#how soundcloud algorithm works

[tribow]

Ah yes let me listen to

While I get some work done mmm I wonder what's going on here.

"...This stuff is also happening on music platforms like Spotify too, so it's not like using another musical platform is really an option."

HUH!??!?!?! WHAT!??!?!?

"And even if it was, that shouldn't be the solution."

NO. NO! NOOO!!!

You can't, you can't just dismiss the competition! Youtube and Spotify are not the only places to listen to music are you kidding me!??!?! Both Youtube and Spotify are music platforms that heavily rely on algorithms to deliver music to you. Of course bots and AI slop are going to take advantage of that! This video talks a lot about how Youtube playlists and recommendations are getting ruined by the slop. That's a shame, really, but consider what you're saying here!

There are options!!!!

Bandcamp and Soundcloud are right there!!! They're right there!!!!!

I go to the first page of Bandcamp and what do I get??? Featured Artists being promoted by Bandcamp, a list of current top selling albums on the platform, new and notable albums that were released on the platform recently, and encouragement to explore the tags.

What do I get on Soundcloud??? Music I recently played, Recommendations based on songs I previously liked, Other recommendations based on who I follow and listen to, Soundcloud's featured artists that get promoted.

Both platforms use tags that are set by whatever musician uploaded the music. They both encourage you to curate your music yourself or explore what others have curated. Yes, there's some algorithm stuff on their front pages, but these algorithms are properly built to promote real people and not just bots taking advantage of the system. Soundcloud has a feed just like other social media platforms, and that feed is only for what YOU follow.

Heck, you could even use Audius! I don't personally use the platform myself, but it functions like an alternative to Soundcloud. It has much of the same appeal. Its front page shows what music is currently trending, but guess what, it has a feed and it encourages you to curate it!

I get it, a lot of artists don't use these platforms, but what ties them all together is that they're doing what we want them to do: Actually support musicians. Artists aren't incentivized to use the platforms strictly because they're less popular, but it doesn't mean these platforms are worse than Youtube or Spotify.

Spotify sucks ass! They're literally infamous for being infested with bots, fake genres, and barely paying artists. You can buy an artists album for $5 and you would be paying them more money than they would get if you listened to them on Spotify for 5 months total.

Youtube pays a bit better, but they don't give a flying fuck about music! They're trying to have the whole cake and eat it too with movies, games, and other social media interaction. (text posts, polls, pictures, and the such.) They want people to be using their platforms and ONLY their platforms for everything. Your eyes must be glued to their screens at all times, so what if the algorithm hands you slop? You'll watch it right? It'll promote whatever keeps you there no matter who or what it is! (as long as its legal)

Don't sit around waiting for these platforms to change for the better. LEAVE. If you want to support artists then support them on other platforms if they're available on there!

And I know, I know Soundcloud had a whole exodus some years ago because whoever makes the decisions at Soundcloud is some out of touch buffoon who's getting desperate and doesn't know how to make the platform profitable, but you know what happened with almost every stupid decision Soundcloud made? They rolled it back or it didn't follow through with it. They're at the mercy of the userbase. The platform has issues, but I'd never give it up for the lack of respect and slop Spotify and Youtube have. Soundcloud's my musical hellsite (affectionate)

Bandcamp, as far as I know, has 0 controversy outside of the big companies who bought them and laid off half the Bandcamp staff. That wasn't Bandcamp's fault! They just got fucked over by Epic, otherwise they're still doing great! Bandcamp just needs to modernize their platform a little bit. (HOW IS THERE STILL NO VOLUME SLIDER)

Again, no comment on Audius, but hell maybe I'll start using that too.

And if you're SO INSISTENT on using Youtube for music, don't rely on the algorithm for your content! You can curate what you see on there you know! Subscribe to people, actually look at your subscription feed! If you want to use recommendations, you can adjust that too! Every time you see some AI bullshit click on those 3 little dots and either click "Not Interested" or "Don't recommend channel". I hate Youtube's guts when it comes to music, but they at least gave you options to if you hate what the algorithm is showing you. Use them!

Fuck!

Sorry that video got under my skin, it's not a bad video all things considered, but that one point got me heated.

[killerlookz]

i hope this doesn’t put any pressure on you because its not meant to at all but can u give us a preview of anything in your drafts 🥲

yes! absolutely i can <3 here's an extra long preview bc i haven't published anything in a hot min:

preview of the heartbeat!au "honeymoon phase" fic:

warnings: rpf below, do not proceed if you dont fw that but this is in rpf tags so why were you even here to begin with

The light of your phone sears into your eyes, a start contrast from the dark of your bedroom. By now your circadian rhythm undoubtedly in deep disarray. However bad you knew staying up way into the early hours of the morning was, you couldn't seem to rip yourself from the distraction of the blue light, perfectly coded algorithms keeping your anxieties at bay.

For the last week of your life your usual peaceful sleep had been ripped through by horrific nightmares, leading you to prefer to just skip sleeping all together. Of course, you knew that wasn't exactly possible, but maybe if you could just avoid falling asleep until the sun came up you could finally be freed of those dreaded night terrors.

The mattress dips beside you, a groan falling from Joost's lips, peacefully asleep next to you. It had been hours since you had said goodnight to each other, since he kissed you with the promise that you two would soon would be deep in slumber. You hadn't bothered to tell him about your nightmare issue, it had felt so childish. You had only been together for a few months now, your relationship seeming far too fresh to deal out what you had deemed "embarrassing" information. Besides, what was he to do about that? It wasn't like he had the power to change the workings of your subconscious mind.

The comforter slips from Joost's shoulders as he shuffles in his sleep, rolling from one side to another, now facing you. You finally pull yourself from your endless scrolling, turning your head to get a look at Joost. He's illuminated just right by the sliver moonlight that peaks through your curtains. The corners of your mouth peak in a slight smile, a rush a warmth running through you as your eyes finally settle on him.

You couldn't believe your luck with him, desperate for friends outside of your classmates after making the leap of faith to transfer schools and move to a different country for your final year of university. You'd been working as a waitress in Amsterdam, which, all things considered wasn't an ideal position for you, given your less than stellar Dutch, but locals were usually sympathetic to your situation, and tourists hardly spoke Dutch anyway. The day you had met Joost had started as what you had postulated to be the worst shift of your life. Hungover during a rush that seemed to last for hours, constantly seated with the most impossible to please customers. Once you were out of the weeds you had been seated with what you were promised to be your last table of the night, trying your best to suppress a groan and an eye roll as you walked up to the table, your eyes immediately falling to Joost, who had been there with what you would eventually learn were his closest friends.

You had thought you known the type, unruly hair, and scattered tattoos, dressed head-to-toe in Supreme, a cocky smile pressed to his lips. Attractive no doubt, but a type. The type that was undoubtably too interested in the Soundcloud rap scene, probably attempting to make it in that space too as a cheap rip-off of Lil Peep. The type to blow all his money on what streams his mediocre raps did get on box-logo shirts and supreme branded underwear. You could already hear the surface-level introspection of his lyrics, writing about how sad and heartbroken he'd been left by all the girls in his life when in reality he was nothing more than a fuckboy with a shitty nail polish job.

Being young and living in a city you had seen the type before, served the type more than a handful of times since you had started your job. They were always the same, traveled in large groups, like that was their "entourage", usually loud, demanding, and obnoxious, thinking their 2,000 Soundcloud streams, hundred dollar T-shirts and knock-off designer shoes made them a celebrity. They'd flirt with you and act aghast when you dared not to flirt back with them.

You had thought you known the type. But when you had gone up to begin helping his table, your previous perceptions had immediately been shattered- immediately becoming even more attractive upon your realization that he wasn't the worst. There was a quiet flirting underneath his goofy- yet reserved demeanor, the type of flirting you didn't mind and eventually reciprocated when he'd become a regular.

It was apparent that you had gotten the fuckboy thing all wrong. When he had finally got the courage to ask you out he hadn't even seen particularly in a hurry to sleep with you, though that wouldn't stop you from giving it up that night.

As Joost softly snores from beside you, you can't help but want nothing more than to be fitted snuggly between his arms, head pressed to his chest- listening to his heartbeat as you fall into a deep, peaceful sleep. But your current aversion to sleeping aside, you can't bring yourself to potentially wake him to do so.

You take your eyes from him, focusing back on the harsh light that burns into your retinas, continuing your scrolling, barely distracted by another long groan leaving Joost's lips.

"Ga slapen," (go to sleep) His voice surprises you, slow and thick with sleep- you hadn't expected him to be awake.

"Hmm?" You hum, pretending to not have heard him, you set your phone down on the bedside table and focus your attention to Joost.

"Hoe lat is het?" (What time is it?) He yawns, struggling to open his eyes.

You don't want to answer, knowing he'll question you on why you're up so late.

"Go back to sleep," You coo, hoping he'll be tired enough to listen without any resistance. You reach out a hand, slowly carding your fingers through his hair. You lift some pieces that had gotten stuck to his forehead with sweat, Joost was the type to overheat in his sleep, furiously kicking the blankets off of the two of you in the middle of the night, or perhaps worse rolling over onto you while he slept, causing you to suffocate in his humid body heat.

"Nhn, nhn." He tuts, his eyes finally opening entirely, "Je kan niet zomaar (You can't just)- Nhn, You can't just rub my head back to sleep." English finally coming back to him as he sits himself up against the pillows, his head now at your shoulder height in your upright position.

"I tried," A small smile pokes at your lips.

"Why are you awake?" His questioning isn't interrogative, still clearly very sleepy as he nuzzles his head into the pillow, "What time is it?" He asks again.

"I don't know," You mumble, your voice dipping out, answering more-so the latter question.

"You can't lie to me," Joost presses his forehead to your arm, snuggling in to you. How true that was. It surprised you how fast he was able to learn you- the subtleties of your mannerisms, able to pick up on your true emotions from the smallest tells.

"It's late," You simply respond, "I'll go to bed soon." Trying to avoid any further questioning.

"Not soon," Joost whines, his voice stifled by where his lips touch your skin. He throws an arm around the front of you, "Now."

You can't do much besides sigh in response, fidgeting under the comforter to sink down to his level. Your face is right in front of Joost's now, the warmth of his slow breaths ghosting over your skin.

"Sleep now," Joost tightens the arm he had slung around you, using it to pull you closer to him. He's unbearably warm, but you melt into him anyway, turning on your side to press your chest into his.

"I can't."

"Not tired?" Joost asks, "Why not?"

"So tired."

"Then sleep." Joost puckers his lips, barely stretching out his head to press a kiss to your forehead. It's so simple to him just sleep, if only it was that easy for you.

"Can't Joost."

"Why not?" He asks again, pushing harder this time.

"Dunno," You hum, pausing for a moment trying to formulate the least embarrassing way to describe your situation, "Bad dreams I guess, I dunno." You speak quickly, hoping maybe he won't catch all of it, the processes of his brain slowed by sleep.

Joost suddenly becomes more aware, more awake, like you've said some sort of sleeper phrase to activate something in him.

"Could have just told me that, schatje." He coos, it's reassuring, and you suddenly feel so stupid for holding that in. "Could have told me that before I feel asleep without you."

"Seemed stupid." You sigh, pushing your face further into the pillow.

"Not stupid." Joost assures, "What are they about?"

"Don't know. Just- bad."

"I'm sorry." Joost frowns. You feel the arm that he holds around you sneak under the comforter, coming to snake around your torso, his hand pushing into your back to press your body closer to him. The front of your T-shirt no longer just grazing the bare skin of his chest, but rather the two of you have molded into each other. "What can I do?" His lips now pressed against your shoulder from this closer position.

"Nothing,"

"No?" He places a small kiss to your shoulder through the fabric of your shirt.

"Not unless you can go into my brain and control my subconscious and make me dream of like puppies and rainbows." You follow with a dry laughter, any real humor stifled by your exhaustion.

"Mmm, if I could I would liefje."

[toskarin]

hey rin, a friend of mine enjoys composing music digitally and has a lot of respect for you as someone with more experience with that sort of thing. he has a hard time convincing the people around him to listen to the things he makes, in both the "finding an audience" way and "getting the people around him to give him their opinion on something he's working on way," and he wanted me to ask you if you could speak on your own experiences with those problems and how you've dealt with them. less related, he was also curious about your inspirations for the music that you make. i know this is a lot to cover, so if it would be easier for you to speak with him directly then please let me know

so I'll open by saying that, as far as people who can give good advice on this go, I'm probably not one of those. a lot of what I do only works because of some specific problems with my brain that are oddly adaptive to this sort of thing

that being said, this is a bit of the "tough love" kind of advice for surviving as an artist, so I'll make a second reblog for the second half of the question

this is either advice that will work or a ramble that will lead your friend to making his life unbearable, so look before you leap

-

The Easy Section, or "You've Gotta Be a Bit of a Tradie"

let's go over the business stuff quickly before I start rambling at length about the boring stuff

learn to love the work itself. "find a job you enjoy and you'll never work a day in your life" is garbage, but creative work really is the one area where you should double down on this. kick back and bump your own album on release day, thinking about how every second of it is something that didn't exist before you put it together. this is what's gonna keep you above water when the wind is dead

get on bandcamp. there is nowhere better for small musicians right now. bandcamp is basically the last remaining website with an effective suggestion algorithm that caters to people who want to actively engage with music and buy it

consider getting on instagram. in the majority of places you're likely to live if you're reading this, the local music scene is on instagram. probably don't use your personal instagram for this

consider getting on soundcloud. you won't make sales through soundcloud, because it's a streaming-focused site (more on that in a moment) with a focus on passive listening, but it's pretty decent for networking, especially with digital music production. soundcloud is linkedin for deadbeats

stay off spotify. streaming generally isn't worth the trouble these days unless you're playing concerts or are otherwise already established. if you aren't uttering the words "you can find me on..." more than once a month, it's probably not worth pursuing a spotify presence to end that sentence with

self-promote. if you have platforms, use them. find the subreddit for your genre and post yourself on the self-promo day. consider posting some bandcamp album codes when you do this, not just so you can get word of mouth, but because someone having an album in their collection means you effectively have a permanent zero-cost advertisement for your music which will only show itself to people who are verifiably looking at something similar. companies pay dizzying sums for ads that couldn't dream of being this targetted. this is a big reason why bandcamp is THE place to be for small musicians

cross-promote and collab. work with your friends. if you don't have musician friends, go make some and then help each other out. "independent" music is a misnomer

blind yourself to the metrics. do not look at engagement metrics. pay them no mind at all. don't look at them unless you're trying to see how effective a specific, deliberate course of action was and already know what you want to find

remember that strangers are unknowable. people do things for arbitrary reasons. if you don't have someone giving you written feedback, don't make any assumptions at all about why they did something. skipped tracks and minimum-price pwyws mean nothing at all

present your stuff in a way that gives it context. why should someone care about your stuff? give them a reason. carve out an hour to really work on a nice album cover, go the extra mile and include track-by-track narrative with your dungeon synth album, or just describe what you're expecting people to buy. I firmly believe that NOMAD/VIRTUE was successful in large part because of its presentation

gimmick. gimmick gimmick gimmick. discount codes are more fun than automatic discounts, free album codes are more fun than free albums, contests are more fun than giveaways, so on so forth. lacking any physical goodies to bundle in, you should still endeavour to give people Something To Do that makes them feel like they're really engaging with your music

zero expectations, zero overhead. do not rely on the whims of complete strangers to justify whether or not you end up in the red. if you ever find yourself saying something like "I can afford to pay for a session musician because I'll just make it back" you can't afford to pay for a session musician. you're probably never getting bailed out if you eat a loss, so try not to put yourself in a situation where you can eat a loss to begin with

someone else's expectations, someone else's overhead. if someone else is paying you to make this music for a soundtrack or something, if (and ONLY if) you have the money in your hand and know you have it, you're no longer gambling. at this point, you can start to look at expenses as investment

now onto the less fun stuff. here's where I ramble for like an hour at you.

-

if there's one thing I've really had hammered in over my decade-odd as a somewhat commercial artist (in all the disciplines I've worked with, which is most of them), it's that you have to be a bit of a bitch about it sometimes

that nagging fear in the back of your head that you're annoying? it's stopping you from doing what you need to do: annoy people

with that being said, this next section is kind of...

The Rough Section, or "You've Gotta Be a Little Hard-headed"

at the end of the day, you'll often find that you are your only advocate, and that means you kinda have to get your foot slammed in a few doors if that means holding them open. this also unfortunately means that you've gotta convince yourself you're pretty good. you don't have to think you're great, but confidence is a trade skill

the last opinion people see before the first time consciously engaging with your work (which here means "the thing that primes them for how they feel about it") is yours

which brings us to the first uncomfy rule

absolutely no cutting yourself down before anyone else even gets a swing

you can be modest if you want (you don't have to), but you absolutely cannot prime people to see the flaws in your work. if 50% of people are discerning enough to notice a flaw, why make that number 100%? what do you gain from that?

if something isn't as finished as you'd have liked it to be, but you've pushed it out the door anyway (which you will sometimes have to do), you absolutely cannot prime people to consider it unfinished

if the thing is still being worked on, there's nothing wrong with being forthcoming about that, but the fastest way to make someone think of something as "inferior product" when they otherwise would never have reached that conclusion is by telling them it is

and that, of course, leads us into a bit of an inversion of the previous rule

absolutely do not take the majority of your validation from strangers

doing this is bad for a million reasons, but I see the worst of this in visual arts, where artists double down on what gets them the most engagements and lay themselves at the mercy of complete strangers who have no actual investment in them

of course, it's normal to desire validation and approval from people you respect, but if you put yourself in a position where it's possible to enter a negative feedback loop that crystallises into you no longer making art from the default response of neutral apathy from strangers, it's not a matter of when: it's going to happen to you one day

so what's the move here? spend 8 years making music you don't release like you're in a compressed time chamber? probably not. I did it that way, but I didn't get much out of it, so you probably won't either

the actual answer is that you've gotta network. you need an inner circle. you need people with shared interests so that you can gas each other's stuff up

just like everyone else, you need your friends

you need to have friends who care about you, about what you're doing, and you need to care about them and what they're doing

this is because, while self-confidence is important...

the majority of your external validation as an artist should come from your friends and peers, not strangers

it's important to have artist friends, because then you can encourage each other in ways that are personally meaningful, but having your friends behind you, whether or not they're musicians, is so incredibly important

if you're motivated exclusively by success, however you're choosing to measure that, what you're actually doing is forming a nightmarish parasocial relationship with the concept of a crowd. not even a real crowd! a fictional group that materialises when you've created "the conditions for success"

there is no such thing as a truly independent artist. if your understanding of artistic success requires competition against others, you're going to lose that competition and then explode (unfortunately common)

finding your audience as an artist (and mind you, art is a social field) is very much a process of networking, but it feels gross to say it that way, so I'll just leave that at "if you want to be known by others, you need to be willing to know others"

anyway, this doesn't really terminate in a complete sentiment. I was just transcribing a train of though

if I were to boil this down to a shorter, snappier answer that I could read comfortably read out, it'd be...

TL;DR

the process of finding an audience is so much less about actually finding one than it is about learning to create happily whether or not you have an audience. developing an audience is the largely incidental byproduct of long-term creative efforts coupled with self-advocacy and interpersonal networking

if you want to be found by a scene, you have to participate in a scene, and if you want to participate in a scene, you need to be in the scene. so on so forth

as stupid as it might sound when I put it into words, the truth is that you can't build any kind of audience in isolation. someone has to find you somehow, and it's a lot easier to be found if you're actually somewhere that people might look

[navnavprime]

Heyo, small update on places to find me.

It's been a very big while since I've posted anything of note here. Part of it is that life is been hitting its hardest, the other part is losing track of what's going on in Tumblr. I would like to fix that, but steady as it goes. Voice acting wise: I still don't like that we don't have a website outside of Tumblr where I can just upload a soundbyte for people to listen to, but then again I haven't really dipped back into making audio dramas in a very long time. Part of that has been other websites needing a visual accompaniment to go with the audio. I can do that, but at that point, I'm just making videos (which is a lot of work for me to do by myself and takes up a lot of my days). Art wise, we'll get to that past the read more. I'm hoping to get to that eventual balance of "doing things I love" with "doing things that give me money to survive". I'm getting closer, but it's gonna be a long trail. Anyway, where you can find me:

I've been posting a lot on Bluesky! I've been finding some of you on there, and so far it's been chill. I think some people don't like how there's no algorithm forcing other people to see posts (on the main page), but I kinda like it. I may do a lot of reposts there; that's the tumblr brain doing that, but my profile on there will have my art tag if you'd like to see what drawings I've done. I've also just finished setting up my VGen! That is a website that I've always sorta wanted; a sort of online shop that sorta details what a commission from me is like. Making commission posts that give all my services is nice, but they don't have all my terms and conditions, they don't have a visible queue. VGen kinda handles that and I think it's nice. ...and yeah those are the two main sites I see myself on for a bit. Maybe I can make room for tumblr. I know I have a Pillowfort over here, but I have had a hard time checking that out lately. (Also, please toggle your NSFW filters for that site cause I forgot I reblogged a bunch of WOOHOO last I was there) Anyway, for sites I'm NOT on. If there were Youtube videos or Soundcloud links of my old stuff you remember seeing back then, they should still be hosted there, but I don't see any updates from them happening for a very long time. You cannot find me anymore on Twitter because that's my personal choice to not be in a pool of assholes just to get myself out there. Admittedly, I was never "out there" to begin with, so that was a very easy choice. I'm not on TikTok. I have a grandma brain and I just don't wanna film videos on vertical. Anyway, that was just an update for old followers of mine! Thank you for reading if you read through this, I can only hope I can continue making stuff that is cool and maybe funny. Hopefully I'll see you around!

[spacetimewithstuartgary]

New SpaceTime out Wednesday.

SpaceTime 20250219 Series 28 Episode 22

New Van Allen radiation belts discovered around Earth

Scientists discover that last May’s giant solar storm created two new temporary radiation belts of extreme energetic particles encircling Earth.

Could an alien ocean hide signs of alien life

A new study warns that searching for life signs in alien oceans may be more difficult than previously thought, even when you’re able to directly sample its extraterrestrial waters.

The largest radio jet ever seen in the early universe

Astronomers have discovered the largest radio jet ever detected in the early universe.

The Science Report

Study warns the active ingredient in Ozempic and Wegovy can cause blindness.

Claims AI has now crossed a critical 'red line' by demonstrating how they can clone themselves.

New AI algorithm Torque Clustering, significantly improves how AI systems independently learn.

Alex on tech have we reached singularity

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through Apple Podcasts (itunes), Stitcher, Google Podcast, Pocketcasts, SoundCloud, Bitez.com, YouTube, your favourite podcast download provider, and from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on his career in journalism and radio broadcasting. Gary’s radio career stretches back some 34 years including 26 at the ABC. He worked as an announcer and music DJ in commercial radio, before becoming a journalist and eventually joining ABC News and Current Affairs. He was part of the team that set up ABC NewsRadio and became one of its first on air presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth.  The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently. 

StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[rainydawgradioblog]

Interview with Samba Jean-Baptiste

The other day I came across an article about AI bots mass-releasing auto-generated music on Spotify under different names. A concept as democratic as “unfettered access to music by way of streaming services” was bound to be corrupted by bad actors. Artists are consigned to grueling tour schedules in order to make a living because streaming pays them in Monopoly money. Pitchfork is gone and the writing is on the wall for Bandcamp, because curation is now being handled by algorithms. It’s important to keep in mind that any artist releasing music today has to navigate a culture in which there’s more out there than ever before, it's all at the tip of one’s  fingers, and everything except for the music itself is worse than it used to be. 

The topic of how the internet has shaped music came up frequently in my discussion with Samba Jean-Baptiste, an independent artist out of Brooklyn. I discovered his work after seeing Dean Blunt’s music video to “Felony” (his best song? I’m ready to make the argument), and the Algorithm decided I might like a video titled “talk / pleasure.” Behind a camera that might be a flip phone, somone offers Jean-Baptiste directions: “Wait, look off that way, and start the song. Then just start doing your shit.” The music plays and we hear Samba’s subdued voice over acoustic guitar strumming. He crosses a wide urban boulevard. All of it is easy and unforced. 

“Talk / Pleasure” was released on Cardinal, a project that’s difficult to categorize and beautiful and disarming. Jean-Baptiste chiefly uses acoustic guitar and his voice to create stripped-back art pop, as if the Young Marble Giants grew up listening to Stereolab instead of Lou Reed. The relationship between skilled yet raw guitar playing and more attuned peripheral production toes a line between an open mic performance and sound leaking from someone else’s headphones. There’s some really incredible interplay between organic and auto tuned vocals on “Windows.” The string and warped piano accompaniments on “A Wish Slanted” perfectly compliment Jean-Baptiste’s rhythmic strumming. It seems like he’s drawing from so much, because he’s had access to (and has seeked out) so much. The internet has given us windows into every corner of musical expression imaginable. If you’re an artist, how do you reckon with that, how does it find its way into your art? I didn’t want to put words in Jean-Baptiste’s mouth, so I reached out to see if he’d be interested in an interview for the Blawg. 

He was kind enough to agree back in early December; we spoke over the phone for about 40 minutes. I think he was playing Dave Bixby in the background. In addition to the internet’s impact on the music landscape, he touched on song-writing, looping, and Veeze. Hope you all enjoy it. Please, check out Cardinal on Spotify, Apple Music, Youtube, and Bandcamp (before it’s subscription based).

Can you tell me a little about yourself? 

Yeah, I’m 22, about to be 23, I live in Bedstuy, Brooklyn, I cook at a Japanese Breakfast restaurant that’s also in Brooklyn. That’s kinda what I do four days a week. I grew up in Massachusetts playing classical music, me and my sister, I played Cello, my sister played violin and we grew up playing in the Boston Symphony Orchestra. That’s where I gained a lot of interest in music, because when I wasn’t playing cello, everyone would be showing off like, what pop song [they] could play on the piano, and from there everything trailed into, you know, writing a little song about a crush or something when I was a kid. 

My family is from Haiti. That’s important to me. In middle school I used to just make beats so I was really into dubstep and a bunch of stuff on youtube. I was always big on youtube, listening to people make beats at home, and then soundcloud blew up, which gave so much access to random nooks and crannies to the country and world for that matter. Got into songwriting a little bit. Used to make a lot of different sounding stuff to now. Picked up guitar, somehow, and I guess that landed me to where I’m at now. 

Songs like “Better Now” from Cardinal feature a lot of looping. Do you find that to be a big part of your process? 

It’s funny because looping, from making beats in middle school, looping is such a big part of it. You make something, you loop it, you progress from there. But by the time I realized I could be playing actual instruments in my recordings, I still had that mentality. I’ll record something and think: “this part is great, I’m just gonna loop it.” And it doesn’t feel unethical. Cause for me, for a long time, looping other people’s music was like, “you’re going to hell, you’re not making music” but somehow my eyes have opened up and my ears have opened up to so many new ways of sound creation, rather than seeing it like “you have to create from the sound up like you’re fucking Beethoven.” You can hear something and make something out of that and that’s ok. It’s not yours, it's everyone’s. 

Looping is really interesting too because everytime you hear something or see something you can see something new about it. There’s albums I’ve listened to kajillions of times and it’s like I’m learning something new about it every listen. The same thing can happen with a simple loop, it’ll just be new information, newly perceived information each time. So yeah loops are super important to me. 

When you’re writing a song, do you have an idea of what you want the finished product to be, or does it evolve naturally over the course of the entire process?

Definitely the latter. That’s funny I was talking to my dad *today* that when I make songs, or work on an idea, I have to like make the whole song, just so that when I go back to these drafts, I can see the full blueprint. [...] It’s definitely a process. If I write a song in one sitting, I’ll kinda just… show a friend. That’s not the stuff I like releasing. 

How did Cardinal become more acoustic than your previous album, Pandora? 

It wasn’t so much a conscious decision to be like, I have to be different from the last record, but it was a conscious decision in my process. Because Pandora was made while I was still primarily recording through my laptop, and like, there’s guitar on there, but it’s all pitched up, and my voice isn’t in my natural cadence. But in the same way I realized I could use my instruments and play them in my recordings, I was like damn. That feels natural. I can also just sing in my natural low voice, I don’t have to be reaching for something that I’m not. So it sort of just trailed in that direction naturally. 

I was wondering if playing the cello made picking up guitar easier, or otherwise informs your guitar playing? You said you “stumbled on guitar,” which sounds like a bigger undertaking than you make it out to be. 

Yeah, picking up guitar was pretty simple for me because of that knowledge, but like, there’s six strings on a guitar [compared to cello’s four], so I’ve found new ways to approach an instrument, because there’s a learning curve there. A lot of my songs, if you listen to them, it’s all the same chords, because I only know so much, and sometimes I’m fucking lazy and I know certain chords and they make me feel good enough. 

Also it's funny because some songs are written on different guitars. “I Could Have Cried” was written on a guitar with five strings (the high E is gone) because my roommate didn’t finish stringing it. The other one I got in London, that one plays “Talk/Pleasure” and “A Wish Slanted” and it has four strings because two of them snapped. Each weird situation lends itself to a new creation, which is like a huge part of my process anyway. Error is so acceptable, if not sought out. 

The stream of consciousness of it? Less premeditated? 

Right. There’s a mix too though. I love when records have noise added after cause that’s real. You can only listen to so much perfect, cookie cutter stuff.

When you were making Cardinal, were there any major songs or artists that you took inspiration from? 

Nah I had no influences, I came up with this shit. I’m playing, of course, of course, there’s so many. I feel like a lot of people are finding my music through like Dean Blunt youtube wormhole, and he’s for sure one of my big influences, like all my influences are like 30+ year old black people doing their thing. But the main influence is music that sounds like wind, water, grass, and that all relates to guitar.

I wish I had a list of my influences, cause on this record there’s a lot you know? I had a lot of people in my life showing me new things, because I’m so closed minded often. And I like to try to surround myself with people that will show me something new. A lot of inspiration is what’s new to me. 

I think wind, water, grass sums it up great. Wrapping up, would you have any recommendations for me and the good people of Rainy Dawg Radio as a whole? Movies, music, books, etc?

Hell yeah. I just finished this book called Your Love is Not Good, by Johanna Hedver… Movies? I’m still learning about movies. Two or three things I know about her. I’m into Jean Luc Godard, that slice of life stuff where nothing happens, cause it’s just like looping music to me. Music? I’ll just give you what I’ve been into recently, cause I have huge influences but they’re probably everybody’s. I’ve been listening to this song called “Tea in Bed” by Blessed and Blushing. That shit’s incredible. I’ve been listening to this song called “Everybody Knows” by Glucose. I’ve been listening to a Serge Gainsbourg record, The History of Melody Nelson. I’ve been listening to Veeze, you know, Ganger. There’s so much shit. There’s so much out there. Michael White is this great jazz violinist, I’d definitely recommend him.  Forma Norte, that guy’s incredible.

Who’s that, Forma Norte? 

Yeah, you know what’s funny is I found him on my “related artists,” online, and sometimes I find stuff I really hate through that. But sometimes I think “damn this guy’s awesome, how’s he related to me?” 

It’s so interesting to hear an artist’s perspective of their “fans also like” on Spotify. 

That first one I said, Tea in Bed by Blessed and Blushing, is just blowing my mind recently. I’m like, “who is sitting down and making this shit?,” it’s so good. And that’s what’s crazy is there’s so much music now, it’s like, is there even a point in trying to make a career out of this? No. I don’t think so. Which I think is lending itself to the best music ever, cause people are like “there’s no fucking way I’m gonna make a career out of this, I might as well just make what I want, whatever I want.” 

You used to have to deal with the label, but now everything is just, “yeah go for it.”

It’s such a blessed time in that regard, but at the same time… let me chill on that. Let’s say, Marvin Gaye, “I Want You”? We’re not getting that right now. And that’s no hate to right now.  But it’s just like that was a whole different way of living, thinking, moving, breathing you know. It’s just a whole different way of recording. 

But we’re so blessed to be able to do exactly what we want without the idea of needing to make money off it. Obviously it would be nice. But it’s unlikely so people are just making cool shit. And I’m really thankful for that. 

You can find Samba Jean-Baptiste on Instagram here and YouTube here. Once again, listen to Cardinal any way you get your music. 

[priokskfm]

#MixOfDay #Podcast #Radioshow #LiveDjset Polyptych Stories | Episode #185 - Hobin Rude Compiled and Mixed by Hobin Rude @hobin_rude Listen at your preferred platform: https://ift.tt/TRriOnx Tracklist: 1. Eli Nissan - Intro To Algorithms (Original Mix) [/] 2. Luke Alessi - Molecular Motions (Original Mix) [Mobilee Records] 3. John Woods & Van Dope ft. Lenn V - Your Heart (Hobin Rude Remix) [Pattern] 4. Subandrio - Winding Pathway (Original Mix) [Vapour Recordings] 5. Ivan Aliaga - Robotica (Original Mix) [Constellation Music] 6. Dmitry Molosh - Station (Original Mix) [Proton] 7. Ruben Karapetyan - Mindful Harmony (Dowden Remix) [Movement Recordings] 8. EANP, Juan Demenicis - The Other Side (Original Mix) [Meanwhile] 9. Das Pharaon x Fuenka - Theed (Kostya Outta Remix) [UV] 10. Sebastian Busto - In Search of Sunrise (Original Mix) [Moonlight] 11. Opus III - It's a Fine Day (Grigore Interpretation Mix) [/] Enjoy Listening. Website - www.polyptychmusic.com Soundcloud - @polyptychmusic Facebook - https://ift.tt/L5Kv4SJ Instagram - https://ift.tt/HVyImLp Threads - https://ift.tt/qLgcRiE Youtube - http://www.youtube.com/@PolyptychMusic Twitter - twitter.com/polyptychmusic If you want to keep track of how your music "works" (to which playlists the tracks in Spotify, Apple Music, Deezer, and others are added; in what positions in TOPs on Beatport, Traxsource, iTunes, and others are your tracks or release, as well as finding releases on the main store pages; which TOP DJs play your tracks; and much more), feel free to use the Songstats service. ❗Actual and works for Artists and Labels❗ You will get a Lifetime Discount of 10% on your account through our link => songstats.com/?ref=POLYPTYCH Electronic, House, Techno, Progressive, Deep, Melodic, Mix, Mixtape, Music, Musical, Podcast, Radio, Show, Showtunes, "Deep House", "Progressive House", "Melodic House", "Melodic Techno", "Melodic House & Techno", "Organic House", "Indie Dance", "Afro House" www.priokskfm.online https://ift.tt/F3IobEu

[phantomtrax]

Comesup to your doorstep with big Eyes Can i have music recs .i like Hardcore electronic , industrial ,breakcore,speedcore,gabber, that sort of music.Loud and fast and Synthesizers and.awesome. i also like drone *Grins

OH my god hi i'm actually super honored that you decided to ask me about this stuff ^_^ Now stop me if you've heard of these before/listen to them already but; here are some artists i like that you might like as well based on what i'm reading here, i tried to pick some more niche ones but who knows!...

DJ Technorch is an absolute classic. If you know Gabber you've most likely heard of Technorch, but let me put this one in the list just in case you havent. The Best Selection albums are probably the best place to start, then branch out to other stuff by them...

Algorithm Dude. ALGORITHM DUUUUDE. Woefully niche artist making "YTPcore" music, which is essentially loud as fuck speedcore with dated meme audio clips put in. This is as loud as it gets and I LOVE it. THIS ALBUM SAMPLES 101 TRACKS is extremely fun to start with, but pretty much all Algodude releases are as crazy as the other. (10/10 would get tinnitus again)

While we're still on the topic of Elysian Tunes, SIX TON DOG has XPLOSIVEZ and it is an incredible work of gabber. Sadly, this is also the only album under that alias but you can find some more tracks in THE TUNES albums. Dont fuck with Elysian Tunes heads there's like 10 of us but with your help there could be 11....

bye2 is a master of jungle/breaks. Her songs go in like 10 different directions at once and feel like a whole self-contained symphony. Uses a lot of samples of other stuff as well, but it all fits so well and feels original. Metamorphose is my favorite album of hers, but the soundcloud contains a whole lot more stuff, which includes tracks that lean more towards gabber, and play with distortion.

Nanoray is one of the more popular artists on this list i think? But he's gotta be a contender for my favorite artist of all time. His work evolves a lot over the years, and last year's breakcore is the next year's gabber - ZAPPER is a very well loved drum n bass album by him; but i also love the somewhat-hidden gem that is the gabber album TOYBOX. WOULD ALSO like to mention SPIRAL​ 「​1995​」, which leans HARD into hardcore techno. It's one of a kind. (also Spiral+ is a thing. bonus tracks!!)

Kaizo Slumber is so important. I've listened to him for a month but my life wouldn't be the same. The Kaizo Demos and Kaizo Manifesto are more "light-weight" DnB with elements of gabber, but later releases like How Are We Feeling Today (personal favorite) go full gabber+digital hardcore and it fucking ROCKS.

Have you listened to Gynx, when will you listen to Gynx...This is some serious speedcore. This is what maximum Fun sounds like to me.

(Honorable mention to The Walls Are Trying To Kill Me and Impact by corru.works, they usually make synthwave but youre sure to enjoy these tracks...)

Ran my mouth there, but hey - that just means more stuff to listen to. Hope this helped!!

[fractal-fill-psytrance]

DMT FM - DJ SHOWCASE MiX It's tough for DJs to stand out. There are so many artists trying to get noticed. You need people to hear your music. It’s even harder to get booked. Promoting your DJ showcase mixes can change everything. This article gives you the secrets. We’ll cover creating a great mix, using keywords, and promoting across platforms. Let’s get started! Why DJ Showcase Mix Promotion is Crucial for DJs Uploading your mix isn’t enough. Think of it like dropping a flyer in the wind. You need to make sure people see it. Promotion is the key to visibility. It helps you get discovered. It also establishes you as a real deal DJ. Show the world what you've got. Reaching a Wider Audience Promotion expands your reach. It goes beyond your friends and family. You want people you don’t know listening. Organic reach is free. It’s when people share your mix themselves. Paid reach costs money. But it can get your mix in front of more ears, fast. Social media algorithms decide what people see. Learn how they work. It'll help you get your mix seen by more music lovers. Attracting Bookings and Opportunities A well-promoted mix is your calling card. It shows clients and venues what you can do. It showcases your skills and music taste. DJ Mark used his showcase mix to land gigs at clubs. His clever promo showed off his unique sound. These mixes are how many DJs get their start. Building Your Brand and Authority Consistent promotion builds your brand. People start to know you. You become an expert in their eyes. Create a consistent look across all your platforms. Use the same logo and colours. Engage with fans. Build a community around your music. Ask them what they want to hear. Crafting a Killer DJ Showcase Mix Promotion matters. But your mix needs to be top-notch too. It needs great track selection, smooth mixing, and an overall vibe. Selecting the Right Tracks Know your audience. Are you spinning for house heads or hip-hop fans? Tailor your tracklist to them. Mix familiar songs with unique picks. Surprise people. Create a musical journey they'll love. Show them where you can take them with your skills. Mastering the Art of Mixing Beatmatching is key. Transitions should be smooth. Keep the energy up. Don’t let it drop. Use effects wisely. Less is often more. Record your mix at the highest quality possible. Make sure it sounds crisp and clear. Structuring Your Mix for Maximum Impact Start strong. Grab the listener’s attention right away. Build anticipation. Create peaks and valleys in your mix. End with a bang. Leave listeners wanting more. Make them eager to hear your next mix. Don't make it easy for them to forget you! Optimizing Your Mix for Search and Discovery SEO is important. It helps people find your mix online. Use keywords. Add tags and categories. Keyword Research for DJ Mixes Find the right keywords. What are people searching for? Use keyword research tools to help you. Focus on niche keywords. "Deep house mix London" is better than just "DJ mix." It's more targeted. Crafting Compelling Titles and Descriptions Write titles that grab attention. "Summer Vibes Mix - House & Disco" is a great start. Descriptions should be informative and engaging. Include keywords naturally. Highlight what makes your mix special. Tell them why they need to listen! Tagging and Categorizing Your Mix Use relevant tags. Think genre, mood, and location. Follow platform-specific guidelines. Each platform has its own rules. Choose the right categories for your mix. Promoting Your DJ Showcase Mix Across Platforms Time to spread the word. Use social media, music platforms, and email. Get your mix everywhere. Social Media Marketing Promote on Instagram, Facebook, Twitter, and TikTok. Create short videos of your mix. Use trending sounds and effects. Use relevant hashtags. #housemusic #djmix #london. Consider paid ads to reach more people. Music Platform Promotion Use built-in tools on SoundCloud and Mixcloud. Share your mix with other DJs. Ask them to share it too. Engage with listeners in the comments. Answer their questions. Email Marketing and Newsletters Build an email list. Offer a free download in exchange for an email address. Promote your mixes to your subscribers. Segment your audience. Send different messages to different groups. Offer exclusive content to your email list. Analyzing Your Results and Refining Your Strategy Track your results. See what’s working. Adjust your strategy as needed. Tracking Key Metrics What matters most to you? Plays? Downloads? Followers? Use analytics tools to track your progress. Set goals for yourself. Measure your performance against those goals. Are you hitting them? Interpreting the Data and Identifying Trends Look at the data. What’s working? What’s not? Are people listening all the way through? Identify patterns in listener behaviour. Adapting and Optimizing Your Approach Be flexible. Try new things. Stay up-to-date on online marketing trends. Continuously refine your approach. Learn from your successes and failures. It's all about getting better. Conclusion Promoting your DJ showcase mix is vital. It helps you reach more people. It can get you booked for gigs. It builds your brand. Start promoting your mixes today. Your career might just depend on it! Read the full article

[cintogavalda]

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