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Everything posted by ascdi

  1. I agree. I listened to this for almost the first time a while ago and it was pretty amazing. It sounds like a million bucks.
  2. ascdi

    SUN RA

    I am in this thread! It’s a golden age for appreciating Sun Ra with all the cool shit coming out these days. Love it
  3. I could check myself, but anyone know if the Bleep downloads have been corrected?
  4. I love the earlier Splitradix EP! Will check this one out for sure, didn’t know it existed
  5. Lopatin: Uncut Gems 🤔 Sun Ra: Egypt 1971 💣 V/A Pressure Sounds: Rubadub Revolution 😄
  6. The true scandal here is I now have no idea where the original little rubber end nubs for my Model:Cycles are EDIT: FOUND THE NUBS
  7. ascdi


    Looks great! Can I subscribe to a thing, or follow a thing? Otherwise I will forget about this immediately.
  8. I’ve been wondering the same thing. Haven’t seen it in a US store yet, been checking every couple days. I agree that Behringer is an asshole, and I couldn’t ever imagine buying anything by them again, but I got the other acid clones on a lark and they are SO fun. Basically the most fun I’ve ever had making music, and I probably wouldn’t be making any music at all anymore if it wasn’t for that. So, it’s a mixed bag. For me, I’m glad I decided to snag them, even though on one level it feels bad. YOLO and all that 🤷‍♀️
  9. 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.
  10. 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
  11. Gotcha, thanks for the tip! I guess it’s time to bug them…
  12. Oh, neat. But, details? I didn’t get an email or anything…
  13. 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
  14. 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
  15. 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. 🌈
  16. I like it. Reminds me of the flip revolution.
  17. 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.
  18. How’s the Bluebox? I’ve been eyeing one…
  19. 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!
  20. 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
  21. Wow, great news if true! Wasn’t expecting this, certainly not the disc replacement angle. Kudos to blerp
  22. 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.
  23. Yep, that’s fair. I would guess that, although I have no real data on it, that whatever regional specific fora, etc. there are for musicians from other cultures, the number of those is dwarfed by the number that assume you are English-speaking, westernized in some way, a man even, etc. And I would theorize that, if you want to “make it” in electronic music, it is very hard to do so without engaging thoroughly with westernized music culture and expectations, eventually. It’s not impossible! But it’s harder to do, I reckon. Agreed that in a way this is an opportunity! That’s what I gather this article, which I still have not read, is about. But again I feel compelled to point out the difference between “it’s a problem, but maybe it can be an opportunity!” And “you literally never have to think or worry about this.” Huh, dunno. This is an argument that I feel like I’ve heard a bunch of times before, tbh. I feel like you have beef with some possible, but by no means certain, third- or fourth-order knock-on effects of what such an article could cause hypothetical people, whom you already do not like, to feel or do. That’s fair, but subtle, hypothetical, possible effects of the article should take a back seat to the main thrust of the article, which (I gather) is more about increasing inclusion _of something_ in a non-zero way. That’s not a terrible thing to happen. I’m not sure how an article could be written to increase representation equally across the board for all underrepresented groups in music, maybe a smart person could figure out how to write that. And if this article isn’t that, then maybe what you are saying is that this article is imperfect? Which is probably true. But that doesn’t mean it’s bad that it exists, IMO. I feel almost exactly the same way myself. I think it can be both things. I mean a lot of the “world” music already mentioned in this thread is related to the idea you mentioned — cultural clash between (for example) 12-tone tools and other tonal systems, etc. And I’m far from an expert but there’s a lot that’s going on in say electronic African music that strikes me as being this kind of thing — relatively normal software or idioms being repurposed in new ways that simultaneously acknowledge “classic” electronic music, modern production, and existing traditions of African music or rhythms or whatever. In a really cool way.
  24. A lot of very predictable replies in this thread. I think there’s a big difference between something being “not impossible” vs. being “welcomed”, when it comes to a piece of software. And equally so between something being welcomed and being a default. I mean, just the world of software in general… how many pieces of software, audio-related or otherwise, are _unavailable_ in English localization, vs. [insert your language here]? How many online communities such as this one assume that everyone is going to interact in English, is going to have fast internet access, is going to have some amount of disposable income to buy software and hardware, etc. etc? That said, I didn’t click the link to the article because Pitchfork is terrible, but I feel like people are letting their distaste for the current state of flabby, “woke”, pseudo-journalism cloud their perception of what actual inequities there are out there, which are in my opinion enormous.
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