year, Atonal seems poised to build on what the festival has constructed after four editions. In short:

Back to experimental music’s roots. I always have a historical bias, so this is what I’m excited about. For both Atonal and The Long Now (two Kraftwerk-based festivals sharing some of the same curators), attendees are treated to a mix of historical concert music / new music / historical works and new commissions. In this year’s Atonal, it’s Stockhausen‘s turn. His 8-channel spatial OKTOPHONIE is inspired by the sounds of warfare (a tradition itself with threads back to Italian futurists). Stockhausen collaborator and director of the Stockhausen Foundation for Music, Kathinka Pasveer, leads that recreation, and younger composers will try out the system, too.

Rashad Becker + Ena on those eight channels should be especially good. But it’s nice to be treated to Karlheinz, too – having heard Cage and Reich recalled in this space, I can’t wait.

New stuff. There’s too much here to mention, but it’s fair to say this year’s Atonal promises more emerging artists and premieres, and might be one of the breakthrough festivals in 2017 generally. I’m curious about the “composed live act” of Chinese performance artist and composer Pan Daijing, the collaboration of Renick Bell (live coder) and Fis (sound designer). Sophie Schnell (PYUR) I’ve followed since her first AV show, and she has a unique and sensitive approach to her solo audiovisual work – this seems one to watch. Turkish-born Nene Hatun has a Rumi-inspired work.

I’m keen to see LCC (Ana Quiroga and Uge Pañeda) plus Pedro Maia; these Editions Mego-recorded artists are at the top of their synth game, and it’ll be spectacular to see them on this grander scale.

One sure-to-be-poingnant moment is Argentine-born installation artist, instrument builder and clarinetist Lucio Capace, who will have a trio doing a remembrance of the late experimental legend Mika Vainio.

There are also just a lot of new live shows. There’s a reason curators scout out Atonal for talent; there are few chances to see this many new AV works anywhere. (Another chance this fall will be Prague’s Lunch Meat; I’ll be there, too.)

Another easy bet: go see anyone Japanese. Thanks to collaborating with the New Assembly festival in Tokyo, Atonal is fresh with a bunch of legendary Japanese talent not normally seen in Europe. (I’d like CDM in general to get a little closer to the Japanese scene, and since I can’t always jet over to Japan, this will be a nice shortcut.)

All stars. Okay, and there’s more Puce Mary, more Roly Porter, more Shackleton, more Emptyset, etc. etc.. But with new premieres and such from these artists, there’s a reason to bring the all-star quasi-residents back. Some possible highlights – the combination of Shackleton’s music, Anika‘s voice over, Berlin artist Strawalde, and live visualist Pedro Maia is on my must-see list – partly because that combination sounds like it’ll either be transcendent or a cluttered mess, and that uncertainty ought to be why we go see stuff. Emptyset is doing something with architecture – and architecture is what Kraftwerk is about.

We’re Northern Electronics fans around these parts, so a program by the label’s Jonas Rönnberg aka Varg is a must on Sunday.

I’m skipping the DJ lineup, but it’s also really robust.

Photo: Helge Mundt.

Some free sounds

Can’t fly to Berlin? (or, uh, walk across the river as you don’t work for Ableton or Native Instruments?) Fret not.

The Wire has a special, free download of a number of wonderful live recordings from 2014, 2015, and 2016.

And, okay, basically these are all favorites here – note Peder Mannerfelt, PYUR, Ena, and so on returning in 2017.

It’s their Below The Radar Special Edition

Alessandro Cortini “Perdonare” 0:04:56
A Vision Of Love “Rose Transept” 0:06:49
Marshstepper “When Misfortune Confounds Us” 0:10:23
Felix K + Ena “Live At Berlin Atonal 2016” 0:03:55
Pan Daijing + JASSS “April” 0:05:23
Abdulla Rashim “Live At Berlin Atonal 2014” 0:04:49
SUMS “Budapest” 0:04:52
Peder Mannerfelt “The Theory” 0:04:41
Orphx + JK Flesh “Light Bringer” 0:04:42
Caterina Barbieri “Human Developers” 0:12:41
PYUR + Fis “The Pact”

Below The Radar Special Edition: Berlin Atonal: Force Majeure


The post Radical electronics on a grand scale: Berlin Atonal in its fifth reboot year appeared first on CDM Create Digital Music.

This Uber driver techno producer on Instagram is our zeitgeist

Delivered... Peter Kirn | Artists,Scene | Mon 7 Aug 2017 9:23 pm

If Millennial electronic music had a poster child, tchntx would be it. Self-released techno meets Uber meets social media and … oh God we’re all doomed.

“Techno Taxi” (once you add those vowels back) is the personal diary of “akaysha” (as per her Snapchat ID, anyway). If the accent didn’t clue you in, one map puts her rides outside Melbourne, somewhere around Geelong, Victoria. I have no idea how I even found this account*, but I was suddenly mesmerized. Instagramming the saga of techno “bangers” melded with failed Tinder drama, all behind the wheel of an Uber between calls, the account would probably be repulsive if it were a gimmick. But it’s not. It’s totally honest and unedited, which somehow makes the results appealing.

It’s the social media apocalypse, and it’s everything you thought it was. And it’s somehow … funny? Like if Sex in the City were documentary, not fantasy, and if it were written twenty years later, like … now.

You can just needle drop and get pure gold. This is the latest post as I write it, which features the polyamorous doctor ex nicknamed “Scrubs.” (Like I said, eat your heart out, Carrie Bradshaw.)

Back in the stu…by unpopular demand #techno #taxi #uber

A post shared by Tales Of Techno Taxi (@tchntx) on

It goes on like this, in a Tinder soap opera that takes place offscreen, trapped cinéma vérité-style behind the wheel of an Uber car, in the moments of life stolen by algorithms and the disruptive power of Silicon Valley’s taxi replacement.

I've said too much…. #techno #taxi #uber

A post shared by Tales Of Techno Taxi (@tchntx) on

That is, I find this poetic because I can relate. Anyone making music at this point may find themselves vying for the social media spotlight just to avoid invisibility – and from those Uber calls to SoundCloud plays, the Algorithm has us. Behind the gloss of social media success, I talk to an alarming number of techno producers who find themselves spending way too much time maintaining accounts as they pretend their careers are going better than they actually are. (I’m not being dramatic here, either – I’m super totally cereal.)

Techno Taxi just makes this self-referential and self-aware. But adding to the self-referential tragedy, then the result is kind of … an empty diversion. It’s a gimmick, but it isn’t working. (And so it tells this story even better in the process.)

On Instagram, you get the usual response and … the odd stalker response.

On SoundCloud, there are a few dozen followers. Somehow, she got into a collective, but… it seems the gig is still Uber. (Sound familiar?)

The tracks are fun, though – quirky and raw a bit like the videos. Perfect track names, oddly compelling production. “Beware” – awesome. (The mixes are dark, IDM-ish, relaxed apocalyptic lullabies, music to drive algorithmically-summoned cars to.)

I might ruin this and have it blow up, but for the record, as I’m writing this, no other press seem to have noticed.

I already had a food delivery guy give me a SoundCloud link. I’ve certainly randomly given out my own music. Maybe that’s enough. This thank-you note is nice, and I’d be happy to hitch a ride with a producer.

I can’t decide if this is a harbinger of our future, or if someday we’ll look back at Instagram, Uber, SoundCloud, and this entire piece in the way we look back on AOL, MySpace, and Napster – ancient history from the Bronze Age, less enlightened times.

Jeez, now I’m a little scared of winding up in an Instagram post. (Sorry, don’t take this meandering editorial too seriously! Hey, CDM bump, maybe?)

But kudos to the Techno Taxi for actually just saying what’s going on. If we’re going to survive social media at all, a little honesty might be necessary – or at least might let us entertain one another when we’re bored.

And the band played on.

Mood about working the long weekend #techno #taxi #uber #technotaxi #mood

A post shared by Tales Of Techno Taxi (@tchntx) on

*Update: answer to this is, well, Melbourne circles / social circles / friends in common. Facebook uses your social graph on Instagram, so because I know people who know her, she showed up on Instagram somehow. See also her “ok sure whatever” project, which does have more likes behind it:


And in fact she’s got a load of accolades to her name, as a DJ and remix producer. Plus a team of people did “SEO” for that site. And… yeah, okay, well, now techno taxi it is.

More unintentional poetry from that site: “Add Ok Sure to your Spotify Playlist now pitched by PlayList Pump on behalf of Upside Music.”

The post This Uber driver techno producer on Instagram is our zeitgeist appeared first on CDM Create Digital Music.

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