#2010s electroacoustic

[musicollage]

lovesliescrushing — Crwth (Chorus Redux). 2010 : LINE_043.

! acquire the album ★ attach a coffee !

[haveyouheardthisband]

[haveyoulistenedtothisalbum-poll]

Tracklist:

before • scrapbook • rapid_data_transfer • nightspread • glide & survey • simple geometry • cryptocrystalline • incision • incarnadine • tetractys • unknown • mono • catalyst • the insides of tears • flying • microchip • infirmary • liquid • bloom • icosa • tetrachromacy • monostich • galva • calc acerbia • bumbledom • volatil • zelotypia • dynam • pendant • trifecta

Spotify ♪ Bandcamp: TEN十 / TWENTY​二​十 / THIRTY​三​十 ♪ YouTube

[zef-zef]

Anne Guthrie - Glass from: Anne Guthrie - Brass Orchids (Students of Decay, 2018)

[ozkar-krapo]

Eugeniusz RUDNIK

"ERdada na Taśmę"

(CD. Requiem rcds. 2014 / rec. 2010-14) [PL]

[theparanoid]

Vanessa Rossetto - Swim Bladder

From The Album: Mineral Orange (2010)

[Electroacoustic, Field Recordings]

[trevlad-sounds]

Tuesday 05 December Mixtape 402 “Speak to the Paracosm EXCLUSIVE”

Multi Genre, Downtempo, Ambient, Electroacoustic, Experimental Tuesdays & Saturdays. Support the artists and labels. Don't forget to tip so future shows can bloom. https://linktr.ee/trevlad

Trevlad Sounds-Welcome in you wonderful listener 00:00

6WX_O-Speak to the dead 00:31 https://6wxo.bandcamp.com/album/hill-country

Node-Thin Air 06:48 https://dinrecords.bandcamp.com/album/node-2-din44

preston.outatime-Focusing Out 14:38 https://prestonoutatime.bandcamp.com/album/mirror-radius

Duolant-Havaddit 19:24 https://duolant.bandcamp.com/album/wf-77-above-inlets

Sulk Rooms-Soul Mother End Credits 23:42 https://thomasragsdalemusic.bandcamp.com/album/music-from-the-film-soul-mother

Skytree-Drumlin Fields 26:01 https://skytree.bandcamp.com/album/harmonic-residents

Hello Meteor-Thermoplastic 30:41 https://hellometeor.bandcamp.com/album/community-broadcasting-winter-office-hours

Glenn Fallows, Mark Treffel-Moogs Over Jupiter 33:22 https://glennfallowsmarktreffel.bandcamp.com/album/the-globeflower-masters-vol-2

36-Desire 37:40 https://3six.bandcamp.com/album/cold-ecstasy

Den Osynliga Manteln-PLANETVISKAREN 41:50 https://denosynligamanteln-cis.bandcamp.com/album/under-gr-n-himmel

OVRSCN-III 51:11 https://overscan.bandcamp.com/album/time-erases-memory

NUUK-Traill_Ø 53:45 https://moatun7.bandcamp.com/album/tunfjordur

Holy Hive-Celeste 57:08 https://holyhivemusic.bandcamp.com/album/big-crown-vaults-vol-3-holy-hive

Hyperlink Dream Sync-Gold Dust Station 1:00:29 https://hyperlinkdreamsync.bandcamp.com/album/hyperlink-dream-sync

Lord Of The Isles, Ellen Renton-My Noise Is Nothing 1:04:01 https://lordoftheisles.bandcamp.com/album/my-noise-is-nothing

Pabellón Sintético-Analog Dream 1:08:48 https://pabellonsintetico.bandcamp.com/album/pabell-n-sint-tico

Mind over MIDI-overflaten 1:10:11 https://lontanoseries.bandcamp.com/album/sensitiv

The Central Office of Information-Barium Cloud 1:12:15 https://coi-woodfordhalse.bandcamp.com/album/wf-19-private-issue-synthetic-music-2010-2020

Common Dream-Dags 1:15:54 https://hoganordrekords.bandcamp.com/album/hnr050-bats-dags

Tatsuro Murakami-Swimming in the Dark 1:21:57 https://whitelabrecs.bandcamp.com/album/an-imaginary-autumn

Under Allt-3-Heads 1:26:53 https://underallt.bandcamp.com/album/3

Darren McClure-Charmonia 1:32:57 https://darrenmcclure.bandcamp.com/album/on-opposites

Remote Guest List-Paracosm 1:42:30 https://kahvicollective.bandcamp.com/album/lonely-nights

jarguna-Wind of Sutra 1:45:36 https://projektrecords.bandcamp.com/album/sogni-di-sutra-nei-venti

Trevlad Sounds-Until the bat skull horn calls us back again tomorrow. 1:52:17

[burlveneer-music]

Gregg Kowalsky - Eso Es - RIYL Japanese electronic New Age of the 90s

Raised in South Florida and trained at Mills College under Fred Frith and Pauline Oliveros, Kowalsky first came to prominence during the mid-2000s as a member of the thriving experimental music scene in the Bay Area, issuing a series of stunning albums on imprints like Kranky and Root Strata and contributing to a reinvigoration of American made Minimalist and electroacoustic music. In an addition to composing solo works, pieces for large ensembles, film soundtracks, dance performances, and site-specific installations over the past twenty years, during the 2010s Kowalsky concentrated his energies as one half of the critically acclaimed duo Date Palms, performing extensively and releasing three hypnotic albums, including 2011’s Honey Devash on Mexican Summer. Eso Es is an album that might not have been; a phoenix from the ashes, born of restlessness and fatigue, that doubles as a poignant reminder that experimental music doesn’t have a fixed aesthetic or “sound.” Returning to Kowalsky's childhood fascination with synthesizers and plunging headlong into the joys of the unknown that drew him toward experimentalism decades ago, the album was composed and recorded almost entirely on a Yamaha DX-7 synthesizer and sequencer both guided by overdriven MIDI data. The album’s seven compositions are the result of an entirely new process for the artist, embracing chance and the organic dialogue between an artist and the limitations and possibilities naturally presented by an unfamiliar instrument. While unquestionably led by a clear sense of process and structure, both were developed responsively, in real time, emphasizing listening as a key element within the act of composing. The resulting lines of shimmering synthesizer and intoxicating rhythms bubble with a gleeful naiveté that often informs the early years of an artist’s practice.

[hldrmusicametria]

Why is Rick Beato Wrong?

Every so often I see a youtuber responding to something Rick Beato said on his channel, often calling on his inadequate views on contemporary popular music. I don't disagree with them, however, I feel like these responses lack context, exemplification and basically anything of substance to go along with why he's wrong. I'm bored, so let's go on a journey of WHY he's wrong.

What makes Rick Beato say wrong things?

The first thing we should know is that Richard John Beato is a producer and musician that started in the 1980s. He has a jazz background, and studied in the NEC, earning a Master's Degree in jazz studies in 1987, which signals to me that he entered during the renovation period of the 80s, and less than two decades after the inauguration of the Jazz Program. He also studied there during Laurence Lesser's tenure, a cellist known for his performance of modern and contemporary classical music.

So, looking at this, it's easy to assume he's a very conservative, even reactionary old-head who is only concerned with jazz and complexity, which is absolutely not the case. He seems to be infatuated with newer pop artists, such as Billie Eilish and Sabrina Carpenter, and even seems to enjoy Ariana Grande. He's also not just waging war on modern technology, he's not a luddite acting out against DAWs, or even electronic production. What he does seem pretty intent on is pushing back against modern Hip-Hop aesthetics, especially Autotune (which he seems to mix-up with automatic and manual pitch-correction and pitch-shifting) and trap-style production as codified by Soundcloud during the early 2010s.

That to me doesn't necessarily signal someone who is afraid of modernism, or even just someone who hates a group's music. What it DOES signal to me is someone who is not really prepared for a big overhaul of the music industry.

2. Rick Beato doesn't know the history of pop/rap aesthetics

Beato was, during the 90s and 2000s, mostly concerned with engineering for Post-Grunge and Alternative Rock acts, none of which seem to be that popular or famous, which is not a dig against him, but rather a look into what his preoccupations were: underground alternative rock bands. One thing he doesn't seem particularly concerned with, either on his channel or his production and engineering credits, is electronic pop and hip-hop, which immediately flags some of his takes. He is well-meaning, yes, and even open to some non-rock or jazz-based aesthetics, but his background will, by design, make his purview of anything else a bit shallow. Not only that, most of the records he was producing in the 90s and 2000s were not that indebted to underground experiments, but rather were comping some of the biggest musical trends of the past and present, including grunge and power pop. Most of his videos tend to focus on the 1960s-1990s, with some attention paid to technically proficient and popular Instagram personalities, like Mateus Asato and Mohini Dey. His perspective on anything pop or rap is most likely defined by radio, and his musical discoveries are mediated by popularity or legacy, not crate-digging.

So, with all of that mentioned, it is pretty safe to assume that he hasn't kept in touch with Hip Hop, especially considering that, while very popular during the 90s, it was still mostly a niche genre that had a few crossover hits, not unlike Country music. It is, then, reasonable to state, for example, that Rick is not terribly familiar with the history of Pitch Correction technology, and how it was developed in the 70s through a series of tricks derived from early electroacoustic instruments, or how electronic pop really got going with experimentation by artists such as Madonna, Björk and even R&B stars such as Janet Jackson and Aaliyah. He is at best uninformed, at worst willfully ignorant of the history of the music he comments on.

3. Rick Beato is not terribly concerned with Hip Hop in general

One common theme in Rick's video's is that he's unimpressed with Hip Hop music, with his most recent stream he comments on how this current trend is "lyrically sparse", "production-based", "so compressed" and it "doesn't have a lot of information" (this last one referring to harmonic content in the chord progressions, so as to not misrepresent his argument), which is not strictly untrue. Hip Hop music has, since the mid-80s, developed a less conscious and politically-based focus in its most popular forms, and the river that divides "political" or "conscious" hip hop from "party rap" has become wider and wider. The fact of the matter is, Rick is not necessarily wrong in his observations, but the conclusions he draws are misaligned with a more complex history.

Often when looking at hip hop we have to remember that it was and is music made, first and foremost, for and by a marginalized community, and marginalized communities share some traits together. For example, DUB music was often supposed to be just as loud, bassy and compressed as modern trap music, Brazilian Funk also is pretty concerned with volume. All of which to say that marginalized black communities often rely on sound loudness to convey musical (and non-musical) aspects in the sounds they make.

4. Ok, but WHY does he dislike pop and rap music?

One thing we must understand when looking at Rick's criticisms of pop and rap music is that he's not really concerned with complexity, necessarily, he seems to not have any major issues with commonplace chord progressions, for example. He's wary of formulaic music, sure, but he isn't immediately hostile most of the time. What he is, however, is afraid of A.I. music.

4.1. Rick Beato draws lines where there are none.

The whole thing Rick Beato is afraid of isn't really Hip Hop, Pop or any other genre of music, but rather musicians not getting their due. He has criticised interpolation, and seems terrified of A.I. music, the latter of which is very much justified. What is not justified, however, is the direct line he pulls from generic pop and rap music (which is, at the end of the day, mostly benign) and industry takeover. His biggest problem is not having a very articulate form of saying that the record industry, the place where he put his effort, money and time into, is going to leave him behind. He is afraid of his disposability when confronted with a machine that is wholly uncaring, and up until this point he did not have to care.

5. Is Rick Beato actually bigoted?

I wouldn't say so, but his mismanaged and flaccid arguments against a whole subsect of the industry does smack of underlying biases that, when not addressed, misdirect the attention of his ideas against BIPOC and women, instead of the gnawing mouth and teeth of the record industry.

Bonus. Is the record industry evil?

Yes, and it always was. See 1942-1944 Recording Musicians' Strike.

[thailandeventguide]

Get ready, Bangkok, because HEXIS is coming to town! HEXIS from Denmark, a Danish band born from the DIY spirit of the Punk and Hardcore scenes, is set to perform in Bangkok on 17 May 2023 at Jam. This Danish band, born from the DIY spirit of Punk and Hardcore scenes, has been making waves in the music industry since their inception in 2010. With a sound combining the energy of Hardcore with the desolation of Black Metal, HEXIS has been praised for the hard-working and hard-hitting live shows that have taken them to festivals worldwide, including Roskilde, Bloodstock, Roadburn and Ieper Fest. A Hexis Lot of Noise in Bangkok Hexis from Denmark's latest album, "Aeternum", released in 2022, promises to be another intense addition to their discography. Joining them on stage will be OCEVN, a band founded in 2017 and now signed to Brand New Me Records. Their music combines the elements of Melodic Hardcore and Blackgaze, and their latest single, "Emptiness", was released in 2021. https://www.youtube.com/watch?v=fcVaYg3xIMA How to Find Your Camping in Bangkok Sound? Also taking the stage will be Camping In Bangkok, a newly reformed Post Hardcore supergroup by Tony N. and friends who organized HEXIS' previous Bangkok tour in 2017. Their music contains elements of Powerviolence, Screamo, and Shoegaze altogether. And last but not least, 624175, formerly known as F-, is one of the longest active noise acts to date. His music ranges from electroacoustic to the monolithic Harsh Noise Wall, generated using his recently acquired live coding skills. Hexis & Friends at Jam This Hexis & Friends event will happen on May 17, 2023, from 8 PM until midnight. Tickets can be purchased online via the JAM page for 600 Baht or at the door for 700 Baht. Please note that tickets are limited to 60 only, so be sure to get yours before they sell out. The artwork for the event has been created by @diskwaste. You won't want to miss this night, so mark your calendars and prepare for an unforgettable evening of music and entertainment. Check out other Bangkok Music Events, Entertainment Events, and Festivals in Bangkok while at Hexis! Have fun. Check out other Bangkok Music Events, Entertainment Events, and Festivals in Bangkok. Have fun! https://thailandeventguide.com/event-pro/hexis-live-in-bangkok-may-17-2023/?feed_id=2283&_unique_id=6443b377ee7ec

[haveyouheardthisband]

[haveyoulistenedtothisalbum-poll]

Tracklist:

when olivia matures into BravoCat • bravocat confesses • FANTASTIC PHANTASM • 224 • When Both Answers are Wrong • I Knew God Once • You Didn't Have to Say THAT • It was nice to know you even if • 333

Bandcamp ♪ YouTube

[zef-zef]

Sarah Davachi - Dominions (Jaz Records, 2016)

[terrialliance]

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SIGNALSCOPE PRO IPA PDF

Save high-resolution analyzer display images to PDF files. Save acquired measurement data to CSV, tab-delimited ASCII text, or MAT files. Assign engineering units to your input signals and calibrate external transducers for accurate measurements. Manually adjust audio sample rates, even up to 192 kHz, depending on input hardware. Load microphone frequency response data (FRD) and apply frequency response correction (FRC) to FFT-based measurements. Manually switch between available audio input and output sources. Nominal acoustic sensitivities included for iPhone and iPad built-in microphones, voltage sensitivities for headset input (including the Lightning-to-headset adapter included with recent iPhone models) Direct support for Digiducer 333D01 and PCB 633A01 USB digital accelerometers and miniDSP UMIK-1 measurement microphone Assign input channel units and sensitivities for individual USB Audio devices. Analyze signals coming from the iOS device’s current audio input device or from the built-in accelerometer.

SIGNALSCOPE PRO IPA PROFESSIONAL

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[theparanoid]

Francisco Meirino & Dave Phillips - Haecceity

From The Album: We Are None Of Us (2010)

[Electroacoustic, Noise, Musique Concrète, Field Recording]

[trevlad-sounds]

Wednesday 06 December Mixtape 402 “Speak to the Paracosm”

Multi Genre, Downtempo, Ambient, Electroacoustic, Experimental Wednesdays & Sundays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Trevlad Sounds-Welcome in you wonderful listener 00:00

6WX_O-Speak to the dead 00:31 https://6wxo.bandcamp.com/album/hill-country

Node-Thin Air 06:48 https://dinrecords.bandcamp.com/album/node-2-din44

Duolant-Havaddit 14:54 https://duolant.bandcamp.com/album/wf-77-above-inlets

Sulk Rooms-Soul Mother End Credits 19:16 https://thomasragsdalemusic.bandcamp.com/album/music-from-the-film-soul-mother

Skytree-Drumlin Fields 21:38 https://skytree.bandcamp.com/album/harmonic-residents

Hello Meteor-Thermoplastic 26:41 https://hellometeor.bandcamp.com/album/community-broadcasting-winter-office-hours

OVRSCN-III 29:34 https://lightenupsounds.bandcamp.com/album/time-erases-memory

NUUK-Traill_Ø 32:09 https://moatun7.bandcamp.com/album/tunfjordur

Hyperlink Dream Sync-Gold Dust Station 35:21 https://hyperlinkdreamsync.bandcamp.com/album/hyperlink-dream-sync

Mind over MIDI-overflaten 38:55 https://lontanoseries.bandcamp.com/album/sensitiv

The Central Office of Information-Barium Cloud 40:55 https://coi-woodfordhalse.bandcamp.com/album/wf-19-private-issue-synthetic-music-2010-2020

Under Allt-3-Heads 44:33 https://underallt.bandcamp.com/album/3

Remote Guest List-Paracosm 50:42 https://kahvicollective.bandcamp.com/album/lonely-nights

Trevlad Souds-Until next time. Peace out 53:35