This was initially announced by and sold on Bleep.com and sold out in a matter of minutes. But apparently the Rubadub guys were offered some. If you don’t know what this is, I’d start with the readily available Fourtet & Burial material. If you do know what it is, DON’T SLEEP.
It has links to a more recent build, the PPC build, etc.
Yesterday I couldn’t spell OS X Developer and now, I are one!
With some help from my friends on the CMake mailing list I finally got a running standalone OS X application built out of the Paul Stretch source. As I wrote yesterday, it’s free, it’s easy, and it makes hours of freaky soundscapes out of any audio file.
Except for mp3 files. If you try and load an MP3 file it locks up. Oh, and it wants WAV or OGG files — as far as I know it can’t load AIF files. But it’s free, right?
Sorry for repost, but apparently, this post got trashed in my Blog SQL database. Eff me silly, computers suck. Apparently the post showed up long enough for MKB to comment on it, but then went to the great bit bucket in the sky.
The quaintly named Paul Stretch is a program that does extreme time stretching of digital audio. It’s free and open source, so anyone can try it. I even was able to build it on OS X, but not yet in a way that permits redistribution — you can do a lot of Unix-style programming on OS X and never build up the knowledge that building a native application requires.
Anyhow it turns any audio into pleasant ambient textures. Exampla gratia:
Bitone Troupe “All Is Full Of Love”
The first 30 seconds or so, timestretched to several minutes[audio:http://www.cornwarning.com/xfer/BitoneTroupe-AllIsFullOfLove-Stretched.mp3]
Really? Hasn’t it always been blindingly obvious that “Metal Machine Music” is not intended as listening music for general audiences? I thought this was all settled canon law a long time ago.
I am especially puzzled by all the people showing up and then leaving. Did they think he was going to play them lullabies?
There is an audience for noise music. Not a huge audience, but a genuine, enthusiastic audience. One that responds viscerally and emotionally to the music, in addition to the people who have intellectual, academic reasons for why it’s valid. The point is, there are many writers Rolling Stone could have sent to the MMM show that would have brought some sympathy and understanding to the event. Instead, they sent someone, apparently, who just got done sucking Fall Out Boy dick or something.
If you ever wanted to know why Lou Reed is so rude to US music journalists, this review is exhibit A. They aren’t even fucking pretending to try.
I spend more time than is probably healthy (financially or otherwise) exploring new music on Boomkat. They seem to have fairly no-bullshit reviews for music, and they seem intent on hyping things they actually like, for actual musical reasons. As opposed to a site like Beatport, who seem to hype stuff based on who has the best cocaine this week.
I know, totally unfair dig, but a visit to Beatport conjures visions of Guidos in fake Hermes sunglasses bro-hugging each other in the DJ booth at WMC, and a visit to Boomkat makes you feel like you’ve been cornered by a scruffy British college student chain-smoking rollies, drinking tea out of a paper cup, telling you how mental the latest Pinch dub plate is in a thick Mancunian drawl.
But the recommendations they make based on the release you’re currently looking at seem a bit weird. I mean if I look at Appleblim and Peverelist “Over here” remixes, the “also bought” column contains 12 releases out of 21 that I’ve bought myself. And looking through the ones I’ve not bought, at least 5 or 6 others I’d probably buy if money was no object.
This seems strange to me — could there be some grouping of Boomkat customers out there whose taste is that closely aligned with my own? Or is Boomkat’s algorithm somehow just reflecting back to me what I’ve already bought, along with a bunch of roughly similar releases?
I’d like to think that I’m genuinely part of some phantom cohort of people who really like dub techno, house music, and dubstep without the wibby-wubby basslines. I’d like to meet up with them, preferably at a club with a good sound system in Brixton.
Out of work today with a cold, so I lashed up the mix I’d been collecting tracks for. The theme, again, is dub techno & dubstep, with some detours into other genres. The track selection basically came out of listing my ITunes library in the order of most recently added, and picking tracks that I liked.
Ordering was mostly by tempo so I could gradually accelerate — from 105 to 140bpm. I find that there are tracks that are linked by mood but disjoint in tempo, and I hate playing stuff more than Technics standard plus or minus eight percent. Hence the gradual windup. And I’m never again going to try and link to every fucking track in my track listing. It takes a long time!
- Wilkin’s Mop – Explode
- Murmer – Mesh
- Deadbeat – Night Stepping
- Stinkworx – Amira
- Kerri Chandler – So Let The Wind Come
- Nu era – A Third Of The Third
- Bill Van Loo – A Detroit Sound
- Sygaire & Defcon – Yigitler
- Nu Era — Ringstone Round
- Beat Pharmacy – Ghostship
- Soul Phiction Reminisce All Over You
- Laurent Garnier – Gnamankoudki
- Kode 9 – Too Far Gone
- Perverelist – Infinity Is Now
- Joe – Rut
- Breakage Instra_Mental – Late Night
- Pangaea – Bear Witness
- Vex’d – Fire
Pangaea is a producer in the Dubstep vein that I like quite a lot for being one of the guys who resists the siren call of the obnoxious wobble bass.
He’s not about a bit of appropriation, specifically the chopped, screwed, and pitch-shifted R&B Vocal thing that Burial employed to great affect on his long player Untrue. He also share’s Burial’s love of ElB’s chicken scratch 2 step beats. He’s not a complete Burial clone though, but he definitely scratches some of the same itches for me.
But whether or not he’s original or derivative is irrelevant to this post; what I’m wondering is if my suspicions are true and his track “Router” contains a vocal sample of comedy punching bag Michael McDonald, of the Steely Dan, Doobie Brothers, and Ya Mo B There fame. It sure sounds like it, though I can’t identify the particular track. Furthermore, tracking it down would require listening to the Michael Macdonald oeuvre, something that could put me right over the fucking edge.
I found the track Pangaea sampled: Baby I’m For Real. God what a slab of shite.
Here they are, hot off the presses. Turn your speakers DOWN before you play them because I noticed in studio that the bass on these is huge. Something I’ll watch out for on future mixes. Doesn’t sound distorted or bad, just HUGE.
|Congos||Congoman (12″ Mix)|
|New World Aquarium||NY|
|Patrice Scott||Do You Feel Me|
|East Island||Master of Servir|
|Serge Gainsbourg||New York USA (Chaircrusher Edit)|
|Raymond Scott||Toy Typewriter (Chaircrusher Remix)|
|Omar-S||Luv U Alex|
|Rick Wade||I can’t Take It|
|Patrice Scott||Sunrise Dub Mix|
|Reggie Dokes||Missing You|
|Ian Pooley||In Other Words|
|Steve Silk Hurley feat. M Doc||It’s Percussion|
|Cerrone Paradise||Joey Negro Remix|
|First Choice||Let No Man Put Asunder|
|Terrence Parker vs Joe Smooth||Love’s Got Me High/Forever My Love|
|Derrick May vs Octave One||Strings of Love/Blackwater|
You can listen here: http://krui.student-services.uiowa.edu:8200/listen.pls
I have recorded 2 new mixes to present, because I’ve had bad experiences trying to mix live on radio, I’ll post them up with playlists later tonight….
Apparently Audiomidi isn’t the only place with this deal, but it’s an insane price. It lists at $499, and Audiomidi regularly has them at $299. At that price, you can buy more than one, and the drivers support up to 4 in one system.
This is a SHARC based hardware accelerator for running VST audio plugins. I tested both a UAD-1 PCI and a TCI Powercore for Grooves Magazine years ago and thought the UAD-1 was killer.
Serge Gainsbourg’s New York USA — Chaircrusher Simplistic Edit
This is a DJ tool — I could, and should spend more time on it, but I’m playing on the radio next Saturday and wanted to use this track. It’s all live drumming, and it’s only 2 minutes 18 seconds long originally — not much there to mix with. So this is re-clocked, with some of the percussion breaks looped and a proper kick drum, and Bob’s your uncle.
Knowing Gainsbourg, this song might be some sort of elaborate dirty joke, but I prefer the surface reading of the lyrics:
J’ai vu New York/New York USA/Je n’avais rien vu d’aussi haut/Oh ! C’est haut, c’est haut/New York/New York USA
I saw New York, New York USA, I had never seen anything so high! Oh so high! Oh so high! New York, New York USA!
There’s something so childlike and open about that, and that refrain of “Oh c’est haut!” is so sweet. What that has to do with an African beat, only Serge knows. But the more I listen to Gainsbourg the more I think he was a complete genius. I just have that 3CD Gainsbourg/Gainsbarre CD set, but I can see being completist about Serge. There’s so much to his body of work beyond “Je t’aime ma non plus,” “Lemon Incest,” and “Comic Strip.”
Bryan Kasenic, a super nice guy who booked me twice to play at the late lamented Halcyon in Brooklyn, continues to be involved with arguably the best electronic music nights in New York City. This latest one for next weekend is a completely amazing lineup. I buy a lot of music from Boomkat, and the line-up is heavy on some of my favorite Boomkat finds. No mistake that Andy Stott and Claro Intelecto release records on Modern Love, the Boomkat in-house label.
The world already had enough versions of “Blue Monday”but Noooooo, this German guy “Kurd Maverick” decided to cash in on it yet again. I haven’t heard the whole track, Gott Sei Dank! But the snippet at trackitdown is more than enough.
It’s putting a lot on this “Kurd Maverick” to say that this sort of thing is what is wrong with commersh dance music, but everything annoying, cloying and awful about modern club music is all there in this track.
And WTF about the name “Kurd Maverick?” Here’s what it makes me think of:
Found this while spelunking through my hard disks today:
What’s all this about RMS
In my last post, I threw around the term RMS a lot, and not everyone may know what that means. You can read up on it on Wikipedia but I can break it down for you here quicker.
1. Go to Wikipedia and hit “random” and the first article you get is the name of your band.
2. Go to “Random Quotations”. The last four or five words of the very last quote of the page will be the title of your new album.
3. Go to Flickr and click on “Explore the Last Seven Days”. The third picture, no matter what it is, will be your album cover.
So here’s my album cover. Weirdly the random pic is of the Fort Kent Train Station:
As regards My post about Micachu, a friend wrote to me:not intended to be sarcastic at your expense. I went through your review and xxxed out all words that either conveyed nothing to me (in my ignorance; like i know who matthew herbert is but not what that implies abotu how the album would sound) or that seemed to me to be content-free (eg “embrace the chaos”) and got the following dada-esque review: ‘xxx is a sort of next big thing-esque young woman from xxx, whose debut album about to be release was produced by veteran xxx xxx xxx. The songs on the myspace page remind me of xxx from xxx, having some of that xxx xxx xxx, though xxx seems to xxx xxx xxx a bit more than that duo. xxx xxx’s album “xxx xxx” is perhaps the high water mark of musical xxx, kind of like the first xxx record as heard by someone on a xxx xxx xxx. xxx isn’t as deliberately xxx as that, but she’s not afraid to xxx the xxx, as she does on this “mix tape” which features some of her xxx xxx xxx on the xxx tip, with occasional vocal interjections from xxx, mashed together voices, and musique concrète.’
Fair enough I guess. I was depending on readers knowing things I can’t know they’ll know, to understand what I was on about. On the other hand, I don’t try and live up to the same standards in blog posts that I follow when I write reviews for publication. A big part of my review-writing narrative is the assumption that many readers aren’t going to be aware of everything I might bring to listening to a piece of Music. I’m someone who spends a large portion of their waking hours listening to, making, or thinking about music, so I have a domain-specific knowlege set a casual reader would not.
When I write on my blog, I don’t feel the same responsibility to explain, or to judge what needs explaining. First, it’s a more personal forum, and until the big bucks start rolling in for my blogging expertise, I’m not going to waste time worrying about whether people can follow what I’m saying. Second, with two examples of Micachu’s music included in the post, one can presumably gloss over the stuff in my post you don’t get, and judge the music independent of anything I might have to say.
Third, I think my friend goes a bit far, x-ing out some things that aren’t arcane references or untethered metaphor. I’d think ‘obtuse’ would be part of most people’s vocabulary, and the meaning of an ‘obtuse’ composer or musician shouldn’t require a lot of sweat to understand.
Micachu is a sort of next big thing-esque young woman from London, whose soon-to-be-released debut album was produced by veteran nutter Matthew Herbert. The songs on the myspace page remind me of Blectum from Blechdom, having some of that duo’s manic ridiculous WTF-ness, though Micachu hold things together more. Blevin Blectum’s album “Magic Maple” is perhaps the high water mark of musical WTF-ness; it’s the first Slits record as heard by someone on a jimson weed trip.
Micachu isn’t as deliberately obtuse as Blevin, but she’s not afraid to embrace the chaos, as she does on this ‘mix tape’ which features some of her London fellow travelers. It comprises some Grime cuts, occasional vocal interjections from Micachu, mashed together found voices, and musique concrète.
I’m not the first person to link this, but I did put it on my own server so you won’t have to poke around on the myspace page to find it or go to a megasnotload type site. You’re welcome!
I’ve never been a big U2 fan. I think I bought “The Unforgettable Fire” and never really went back to them. Along the way there have been a number of their songs that I liked a lot, but being U2, it was unnecessary to actually acquire a personal copy. Their music is on the radio and ‘in the air’ enough that actually owning it seems redundant. Plus, when it comes to music I’m always away from the big campfire poking around under the bushes, looking for interesting and odd things.
But U2’s performance on David Letterman last night pretty much blew me away. I don’t even know the song — it’s one from the new album. But several things struck me about the performance:
The band is supernaturally tight, and it only takes 3 of them to generate an arena-sized sound. I know the new album has a lot of Eno’s mutters and burbles from what I read in the Times the other day, but these guys could cut an album in a day, just playing live, and I think it would be just as good.
Bono, when I hear recordings, kind of leaves me cold as a singer. He’s always a bit over the top, in an almost Elton John way, only with a much better singing voice than Elton John. There’s something too ingratiating and eager to please in his delivery. But seeing him do what he does in front of an audience it all makes sense. Put him in front of an audience and he’s several things at once — carnival barker, ridiculous go go dancer, rock and roll singer, and regular bloke just chuffed to be there. As an aside, I’ve seen Coldplay on TV a few times recently, and I realize now that Chris Martin’s hyperactive contortionist shtick he got straight from Bono, but on Martin it looks awkward and self-conscious.
And the audience was as interesting to watch as the band in this context. The first 2 thirds of the song, the collection of random out-of-towners and college students stayed in their seats and enjoyed the show pretty much as though they were watching it on television. But the last third of the song, after Bono got right in their faces and commanded them to stand, they were all on their feet clapping and cheering, almost as loud as the band itself. In the course of five minutes U2 owned the joint like they’d already paid off the mortgage.
The fact that I got this all from watching it on television really says something. After a lifetime (Almost 30 years, dude — their first album was all over college radio when I was in college in 1980) of listening to U2 with an attitude of indifference, I get it now. I still will get more excited on a day to day basis about Omar S and Fennesz and Burial and Melt Banana, but as far as I’m concerned U2 has nothing to prove to me any more. They’re a great band long after most of the performers in their cohort are dead or bitter overweight night watchmen, and perhaps the best live performers currently working. Basically it’s U2, Prince and Bruce Springsteen, and everyone else a distant second.