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Indian E-music – The right mix of Indian Vibes… » 2017 » January » 05

PG Music Releases Band-in-a-Box 2017 for Windows

Delivered... Emusician RSS Feed | Scene | Thu 5 Jan 2017 11:21 pm
Over 80 new Features, 202 new RealTracks, plus 24 Bonus RealTracks, 34 new MIDI SuperTracks, 18 Instrumental Studies, 59 Re-Discovered RealTracks/MIDI SuperTracks, and More

ROLI Launches Soundpacks from Steve Aoki, RZA of Wu-Tang Clan, and more at CES

Delivered... Emusician RSS Feed | Scene | Thu 5 Jan 2017 9:29 pm
Live Performances Every day at Booth 12011 in Central Hall

Austra: ‘How psychedelic would our world be if technology wasn’t just about making someone money?’

Delivered... Maura Johnston | Scene | Thu 5 Jan 2017 6:20 pm

Depressed at the state of the world, Canadian vocalist and producer Katie Stelmanis dove into Naomi Klein, Star Trek, cyborgs and Latin American dance music to find inspiration for new album Future Politics. Fittingly, it’s due on the day Donald Trump becomes US president

It’s a chilly December day in New York and the fifth floor of the Whitney Museum of American Art is full of future visions from the past century. There are combinations of the technological and the human that range from Oskar Schlemmer’s vibrant, simple Triadic Ballet to Bruce Conner’s horrifically beautiful Crossroads, which sets footage of a 1940s atomic explosion to a sumptuous Terry Riley composition.

Katie Stelmanis, the Canadian vocalist and producer who records as Austra, drinks in the exhibit’s floor-to-ceiling video projections and immersive exhibits; her third album, the stunning Future Politics, could very well have been included. A broadside against the technologically dictated future, one that finds strength in its belief in a better world, Future Politics combines Stelmanis’s voice, which balances strength and weightlessness as it skips through octaves, with thumping beats and lyrics that outline disconnection and the wish for something more.

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Focusrite Announces Scarlett OctoPre and Scarlett OctoPre Dynamic

Delivered... Emusician RSS Feed | Scene | Thu 5 Jan 2017 6:15 pm
Two New Scarlett OctoPres make Adding Inputs Easy

Audified Announces Availability U78 Saturation Plug-in

Delivered... Emusician RSS Feed | Scene | Thu 5 Jan 2017 4:36 pm
U78 Plug-in Based on U73b Compressor Circuitry

FCC Denies Reconsideration of Noncommercial Broadcasting Ownership Report Requirements – But Signs that New Commission May See Things Differently

Delivered... David Oxenford | Scene | Thu 5 Jan 2017 4:26 pm

The FCC’s Media Bureau yesterday issued an order denying reconsideration of the full Commission decision from last year, synchronizing the Biennial Ownership Report filing requirement for noncommercial broadcasters with that of commercial broadcasters, and requiring that all individuals who have attributable interests in these stations obtain an FCC Registration Number (an “FRN”)(see our summary of the FCC order from last year here). Yesterday’s decision triggered a rapid objection from the Commission’s Republican Commissioners, promising to review this decision after the Inauguration when Republicans will likely control the FCC. What is the controversy?

Obtaining an FRN requires supplying the FCC with an individual’s Social Security Number (“SSN”). Last year’s order also provided that stations could obtain a “Restricted Use FRN” for attributable interest holders who did not want to provide their SSN to the FCC, but such individuals would still have to provide at least the last 4 digits of their SSN, along with other specifically identifiable information including their residence address and date of birth. While none of this information is public (it is merely stored in FCC databases that issue the FRN), many noncommercial licensees objected to the requirements, believing that members of their governing boards, who are considered attributable owners for FCC purposes, may be very reluctant to provide that information to stations or the FCC. They pointed particularly to situations like university or other stations operated by educational institutions, where board members volunteer not because they are interested in broadcasting, but instead because they hope to influence the educational objectives of the university. The fear is that having to provide this information could discourage people from serving on these governing boards of educational and similar institutions. In some cases, noncommercial station board members have no real choice about their service – the position is required by virtue of public posts such as university president or school superintendent. See our summary here of those objections.

The FCC has contended that this information is necessary to track the control of broadcast stations specifically to assess the ownership of broadcast stations by minorities and women – thus allowing the FCC to assess the diversity of ownership of broadcast stations to determine if affirmative actions to increase this diversity are required. In yesterday’s order denying reconsideration, the FCC again reiterated that goal for the use of this information. The Media Bureau then rejected the contentions of the noncommercial appellants that the requirement to supply this information could chill the participation of individuals on the boards of noncommercial licensees as being an issue already fully considered and rejected in the Commission decision from last year. A similar finding was made as to the fear that the private information would not be secure at the FCC. The Media Bureau, in a 17-page decision, found that all of the issues that were raised in the reconsideration petitions had been fully considered by the full Commission in its decision last year, so that the Commissioners themselves did not even need to be bothered with the reconsideration petitions. The FCC rules allow the Bureau to reject petitions for reconsideration of full Commission decisions where those petitions do not raise new arguments but simply rehash arguments already fully considered by the Commission.

The FCC’s Republicans, who had questioned the requirements for noncommercial licensees last year, issued a quick retort to yesterday’s decision. First, they objected to the way the matter was handled, allegedly without providing them any input or even notice that it was to be released. Second, they suggested that the requirement was “pointless,” seemingly alluding to their previous statements that noncommercial broadcasters are not subject to FCC ownership limits, and that the interests of their board members are seldom relevant to tracking ownership trends across the broadcasting industry generally.  The Republican statement went so far as to explicitly urge the petitioners to file an application for review of this Media Bureau decision, putting the issue squarely before the Commission for its own review – after the Inauguration when the Republicans will likely be in control. (Such filings would be due on February 3, 2017, well after the new leadership takes over the agency.)

There seem to be two bottom lines from yesterday’s competing releases on this seemingly very bureaucratic FCC issue. The first is the practical day-to-day bottom line for noncommercial broadcasters – there seems to be a real possibility that the new Commission will abolish the requirement for any form of SSN filing by those who have attributable interests in their stations, though yesterday’s decision remains the law until it is changed by a new Commission. Any change remains subject to the views of new Commissioners who have not yet even been named, and any review will need to address all the legal justifications for the rule contained in yesterday’s 17 page decision on this narrow issue. But more broadly, it seems to indicate that we will have a very different FCC after the Inauguration – one much more skeptical of FCC reporting and information gathering efforts that place burdens on broadcasters. Elections have consequences and we may be seeing those play out at the FCC already.

A year in music starts 2017 with the best of 2016

Delivered... David Abravanel | Artists,Scene | Thu 5 Jan 2017 2:14 pm

The early days of January – the email inbox is still quiet, things are for many still moving slow. But if musical perspective is possible only with hindsight, it’s a moment when the picture of a moment in musical history has first crystallized. The zeitgeist of an era starts to reveal its footprint.

This isn’t a look back. It’s a round-up of the music we believe looks forward. Tellingly, too, the music that’s most effective at doing that also has studied their history and developed their art – multiple artists show up on our reissues and new lists.

It’s a chance to consider what inspired us – and where that inspiration could take us in the months of production to come. Because while many may forget their gym memberships or other resolutions, music making is something that really will drive us, that deserves moments of mid-winter reflection.

Of course, you’ve got to get someone to navigate all that – obvious and obscure choices alike. So we turn to our regular contributor David Abravanel for an extensive list and analysis of the big picture.

Lamin Fofana.

Lamin Fofana.

The cross-generational collaboration of Kaitly Aurelia Smith with Suzanne Ciani inspired us all, a duo of modular divas that wowed everyone. 2016 saw the passing of Buchla, but Buchla lives on.

The cross-generational collaboration of Kaitly Aurelia Smith with Suzanne Ciani inspired us all, a duo of modular divas that wowed everyone. 2016 saw the passing of Buchla, but Buchla lives on.

Top 30 of 2016, alphabetized
AGF – Kon:3p>UTION to e[VOL]ution (AGF Produktion)
Autechre – elseq 1-5 (Warp)
Barker & Baumecker – Turns (Ostgut Ton)
Biosphere – Departed Glories (Smalltown Supersound)
Boris / Merzbow – Gensho (Relapse)
Chrissy & Hawley – Chrissy & Hawley (The Nite Owl Diner)
Clarke:Hartnoll – 2Square (Very)
David Bowie – ★ (Columbia)
Deftones – Gore (Reprise)
Demdike Stare – Wonderland (Modern Love)
DVA (Hi:Emotions) – NOTU_URONLINEU (Hyperdub)
Floorplan – Victorious (M-Plant)
John Roberts – Plum (Brunette Editions)
Kaitlyn Aurelia Smith & Suzanne Ciani – Sunergy (Rvng. International)
Kate Bush – Before The Dawn (Fish People)
Kerridge – Fatal Light Attraction (Downwards)
LA-4A – Phonautograph (Delft)
Lamin Fofana – Doubleworld (Sci-Fi & Fantasy)
Leonard Cohen – You Want it Darker (Sony)
Lisieux – I (self-release)
Matmos – Ultimate Care II (Thrill Jockey)
Monolake – VLSI (Imbalance Computer Music)
Occult Oriented Crime – Just A Clown On Crack (Dekmantel)
The Orb – COW / Chill Out, World! (Kompakt)
Patten – Ψ (Warp)
Sea Nymphs – On The Dry Land (Alphabet Business Concern)
Shackleton – Devotional Songs (Honest Jon’s)
Shinichi Atobe – World (DDS)
The Field – The Follower (Kompakt)
Underworld – Barbara, Barbara, we face a shining future (UMG)

For a rich multi-course meal of music, techno and otherwise, Ostgut satisfied with Arc Angel.

For a rich multi-course meal of music, techno and otherwise, Ostgut satisfied with Arc Angel.

Top 10 EPs/single of 2016, alphabetized
Aphex Twin – Cheetah (Warp)
Burial – “Young Death” / “Nightmarket” (Hyperdub)
E.R.P. – Ancient Lights (Solar One)
Graze – Xup (Dekmantel)
Jay Haze & Kaan Bulak – 1840 (Contexterrior)
Lush – Blind Spot (Edamame)
Monolake – G M O (Imbalance Computer Music)
Plaid – On Other Hands (Warp)
Rian Treanor – Pattern Damage (The Death of Rave)
Zeno van den Broek – Shift Symm (Establishment)

Top 5 reissues of 2016, alphabetized
A Made Up Sound – A Made Up Sound (2009 – 2016) (A Made Up Sound)
Altern 8 – Full on Mask Hysteria (Bleech)
Biosphere – Patashnik / Patashnik 2 (Biophon)
Mike & Rich – Expert Knob Twiddlers (Planet Mu)
µ-Ziq – RY30 Trax (Planet Mu)

Ed.: I was blown away by how complete David’s list was, but just one missing here that I thought was one of the most important reissues of the year – Luke Slater’s 90s-era The 7th Plain got a gorgeous reissue from A-TON, the cleverly-named new imprint of Ostgut. I wouldn’t want A-TON to be all about reissues, but more like this would be welcome. -PK

Top 10 tracks of 2016, alphabetized
Beyoncé – “Hold Up” (Columbia)
Deftones – “Prayers / Triangles” (Reprise)
De La Soul ft. Rock Marciano – “Property of Spitkicker.com” (A.O.I.)
John Tejada – “Integrator” (Kompakt)
Leonard Cohen – “You Want It Darker” (Sony)
Lorenzo Senni – “emotiva1234” (Warp)
Lush – “Burnham Beeches” (Edamame)
Machinedrum ft. Ruckazoid – “Morphogene” (Ninja Tune)
Nick Hook ft. Novelist – “Can’t Tell Me Nothing” (Fool’s Gold)
Xeno & Oaklander – “Virtue and Vice” (Ghostly Intl.)

2016 was a year for a lot of old favorites – whether it was Suzanne Ciani, Autechre, Leonard Cohen, or The Orb. It was also a year in with some surprises from artists I thought I “knew” – Patten, Scratcha Dva, and John Roberts all released left turn albums that are among their best.

Unquestionably, David Bowie’s ★ cast the longest shadow on the year – the the extent that it wasn’t hard to consider Leonard Cohen’s You Want It Darker as something of a spiritual successor (and, sadly, Cohen similarly died shortly after delivering his final masterpiece).

2016 might have been a grim year politically, but I’m left with hope for the role that art will play in 2017 – as reflection of reality, as charge for resistance, and as escapism. AGF remains a prescient political voice – not only did she arrive at many of the cyber-political explorations before other artists, she’s still doing it better than most. Lamin Fofana followed up a series of unique EPs with a devastating full length – futuristic techno with an unflinching global eye. Floorplan’s spiritually positive Victorious will remain in necessary rotation, as will Machinedrum’s Human Energy.

On the escapist end, Lorenzo Senni continues to deliver distilled rave, now with a cyberpunk bent. The return of The Sea Nymphs was more than welcome – symbolizing as it did that Tim Smith is well enough to begin revisiting recordings (and suggesting even more Sea Nymphs – and possibly Cardiacs) yet to come. That On The Dry Land was just as magical and captivating as The Sea Nymphs 24-year-old self-titled album (not to mention the 32-year-old Mr and Mrs Smith and Mr Drake album that first saw the three Sea Nymphs together) was icing. Lisieux’s I, a lovely bandcamp find, shows that there is a future for neo-folk that isn’t quite as problematic as its past.

Finally, I’ve got to acknowledge the heavy emotional hits from Shackleton’s Devotional Songs and Barker & Baumecker’s Turns. The former saw the veteran bass outlier team up with versatile classically-trained singer Ernesto Tomasini, for perfect and challenging fit. If you thought Thighpaulsandra was “a bit subtle”, Shackleton and Tomasini were there so seriously smash you over the head with drama. Barker & Baumecker, meanwhile, followed up last year’s transcendent “Love Is A Battlefield” with an album that showed that single to be a sign of fantastic things to come. Possibly the best album I’ve ever heard on Ostgut Ton (it’s neck-and-neck with Shed’s The Traveller), Turns injects intense emotion into its interconnected techno pieces. It’s easy to hear Barker and Baumecker challenging themselves to go further – and succeeding with flying colors.

Goodbye 2016, and hello uncertainty. But we’ve got tunes.

The post A year in music starts 2017 with the best of 2016 appeared first on CDM Create Digital Music.

Music you missed: 10 Australian underground releases from Peep Tempel to Corin

Delivered... Kate Hennessy | Scene | Thu 5 Jan 2017 4:44 am

Our quarterly music column returns to dig up the best under-the-radar Australian releases from the end of 2016

These nine albums share something. A line from Anthrocene on Nick Cave’s record Skeleton Tree kept coming to me as I wrote this column: “Animals pull the night around their shoulders.”

These are albums you can pull around your shoulders. None have singles that tower above the rest but each has succeeded in making and maintaining a distinct universe; a space you can – or must – enter into and exist in for the duration of the album.

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