#ToyTronics

[radiomogai]

[PT: classictronic: a gender related to the classic animatronics from the ‘five nights at freddy’s’ series

toytronic: a gender related to the toy animatronics from the ‘five nights at freddy’s’ series

funtimetronic: a gender related to the funtime animatronics from the ‘five nights at freddy’s’ series

springlocktronic: a gender related to the springlock animatronics from the ‘five nights at freddy’s’ series

adventuretronic: a gender related to the adventure animatronics from the ‘five nights at freddy’s’ series

glamrocktronic: a gender related to the glamrock animatronics from the ‘five nights at freddy’s’ series. End PT]

classictronic | toytronic funtimetronic | springlocktronic adventuretronic | glamrocktronic

classictronic: a gender related to the classic animatronics from the ‘five nights at freddy’s’ series

toytronic: a gender related to the toy animatronics from the ‘five nights at freddy’s’ series

funtimetronic: a gender related to the funtime animatronics from the ‘five nights at freddy’s’ series

springlocktronic: a gender related to the springlock animatronics from the ‘five nights at freddy’s’ series

adventuretronic: a gender related to the adventure animatronics from the ‘five nights at freddy’s’ series

glamrocktronic: a gender related to the glamrock animatronics from the ‘five nights at freddy’s’ series

anon asked for the toy, adventure, and springlock terms, and i ended up also doing terms for some of my favorite animatronic sets! colors are picked from the animatronics themselves.

flag id: the top left flag has 4 stripes which, in order, are faded indigo, dull yellow, faded red, and brown. the top right flag has 7 stripes which, in order, are red-brown, red-pink, yellow, black, grey-cream, sky blue, and blue. the center left flag has 5 stripes which, in order, are red, purple-pink, light red-pink, white, and soft blue. the center right flag has 3 stripes which, in order, are dull dark pink, dull dark yellow, and orange-brown. the bottom left flag has 7 stripes which, in order, are near-black, brown, faded red, gold, sky blue, dark blue, and purple-black. the bottom right flag’s stripes, in order, are orange, white, bright green-yellow, dark silver, and indigo. end id.

dni transcript here

[temflqkes]

Toymantronic regressor

A toytronic regressor (link) term for those who regress to the toy animatronic , The mangle

Mangfifthteenic

A fnaf[blank]teenic (link) term relating to mangel , 2015 , the fnaf fandom at the time and the nostalgia surrounding it

@radiomogai , @bunnelbaby

[randomvarious]

Abfahrt Hinwil - "Syntax Data" Neurokinetic 2000 IDM / Electro

Pretty cool piece of hybridized retro-futuristic electro-IDM from a UK duo called Abfahrt Hinwil. "Syntax Data" originally appeared on a compilation called Neurokinetic that was released in 2000 on London label Toytronic, which one of the members of AH would come to own himself, with the release of that very compilation. The soft, thick, and bubbly 80s bassline on this tune evokes someone like New Order, while a lot of the rest of it seems to be pointed more forward, towards the future.

[furby-junkie]

Toytron’s franchise called “Harp and Friends” features a penguin named Popo. I don’t know if his name is intentionally a reference to the Furby knockoff or not.

The pink penguin’s name was changed to ‘Nana’ in a 3D animated version of the show, and the last image shows an old version of Popo.

[maketronics]

First floor finished! Very happy with the lighting setup & cable paths. Will end up completely hidden.

[n5md]

Cloudwalker

In our newly relaunched "Learn more about..." interviews, we switch up the continuity slightly and focus on just one release: Gimmik's Cloudwalker. Martin kindly agreed to answer a few questions to kick off what we'll refer to as v2 of the "Learn More About..." blog.

While Entre Les Chambres was the actual return of Gimmik to the public eye, Cloudwalker is more of a return to form. It is undeniably Gimmik; however, Cloudwalker treads some new ground for you. Can you shed some light on how the creative process changed from Entre Les Chambres / Deux Nouvelles and how those two albums might have influenced Cloudwalker?

Very well observed - they did influence Cloudwalker! Entre Les Chambres and Deux Nouvelles were both produced under technically limited circumstances. On top of that, I thought that no one will ever hear this material. Luckily it was not the case, and I got the chance to become a member of the n5MD family. When you produce with the idea that the material will never get released, it gives you a lot of room and space. You are not concerned about expectations. The music can flow and evolve freely. The calm nature of those albums helped that process. It was research where I experienced myself more as a witness than a composer. For me, that is a new approach. This approach was still the same when I produced Cloudwalker. That is the reason why the tracks are so diverse. Short Wave Memories and In My Family do not have anything in common, but that is the way they evolved, without me constructing anything. The most significant difference is that Cloudwalker was produced in a proper studio environment. Plus, I took a step into eurorack, which brings a very unpredictable element. And yes, that is Mutable Elements "Rings'' what you hear on In My Family. I was working on a self-generative patch with "Marbles'' when all of a sudden, the melody appeared...

I think you sent me In My Family shortly after you finished it, and it was one of the darkest days of the early pandemic; where our local government-issued curfews and such. It was the track that I needed at that moment; it brightened my day. It's very cool that the melody was a generative experiment gone right. I seem to remember you have quite a bit of the Mutable Instruments modules. Modular, to me, seems like a bit of a wormhole of experimentation. So, how do you stay focused when experimenting with new sounds and textures to bring, say, one of your Modular Nature tracks, which you have on your Youtube channel, to life.

Working with a modular system is entirely different. My approach is always a question. What will happen if I connect this with that and modulate with this? Then you start patching, and the results are entirely different from what I expected - a lot more exciting and better! In the beginning, I thought modular was about rebuilding synth voices. So I started emulating the signal-flow path of a 101 for a start. I missed the whole point of modular... A system has a life of its own and takes you to completely different places, and sometimes I do not even understand the results. (-: But that is not important. The decision to work with modular is to avoid walking down paths I have taken too many times when composing. What keeps you focused is your ear. The trick is to learn when to stop. In the beginning, I lost a lot of great patches when the result was already at 90%. When trying to reach 100%, my tweaks destroyed that patch's beauty, and I never found a way back to 90%. That happened a lot of times in the beginning. A modular system really helps to learn when to let go… (laughing). I chose Mutable Instruments because those modules are very focused on musical and harmonic results.

So, going back to Cloudwalker, how did it feel getting back to basics as far as Gimmik goes. People may not know that Entre Les Chambres and Deux Nouvelles were made for very personal listening. Care to shed a little light on those two, and more importantly, what made you want to go past those themes and bring Gimmik full circle for Cloudwalker?

Entre Les Chambres and Deux Nouvelles were NOT a conscious decision. Those were a necessity! The title Entre Les Chambres means "between two rooms", the space that is between two rooms. That is nowhere! It mirrors how I felt at that moment. There were many significant changes in my life, luckily nothing concerning my family, but still major changes. In order to cope with it all, I started making ambient tracks. It was the only thing that helped me to cope and focus again. The tracks happened by themselves. Listening to them and working on those albums was a calming experience. When they were finished, I played them to Chris, and he convinced me that he liked them. That led to the decision to make those first tapes. Later I sent them to you. Your reaction was very motivating because the music got released. With that motivation and getting back into a studio environment, the Cloudwalker tracks just poured out of me very quickly - it felt terrific to go back to the studio. My family gave me the time to work in my studio, and you and Chris gave very motivating feedback! From my perspective, this makes Cloudwalker my most important album so far, and I am very thankful for this chance! Another key element is that you gave me total freedom regarding artwork, choosing tracks, and their order. Just great!

Well, I knew going in that you know what you are doing. So I shouldn't have needed to step in and manage such details. For release prep, I'm available to take care of the details that an artist doesn't have access to or the working knowledge. You and Chris ran Toytronics, and you are a graphic artist as well, so I knew that you know the drill. If something was glaring or didn't work under the n5 stylistic umbrella, it is my job to say something, but I was pretty confident that wouldn't happen. I also know that after you completed the tracks, you took a great deal of time to get them to flow perfectly and also fit on four LP sides—your care in craft shows, and it's been great to work with you.

You brought up Chris, and there is an Abfahrt Hinwl remix on Cloudwalker, so; I'm going to ask. Are we going to hear some new Abfahrt Hinwl soon?

Thank you, as I said, that means a lot to me. And I still think that it is a fortunate situation. The AH RMX of Sailing Everest on Cloudwalker was just me, to be honest. That is why I used an abbreviation - AH. It is more a hint. It has a lot of the Abfahrt Hinwil ingredients. We tried to revive the project and realized that working over a distance via the internet does not work for either of us. The key of Abfahrt Hinwil was that we worked in the same room, at the same time, with the same equipment - listening to what the other one does - giving an immediate reaction. The most important point is communication, which has to happen immediately - you need to respond straight away, not with a delay. Today we find ourselves in two different life situations. We both would like to continue. After an online experiment, we realized it would be only possible when we visit each other and then work in the same studio. That is not possible at the moment, and Covid plays a significant role in that.

Ah, I see; Abfahrt Hinwil was you and Chris basically feeding off one another; also, there are cheques and balances, which is great to have. I completely understand why it would not be feasible to do it from a distance effectively. So, I'd like to pivot to these little builds I see on your Instagram. You recently sent me a pic of a peculiar little box that looks to be a synth. Assuming this is something you built (loving the stickering, by the way). What is this, and does it appear on Cloudwalker?

(laughing) That is a drone box handmade by a guy in Russia. Six oscillators, each one with a kill switch. Three standard range oscillators and 3 Sub. A very rough-sounding machine, great for drones. The filter sounds very nasty, just great. There is a little bit in the track Cloudwalker itself but washed out by Big Sky. The downside is that there is no midi, trigger gate, or voltage control. It is more of an experiment tool. The important parts of the track Cloudwalker have Mutable Instruments: Plaits and Tides 1, using the Sheep mode. Both outputs went into Warps, modulated by Stages. The little melody was played live on the Yamaha DX Reface, going into the Big Sky. It was all recorded live onto tape to 4 tracks to a Tascam 234. Then it was mixed the classic way, patchbay, fx, analog mixer main out to digital. 75% of the album was recorded to a Sound Devices MixPre-3 II.

It sounds like your Big Sky gets some action! Strymon makes some exceptional pedals. It seems like you can almost entirely make music out of the box if you needed to, which is excellent. So one last question: When we collaborated on the Cloudwalker one sheet text, you added something about the production tools "representing technology from 1958 to 2019," and I asked if 1958 was a type-o that needed to be corrected to 1985 when it was not. When people read that, I think they will be very curious as to what technology you utilized from that far back…

Yes, it is a great pedal, I love the sound and the fact that you get nice results very quickly.

1958- (laughing) There is an on oscilloscope from Russia, which can be seen in some of the videos on HIDDEN REALITY, and 2 vintage function generators. I got those old function generators from a close friend, he is an electronic engineer and professor for physics at a university. They got rid of all their old equipment, and he asked if I wanted to have something. He could not throw those old machines away, so he rescued them to his cellar. He changed the connections for me, so I can use them with the modular environment, using my standard patch cables. I used them a lot as modulation sources, as they can modulate extremely slow (like MI tides). But I have to admit that I got them for their looks in the first place…(laughing) - Those machines look like the machinery you see in Qs research center in old James Bond movies...

Order Cloudwalker now: US / UK / EU

Learn even more about Gimmik

[dankalbumart]

Neurokinetic by Various Artists Toytronic 2000 IDM

[historicallyqu33r]

Who Killed Markiplier Queer Headcanons

Damien is a transgender liminalcoric pinholdic duskcatboy autistic achillean queer trans man who uses he/they.

Celine is a swordgender bisexual demigirl who uses she/mist.

Darkiplier is a redgender bluegender feargender agender bigender genderfluid queer man who uses he/she/they pronouns.

Wilford Warfstache/William Barnum is a pangender pinkgender toytronic blancagender gnc man with autism, ADHD, and PTSD who uses all pronouns including neos except she/her.

Detective Abe is a beegender gnc bi man who uses he/him.

The District Attorney is a nonbinary pangender fusegender pansexual person with PTSD who uses they/them.

Actor Mark is a hypersexual straight man with depression who uses he/him.

[musicforprogramming]

Cocoa and Plums by Luke Sanger

from the album Languid Gongue on Lapsus Records.

This playlist is also on Spotify: https://bit.ly/music-4-programming

and Apple Music: https://music.apple.com/ca/playlist/music-for-programming/pl.u-NpXmza4CVAALN

"The album is a constellation of his signature sounds: freeform new-age fantasia; spring-loaded toytronic arpeggios; quartz-driven braindance clockworks. Drifting between consonant, almost lyrical compositions and shape-shifting textural sketches, the album drifts with the nonchalance of a sky-high cirrus cloud, and it glows as if illuminated from within."

[burlveneer-music]

Luke Sanger - Languid Gongue - a potpourri of electronic sounds (Balmat)

Balmat’s first release comes from Luke Sanger, a Norwich, UK-based artist whose two decades of electronic music-making have encompassed a range of tools and techniques, from MaxMSP to modular synthesis. Along the way he has built an extensive catalog encompassing ambient atmospheres, abstract soundscaping, and more. With Languid Gongue, he puts multiple approaches into play. Experiments in microtonal composition balance out pieces in standard tunings, while esoteric electronic machines merge with familiar acoustic treatments and microphone techniques. The result is a constellation of his signature sounds: freeform new-age fantasia; spring-loaded toytronic arpeggios; quartz-driven braindance clockworks. Drifting between consonant, almost lyrical compositions and shape-shifting textural sketches, the album drifts with the nonchalance of a sky-high cirrus cloud, and it glows as if illuminated from within. When we heard the material, we knew that it was the perfect choice to launch the label. To us, it sounds like a roadmap for points unknown.

Written and produced by Luke Sanger. Cover artwork by José Quintanar.

[musicollage]

Monoceros. Tales For Silent Nights, 2007. Imaginary Nonexistent Records. ( Produced By – Joan Malé )    ~ [ Album Review |   1) Igloo Magazine  +  2) IsraTrance  ]

1) The great democratization project that’s come with ever-widening computer-mediation has not been an unalloyed blessing. Now that anyone with a computer and some software and half a clue about how to use them is empowered to indulge their (sometimes little more than wishful) creativity, there’s a need for greater quality control to be exercised at source. There was a time when this was the remit of record label operatives, but in this day and age, with the means of production in the hands of the indie-workers, anyone can put a vaguely professional-sounding electronic product out there with scant consideration of market-flooding.

Late in the day, then, too late for the clear blue IDM-sky, it’s hard to treat this, the second album by Barcelona’s Joan Malé aka Monoceros, as much more than a further exhibit in the mounting testimony to virtual musical redundancy and a maxed-out electronic sub-genre. Jointly issued by local label Fueradeserie! and Malé’s own Imaginary Nonexistent Records, Tales for Silent Nights might just as easily have come out on Neo Ouija in 2003, Toytronic in 2004, Expanding in 2005, or Cactus Island in 2006. The point being that TFSN is more or less standard issue beat-enhanced keyboard-driven melodic electronica of the type we’ve grown over-accustomed to over the last half-decade. Familiarity breeds if not contempt then something unhealthily related, as these years have seen boutique IDM-electronica labels replicating each others’ operations and issuing enough soundalike works to induce jadedness in even the most enthusiastic of palates.

TSFN opens divertingly enough, with the drift’n’crunch of “The Day We Become One” still gambolling about, still womb-warm, but the collection rapidly cools and interest palls, as pedestrian structures plonk past in linear limbo. Proficiently sculpted pieces like “(The Big Wave),” “Warm,” and “Happiness” are twinklingly appeasing enough, but as they list this listener gets listless, as this undemanding post-millennial easy listening cosies up, pirouetting prettily, in resplendent vacuousness. Halfway in, it occurs that Monoceros did in fact deliver a moderate album When I Was A Child I Wanted To Be Astronaut for Expanding in 2005, but TFSN brings nothing further to the table. Centred as it is on clunky glitch-stitched beats and customary rather than customized synth-wash with a stroke or two of guitar-pluck, it struggles to make any impression beyond the bare interest maintenance its generic gestures seem content to limit themselves to.

2) STYLE Soft ambient pads, glitchy beats and light, clean electronica. Tales for Silent Nights is an excellent series of atmospheric compositions very well produced. Smooth, soft focus backdrops fluctuate in loops, repeating patterns and shifting, filmy, gossamer abstraction. These are overlaid with fractured beats built up of clicks, ticks, blips, static and crackle with strong kicks - although quite busy, these complex beats are wrapped up in a downtempo laziness that is welcome and soothing. Melodies range from dreamy and blissful such as on the appropriately titled 'Warm', through elegant beauty to mechanical sharpness and edgy shadow. The sound palette includes a number of guitar based sounds such as the harmonic plucks that set the pace for 'Background Birds' and a variety of echoing stabs and almost sci-fi zaps, squishes and sonic flares. The occasional harshness of the synthetic leads often resolves beguilingly into an overall restfulness once all of the musical elements are all in place and complementing one another.

MOOD

There is a dignified warmth about this album like the glow of soft artificial light against evening gloom. There is, however, also the chill of the shadow behind the light - many of the atmospheres presenting a slightly uneasy darkness lurking beyond the more harmonious elements. At times the crisp electronic percussives and bleeps develop a jagged edge, sparking like live electricity, static crackling in the air.

ARTWORK

Tales For Silent Nights comes in a tasteful digipack fronted by one of the artist's own photographs - a night shot of a deserted road, the verge illuminated by the headlights of an unseen vehicle, pylons disappearing into a distant vanishing point ... but then the hazy red glow of a misty aurora is seen hanging across the bright disc of the moon. This cover image runs over onto about a quarter of the back panel - the rest is flat black for the title list. Inside the package opens onto more night black - CD on the left, text on the right ... brief recording details, thanks and contact information.

OVERALL

Monoceros is Spanish based musician Joan Malé who also owns and runs the label Imaginary Nonexistent Records (INR) as a vehicle for his creations. Tales For Silent Nights is the second album under the Monoceros title but the prolific Joan also produces music under the aliases Salad, .Exe and Lumière, each project focussing on a different specific style. This is a strong album of cutting edge digital electronica in my opinion that has some delightful highlights and an overall tastefulness that makes me want to like each track. If you are familiar with the sounds of such labels as Expanding Records or Static Caravan you'll have an idea of the sound Monoceros works with - night time shades, artificial luminance, organic-mechanic crispness and ambient warmth.

WHO WILL LIKE THIS ALBUM

Monoceros produces pure electronica for fans of lazy glitch filled ambient beat music. This is well crafted, intelligent music in the same overall field as Sabi, Sleepy Town Manufacture and Sutemos material.

[beatbude]

Boomkat Product Review: Downbeat ambient-pop and toytronics from Berlin’s fuzzier underbelly, hailing another side to the city with a blissfully out-of-time flashback to time spent with Art of Noise, ISAN and generally the Morr crew.

Law & Wow’s eponymous debut is a charming confection of tropes that harks back to a certain halcyon daze of early ’00s, post-club strains that melded ambient-pop, synth-pop, and gently jazzier whims to taste, and with the needs of frayed heads in mind.

From the opening licks of guitars and blushing pads in ‘Or Paul_’ you instantly get the vibe and they faithfully hold it for the duration, breezily cycling between the cutest vignettes of ambient electro-jazz (‘With You Jean’) to lo-fi (‘Laff’), wavey 4th world (‘Wind F*ck’), melting library music themes (‘Repeat That’), and krautrock sweetness (‘Kuru Kual’), before blowing jazzy kisses to close.

[temflqkes]

Toytronic regressor

For regressors who regress to a toy animatronic from fnaf 2. Can branch out to fangame/fanmade toys as well

Can be altered to fit specific toys etc :: toyfreddytronic regressor

Tagging @radiomogai

Puppet ver of flag (link)

Mangel ver of flag (link)

[randomvarious]

Today’s compilation:

Signalflow 1999 IDM

I am so totally floored by just how good this comp is. The UK's Toytronic label hasn't released all that much music since it opened its doors in 1997, but good lord, is the shit always stunning and intriguing when they do. See, with this, their first ever comp, Toytronic realized a basic formula: pairing IDM beats with deeply probing and emotional synth work makes for a very deadly combination. By doing that, your songs manage to hit both the feels and the head simultaneously, thus yielding something that's just so goddamn fulfilling.

And beyond that, a lot of these songs are pretty adventurous, too. They don't really follow much of a linear structure at all, and once you realize that, you generate a good bit of anticipatory excitement as to where exactly each track might be taking you next. "Caps Lock" by Multiplex is the song on here that I think best exemplifies this notion. The bookends are adjoined by a strangely quiet tunnel in the middle, and while those two bookends use a lot of the same sounds, they still sound very different from each other.

The emotional element that's added to this otherwise ostensibly robotic music and the unpredictable journeys that lie within most of these tracks are the things that make this, hands down, one of the greatest IDM comps that I've ever heard. It's relatively short, but this is such an intriguing and hair-raising good time. All killer, no filler.

Highlights:

Mr. Projectile - "Bleepy Pooh" E.O.G. - "Bulb" Num Num - "Bias" Braille mdxx - "Conviction" Accelera Deck - "U Can't Scam The Twin" Multiplex - "Caps Lock" Abfahrt Hinwil - "Sonic Surface"

[maketronics]

As part of an upcoming product, I have to build and light up #LEGO. Love that I can decide what I make! This set is 4k parts & celebrates the modular buildings. Such a good set!

I'm modifying it a bit since I'll split it up into two parts. I'm also building them on a base that is 3 plates tall (1 Brick), to match the pavement with the new road plates (that I really like). I'm just sticking a bunch of my old plates together into one.

[nwdsc]

(▶︎ the joker | more eazeから)

the joker by more eaze

mari maurice aka more eaze returns to Ecstatic with a tenderly gorgeous solo side after her standout claire rousay collaboration last year for the same label - a big recommendation if yr into Elysia Crampton, Mica Levi, MBV, Vegyn, Organ Tapes, Grouper, Dntel, Nozomu Matsumoto, Rainy Miller. Nestling in the space between ambient, indie-/synth-, and what’s now termed hyper-pop, more eaze specialises in lower case songcraft that effortlessly gets under the skin. Featuring notable guest input by Spivak, Dialect, and Pam3, ‘The Joker’ is perhaps more eaze’s most significant long player, forming a filigree distillation of soft-touch, emo-core pop styles wreathed in fractal electronics and blessed by a gentle sensitivity that feels like micro-dosing with mates on a sunny day. ’The Joker’ was inspired by more eaze’s experiences travelling extensively during 2021-22, absorbing and transmuting time spent meeting new people, seeing new places, and watching established relationships change. Like regular spar claire rousay, ‘The Joker’ finds micro-insights crystallised to odd-pop imperfection, merging ohrwurm hooks with field recordings and traces of electronica, R&B, reggaeton, and classic indie-rock chops to divine a personal truth that should resonate with lovers of low key ambient as much as hi-key poptimism. Through nine subtly effected snapshots of daily life, mari somehow encapsulates the feeling of trying to endear yourself to someone new, the tactility of another’s touch, chuckling at misfired jokes. Beginning with fractured toytronics and autotune vox in ‘yours’, melodies spill over from the Dntel-like licks of ‘fall apart’, to the mutant shoegaze bliss of ‘vindictive’ (it properly sounds like an autotuned version of MBV’s ‘to here knows when’), plus E+E-via-Palmistry reggaeton of ‘hablar contagion', with Spivak lending featherlight vox to ‘a chat’, while ‘comedy’ dials up a sense of outsider irony with a wry shrug. Liverpool-via-Brooklyn’s Dialect helps seal the deal with the burbling touch of ‘eyeliner’, a fittingly hypnagogic ending to a dreamlike album whose effect lingers like latent fractals of a therapeutic psilocybin session. クレジット2022年9月30日リリース