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taphead

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About taphead

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  • Birthday 07/09/1985

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  1. this is a 4 track thing and as far as I'm concerned, essential listening if you like speed and busyness in electronic music. especially the last two tracks. like it's still relatively clean, there's not much detritus, but this has an amazingly thrilling energy to it that I think a lot of people around here would appreciate http://w00dy.bandcamp.com/album/my-diary
  2. @usagi I'm not sure what it is you think I'm doing, but it seems like you have an inaccurate picture. I do plenty of digging and following of my nose, and I spent a pretty long time doing all that without this supplemental visibility into how I'm actually spending my time. I'm sure this wouldn't be desired for everyone, but I've found it very beneficial to see what I'm doing. @rhmilo It's not entirely by hand, but I listen to stuff across mediums and stuff and so for accurate tracking, I put in the album name, date, and new listen flags by hand. And then when something is new I have to put in an album artist and release decade and year. But like with copy and paste a lot of that stuff goes really quick. @Freak of the week Oh hey that guy looks interesting, but does he not have any recorded music aside from that one compilation appearance?
  3. Personally I think there's plenty of fresh things happening, like Bhob Rainey writes on this page about how on his really great album from last year that is fully streamable on bandcamp now, he used sonification of data from NASA about times that meteors or other large objects came close to hitting earth cross-referenced with natural disaster data from FEMA, and the more artistic work it take to make this something that was musically interesting. It probably bears some similarity to the sound object WDR musique concrete type of stuff, but I think it brings a lot to the table. And I do think there's a specific benefit to listening to music in the moment it exists, a unique opportunity to make sense of the music alongside contemporary events. Felicia Atkinson's approach to fidelity in her vocal recordings is more significant to me than it would be if I were encountering it as an object of the past, because I've seen the sort of prosumer equipment being used and encountered the noises in annoying contexts, and so there's something I find special about them being turned musical. So I do think it's worth having a connection with what's currently happening while the exploration of the past continues. Though I was really de-emphasising the past before, I am getting better about that though, this attached chart breaks down my listens by year into 3 categories, contemporary albums that came out that year, albums from previous years that I'd never heard, and albums that I went into the year having already heard. And I'm putting more emphasis on discoveries from the past and things I'm already familiar with, which is good. It also shows that I've spent over a third of my time since 2016 listening to things from the current year. If I really wanted to keep things balanced completely, I'd probably be looking at dialing that back much, much further. But I can do that when it stops being so interesting to me.
  4. Oh yeah I mean I did that for plenty of years, and I still just do what I want. The problem is, I want to do more things than I have time for. Sometimes I know exactly what I want to listen to, but sometimes I'm open to plenty of experiences. And I don't know if anyone else here really has this problem, but I am extremely susceptible to "visibility culture". And so certain things have a better chance of coming out on top in the times where I'm not completely certain what I should listen to. The attached chart shows the days between listens for things featuring Oren Ambarchi. I listened to him relatively consistently from 2016-2018, but I wasn't really checking in with him at all for 2019. The date that I put something on from him again was when his new album Simian Angel got announced. A lot of what I want to do gets influenced by things I hear from other people, it's not purely mine. So if I left it all undisturbed, then I think my listening would be too heavily decided by what I read and the people I spend time with. And I like that influence and benefit from it greatly, but it's nice to be able to identify it happening so that I can have time away from it too.
  5. I think this is something to look at for sure but I've been too lazy to enter in the genre info. But honestly that's something I gravitate to pretty naturally, like I love an amen break but if it gets to a point where everything has an amen break, I'm eventually gonna snap and run into some kind of ambient pad land. I actually only started doing this because my job involves spreadsheets and I wanted to figure out how to use them better. But then the results got really interesting, like it turns out I listen to new music all the time and haven't gone a week without something new since I started doing this. I'd figured there would be longer patches of only spending time with the stuff I know, but I am a bit addicted to the novelty of newness. And yes Autechre are the best and get a lot of my listens tho I do love those other artists a lot as well. I actually sort of took for granted how much I like them, but it's really only them and Keith Fullerton Whitman who I listen to this frequently. And KFW has been putting a whole bunch of stuff out thru Bandcamp which I think is boosting the numbers there, Autechre are really in a league of their own here.
  6. Hey everybody, so I've been keeping track of every time I listen to a full release in this google sheets document https://docs.google.com/spreadsheets/d/1mYGlFF_yVf1wz-SNEFbbmBSgN1KPy3YQt1VqDA1cGR8/edit?usp=sharing since 2016. It's let me break down how I'm spending my time in ways that I like to nerd out on, like this chart that shows how I don't go very long without listening to Autechre. But one thing that's interested me a lot is my decade focus breakdown. I spend a lot of time listening to 2010's music, sometimes more than 75% of the time, but generally it's closer to 50%. Part of me thinks that 50% is a good balance, that I should be spending the majority of my listening time engaged with what is currently happening in music so that my taste doesn't get stagnant and I'm not stuck listening to the same music for the rest of my life. But I also wonder if maybe I'm too focused on the contemporary, and that when the specific things I am clued in on inevitably pass, and new things start to crop up in the future, I may end up being too fixated on what is now current to be able to appreciate the changes, and keeping in touch with a broader range of perspectives through time would put me in a better position to accept change. I'm not like super worried about it or anything but it's been something I've been thinking about. What do you think a good balance is here?
  7. I'm shy and can't really sing good so I gotta say I greatly prefer the current set up. Honestly I think this is all a bunch of nonsense fomophobia. Being afraid of the idea missing out, that there's something out there that other people are enjoying and you could enjoy too, to the point where you crave the loss of all of the expanded possibilities that we've had, casting those as destructive things when you're still totally able to get people to sing in a room together. That's dumb.
  8. oh huh I was so sure the hints were pointing to Soundmurderer. Like with the whole stuff of him opening for Aphex in NYC and selling that limited edition single at his store, he seemed like a really likely candidate.
  9. taphead

    AE_STORE Is Live!

    https://www.ascap.com/repertory#ace/writer/178769403/BOOTH SEAN ANTHONY the ae_live stuff does look like it is registered differently.
  10. I ran this image of Taylor Swift in Cats into it and kept making it old until it stopped recognizing the face
  11. pretty sure its gonna be someone lending an American hand
  12. I'm excited for this collab, feels like it's going to be some sort of aural homicide
  13. 1. Michael Pisaro - Nature Denatured and Found Again (4 hours of musique concrete in 5 parts, amazing work with sound, it's long but it's a light listen that goes easy on the ears) 2. Joshua Abrams and Natural Information Society - Mandatory Reality (very cool post-minimalism kind of rock/jazz, recommended for fans of the concept of constancy in music) 3. Sote - Parallel Persia (a cleaner, studio recorded take on the Persian music/electronic manipulation hybrid of Sacred Horror In Design) 4. George Lewis & Roscoe Mitchell - Voyage and Homecoming (George Lewis has been working on this AI performer called Voyager for decades now, it controls a piano here and they have a weird jazz trio. Also features some really cool electronic manipulations on the first track) 5. AE_LIVE 6. Lifted - 2 (this is music constructed from studio improvisation, so there's all sort of weirdness but it's been edited to keep things focused. Co La and Motion Graphics are in this group so naturally the production is amazing) 7. Bass Clef - 111 angelic MIDI cascade (some high detail great sounding synthesis, I love the way on the track Dear John what starts out as a little flutter in the sound at the end of the phrase gets stretched out into a whole rhythm, lots of really great touches like that) 8. Myriam Bleau - Lumens & Profits (cool stuff that's sort of like Mark Fell except the music is generated from spinning tops or something so the tempo is all over the place) 9. June Chikuma - Les Archives (archival reissue release of music from the composer of many of the Bomberman games, including the celebrated Bomberman Hero soundtrack. It does include a 7 inch with two completely unreleased songs) 10. Nebulo - ASCII SNAKE (a bonkers computer music IDM EP)
  14. jesus christ do you guys ever talk about anything else
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