ascdi

I like it. Reminds me of the flip revolution.

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.

How’s the Bluebox? I’ve been eyeing one…

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!

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

Gorky’s Zygotic Mynci — Gorky 5

Wow, great news if true! Wasn’t expecting this, certainly not the disc replacement angle. Kudos to blerp

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.

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.

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.

Greetings! Yep, I was there. I think with the same nick? But not sure. mike p asked about one of my bootleg n*sync remixes one time, fun times ?

Is it wrong that your post made me want to check this out more ?

For those like me still waffling about the various LSD remasters — I realized today that Wax Trax’s remaster is on Bandcamp, quite affordable, and not only that, you get 24bit/96kHz files: https://coil-lsd-waxtrax.bandcamp.com I actually haven’t listened yet, but I assume the remaster is good? Anyway, might be worth snagging, definitely wasn’t expecting to be able to get hi-res files for cheap on this one

I like the album because a lot of it sounds like mousing around with the old Microsoft trackball I used to have. Good memories

Whoa, these changes sound amazon, will def have to snag this

The trax played on 60 mins sounded surprisingly good. I guess what I’m saying is

I snagged a Polyend recently just out of curiosity and it’s awesome. fwiw, the Polyend anyway is not a particularly small device. It’s got the footprint of my 13" MBA, for example. So the screen is smaller than a computer screen, but it’s not as small as you might think. And they’ve thought through the UI enough so that you can zip around and get into the flow really good. Imagine a clicky, satisfying keyboard that only has exactly the keys on it you need to control the tracker. You can move quite fast around it. An even smaller device focused on synthesis (as opposed to sampling), like this, seems really intriguing. But, I probably need to stop buying gear for a while!

Oh man, I saw this series of videos a long time ago and had no idea how to find them again! So wild. Thanks for linking this ? I like THA LOOPS but have no interest in watching an entire movie about them. We get it WB, you look like Khan

lol this thread went from OMG BEST COLUNDI YET to total disgust with the amount of music being released in like 3 pages

ctrl-f interstella 5555 not found wtf?!

Others have said it very well upthread already. Huge bummer. RIP.

Dang, the samples sound amazon

Wow, looks gorgeous. Nice job! Pumped to order this

Eno — Film Music Eno — Rams Eno/Eno — Mixing Colours Expanded