Category Archives: Music

Ziúr “Deeform” Review

https://ziurmusic.bandcamp.com/

Ziúr is a woman who lives in Berlin who identifies as an “earth citizen,” and Deeform is the first 12″ release on Lara Rix Paradinas‘ Objects Limited label.  The label’s mission is to release music by “female identifying/non binary electronic producers.”

Ziúr’s gender identity is orthogonal from her music; the label’s sexual politics matter but her music stands alone.  It has prerequisites across the electronic music spectrum.  In “Himilaya”, The juxtaposition of distorted electronic beats with africa drums and hand percussion recalls Muzlimgauze. The sustained synthesized voices echo those prevalent in Pardinas’ music as Lux E Tenebris.

At the lighter end of Ziúr’s music “Bud Dallas” builds up a sort of tongue and cheek funk around an E flat 7th chord and a start-stop drum pattern.  The bassline’s repeated 16th note patterns flex under the shifting accent of the snare samples. A flute-like lead melody drifts in and out of tune.  This piece recalls Muziq’s Jake Slazenger tracks a bit, in that both are at the same time serious and playful.

“noR3gGts” has a staggering break beat pillowed in degraded, noise.  About a minute a dog’s bark comes in as the lead sound. It is played in the dog’s natural triplet rhythm, which rubs against the more or less straight programmed beat.  The dog sample plays both naturally and artifically — Ziúr’ lets it play out at its recorded pitch, but then repeats it in straight 16th notes, calling notice to  the sample’s artificiality.

The tension of Ziúr is this interplay between the real and the virtual.  Blatantly ‘fake’ sounds versus minimally processed found sound. Distorted drum synth kicks play off against bells and tambourines.  Human voices yell in combination with obviously digital synth sounds.  There’s a sense of a natural acoustic space, simulated with digital reverb, but the reverb is sometimes sucked out of the mix to leave the dry sound naked.

Leaving that conceptual tension aside, Ziúr has come up with an original take on electronic music.  As with fellow traveller Lotic, she’s no slave to club hedonism or the dance floor, even as her complicated, hocketing drums achieve their own sort of abstract funk.  If her music is on Blackdown’s breakbeat continuum, it’s not on the one-dimensional line. It’s out there somewhere on the complex plain, circling around its own obsessions.

Yamaha MR10 Drum samples

Here they are: http://www.cornwarning.com/xfer/MR10.zip

Single Hits of each sound. Sampled the toms at a few different tunings.
One longer wav with all the 4 bar loop patterns.

Mono 24-bit 44.1khz files.

There’s another, more exhaustive set here, but they’re asking money for them: http://www.dubsounds.com/mr-10.htm
And another from the venerable Music Machines collection: http://machines.hyperreal.org/manufacturers/Yamaha/MR-10/samples/index.html

IMG_0829

Gabes DJ Set 2015-03-19

I got the chance to play the regular Mixology night at Gabe’s in Iowa City, and for the past few weeks I’ve been collecting tracks I wanted to play and fiddling around with a DJ setup for them in Live. I had two impulses — play current and current-ish music that I like, and to collect some of my all-time favorite tracks. I was also mercilessly stealing ideas from other DJs. I grabbed the “The It” tracks (actually Larry Heard) on Thomas Cox of Pittsburgh Track Authority’s recommendation, and the Boards of Canada remix I heard in a mix by Aidan O’Doherty.

But tracks like those by Moodymann, DBX, Basic Channel, and DJ Pierre are ones that everyone played fifteen or twenty years ago, and among the first that I got to recognize when other DJs played them. The DJ I opened for, RAfrika wasn’t even born when some of those tracks came out. But I figure if they worked in 1996, they’ll work now and the kids dancing will never have heard them.

One track that always gets me: Patrice Rushen “Haven’t You Heard?” Larry Levan did the edit, but a lot of people first heard its musical DNA in the Daddy’s Favorite track “I Feel Good Things For You.” Always like playing the original of something sampled on a big track.

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http://www.cornwarning.com/chaircrusher/Chaircrusher-2015-03-19-GabesDJSet.mp3
Boards of Canada Olson(Midland Re-Edit)
Virgo Four The Dryer
The Black Madonna Stay
Four Tet Love Cry
Larry Heard Forbidden
Stevie Wonder All I Do (Todd Terje Edit)
Luke Hess Real Life (cv313 Dimensional Space Edit)
Larry Heard Beauty In A Picture
Theo Parrish Cypher Delight
Salsoul Orchestra Ooh I Love It(Love Break)
Omar S Psychotic Photosynthesis
Aphex Twin minipops 67 (1202)[source field mix]
Black Coffee Basu
Moodymann I Can’t Kick This Feeling When It Hits
The It Utopian Dream
Kontext Arctic Spaceship
Moodymann Shades of Jae
DJ 3000 Burough & Beer
Rick Wilhite What Do You See (Rick’s Groove Mix)
The It Somebody Somewhere
Ron Trent Blood & Fire
Luke Hess Transform (Marko Furestenberg Remix)
Black Coffee feat Siphokazi Lo Mhlaba
Concubine Luxend
Black Coffee feat Zonke Garden of Eden
Martyn & Four Tet The Air Between Words
Perkowitz Nectar
Rick Wade Angry Pimp
Dense Pika Colt
John Tejada RUR
Floorplan Confess
Terrence Dixon Dark City Of Hope
Reggie Dokes Once Again(Mornign Factory Edit)
John Tejada Two One
DBX Losing Control
Patrice Rushen Haven’t You Heard(Larry Levan Remix)
Basic Channel Phylyps Track II
DJ Pierre Box Energy
Chaircrusher Plasma
Jeff Mills The Dancer
DJ Slugo DJs On The Low
Chaircrusher Burundi2

Unreleased Aphex Twin, Warped in Ableton Live

By now, people who care about the music of Richard D. James, aka Aphex Twin, know about how he dumped 175 (and counting) unreleased songs on Soundcloud. Like everything he’s done its a body of work that is at turns beautiful, frustrating, and obtuse. The majority of the tracks seem to be Aphex-esque techno and acid house, which is to say his unique combination of standard drum patterns with melodic flights of fantasy and piss-takes.

I had the idea of DJing with these tracks, and when I say ‘DJ’ I mean ‘arrange and blend tracks in Ableton Live’ — which isn’t proper DJing, according to many. That controversy aside, that is the easiest way for me to work; by not having to worry about synchronization and beat-matching, one is free to concentrate on the arguably more important parts of DJing, which is song selection and sequencing.

What started as a simple project to select some tracks to play in DJ sets turned into an obession, and I ended up ‘warping’ the entire corpus of tracks — 175 in total. There are only 173 on Soundcloud because 2 were withdrawn.

To make use of my warping efforts is unfortunately a 2 stage process, the first being to go download the music files. These are available on Google Drive. You’ll need a Google account of some sort to download them, but you can just download the “Selected Soundcloud works 1985-2015” folder. https://drive.google.com/folderview?id=0B80j1_axBSvIRWJJMUNvdldmWFk&usp=sharing.

Then, download this zip: http://www.cornwarning.com/xfer/AphexUnreleasedLiveProject.zip. It’s also available in the Google Drive AFX folder as well, in the “Ableton” folder.

There’s a ‘Readme’ file in the project ZIP file explaining how to use the warped files, but the TL;DR instructions are “Unzip the mp3 files, unzip the Project, load the project in Live, and tell Live where to find the mp3s.” It should be self-evident to anyone who regularly uses Ableton Live.

Some observations after working through all those tracks:

1. Tempos are almost all very consistent, making me think that he used accurate clock sources & DAT recordings from very early on. There are a very few with the telltale ‘cassette stretch’ tempo drift.

2. There are several with ‘Sequencer Stop’ pauses where he stops the master clock device, allows the effects to decay, and then restarts the sequence off beat. This blows Ableton Live’s mind. I’ve fixed these as best I can, basically pinning a warp marker on the last beat and then dragging the point where the sequencer restarts to the next measure start.

3. Only a few had ‘intergral’ BPMs, i.e. 130, 140, etc. Meaning that the tempo clock was only accidentally set to an intergral tempo. Or the sequencer device and Ableton Live don’t agree about intergral tempos.

4. A couple of them were unwarpable, and I gave up on those.

5. This set of songs was a torture test for Ableton Live’s automatic warping, and I wasn’t impressed, even by the new 9.2 beta version which supposedly improved automatic warping. It rarely found the downbeat properly, was confused by beatless intros etc. Even though the tracks have a very steady tempo.

This was an interesting project to undertake, and it allowed me to ‘needle’ drop in every track. There’s a lot of impressive tracks in this collection.
afx

Live @ I Hear IC 2015-02-20

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http://www.cornwarning.com/chaircrusher/Chaircrusher-2015-02-20-Live.mp3

The idea of I Hear IC is to gather people from Iowa City to present brief performances in a local coffee house. Peformances were in the range of 10-20 minutes. Other performers on this night included Jazz singers, an improvisation from two Iranian musicians and a small ensemble improvising a new soundtrack for old cartoons.

In that context I knew that it wasn’t like playing an hour-long techno set; no one would be dancing so the kick drum didn’t need to be in the mix the whole time. As it happened I finally brought it in at around 6 minutes; this goes back to early 90s origins of ambient techno, when producers would do long beatless intros to tracks. The rise of ‘popular’ ambient — with the KLF and the Orb being the most famous proponents — grew out of never actually bringing in the beat. Sonically I think this piece has a bit of the Orb about it.

It’s also an instance of not holding anything back. I went back over projects on my studio machine and plundered them for interesting sounds and loaded them all together in one set where I could mix and match stuff that originally went with much different music. I recorded a lot of sounds from my outboard synthesizers, playing loop clips and tweaking knobs to get some movement. The main repeated pad changes chords but it was accidental — I discovered that the JP6 would change the pitch of sounds when I jacked up cross mod. Which is fun because I was playing a slider; the chords were not exactly in tune.

The basic framework was dictated by a tonal center of C Minor. The bassline is straight 16th notes playing C C Eb Eb. That kind of simplistic sequencing reminds me a bit of early Tangerine Dream.

Groove, Metastability and Randomness

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http://www.cornwarning.com/chaircrusher/Chaircrusher-TestPercussionGroove.mp3

bazille
This is a recording of two loops playing in Ableton Live. One is a percussion drum rack, the second is the U-He Bazille instrument run through several effects.
This loop plays the same notes, but will never actually play the same one bar sounds twice, for two interlocking reasons.

First, both instruments go through a gate effect, which is adjusted so that the threshold is at the point of metastability, meaning that it spends most of it’s time on the cusp of closing and cutting off the sound.

Second, the Bazille patch uses random LFOs to modulate the levels of two oscillators as they modulate each other. On top of that, each of the two random LFOs is modulating the rate of the other, and the cutoff of a low pass filter through which the resulting signal passes. This accounts for the filtered noise sounds continually changing sound.

In addition, the two MIDI clips driving the sounds are modified by two different groove timings.

So the loop never repeats, and yet it also stays the same. The variety of the loop has musical value — in the same way (but not equal to) a human drummer adds vitality and interest to a repeated drum pattern with micro-variations of timing and dynamics. And the repetition of the loop has musical value, in the way a groove can entrain the listener’s mind.

It’s the wisdom of Heraclitus embodied: “No man ever steps in the same river twice.” It’s the same and not the same. Though I’m neither as wise as Heraclitus nor as musically talented as a significant percentage of humanity.

Olive Kitteridge Music & the synchronicity of chord changes

The new HBO series “Olive Kitteredge” is great television, and the music, composed by Carter Burwell provides a lot of the moody atmosphere for the show.:

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But I was sure that I’d heard the main theme music before, or something very similar to it. It nagged me all day and then I remembered: The song “Paradise Circus” by Massive Attack, used for the theme of the British crime drama “Luther.”

This is also, in the form of a Gui Borrato remix, used in a 2011 car commercial in the United States.

This is a really simple chord progression:
F minor, A flat Major, C Major, E minor diminished.
ParadiseCircus

But quite evocative. You can never know for sure whether Burwell had heard the Massive Attack song, and incorporated that core chord sequence, or if he came up with it independently. I’m reminded of the Axis of Awesome’s “40 songs, same chords” performance:

Trailer for “Olive Kitteridge”

VOLCA JAMMIN

Sometimes you try something and it’s accidentally kinda compelling. The setup was

  • Volca Beats
  • Volca Keys
  • Jupiter 6
  • Meeblip Anode
  • Eventide UltraVerb on one send
  • Audiodamage Dubstation16 on the second send.

This is straight up tracky. It’s live mixing/tweaking. I actually added effects and the anode while recording. There’s minimal EQ-ing on the Volca Keys and Volca Beats.  I did some limiting and EQ on the mix-down and edited out the 16 or so measures where the anode was doing this unpitched farting noise.

Syncing the Volcas to Ableton Live is kind of wonky. It seems to work marginally better if you set the sync mode to pattern. The only way I found to get it tight was to hit the ‘play’ button a few times quickly. If you just hit play once, it always starts out of sync. Somehow resetting the counter to 1:1:0 a few times while Live is playing gets things lined up properly.

http://www.cornwarning.com/chaircrusher/Chaircrusher-2014-10-07.mp3

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Getting a good Korg Volca{Beats,Keys,Bass} AC Power Adapter

I’m sure I’m not the only person who got their new Korg Volca thing home only to discover that the power jack doesn’t fit any of the AC adapters you have laying around. This is annoying. I for one have a box with about 30 different power adapters to check through. But I have found a good, cheap solution.

First off, what you need is this:

  • DC 9V
  • Center Positive
  • 1.7mm connector

According to this guy, Matthew Zipkin A Volca device never consums more than 80mA, so pretty much any 9V AC adapter has enough juice to power multiple Volcas.

The problem is the plug is an uncommon size, 1.7mm. If you want to try splicing something together look for the yellow-tipped plugs. If I recall correctly, old Sony CD Walkmans used the 1.7mm plug. But another solution is this: Adafruit sells 2.1mm to 1.7mm DC jack adapters for $2.50. They also sell a 9VDC Center-positive 1000MA supply for 6.95.

The Adafruit solution is actually cheaper than the AC adapters I just bought on Amazon.com, with higher power output.

You can also power multiple Volcas from a single supply with guitar effect daisy chain cable, if you buy enough 2.1mm to 1.7mm adapters.

adapter

KRUI Noise Radio 2013-10-12

Song Of September Apples
Song Of September Apples

Another semester, another Noise Radio Show. Comprising mostly tracks I’ve been sent, either by the producer themselves or label promos. Plus several of my own productions. Hope it hangs together for y’all.

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http://www.cornwarning.com/chaircrusher/Chaircrusher-2013-10-12-KRUI-Noise-Radio.mp3
Arthur Russell How We Walk On The Moon (Youth Rerub)
Art Bleek June Gloom
Deflon Got To Give It Up Remix
Kage Luna Twighlight
Mekha Immersion Reshape
Chaircrusher Inner Marshlands
Omar S Be Yourself
Art Bleek Procedure 678
Cerebro Television Sky
Brian Prince The Accretion Disk
Omar S Tardigrade’
Cerebro Peripheral
Omar S Money In The D
Pittsburgh Track Authority Omar’s Here
Chaircrusher Song of September
Bleupulp Panta V2
Chaircrusher Birthday Girl
Cut La Roc Don’t Knock The Roc
Bleupulp Panta V1
Brian Kage Neoblue
Chaircrusher Tosh Der Putz
G-Prod Influence
Chaircrusher Aleppo Chili
Kerr Knoll Water World
Mekha Coma (Emmerrichk Rmx)
Brian Prince Mis Mercury

KRUI Noise Radio 2013-07-13 DJ Mix

The 2 month gap since my last radio show means that a lot of new music has come out so this set has some ‘new’ stuff that’s a bit older than usual, and advance promos played after their release. No matter.

The two releases that are of particular note to the summer’s mood are http://www.bordercommunity.com/?p=5240 and Boards of Canada’s Tomorrow’s Harvest. This is a new BOC album after a long silence, and I think that it is a brilliant album, though the critical and fan reaction has been muted. This is, I think a result of BOC no longer being a musical surprise. But it stands on it’s own merits, and by the way did anyone say to Mozart “Another bloody symphony, when are you going to come up with something new?” It took me longer to come around to James Holden’s record — on first listen it seems pretty discursive and aimless. But on repeated listen there’s something that gets under my skin. “Blackpool Late Eighties” is a perfect standing wave of dream logic romanticism, using Kraut Rock loopiness to build a mood that takes flight. The musical equivalent of being hypnotized by clouds out a jetliner window.

Estroe’s collaboration with Nuno Dos Santos on Eevonext is interesting for breaking out of the techno mold, “Second Thoughts” is nearly beatless, moody, and uses bass to create a forboding mood. The always excellent FourTet shows up repeatedly, in three radically different tracks, including the trip-hop reimagining of Tori Amos’ “Unspoken.”

Detroit Electro veterans Aux 88 sent me a promo of their new EP, from which I chose the Detroit House track “Blue Love.” My revelatory discovery this summer is the Japanese techno producer Takuya Yamashita, whose track “Daybreak” is an instant classic of the emotive Detroit deep techno style.

Closing out, with a blast of low-fi techno from the last century, Joel Brindfalk’s “Great Dose Of Monotonous Techno”. Released under the name ‘Ü’ (try googling that), it is a time capsule from 1992, both in terms of production technique — Roland TR909, a synth or 2, and effects — but it has a deep connection to the new wave of lo-fi techno revivalists.

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http://www.cornwarning.com/chaircrusher/Chaircrusher-2013-07-13-KRUISet.mp3
FourTet Unspoken
Marginal Style Is A Cage
Boards of Canada Nothing Is Real
Allumettes Wallace
S. Carey Two Angles
Tone Of Arc Lost In The Machine
James Holden Blackpool Late Eighties
Estroe & Nuno Dos Santos Second Thoughts
Deadbeat Jaffa Dub
RX Gibbs Honey Dub
Datalog Sumingoshi II
Chris Gavin Nice View (Martin Ruth RMX)
Datalog Arc
Deabeat Peripheral Artifacts
David Powers Remember The Future
Datalog Gampl
Stingrays Adjust To New Knowledge
Cerebro L System
Nathan Fake The Sky Was Pink (James Holden RMX)
Roska + Jamie George Secret Love
Takuya Yamashita Jupiter
Four Tet Lion
Taho Mon Bala
Aux 88 Blue Love
Rocket #9 Rotunda (FourTet Refix)
Takuya Yamashita Daybreak
Chaircrusher The Man Who Played Himself In The Movie
Stingrays Simplexity
Boards of Canada Cold Earth
Joel Brindfalk Great Dose of Monotonous Techno (excerpt)

2013-05-11 KRUI Noise Radio

Shawn_Rudiman,_DEMF_Day_1The only thing the end of a college term means to me now is that the grad students in my office are scarce for a week or two, and we get a break on Noise Radio. But I tried to end the term on a high note, or at least a loud one.

I’ve noticed my tastes, at least for DJing, changing, in that more and more I crave things that are simpler and more straight ahead. I prevailed on my friend Tom Butcher to pull out some of the hard techno tracks he recorded in the 90s, that he’d sent me on a casette tape. I wore that tape out listening to it in my car, and luckily he’d rescued those tracks from DAT at some point. He also provided me with pre-release copies of his new record on Roam Recordings. so I used some of his oldest and newest music.

The irrepressible Shawn Rudiman has been releasing a backlog of his tracks digitally on Detroit Techno Militia. I took several tracks from the 4th volume. I’ve always been a fan of his live shows, and I’m frankly in awe with his ability to go into the studio and crank out so many high quality tracks. I don’t know when he sleeps.

Kataconda (Barry Ryan) is another guy who’s been going nuts putting out killer techno for a long time — he came to Iowa City and played at my ‘Off Seamus’ event concurrent with the 2002 SEAMUS conference for Electro-Acoustic music.

Bleupulp (aka Maxim Tanguay) is another prolific composer and the guy behind Pertin-nce net label, which has a huge catalog of mostly free, high quality music.

Andy Vaz produces his own intricately layered deep house from his base in Cologne, and Yore has graciously put me on their promo list. Two upcoming releases — a remix EP for his ‘Straight Vacationing’ album, and ‘My Love is 4Ever’ by Librah — are also featured here.

Along with those things, I’ve been trying to keep with my promo e-mails, and what Facebook friends are tipping, which accounts for the vocal pop I include in the mix. So maybe not 100% a techno purist, but hey, good music is good music, and I try to shoehorn in whatever’s making me happy at the moment…

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http://www.cornwarning.com/chaircrusher/Chaircrusher-NoiseRadio-2013-05-11.mp3
Codebase Falling Bricks
Microlife Le Printemps
X09 Nuclear
Lush Sweetness & Light
Phaeleh For You
MS MR Hurricane (CHVRCHES remix)
Codebase Black Mondial
Andy Vaz Detroit In Me (Patrice Scott Remix)
Hapbt Wumpus8
Librah Gravity
Rrose Wedge of Chastity
Fielded Arms of Heaven
Librah My Love Is 4Ever
Ron Trent Pressure Zone
x09 Statika
Garage $ale Bump and Grind (Waze & Oddysey Remix)
Andy Vaz Stubnitz (Memory Foundation Remix)
Arthur Oskan Maximilian
Adam Marshall Chaos
Shawn Rudiman XK7 Dustoff
Kataconda Leaf One
Bleupulp London (Hemptera Mix)
Kataconda Leaf Two
The Translator Prime Time Chords
Shawn Rudiman One More Sometimes
Mount Kimbie Made To Stray
Bleupulp A Few Stories
Shawn Rudiman When To Let Go
Bleupulp The End Is Near
Chaircrusher Le Printemps Du Chien
Lerosa Slavery
X09 Arc
Martyn Oceania
Phaeleh Taking It Back
Flying Lotus Tiny Tortures

KRUI Noise Radio 2013-03-30

More specifically Techno & House than usual. Featuring new Shawn Rudiman on Detroit Techno Mlitia, new Cephax Acid Crew album Cro Magnox, Kommon+Appleblim, Trus’ Me, and things found trawling through my ITunes collection…

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http://cornwarning.com/chaircrusher/Chaircrusher-20130330-KRUINoiseRadio.mp3
Kommon+Appleblim Silencio
Anika In The City
Trus’ Me Me Tes une Pute
Felix Lenferink First Bouree
Trus’ Me Hindsight
Shawn Rudiman Ghola Idaho
Space Dimension Controller Mercurial Attraction
Thomas Brinkman Xenia 2
Kerri Chandler So It Begins Again (DC10 Mix)
K Wide Road
Analog Cop & Blawan Sickle
Jeff Samuel heb gbz
Version The Brighter Side (Percussive Vocal Mix)
La Funk Mob Ravers Suck Our Sound (Carl Craig Mix)
Jon Margulies Good Religion (Dub Mix)
Touch Sensitve & Annie Lunoe Real Talk
DJ 3000 Sasanian Stomp
Jethro Ain’t No Way
Raw Series #2 B
Estroe Cheapo Cheapa
Calmac Tangerine (Jozo & Can Dub Remix)
Touane Tolousian Duck
Mike Dunn Let It Be House
Kommon & Appleblim Gas Jam
Shawn Rudiman Blinded By The Future
Deadbeat Wolves & Angels
Shawn Rudiman The Last Snow
Kerr Knoll Drone Avionix
The Black Dog Train By The Autobahn (Robert Hood Remix)
Ceephax Acid Crew Flight Of The Condor

In which SoundCloud sends me a hilarious takedown notice

Anand and SchatarSo today I got this interesting message from Soundcloud:

Hi chaircrusher,

Our automatic content protection system has detected that your sound “Rubber Duckie (Wub Machine Remix)” may contain the following copyright content: “Get Some Fruit (Wubstep Dubstep Remix)” by Anand Bhatt, owned by Favorecido Productions. As a result, its publication on your profile has been blocked.

You can dispute this report, if you believe the copyright content has been mistakenly identified or if you have obtained all the necessary rights, licenses and/or permissions to upload and share this material on SoundCloud.

Please do so by filling out our dispute webform at the following link:https://soundcloud.com/settings/disputes/6512879

If you would like to learn more about copyright, please visit our copyright information page.

Thanks,

The SoundCloud Copyright Team

FYI I didn’t even remember uploading it to Soundcloud — it was just a joke that took about 5 minutes to put together. I kind of love how it turned out, since Sesame Street is embedded in my DNA. If you need to hear it:

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http://www.cornwarning.com/xfer/RubberDucky-WubMachine.mp3

There are several things that are awesome about this:

  • Soundcloud’s automated copyright infringement detector did NOT detect my actual ‘infringement,’ which was against Jeff Moss and Jim Henson, who wrote and performed the original Rubber Duckie.   I claim this is fair use, but I’m not going to the wall on that; this was a JOKE track, it isn’t worth it.
  • Soundcloud’s audio fingerprint software did detect that there was some common source material in the Rubber Duckie Wubstep remix and that track by Anand Bhatt. That common material is there because Bhatt and I did the same thing: Took an audio file and fed it to the Wub Machine, which is a neat hack that ‘converts’ any audio file into bad dubstep.  Feed the Wub Machine random songs, traffic noises, outgoing voicemail messages yadda yadda, and hey presto! Bad dubstep! it’s hours (well, minutes) of fun.
  • The most hilarious part of this debacle?  This guy Anand Bhatt has released a digital EP which you can buy here on Amazon.  Bhatt took what sounds like random crappy songs, ran them through the Wub Machine and released them as his own original ‘remixes’!

What conclusions can I draw from this?

  • Soundcloud’s audio fingerprint software is able to detect common elements in two songs.  That’s great, but it can’t distinguish between one song sampling another, and two songs containing common source material.  So it’s going to generate thousands of false positives.  I guarantee that the worst-paid people at Soundcloud are the poor shmoes who have to wade through all the people contesting false positives for copyright infringement.
  • Anand Bhatt is a complete tosser.  Don’t believe me?  Visit his mega-awesome website, or his Amazon Store.  All those pictures at the Grammies are curiously absent of any other people, as though he snuck in after hours to get his picture taken in front of the Grammy background.  This man has been spending his time inventing an imaginary international rockstar career.

Here’s the transcendent, timeless, original “Rubber Duckie”

Live @ PS One 2013-03-19

It was cold and snowy and there wasn’t much in the way of an audience, but I got to try out some new stuff. Starting about 14:00 I have a section that samples (well, granulates) Milk & Eggs aka Jordan Sellergren. It ultimately bears only the most tenuous relationship to the original music which is wonderful in my opinion.

I don’t get to play out that much — I’d like to do it more often — but the general framework of what I’m doing goes back a couple of years, so it’s time to tear it down and build up something new. Expect more chances for live mistakes and chaos.

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http://www.cornwarning.com/chaircrusher/Chaircrusher-2013-03-19-LiveSet.mp3

KRUI Noise Radio 2013-03-02

So it’s been a bit since I did a radio show, so I have a backlog of new stuff to work through. New Burial, Autechre, My Bloody Valentine, Alex Under, Ron Trent, Terrace, and of course Chaircrusher….

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http://www.cornwarning.com/chaircrusher/Chaircrusher2013-03-02-KRUI-NoiseRadio.mp3
My Bloody Valentine Who Sees You
Autechre Bladelores
Alex Under Bola 7
Alex Under Bola 3
Ed McFarlane She Sleeps
Ros Sola 6Sway
Sean Deason Ode To Detroit
Tevo Howard Pump & Bounce
Tevo Howard You Have A Way With Words
Micro World Your Techno Toy
Ron Trent Kids At Play
Ron Trent Exotic Drums
Perkowitz Time Lapse
Terrace Out of Time
Microworld Happy Machines
Ros Sola Sign Language Poetry
Microworld Subterranean
Don Froth REflex (Shake Shakir Remix)
Terrace Mekanika
Sean Deason S4R4
Orphan101 Baila Second Mix
Sean Deason The Nature Of Time
Chaircrusher Isthmus Strait Isthmus
Max 404 How to Bluff Your Way Into Techno
Starkey Fantasy
Starkey Nucleus

My Bloody Valentine “M B V” Review.

OK, new MBV first reactions. The overall sound hasn’t changed much if at all. If I had made a record as epochal and evocative as Loveless, I guess I’d have problems finishing a follow-up. There are kids in their 20s who literally grew up listening to it. I know it was on heavy rotation in my car driving kids around, and my sons are 24 and 27.

Where it’s different? “New You” is pretty sunny and not as fuzzy as the usual MBV song; the focus is on Bilinda’s multitracked vocals. It points up the influence of 60s french singers like Jane Birkin and France Gall on Shields. The album almost sounds like a noisier Stereolab at times. The two bands were more or less contemporaries; Stereolab had french women vocalists who made that connection more explicit, but it’s a serious part of Shields’ stylistic vocabular.

“If I Am” bears close listening, because it’s maybe Shields most fully realized, appealing vocal melody. If anything has changed in 22 years, it’s that Shields has progressed as a songwriter, especially in the songs he wrote for Bilinda Butcher.

“Nothing Is” in my opinion should have been left a B side, and replaced with another pop song. It is a relentlessly repetitive loop that gets slightly louder and then ends. It would be fun to hear them play it live, but compared to the more fully composed songs it comes off as a piss take.

ValentineIf you’re at all a fan it’s worth tracking down the Tape Op interview where he describes his recording techniques. It’s easy listening to MBV to feel like there’s something complicated there, but once you know how simply he recorded the music it’s more impressive — there aren’t a whole bunch of overdubs — he spends time getting the sound he wants, and he might have 4 tracks of different microphones on a guitar cabinet, but compared to a Beyonce record they’re very simple and transparent.
Image stolen from Mojo Magazine without permission.

KRUI DJ Set 2012-12-08

The last show of the semester! Found some stuff downloadable on Soundcloud (Ekko, Delany Duvall), some recent-ish Terrence Dixon/Juju&Jordash/Sigha. Merry frikken Xmas!

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http://www.cornwarning.com/chaircrusher/Chiarcrusher-2012-12-08-KRUI-DJSet.mp3
Ex Action Model Heavy Shadow
Chaircrusher Michelle
Juju & Jordash Shakshuka Dub
Ekko Pawnmover
Marc Evans Crescent Moon (Delany Duvall SpiritualSoul RMX)
Jason Snell Cataclysm Sketch
Juju & Jordash Track David Would Play
Panda Valium Copaiba
Dubsheppards The Others (Ekko Remix)
Hakim Murphy Infinite Sensations
Murat Tepeli Untitled
Legowelt Sketches From Another Century
Flash Mob Ninety Five (Dirty Channels Remix)
Legowelt Renegade of a new age
Hakim Murphy Black Robots Having Sex (Kieran Brereton’s Deep Mix)
Legowelt Danger In The Air
Hakim Murphy Nikki Muscles
Nick Hoeppner Seaweed (Deadbeat Fireweed Mix)
Stephen Brown Horizontal
Dave Brubeck Take Five (Kieran Brereton’s Deep Mix)
Terrence Dixon Dark City of Hope
Aril Brikha Definition of D
Stephen Brown Mini Mood
Aril Brikha People Mover
Mayra Andred Storia (Delany Duvall Yoruba Remix)
Ventress Silotar (Silent Servant Remix)
Sigha Ascension
Terrence Dixon The Switch
Sigha She Kills In Ecstasy
Ventress Typhon
Terrence Dixon The Auto Factory
Sigha Dressing For Pleasure
British Murder Boys Dead Sun
Sigha Faith & Labour
Chaircrusher Shwarma

2012-11-17 Chaircrusher DJ set.

So this was a vinyl mix, which means it isn’t as perfect with respect to mixing as my Ableton Live sets. It’s more fun, and scarier, actually, and track ordering is more spontaneous. I did a few level adjustments and cut out the skips at the end of Mercedes Boy, but other than that it’s what went out over air and the radio, including skips in the Depeche Mode track…

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http://www.cornwarning.com/chaircrusher/2012-11-17-KRUI-DJ-Set.mp3
new order perfect kiss
yaz state farm
depeche mode everything counts
candi staton when you wake up tomorrow
Yaz Situation
Confunkshun Lady’s Wild
Patrice Rushen Watch Out
Pebbles Mercede Boy Fack
Steve ‘Silk’ Hurley Work It Out
Off Shore Got To Get Away
Risse Love Baby
Lil Louis & The World Saved My Life (Vintage Louis Down Under Mix)
Dajae Time
A Guy Called Gerald FX(Mayday Mix)
Moodyman I can’t kick this feeling when it hits
KL Smile
Shawn Rudiman Martini Kiss
The Martian Pow Wow (Fancy Dancer Mix)
Pacou The Trap
Kate Simko + Tevo Howard Polyrythmic The Original Theme Track
Pittsburgh Track Authority Nite Owl Video
TR One Drum Dance (John Heckle’s Jack Dance)
Anaxander Moons of Jupiter
Space Dimension Controller Journey To the Core of the Unknown Sphere (Kyle Hall I’m only breathing Mix)
Josh Wink + King Britt Brave Strong Song (Original Philly Mix)
Inner City Good Live (Steve Silk Hurley Mix)

KRUI DJ Set – 2012/10/20

Rather than my usual grab bag of tracks, this mix focuses on just a few releases:


… which takes things several different directions: John Tejada’s melodic Techno (which echoes/gives homage to The Black Dog’s late-90s sound), Dub techno sounds from DeepChord and Dom DuMoulin, the post-everything bass music of Deadbeat, and the incredible Dubstep/Cuban mashup from Mala.

I showed up and KRUI was dark, and there was nothing coming out of the studio to go out on the air. So I started up early, which accounts for the 140+ minutes of this mix. During my set I got onto Facebook to announce it, and the last DJ had left themselves logged in. I left a snarky message on his wall (isn’t that required?) and a few minutes later, he called the studio to tell me that he was going to come down to the station every Saturday night at eight to punch me in the face. So I have that to look forward to!

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http://www.cornwarning.com/chaircrusher/2010-10-20-Chaircrusher-KRUI-Show.mp3
DFRNT Incubus
Mala Como
DFRNT Silent Witness
DFRNT Prism
Deadbeat Yard
DFRNT Suspended In The Deep
John Tejada When All Around is Madness
Deadbeat Horns of Jericho
Dom Dumoulin Gone
Deepchord Gliding
Deepchord Aeronautica
Deepchord Beneteau
Deepchord Aquatic
Deepchord Amber
Deepchord Fourier
Deepchord Cruising Towards Dawn
Deepchord Spring Mist
Dom Dumoulin Fields
John Tejada Stabilizer
DFRNT That’s Interesting
John Tejada The Function And The Form
DFRNT Everyone is Moving
John Tejada Orbiter
Deepchord Alfama
Dom Dumoulin Fields (Bleupulp RMX)
Deadbeat Wolves and Angels
Deadbeat Punta de Choros
Deadbeat Lazy Jane Steppers Dub
DFRNT Our Little Secret
Mala Tribal
Mala Cuba Electronic
Mala Change
Mala The Tunnel
Mala Ghost
Mala Mulata
Mala Changuito
Mala Revolution
Mala Curfew
Mala Calle F
Mala Noche Sueos
DFRNT Cruise