PurpleMoustache

Apple Music does this, but with the caveat that on upload it converts to 256 kbps AAC. Pretty much anything I get off of Bandcamp these days I download in ALAC for a lossless version on my hard drive, and then drag and drop that to Apple Music, hit upload, and its available on all devices (phone, iPad, Apple TV… web, Android, Alexa, PS5, Xbox, etc) once it finishes processing

Worth noting there is a FAR cheaper “Standard Edition” of the blu ray via his Bandcamp/Bleep. https://oneohtrixpointnever.bandcamp.com/album/again I have it on order, and have fairly high expectations. The Atmos mix for Magic OPN, which came a full calendar year after its original release is very good… on streaming… now that they’ve fixed it. It was uploaded to streaming completely broken, with many tracks completely silent for 3 minutes, with a single stem… then silence again. The mix on the blu ray they put out seems busted in a different way, in that it’s mostly front heavy with very sparse effects throughout. The streaming version, once fixed is genuinely great.

Just finished this. Better than the original in every conceivable way. Jaw dropping Atmos mix. I highly recommend it, even to those Orb agnostic at this point (and I wouldn’t blame you, tbh)

Another track out today, just a cappella with heavy processing on the voice. Quite nice. Oddly available in Dolby Atmos where And The Colour Red was not

Idk, I guess after years of silence and the occasional EP… I find it hard to get excited about another short release from Rich.

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Didn’t Rich say in one of the SoundCloud/bleep store comments that he had “completely re-recorded” SAW 85-92 (much like the Melodies From Mars remake that still hasn’t come out)? I held off on grabbing a vinyl copy for years because I assumed that an expanded reissue with “Saw 1.5” would be coming soon…

I believe in the past he’s mentioned in interviews that working in the Colundi tuning makes “jamming” easier. I wouldn’t be surprised if these are more or less raw uncut jam sessions, ala Buckethead releases to borrow another famously prolific solo artist as an example. That way he just needs to hit record, play for about an hour, slice it up, get some album art and boom. Heck, even the naming scheme of the tracks follows a fairly standard structure

Mabel loves to jump up next to the stove, then from next to the stove to on top of the fridge, then from top of the fridge to the top of the cabinets. I put a bed up there ages ago, it’s one of her favorite spots. Occasionally she’s so comfy she lets a paw air off…

This is Mabel. Mabel loves you

As a Thom Yorke agnostic (I’ve tried to get into Radiohead multiple times, only to be put off by Yorke’s voice) I surprisingly love this. Could end up being one of the best albums of the year

New video from that channel. Fake fake fake fake

Not *all* Warner titles are AI upmixes. For example, that latest War on Drugs album is also in Atmos and is a real, proper mix (also the full Talking Heads studio catalogue is also Warner, and real, good mixes, overseen by Jerry Harrison). Part of why I’m so pumped on the format as a whole (beyond being interested in binaural/surround tech), is Dolby does mandate a floor of -18 LUFS for all Atmos mixes, regardless of type of media (movies, tv shows, games, and yes music). Tragically, nobody has done a Loudness Wars DB pull for that TWoD album nor many Atmos albums on the whole… but they have for Taylor Swift’s Fearless (for some reason), which is a fairly good example of that practice in action. The Lossless version, as streamed, sold etc has poor dynamic range across the board. But when told to mix more dynamically for Atmos rigs… The problem we’re in now is both convincing the average user that Atmos makes sense for them, either on the binaural mixdown through headphones side of things, or the home theater side of things. And to get the average user to do that, quality mixes have to be made. But for quality mixes to be made there has to be a userbase, and well… catch 22. The good news on that front is Apple, Amazon Music HD, and Tidal all support, and seemingly subsidize new mixes. When Apple announced they were adding support in Apple Music it was paired with a press release claiming that they were outfitting multiple recording studios with Atmos setups, gratis. It remains to be seen if, on the whole, it all works out. Worst case scenario is we wind up with a few years of pretty good surround mixes, alongside a handful of pretty bad ones.

Last year, Woob put up a Bandcamp vinyl pressing campaign to get Woob 1194 out on vinyl for the first time. I backed it back then, and have received notice that they plan to ship soon, and woke up this morning to two emails notifying me the new mastering, as well as a new version are out now. Instead of picking up either, I opted for the "monochrome" version (his wording for deluxe), which includes new and old mastering, the new version, as well as assorted other bonus tracks at 24 bit. The monochrome is missing this alternate version, which is similar in scope and content to the recent alternative version of Biosphere's Substrata that came out. Excited to dig into the new material!

So do we think this will also somehow involve new material? Outside of the show exclusive 12”’s, he’s been fairly quiet since Collapse EP…