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ascdi's Achievements

  1. One of my favorite albums of all time. Giving a little side-eye to all the included remixes, though. The original track list plus associated b-sides are basically perfect, in my opinion.
  2. You could probably write a PageRank style algorithm for this. The pretentiousness of a given release is some function of the number of other pretentious releases, artists, and labels the press blurb mentions. What NO I didn’t listen to the samples
  3. I’ve been getting back into making tracks recently, thanks to this exact thing! (Making stuff with all hardware.) Process is as others have said, get some patterns going and hit record, then jam. It’s true that you can’t make excessively “worked out” music this way (well, unless you work very, very hard at it), but that’s okay. Jamming suits many styles of tracky electronic music just fine! I use a Zoom recorder to actually record, then do a light “mix” of the multitrack files in Ableton later. Here’s a mellow thing made of Model:Cycles and the Behringer 606 clone. b_4.mp3
  4. I like the album, but I also think this is spot on. I am 39 years old, do with this information what you feel appropriate
  5. Thank you for bringing this album to my attention! I love Gruff, but haven’t been following him closely enough, apparently. Spun this once on Apple Music today and insta-bought the CD, it’s magic. 🌈
  6. I like it. Reminds me of the flip revolution.
  7. Wow, came here to post the same thing! EDIT: also, a very nice CZ-101. What a unique synth! Plus you can take the batteries out and then put them back in and the patches go randomized in amazing ways.
  8. How’s the Bluebox? I’ve been eyeing one…
  9. Great update, will have to check some of those out! Robert Henke — Piercing Music: saw these were affordable on Bandcamp so I bought one. Huge ICM fan and I got a couple of sweet Monolake postcards with it in the package. Still digesting the actual music V/A Captured Tracks Records — Strum and Thrum: the American Jangle Underground 1982–1987: been listening to this a lot on streaming, had five minutes in a real record store for the first time post-pandemic the other day, and they had a copy! So I bought it. This maybe sounds like it might be slick poppy music perhaps, but it’s not at all, it’s super off-kilter and raw and great. And there are copious liner notes which I have not yet read!
  10. Good question! I recommend starting with Spanish Dance Troupe, it’s got a mix of all their various styles. Going forward from there the music gets more austere and kind of fussy in that early 2000s studio perfectionism way, and going backwards increases the mayhem and shabby rock factor. You can’t go wrong though imo
  11. Wow, great news if true! Wasn’t expecting this, certainly not the disc replacement angle. Kudos to blerp
  12. I didn’t call anyone any names in this thread. 🤷‍♀️ I guess it depends on your mental model of how the music culture works. If you think all music cultures start equal, like there are house music message boards, house music record labels, house music live gigs and fanbases, drum and bass message boards, drum and bass record labels, drum and bass live gigs and fanbases, Iranian (to pick a non-western culture that has been mentioned here at random) electronic music message boards, Iranian electronic music record labels, Iranian electronic music live gigs and fanbases, etc., then I can at least see how you get to the argument that each culture has enough resources and “stuff” and should stay in their own lane, so to speak. I don’t really think that. I think that the vast majority of electronic music culture is centered on the western world. Learning resources, record labels, gig opportunities, access to fans, etc. All — in my opinion — skew incredibly heavily toward westerners. I’m sure people can find counter-examples but I still think we’re talking orders of magnitude difference in the amount of “stuff”. Beyond that, the actual issue is for people to have access to not only the same amount of stuff, but actually the same stuff. Not trying to be inflammatory here, but “separate but equal” didn’t work out so good last time. And also, I don’t want to be part of a music monoculture. That sucks. It benefits everyone if people with new ideas and different backgrounds are invited into ONE music culture. This is why Colundi sequences rewire our western brains, because we’ve spent our entire lives listening to equal tempered 12-tone bullshit. I love Aleksi’s work a ton, but honestly it’s telling that the second other tuning systems are mentioned here, half the discussion jumps to a western musician who only recently has started dabbling with micro tuning, instead of like, the massive extant cultures and musical languages from around the world for whom “alternate” (even this term completely misses the point) tunings are an integral part of like, centuries of musical tradition.
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