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Indian E-music – The right mix of Indian Vibes… » 2016 » December


Things you should know about Kapil Sharma – the singer – RadioandMusic.com

Delivered... | Scene | Sat 31 Dec 2016 9:00 am
Things you should know about Kapil Sharma - the singer  RadioandMusic.com

This Year in Free Stuff: Best Free Samples and Music Software of 2016

Delivered... Markkus Rovito | Scene | Sat 31 Dec 2016 1:52 am
A free DAW, tons of Ableton Live Device, music apps and instrument and effect plug-ins.

This Year in Free Stuff: Best Free Samples and Music Software of 2016

Delivered... Markkus Rovito | Scene | Sat 31 Dec 2016 1:52 am
A free DAW, tons of Ableton Live Device, music apps and instrument and effect plug-ins.

Der gute Pirat

Delivered... Eric Mandel | Scene | Fri 30 Dec 2016 11:00 am

Aus der Geschichte gelernt: Der Film A Story of Sahel Sounds erzählt von einem Labelmacher aus den USA, der Musiker aus Afrika veröffentlicht und Touren organisiert – mit DIY- und Fairtrade-Ethos statt kultureller Ausbeutung. A Story of Sahel Sounds wird auf dem 8. Norient Musikfilm Festival 2017 in Bern ausgestrahlt.

Still aus A story of Sahel Sounds (Neopan Kollektiv, Deutschland 2016)

Meine Bekanntschaft mit dem Label Sahel Sounds begann mit einem Missverständnis: Ein befreundeter Musiker erzählte mir von einer Bandcamp-Compilation mit dem verheissungsvollen Namen Music from Saharan Cellphones. Ich nahm an, es handelte sich um Musik, die mit Telefon-Software produziert wurde, was ich mir sehr reizvoll vorstellte. Tatsächlich aber fand ich heraus, dass die Musik ein breites Band zeitgenössischer Musikproduktion abdeckt: von akustischer Gitarre und Handpercussions bis zu Fruity Loops-Beats und Autotune-Stimmen, von Tamashek-Blues bis Hip-Hop.

Bei den «Cellphones» im Titel handelte es sich also nicht um das Produktionsmittel, sondern um das Vertriebsmedium. Denn in der Sahelzone, so erklärten die Linernotes, wo Internetverbindungen dünn gesät sind, ist Bluetooth das gängige Mittel zur Datenübertagung – buchstäblich «peer to peer», von Telefon zu Telefon. Mp3s verbreiten sich so über den kompletten westafrikanischen Raum. «Hartkopien» auf Tapes, CDs oder gar Vinyl existieren nicht.

Bis Christopher Kirkley, ein US-Amerikaner, den die Wanderlust nach Kidal in Mali verschlagen hatte, begann, die Songs auf seinem Telefon zu sammeln, der Spur ihrer Urheber zu folgen, und sie schliesslich via Bandcamp zu veröffentlichen: natürlich als Mp3, aber auch auf Vinyl. Dass es sich dabei um in DIY-Studios produzierte, extrem komprimierte Dateien handelte, der von Kirkley angeheuerte Mastering-Ingenieur also einer Lo-End- eine High-End-Behandlung verpasste, ist paradox. Aber es machte die dünn klingenden Titel immerhin radio-, zum Teil sogar clubtauglich.

Still aus A story of Sahel Sounds (Neopan Kollektiv, Deutschland 2016)

Cover selbst zusammenkleben

Mittlerweile hat der Ruf des Labels in der Blogosphäre Kreise gezogen, die kleinen Vinyl-Auflagen finden international immer mehr Abnehmer, der ersten Compilation folgte eine zweite sowie Platten wie Harafinso, eine entzückende Zusammenstellung von Film-Songs aus dem Norden Nigerias. Kirkley begann, mit einzelnen Künstlern neues Material zu produzieren und für die Musiker Europa-Tourneen zu organisieren. Fünf Jahre später zieht der per Crowdfunding realisierte Film A Story of Sahel Sounds des Neopan Kollektivs ein vorläufiges Resümee.

History-Lesson learned: Der Titel des Films weist darauf hin, dass hier eine mögliche Geschichte des Ein-Mann-Labels erzählt wird, nämlich die des Einen Mannes: Kirkley ist Gründer, Geschäftsführer, A&R und Produzent, kümmert sich selbst um Marketing, Vertrieb und Promotion und klebt auch die Cover selbst zusammen. Alles mehr oder weniger am wirtschaftlichen Existenzminimum, alles im Sinne eines ethischen Überbaus, auf den der Film immer wieder zurückkommt.

Aus gutem Grund, denn wer heutzutage mit westafrikanischer Musik handelt, beerbt eine Industriepraxis, die von ethnographischen Aufzeichnungen über die Vermarktung von «Race Music» und «Exotica» bis zur Scheckbuch-Praxis herkömmlicher «Weltmusik»-Unternehmungen reicht. Ausnahmen wie das Blue Note Label bestätigten die Regel, dass die Künstler bei diesen Deals stets am schlechtesten abschnitten. Kirkley gehört mit seinem Geschäftsplan zu einer jüngeren Generation, die, ob vom Punk oder vom HipHop kommend, von DIY- und Independent-Ethik ebenso geprägt ist wie vom zeitgenössischen Fairtrade-Gedanken.

Subversive Praxis

Der Film zeigt und argumentiert zugleich: Die Kamera folgt Kirkley von seiner Küche auf die staubigen Pisten Malis und Nigers, nach Frankreich und Berlin-Kreuzberg. Man sieht, welche Strecken, Hindernisse und Sprachbarrieren und historischen Ballast Kirkley zu überwinden hat, und er macht seinerseits deutlich, was er von ihnen hält, indem er versucht, sie zu überwinden. «Wenn mich das zum Piraten macht», sagt er in einer der Interviewpassagen, «dann bin ich eben einer.» Für ihn hat die Idee, seine Privilegien – Pass, Kreditkarte und Hautfarbe – zu nutzen, um afrikanische Musiker auf einen Kontinent zu holen, der sich gerade mit allen Mitteln gegen einreisende Afrikaner wehrt, etwas Subversives.

Neben diesem Schwerpunkt liegt der Fokus auf den Musikern, mit denen Kirkley in den letzten fünf Jahren zusammengearbeitet hat: Allen voran der schlaksige Gitarrist Mdou Moctar, die ungleich schüchterne Gitarristin und Sängerin Fatou Seïdi Ghadi sowie Mamman Sani und Hama, zwei Keyboarder aus zwei Generationen. Sie sind – im Gegensatz zu den selbstbewusst auftretenden Rappern auf den Compilations – eher Einzelgänger, Singer/Songwriter, Künstlertypen mit Tiefgang und kommen damit Kirkleys sanftem Wesen entgegen.

Still aus A story of Sahel Sounds (Neopan Kollektiv, Deutschland 2016)

Gebrauchsanweisung für DIY-Projekte

Aber nicht nur Mdou Moctar, der von ihnen am meisten Erfahrung und Bühnenpräsenz mitbringt, schafft es nach Europa, auch Mamman Sani präsentiert im Film seine Keyboard-Elegien einem hippen, weissen Publikum. Ganz gleich, ob bei solchen Gastspielen oder den gänzlich anders gearteten ersten musikalischen Erstkontakten und privaten Auditions (bei denen freilich in schöner Umkehrung westlicher Industriestandards eher Krikely die Musiker zu überzeugen versucht als umgekehrt), sind die den Musikern gewidmeten Sequenzen gleichsam Höhepunkte und Teil der Argumentation.

Begegnungen mit Gruppen wie Les filles de Illighadad und Takamba Niamey Denn oder die Suche nach der Gitarrenlegende Mona machen deutlich, warum dieser schüchtern und besonnen wirkende Mann das überhaupt alles macht: Weil diese Musik ihn so sehr berührt hat, dass er nicht anders konnte, als sie zu teilen.

So lässt sich der Film auch produktiv als Gebrauchsanweisung für eigene DIY-Projekte lesen. Kirkleys Erfahrung legt nahe, dass dabei am überwiegend weissen Hipster-Publikum kein Weg vorbei führt, solange die Musik nicht an globalisierte Praxen wie Hip Hop, Jazz oder House andocken kann. Das könnte wichtig werden, wenn es darum gehen soll, die eingangs erträumte, auf Smartphones programmierte Popmusik dem lokalen peer-to-peer-Markt zu entheben und auf die Weltkarte zu setzen. Was zweifellos bereits irgendwo passiert.

Der Dokumentarfilm A Story of Sahel Sounds wird auf dem 8. Norient Musikfilm Festival 2017 am 14. Januar in Bern gezeigt.

raster-noton’s elusive Grischa Lichtenberger on creative sound

Delivered... Zuzana Friday Prikrylova | Artists,Labels,Scene | Fri 30 Dec 2016 7:15 am

Grischa Lichtenberger is working with felt and stencils as well as sound. He’s speaking in hyperlinks, and misusing gear and feeding computers into other computers to form feedback loops. In short, he’s finding a unique and creative materialism in everything he does – and that means we really have to talk to him. So we sent Zuzana Friday to join in a delightfully esoteric conversation with the raster-noton artist. -Ed.

Grischa Lichtenberger is a German musician and sound and installation artist, known for his releases on raster-noton. His immersive live performances oscillate between abrasive, aggressive compositions and intricate structures of beat and melody. Recently, he has released a new triple-EP ‘Spielraum | Allgegenwart | Strahlung’ on raster-noton as a limited-edition vinyl with hand-printed sleeves. The three EPs question the connection between intimacy and the public sphere, but each of them has layers of their own meaning.

I find myself uniquely moved by Grischa Lichtenberger’s work. It’s not only the choice of sounds, their combinations and permutations, but the sense of emotion behind them that strikes me. There’s also playfulness, even cheekiness at moments. Other times, I find beauty, or anxiety, or drama, or a language we’re only learning to understand.

The music is often very physical, with the beats collapsing like detonated structures. Silence and space will swell up, stagger — carve their way to your ears. Melody in turn hastily gushes in percussive patterns, breaks down in waves, or becomes narrative. Grischa does all of this on his new triple-EP consisting of three chapters. We tried to tackle all of them in over a hour long interview.

Grischa speaks in complex, branching sentences, navigating topics and poetic descriptions in a way that mirrors his own process for bringing together his thoughts on a work, whether for a music or an installation. We talked to him about his own work and process, including the triple-EP, but also ranged to topics like Joseph Beuys.

Friday: In ‘Allgegenwart’, you write about the ubiquity of technology and feelings of guilt and a threatening sense of over-complexity. Where do you see humans and technology going?

Grischa: We like to see technology as this tool that fulfills our desires. But of course there’s more and more consciousness about us being overly immersed in the virtual world. Then we have a problem not only with communicating in real life, but also on all these social platforms. Our relationship with them has changed from the early 2000s to now. At the beginning, you had this romantic idea of being able to reach out to people you would never reach. Nowadays, the approach is more cynical and more and more people feel overwhelmed. It’s a trouble that wasn’t there before.

Plus, regarding social platforms, people are concerned about their personal data being misused.

I’d say that the totalitarian discussion of the 20s Century has shifted to the … anonymous or virtual. It’s like an invisible totality.

The first part of your trilogy is called ‘Spielraum’. In the accompanying text, you describe the Spielraum with words like hope and experiment. Do you have your Spielraum, is it your studio?

Sure, the studio is like a playground, where you have things gathered like toys. And more than that, every home is still connected to when I was little and I’d build little shelters from cushions. It’s also about intimacy and what your … private intimate space is like.

If I consider Spielraum as a space where one can be free to play around, at the same time, how do you deal with distractions? Do you turn off your phone when entering the studio?

Through desirable factors. Most of the times, I have my phone on vibration and I don’t push mail and Facebook. But there isn’t a specific preparation in the studio to shut the world out. When I started making music, I used to have internet on one PC and the music and all artworks on another PC. But then the internet became a bigger part of my daily process and it actually can even be a part of the flow. If you have a loop running and you want to let it run for a while and quickly check what’s next with Trump or whatever and go back to the music, there’s no clear boundary that needs to be there for having that flow.

The Spielraum … can address some stuff that is invisible or unspeakable. In doing art, you have a secret space to do whatever you feel like doing, a track without a snare or any silly idea. Even now, when talking about it, it seems almost impossible to defend that idea. But if you just sit there and do the track, you have the feeling that you can try things out and you don’t have to write it down and prove [it].

The sounds of the triptych are very diverse. Which devices and instruments have you used for this record? And is there a difference in terms of used instruments and processes between the three parts of the album?

Yes, there is. For ‘Spielraum’, I used a lot of “incestuous” recording methods, so to speak. I recorded from one computer to another. I recorded with a lot of feedback systems, where one program feeds into the other and also outputs to the other.

For ‘Strahlung’, I used synthesizers more excessively that I used to. I didn’t grow up with them and I don’t really know much about them. I still don’t have any hardware synthesizers, mainly because I don’t have much clue about them and I don’t have a good ear to appreciate the analog quality, even though there is a special materiality to it. But I think all synthesizers have a specific sound, and software synthesizers are still very appealing to me. Also, I once wanted to make a record that could play in the background, which always failed for me [laughs]. So with ‘Strahlung’, I wanted to make one record which I could imagine playing in the living room. And it also corresponds with the idea of the invisible force.

r-n168-2 Artwork. Courtesy the label.

r-n168-2 Artwork. Courtesy the label.

From all three EPs, ‘Strahlung’ is definitely the most friendly; it has these nice melodies, for instance. Actually, the strongest impact on me was the closing track (r-n173 – 8 – 004_1115_26_lv_1_brecs) from ‘Strahlung’, probably because of the contradictory nature of its emotional and melancholic melody and abrasive, mechanical sounds piercing through. Do you remember how you made this track? What was your intention there?

I don’t remember exactly. But this track was actually meant to reconnect the listening circle of the record, its end and the beginning. So I imagined that a listener would listen to it and then start playing the first track of Spielraum again.

Apart from the digital synthesizers, what else have you used for the album — which software, for example?

I used Reason, including its Subtractor synthesizer, which is a really nice one, plus Ableton for most parts of the sequencing. I used [Celemony] Melodyne, for its nice algorithm, where you can manually slide through a polyphonic source without boundaries and divide the material in voices. Although it’s quite complex and I can’t get my head around it, it’s really fascinating.

For ‘Allgegenwart’, I used a noise suppressor. If you raise the level of a noise suppressor… you can just feed it with the background noise and it will generate a very eerie, ghostly sound, because it tries to find a tonal signal in it. It’s like a synthesizer which isn’t meant to be a synthesizer.

What are other ways for you to generate sound, do you use field recordings or sound banks?

I have an always-extending archive of sounds I use. I don’t use sound banks so much, only sometimes when I want to make a joke about a clap or something, and for instance I just use an 808 clap to have it as a symbolic reference. But normally, I like to live with sounds. I have an old track and many sounds in there, so I just put the track in the sampler, pull a bit out of there and … rework it over and over again. It’s kind of like a collage out of my own productions. I also use field recordings and synthesized sounds. I like this process where you go back to yourself and involve yourself in what you did, not only try to have the best kick drum of all times, but try to find out what the kick drum from 5 years ago means to you. Sometimes, you see ‘Oh, this is much nicer than anything I could have made up!’ and sometimes, you go, ‘what was I thinking? It’s trash!’

Photo: Sebastian Moitrot.

Photo: Sebastian Moitrot.

How do you decide which sounds will be composed together, since they range in timbre, texture, and character? How do you choose which sounds fit together in your musical universe?

It’s not accidental; I think about it very much, but I can’t tell any general method. When I have something I want to go on with, like a melody from a synth, then I listen to it and I think about what’s missing until it’s finished. Maybe it’s a bass drum – then I add it so it complements the rest, then I move on to another sound, add it and try if it all fits together.

It’s like painting for me. When you paint something new, you do it regarding what’s already in the painting. For me, the music making process is linear. Most of the time, when I do a track, I go forward, I add EQs, dynamics, plug-ins in massive chains, and I add sounds, and only in moments when I think about it and stop for a while, I can go back, re-evaluate, and correct. But in the creative flow, I tend to add and add, so the context is building itself organically and everything is connected to each other.

Your website resembles a body of work of an inventor with its precise sketches, complex descriptions, photographs and installations. Where do your ideas for installations come from?

Often, there is a room or a context that’s already there. Because mostly, I am approached to contribute to an exhibition or an event. Like this year, I did an installation for a conference about genomes. So at first I try to conceptualize, which means looking into my archive and finding a drawing, painting, or a ready-made object, which fits to the general idea or a context. Then I deal with the room, like I would deal with paintings or levels in a track. Then there are strategies about materials I use – I look into the constructions I have done in the past and look for what could I use for recycling the sculptural elements. Then, if it’s a construction, I make a drawing of how it’s going to be built together. It also depends on my time and resources. The result can be an intense reaction to the room or something spontaneous.

grischa_installation

In all my installations, there’s also a very strong reaction to works by Joseph Beuys, because my parents were his students, so I knew his work since I was a kid – I saw his piece ‘I like America and America Likes Me’ – where he imprisoned himself with a coyote in a gallery – when I was five years old. And because Beuys reached me so early in my life, I see him differently than most of the critics. It’s like music, I really liked it and felt the emotional content in there. So since I was 5, I thought ‘Doing art is really nice, you can have this sort of communication’. And when you’re so young, you still have this very present thin line of how language is built and you try to get through to people very clearly. You aren’t sure whether you understand people or whether they understand you. And you can perceive art and music like some sort of solution of this communication problem.

genographies_1

http://www.grischa-lichtenberger.com/installations/2015%20Genographies/

But the way I work with installations is not only homage to Beuys — it’s also a joke. Especially regarding the materials I use. For example, I use a sort of felt, which for Beuys was a mythical and poverty-stricken material. But he used a really high-quality felt. I use a material that looks the same, but it’s actually moving blankets, so they’re more industrial and cheap. I connected with this material because it was permanently laying around in my father workshop, so it’s more natural for me than felt. that felt. And besides this joke, what I also like about the material, is that it looks grey, but when you look closely, it’s actually super colorful, because it’s made of recycled plastic bags. I cling on to it, I know how it behaves, and I often use it for covering up wood constructions or making bigger spatial interventions. These things work like favorite pens or plug-ins.

genographies_2

You printed, stamped and signed all the 500 copies of a special edition of this triple-EP by yourself. Is this personal approach of creating a unique piece of art something you cherish?

When [raster-noton’s] Olaf [Bender] suggested to do this triple-EP and a limited edition, I was super happy, because I like vinyl and because I like having physical objects and not only a digital, ghostly trace. And I liked working on silkscreen very much, as well. I made the designs for the prints by hand and had a very nice day helping printing them. And as we layered the stencils a bit differently for each of the copies; each one is unique. It would be actually interesting to buy two of the vinyls to recognize the differences [laughs].

How would you like to push your work further in the future?

My future plan since I started with raster-noton is to find a way to [better] connect all the different aspects of art. I see that this is still a big difficulty for me, because I have all these ideas and accompanying texts. But many people despise these texts for being too long and overly complex. Of course, I have to learn how to write better, how to make music better or how to paint better, but I would also love to learn how to write better in relation to music and how to make music in relation to painting and have this all connected with one another.

It’s also important that the disciplines aren’t connected too much, because I often find refuge in one discipline when I’m sick of the other for the moment. But just for the communication, I would want different parts of my work to seem to be all more clearly coming from one particular person.

http://grischa-lichtenberger.com

Releases, artist info via raster-noton

The post raster-noton’s elusive Grischa Lichtenberger on creative sound appeared first on CDM Create Digital Music.

Multiple Ownership Petitions for Reconsideration to be Published in the Federal Register Setting Dates for Public Comment

Delivered... David Oxenford | Scene | Thu 29 Dec 2016 6:21 pm

Tomorrow, the Petitions for Reconsideration of the FCC’s multiple ownership decision is scheduled to be published in the Federal Register (see the pre-publication draft here). This will start the clock on comments on those petitions. If publication occurs as scheduled, comments will be due on Tuesday, January 17 and replies on Friday, January 27 (update: the actual  Federal Register publication states that Replies are due January 24, but we believe that is probably an error, as the FCC rules require 10 days for a reply – watch for a further update). As we wrote here in connection with the comment dates on Petitions for Reconsideration of the abolition of the UHF discount, and here when we commented on the potential impact of the Presidential election of broadcast law, this may be one of the first opportunities where we will be able to assess the meaning of the changes in the membership of the FCC. We will see to what extent the new administration will be willing to roll back the decisions made by the FCC under its old leadership.

The Petitions for Reconsideration raise several issues, both for radio and TV. Questions are raised as to whether the local TV ownership restrictions continue to make sense in today’s economic world – particularly those limiting the co-ownership of any two of the Top 4 stations in a market, and limiting any co-ownership to markets where there will be 8 independently owned and programmed stations.  Attribution of stations that are subject to a Joint Sales Agreement is also questioned. Finally, questions are raised as to whether the FCC is justified in imposing new filing requirements for documents relating to joint operations between TV stations, seemingly looking to collect information in order to impose in the future some sort of restriction on any sort of shared services agreement.

For radio, issues are raised about the counting of stations for ownership cap purposes when those stations are located in “embedded markets” in one of the two metropolitan areas where there are more than one embedded market. See our summary of this issue here.

For both radio and TV, the NAB challenges the newspaper-broadcast and radio-television cross-ownership bans and the FCC’s decision to leave those bans in place. The NAB also objects to the FCC rejection of a proposal for the establishment of an incubator program to encourage new entrants into the broadcast industry. See our list of some of the issues considered in the FCC’s August ownership decision here.

There are thus many issues on the table for consideration by the FCC. We’ll be watching to see how this proceeding progresses in the coming months, after the FCC’s new administration is in place.

Note:  The Reply date above has been corrected from the initial posting of this article

Celebrate Sludgemas with some free Detroit Underground groove

Delivered... Peter Kirn | Artists,Labels,Scene | Wed 28 Dec 2016 6:52 pm

There are things that make your butt wiggle. There are things that make your brain tickle. There are things that get glitched and grungy. Well, here’s something that does all those things at once – it’s a glitchy good time, and it’s free. Merry Sludgemas.

And for anyone bored with overly-shiny, overly-restrained, dark fashion-label sound-alike techno – meet “sludge,” which is totally none of that.

Our parade of year-end music queuing continues with some goodness from one of our favorite labels of the year, Detroit Underground. They’ve been experimental and glitchy and groovy and IDM and weirdo and excellent. They’ve done hardware. They’ve put out some of the best releases of the year (more on that general attitude soon).

And this brings a lot of those threads together.

You see, it starts with DetUnd’s excellent “Circuit-Bent Digital Waveguide™” DU-KRPLS module. (You know you’re nerdy when you see the character “KRPLS” and say “oh, yeah, of course, Karplus-Strong Waveguide hey where did everybody go?” If you didn’t think that, don’t worry, have your daily dose of CDM and you’ll soon be as incompatible with normal society as the rest of us.)

Then, you add Marshall Applewhite and The Friend.

What?

Didn’t follow any of that?

Download this, and you’ll be dancing to glitches anyway.

Their explanation:

While not much about the DU-KRPLS is very conventional, the pairing of Marshall Applewhite and The Friend have found a few ways to take it to another level of non-conventional soundscaping. The two songs included show a nice variation of using the module in a melodic sense and a more glitched out percussive sense. Building upon their brand of techno, known as sludge, the pair have kept it slow and heavy, yet funky and danceable.

Free. As in Beer. As in sludge, too.

https://detund.bandcamp.com/album/krpls-stuff

Stylish graphics by the singular eBoy – accept no substitutes.

Though, fair warning, if you’re into this stuff your credit card might go crazy here:

https://detund.bandcamp.com/

Enjoy.

If edm is drug music, Marshall Applewhite is the anti drug. He said that, not us, but - cool. :) I'll take a BIG dose of his stuff.

If edm is drug music, Marshall Applewhite is the anti drug. He said that, not us, but – cool. ? I’ll take a BIG dose of his stuff.

Glitchy video action:

DU™ MERRY SLUDGEMAS – FREE DOWNLOAD ???@marshall.applewhite X @__thefriend__ – KRPLS STUFF EP cat#dboy18 ?? While not much about the DU-KRPLS is very conventional, the pairing of Marshall Applewhite and The Friend have found a few ways to take it to another level of non-conventional soundscaping. The two songs included show a nice variation of using the module in a melodic sense and a more glitched out percussive sense. Building upon their brand of techno, known as sludge, the pair have kept it slow and heavy, yet funky and danceable. https://detund.bandcamp.com/album/krpls-stuff DESIGN BY @eboyarts – DU-KRPLS MODULE AVAILABLE HERE: detroitunderground.net/archives/modular/du-krpls ??? #detund #sludge #krpls #detroit #detroitunderground #313 #eboy #eurorack #glitche

A video posted by Detund™ デトロイト ? アンダーグラウンド (@detroitunderground) on

DU™ MERRY SLUDGEMAS – FREE DOWNLOAD ???@marshall.applewhite X @__thefriend__ – KRPLS STUFF EP cat#dboy18 ?? While not much about the DU-KRPLS is very conventional, the pairing of Marshall Applewhite and The Friend have found a few ways to take it to another level of non-conventional soundscaping. The two songs included show a nice variation of using the module in a melodic sense and a more glitched out percussive sense. Building upon their brand of techno, known as sludge, the pair have kept it slow and heavy, yet funky and danceable. https://detund.bandcamp.com/album/krpls-stuff DESIGN BY @eboyarts – DU-KRPLS MODULE AVAILABLE HERE: detroitunderground.net/archives/modular/du-krpls ??? #detund #sludge #krpls #detroit #detroitunderground #313 #eboy #eurorack #glitche

A video posted by Detund™ デトロイト ? アンダーグラウンド (@detroitunderground) on

Previously on CDM:
This Eurorack module was coded wrong – and you’ll like it

The post Celebrate Sludgemas with some free Detroit Underground groove appeared first on CDM Create Digital Music.

Gone Too Soon: Remembering The Musicians We Lost In 2016

Delivered... By EB Team | Scene | Wed 28 Dec 2016 6:03 pm

The post Gone Too Soon: Remembering The Musicians We Lost In 2016 appeared first on Electronic Beats.

Audionamix ADX VVC 3.0

Delivered... Emusician RSS Feed | Scene | Wed 28 Dec 2016 5:43 pm
Transparently adjust vocal levels within a stereo mix

Digital Audio Workstations

Delivered... Emusician RSS Feed | Scene | Wed 28 Dec 2016 5:43 pm
Nothing since tape has had a greater impact on recording

4ms Dual Looping Delay

Delivered... Emusician RSS Feed | Scene | Wed 28 Dec 2016 5:43 pm
Transform time and space with this Eurorack module

Arturia V Collection 5

Delivered... Emusician RSS Feed | Scene | Wed 28 Dec 2016 5:43 pm
Pretty keys with a Synclavier on top

Antelope Audio Zen Tour

Delivered... Emusician RSS Feed | Scene | Wed 28 Dec 2016 5:43 pm
A desktop interface that’s ready to travel

Adult Swim has a free noise album you don’t want to miss

Delivered... Peter Kirn | Artists,Labels,Scene | Tue 27 Dec 2016 7:48 pm

It’s that time of the year again: weeks of hearing Christmas songs on repeat plus the untimely death of George Michael, and your ears are probably oozing peppermint goo while you cry yourself to sleep. This calls for some seriously aggressive noise album. You know – like a palette cleanser.

Well, here’s one, and it’s free – from Adult Swim.

“Noise” album? Cartoon Network? Okay, the combination sounds unlikely.

But if you were expecting some lame hipster compilation that sounds like “noise music” just means someone fell asleep on their guitar pedalboard, think again.

It’s actually damned good. And it’s nicely diverse, too – some post-punk, some electronic, some shouting — really every angry, loud, dirty, grungy, weirdo sound you might desire. It’s like a big, varied vindaloo that burns your mouth and gut and satisfies your hungry in just the right way.

There’s Perc and Prurient. But there’s also some folks called Melt-Banana. There’s great titles like “You’ve Got Rabies on Your Breath.”

And there’s actually a lot of timbre and musical invention – which is good, because if you do just fall asleep on a distortion pedal, you get this big “BOSS” logo backwards across your face, and who wants that?

Enjoy. Download or stream.

http://www.adultswim.com/music/noise/

Tracklist, which I’ve copied ever so carefully from their Web streaming interface:

Clipping: Body for the Pile (Ft. Sickness)
Melt-Banana: Case D in the Test Tube
Eye: Mega Equipment for Popsicle
Vessel: Prihatin
Sadaf: The Clinic
Arca: Bussy
Pharmakon: Squall
Tanya Tagaq: Erie Changys
Beast: You’ve Got Rabies on Your Breath
Dreamcrusher: Sick World
Perc: Porthia
Noveller: Processional
Merzbow: For Adult
Prurient: Everything You Know is Wrong
Hassan Khan: Casiotone Gigantja
Wolf Eyes: Subterranean Life

The post Adult Swim has a free noise album you don’t want to miss appeared first on CDM Create Digital Music.

Public Comments Requested on Qualifications for Copyright Office Chief

Delivered... David Oxenford | Scene | Tue 27 Dec 2016 5:37 pm

There is now a vacancy in the top position at the Copyright Office, the Register of Copyrights, and the Librarian of Congress, who appoints the Register, has asked for comments on the role and qualifications for the new Register. These comments are due by January 31, 2017. While setting copyright law has thus far been the role of Congress, the Copyright Office has an important role in administering that law, and examining policy issues to make recommendations to Congress on controversial issues. We write extensively on many of these controversial copyright issues, as these issues have the potential for being transformative for the broadcast and media industries. For broadcasters, there are numerous issues, including questions raised by new performing rights organizations like GMR that seek more and more payment for the use of the musical composition by broadcast companies (see, for instance our article yesterday about the interim agreement between GMR and RMLC and its broader implications for the radio industry) and the broadcast performance royalty for sound recordings that keeps coming up year after year (sometimes referred to as the “performance tax,” which has generally been supported by the Copyright Office, see our posts here and here). For other media companies, there are many issues including questions about the protections afforded under Section 512 of the Copyright Act to companies that host user-generated content (see, for instance, our articles here and here) and the formation of a small claims copyright court that may allow more cases to be brought for copyright infringement (see our post here).

The survey about the qualifications of the new Register, available here, asks only three questions, plus a general request for additional comments. The questions are:

  1. What skills and knowledge should be required from a Register?
  2. What are the Top 3 priorities for any new Register?
  3. What other factors should be considered in the appointment of the Register?

The survey does ask for the name of the respondent, and indicates that there may be outreach to selected commenters asking for more information. Given that copyright is likely to be a hot topic in the new Congress (see our article here), this position assumes increased importance in informing Congressional decision making. If you want to have your say in setting the priorities for the person who will be setting the priorities and policy positions of the Copyright Office in the coming years, fill out the survey by January 31.

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