Music Writings :: Remember, remember, the velvet November


node:	Music Writings
template:	3
parent:	Hudba
owner:	pht
viewed by:
created:	29.12.2009 - 19:55:18
updated:	28.01.2010 - 19:20:47

cwbe coordinatez:
101
63528
5092081

ABSOLUT
KYBERIA

permissions
you:	r,
system:	public
net:	yes

ach	0
weirdo	0
pstmn	0
pilier	0
HYPE HOPE	0
total trash	0
out yonder	0
pht	0
tpt	0
Faun	0
suchydom	0
Weaponized C...	0
or.lock	0
chav	0
hadar	0
mwt	0
pikseliahky	4
kyborg bez z...	6
sgt	6
ni	6
militant volf	7
ananas	7
And I swallo...	7
kyberbubus	10
dusanson	11
krokobox gomont	11
didaktikskalica	11
noitt	11
drakh	12
casi_cada_mi...	12
mustard	12
prihoda	13
Odi	14
hilda	16
The Royal Ca...	16
T0m	16
softy	16
luxul	16
tristodesat	16
sndp2r	16
kabal	16
palino	16
asebest	16
maioiam	21
shulo	21
1744	21
touch me i'm...	22
tatratank	22
plaintext	31
mleczko	31
aschenblond	37
gasp	37
EGA	37
iskra	48
stanci satanci	49
q123	49
618	49
gapa	49
Tibbar	49
nezvucil	51
maximus	52
chaos walk w...	54
sad&kvet	56
pepsi	58
palinator	59
mzpx	61
dontbelight	68
vlastos	70
kono	70
struna	74
karol	78
gottlieb	78
Burnout	78
vesnabesna	83
4mood	100
send some love	101

/////////////////////////
/REVIEW
/ANALYSIS
/INTERVIEW
/RANT
/GENRE THEORY
/HYPE FORECAST
/////////////////////////
////MUSIC WRITINGS////

00000101000635280509208109005616

Technopol by Tittingur
released September 29, 2022

In the beginning was a half-truth, the truth was of war and the half-truth was post-war. Fancying the pretensions of its cultural superiority, a continent chose to hide the truth behind ridiculous jargon and the soothing distance of offshored conflicts. Europe wished itself beyond war because it thought the privilege of peace a birthright, just as it refused to understand that post-war was a euphemism for interbellum. Then the truth has set us free.

The delusion was discarded and war was revealed as an inconceivable horror. Almost immediately it turned familiar and virtually comfortable. Novelty songs of drones gutting tanks became a laughing matter and the burning tanks, their crew inside, entertainment. Consequently, a plurality of people started to collectively dream of new stages of the righteous kind of carnage. This happened within weeks.

Our imagination has swollen to the point of loss of consciousness, compounded by the narrative form long in the sways of atrophy. All of this raises the question of to what degree were the years of peace culturally squandered. The art of the previous age prided itself on self-awareness, today we fail to even notice that we no longer recognize ourselves. But we have arrived where we started and our issues were not too complex for expression.

Since no art form generates action, the most appropriate art for a culture on the edge of extinction is one that simulates pain. In these times we shouldn’t produce any other music, none but this, intended to prevent our silence from being misinterpreted.

Слава Україні. Героям слава.

technopol // ws026.

Technopol on 180g heavyweight black vinyl here // streaming platforms

Tittingur = suchydom + mlieko

weltschmerzen // Apart // Together // Always.

00000101000635280509208108997120

Nový album Beyoncé dobre ukazuje, prečo dnes stará hudba vyhráva súboj s novou

Roger Waters nedávno povedal, že je oveľa dôležitejším umelcom ako napríklad Drake alebo The Weeknd. Zožal za to veľa kritiky, veď každý umelec, ktorý sa takto okato chváli, je trápny. Teraz sa nebudeme zaoberať jeho výrokmi o Ukrajine, ktoré jeho fanúšikom robia oveľa väčšie vrásky než samochvála, no v tomto bode má pravdu. Drake a The Weeknd majú síce na streamovacích službách niekoľkonásobne viac poslucháčov mesačne, no hudba Pink Floyd s nami zostane navždy.

Svedčia o tom aj aktuálne štatistiky. Podľa prieskumu americkej spoločnosti Luminate, ktorá monitoruje hudobný priemysel, súčasná tvorba stráca pôdu pod nohami. V USA sa celková spotreba novej hudby, čiže jej počúvanie alebo kupovanie, prepadla v prvom polroku 2022 o 1,4 percenta, kým archívna hudba z katalógov narástla o 14 percent.

Očakáva sa, že na konci roka sa tento rozdiel ešte zvýši. Aj keď 1,4 percenta nepôsobí ako nejaké veľké číslo, v praxi už má svoje následky. Do americkej Top 100 sa tento rok zatiaľ dostalo len 102 nových albumov, vlani v lete tam bolo o 24 titulov viac. A tento rok sa zatiaľ predalo o dva milióny titulov menej ako v tom predchádzajúcom.

Staré je nové
Je to tým, že nová hudba nestojí za veľa, alebo je za tým niečo iné? Dôvodov je, samozrejme, oveľa viac, ale jedným z nich je spôsob, akým dnes ľudia konzumujú hudbu. Veľké vydavateľstvá žijú zo streamovacích služieb. Vďaka Spotify alebo Apple majú ľudia prístup k miliónom piesní. Hudobníci síce už roky poukazujú na to, že ich tento model ožobračuje, no v skutočnosti to môže byť ešte horšie. Otázne je, či ich bude na streamovacích servisoch vôbec niekto počúvať.

Viac ako sedemdesiat percent z celkového počúvania na streamoch totiž zaberajú katalógové piesne. Zvyšok patrí novej hudbe, ktorá má čoraz väčší problém presadiť sa v konkurencii nesmrteľných hitov, ktoré nepočúva len stará generácia, ale vo veľkom sa k nej pridávajú aj mladí.

Predtým hlavný koláč všetkých príjmov v hudobnom šoubiznise tvorila jednoznačne nová tvorba. Staré veci vychádzali v reedíciách. Občas sa stalo, že vďaka úspechu nejakého filmu vystrelil starý hit z 50. alebo 60. rokov. Keď sa objavil streaming, nikto nemohol tušiť, že raz sa staré aj nové piesne ocitnú spolu na jednej kope a začnú súperiť medzi sebou. Starí dávajú zákonite prednosť osvedčeným menám, no pre mladých sa hranica medzi starou a novou hudbou zotiera. Všetko je pre nich nové a všetky piesne stoja na rovnakej štartovacej čiare. Ukazuje sa, že staré veci často tento pomyselný súboj vyhrávajú. Sú jednoducho lepšie.

Stačí sa pozrieť na nedávny obrovských úspech britskej speváčky Kate Bush s jej pesničkou Running Up That Hill. Skladba z roku 1985 sa objavila v populárnom seriáli Stranger Things, čo malo za následok, že vyhrala hitparády vo viacerých krajinách sveta. Veľmi dobre sa napríklad darilo aj piesni Master of Puppets od Metallicy, ktorú tiež zaradili do tohto istého seriálu a nakoniec sa dostala do Top 40.

Pokračujme ďalej. Legendárny album Rumours od skupiny Fleetwood Mac je v súčasnosti jedným z najpredávanejších albumov tohto roka. Mánia, ktorú rozpútal životopisný film Bohemian Rhapsody, má za následok, že skupina Queen je na streamoch najpočúvanejšou rockovou kapelou sveta a ich výberovka Greatest Hits sa nedávno v Británii stala najpredávanejším titulom všetkých čias.

Ešte absurdnejšie vyznieva fakt, že reedícia albumu Goats Head Soup minulý rok vyhrala britskú hitparádu. Nie je to tým, že by bol tento album z roku 1973 až taký úžasný, veď v diskografii The Rolling Stones patrí skôr k tým horším, ale určite je za tým nostalgia. Stará hudba je in a prináša peniaze. Legendy Bob Dylan, Bruce Springsteen alebo Paul Simon predali práva na svojej piesne za stovky miliónov dolárov rôznym spoločnostiam, ktoré sa venujú skupovaniu katalógov významných umelcov. V dnešnom modeli streamovacích servisov vidia logicky zdroj veľkých príjmov.

Beyoncé a Sklíčka dotykov
Otázka, prečo je súčasná popmusic umelá ako lyžička z plastu a vydrží asi tak dlho ako igelitka z Tesca, má milión odpovedí a je témou na ďalší článok. Od toho, že sa robí na laptopoch, že sa z nej úplne vytratil ľudský element, že takmer všetci používajú tie isté počítačové programy, že hudba sa nenahráva v normálnych štúdiách, že do propagácie skladieb sa vráža viac snahy ako do ich skladania, že mnohí vydavatelia sa riadia skôr podľa algoritmov a nie podľa čuchu na hity, až po to, že dnešné hity sa skladajú na základe toho, aby zaujali v pätnásťsekundovom klipe na Tik-Toku.

A to sme pri vymenovávaní problémov stále len na začiatku. Vôbec to neznamená, že nová hudba je zlá, len je v tom obrovskom streamovacom močiari oveľa ťažšie rozpoznateľná.

Ďalším problémom súčasnej popmusic je fakt, že piesne vznikajú ako diela viacerých skladateľov, no vo výsledku to až tak nepočuť. Zoberme si napríklad nový album Renaissance od americkej speváckej divy Beyoncé. Ten síce zožal pochvalné recenzie, no kritici žasnú, prečo táto inak nesmierne talentovaná hudobníčka potrebuje celú armádu songwriterov.

Na šestnástich piesňach sa podieľalo celkovo 104 (!) rôznych autorov. Je to úplne závratné číslo v porovnaní napríklad s Abbou, kde si vystačili dvaja skladatelia. Len pod skladbou Alien Superstar je podpísaných až 24 mien. Väčšinu z nich tvoria autori hudby, ktorá bola vysamplovaná zo starších nahrávok, ale aj tak ide o absurdné číslo.

V živote platí, že viac hláv, viac rozumu, ale v hudbe to tak nefunguje. Má to skôr opačný efekt. Beyoncé bola už v minulosti terčom vtipného meme, ktoré porovnávalo jej skladbu Run The World (Girls) s hitom Bohemian Rhapsody. Pod touto náročnou a sofistikovanou skladbou je podpísaný len jeden autor a producent, pod jednoduchou rytmickou vecou a ešte jednoduchším popevkom Beyoncé šiesti autori a štyria producenti!

Okrem toho jej Renaissance je tanečný album, ktorý do značnej miery stojí na starej hudbe. Napríklad úvodný singel Break My Soul vysamploval hit Show Me Love z 90. rokov od speváčky Robin S. Na iných miestach zase jasne počuť Donnu Summer, Right Said Fred alebo La Roux. Beyoncé dokonca musela odstrániť z albumu krátko po vydaní melodickú ponášku na hit Energy speváčky Kelis, ktorá sa sťažovala, že sa jej na použitie nikto nespýtal.

Samplovanie patrí do jej tvorby rovnako ako spievanie, veď na týchto základoch stojí hip-hop aj moderné r’n’b. Je to umelecká disciplína, ktorú dnes už nikto nespochybňuje. Zoberiete si dve hudobné témy, pomiešate ich a vznikne z toho niečo tretie. Pri Beyoncé to tak nefunguje vždy. Jej skladby sa použitím známych melódií skôr snažia navodiť dojem, že počúvame niečo povedomé, familiárne, a tým sa snažia udržať pozornosť. Je to šikovný trik. Dá sa na to tancovať aj spievať, je to svieže, ale z hudby sa vytráca originalita. Niet divu, že mladí ľudia nakoniec skôr siahnu po pôvodných zdrojoch, z ktorých Renaissance vychádza, či už ide o pesničky I Feel Love alebo I’m Too Sexy.

A tak deti na základnej škole skôr počúvajú stariny, ako napríklad Ricka Astleyho, Backstreet Boys alebo Ty, ja a môj brat (Sklíčka dotykov) od skupiny Modus. Kedysi sme si z týchto pesničiek robili vtipy, no v porovnaní so súčasnými hitmi znejú ako skladby, ktoré majú hlavu a pätu. Decká nie sú hlúpe a vyberajú si zo streamovacieho koláča len to najlepšie. Nezožerú všetko, čo im dospelý svet ponúka.

source

00000101000635280509208108845371

Ďalší Futurit je v stredu 24. februára. Tentoraz o hyperpope.

Hyperpop je nový žáner, nežáner: hlučná, drzá, ironická hudba Generácie Z.
Vznikla na internete, žije na internete, a nenápadne ovplyvňuje mainstream.
Začala to Sophie, pokračujú 100 gecs, Charli XCX, a desiatky nádejí na soundcloude.
Dozviete sa viac aj o tom, prečo to môže byť zvuk blízkej budúcnosti. Pozývam!

Livestream od 19. tu: https://www.facebook.com/events/1075036339664604

00000101000635280509208108829075

pre pamatnikov, po sto internetrokoch raritny rozhovor s HRO carlesom
https://c10.patreonusercontent.com/3/eyJhIjoxLCJwIjoxfQ%3D%3D/patreon-media/p/post/42674121/b00932692563478db8847ec8e3495700/1.mp3?token-time=1610889099&token-hash=FfM6-vhOOPM-zg9NiA5WjExg8rgjW8lAeTjJMDN6Upg%3D

00000101000635280509208108818198

aha, hudobné prednášky Futurit stále pokračujú.

Vo štvrtok 17.12. rozprávanie o tom, ako rafinovane funguje K-pop, a či nás spoločne s reggaetonom čoskoro prehlušia.
K tomu spomienka na tri prelomové štyridsaťročné albumy: Remain in Light, My Life in the Bush of Ghosts a Fourth World 1 pánov Eno/Byrne/Hassell.
Naživo aj online. Pozývam!
https://www.facebook.com/events/646351739365820/

00000101000635280509208108769865

rozbehli sme s kamosmi vinyl-only label pre experimentalnejsie ladenu hudbu romantickych tonov. volame sa weltschmerzen.

doposial sme vydali 3 releasy > 1) nasu rovnomennu kapelu weltschmerzen; 2) nizsie spomenuty release od misa ormosa a.k.a. ujka - lo-fi noci; 3) treti album epiphany. dokonca roka chystame este 1-2 releasy.

budeme radi ak vypocujete/podporite/zafeedbackujete tu >>
https://weltschmerzen.bandcamp.com/

++ vysiel o nasich doterajsich pocinok clanok, kde vysvetlujeme pozadie labelu >>
https://dennikn.sk/1961577/ked-uz-to-odpalit-tak-vo-velkom-povedali-si-a-s-novou-kapelou-zalozili-aj-vydavatelstvo-pre-romanticku-hudbu/?ref=list&fbclid=IwAR0HkXk_kb7it00lhw6lwjwSb7h3B7GImhezdXu-vKcrYaa97QUqIcpiTwI

++ sme viac nez otvoreni vydavaniu podobne ladenych veci, takze ak sa podobnej hudbe venujete, budeme velmi radi, ak sa nam ozvete: weltschmerzen.label@gmail.com

vdaka!

00000101000635280509208108739791

Jak zní český dungeon synth a kdo ho u nás představuje? Exkurs mezi domácí představitele žánru, který těží z dark ambientu a spojuje fanoušky black metalu, Dračího doupěte a starých videoher, nás zavede na zříceniny hradu Dršťka – a přirozeně také na Bandcamp a YouTube.

Vřesoviště se v zimním odpoledni až nepřirozeně zelenají. Cesta vede lesem proti proudu potoka, který je třeba ve správný moment překročit. Po chvíli chůze houštím se odhalí malá soutěska, nad níž se kdysi, ve 14. století, tyčil hrad Dršťka. Podle drobné šlechty, která se na něm střídala, nesl také jména Ronšperk nebo později Losumberk. Na místo nedaleko vesnice Skořice v západních Čechách se opakovaně vrací hudebník působící pod přezdívkou Mhor. Věnuje se okrajovému žánru dungeon synth, který evokuje středověkou atmosféru a připomíná hudbu k fantasy videohrám. Tvůrci dungeon synthu se u nás dají spočítat na prstech jedné ruky, ale celosvětově internetová komunita čítá tisíce jmen. K fanouškům žánru patří metalisté, syntezátoroví nerdi, ale i medievalisté nebo hráči her s fantasy tematikou. Současný zájem o dungeon synth ostatně odpovídá popularitě fantasy obecně, v čele s Hrou o trůny nebo Zaklínačem.

Dungeon synth může posloužit jako hudební kulisa k fantasy příběhům a mnoho lidí ho využívá jako doprovod k hraní Dračího doupěte. Přestože se této produkci v uplynulé dekádě dařilo především na Bandcampu, rozvaliny hradu Dršťka jsou pro povídání o žánru příhodnější. Hrad je od 16. století opuštěný, stopy po zřícenině v podobě zbytků opevnění objevíte jen na jednom z vrcholků skály a zbytek si musíte domyslet podle nákresu na jedné z informačních cedulí. A fantazie je potřebnou výbavou i pro poslech dungeon synthu, který pouze načrtává scenerie, ale děj už si domýšlí posluchač. „Je až škoda sahat po nějakém zahraničním fantasy, když žijeme v zemi s tak bohatou středověkou stopou,“ tvrdí Mhor, třicátník s tváří zarostlého poustevníka, zatímco vytahuje z pouzdra křesadlo a rozdělává v tábořišti oheň: „Stojíme na místě zříceniny a všechny ty příběhy si můžeš představovat.“

00000101000635280509208108702080

Search for alienation

Among connoisseurs of fucked up, intoxicating sounds, the record label Blackest Ever Black was appreciated like no other. At the end of the year 2019 it was suddenly closed. We look back on a label that musically determined the 2010s like few others.

Caution is mandatory when a label dwells on claims of otherness and original release policy. More often than not, those claims remain what they are without actual brave, new, unconventional releases substantiating them – true trailblazers rarely appoint themselves. When Kiran Sande founded Blackest Ever Black almost exactly ten years ago, his motives therefore were as modest as they were honest: »Guilt, envy, revenge. Those aren’t the sustaining forces of the label, of course, but they were certainly what brought it into being. There were other factors too: I mean, Blackest Ever Black is nothing if not the sound of one man’s struggle to give up smoking«, the ex-editor-in-chief at FACT Magazine remembers in an interview with Resident Advisor. Central for the formation and development of the label were, besides Sande himself, two London-based producers named Joe Andrews and Tom Halstead, whose mystically distorted dark ambient as Raime made a lasting impact on the BEB founder – and thus influenced the curation of the imprint.

00000101000635280509208108691158

Trap world: how the 808 beat dominated contemporary music

In the 2010s, the trap beat became one of the defining signatures of contemporary music. Simon Reynolds traces its migration from the streets of Atlanta to the pop charts, spawning scenes across the globe.
https://theface.com/music/trap-music-gucci-future-thug-travis

do dekadovej trap retrospektivy sa vosiel aj fck them a opak dissu

00000101000635280509208108672802

https://pitchfork.com/features/article/2010s-rise-of-conceptronica-electronic-music/

A quest for another sort of authenticity—the paid-for privilege of being present at an Event—fuels what Amnesia Scanner call “the experience economy” of today’s festivals. Just as much as bottle-service raves on cruise ships or EDM gatherings like Electric Daisy Carnival, experimental music festivals are selling exclusivity and a sense of occasion. There’s a seemingly ever-growing number of these gatherings—Unsound, Flow, RMBA, Supernormal, Decibel, Nuits Sonores, Supersonic, and many more—along with all-year-round arts institutions like Somerset House in London. Some are funded by national or local government, or by arts and culture ministries; others draw financing from corporate sponsors.

“Europe is so full of these festivals now, and it’s very often where our music happens,” says Amnesia Scanner’s Haimala. “Kids don’t necessarily have so much money that they would buy individual tickets to concerts by our kind of artist, but they will invest in a festival ticket. So that’s where the competition started between artists—everyone trying to do more ambitious shows.” He points out that many of these festivals have music by night and a conference element by day, with panels and lectures. This discourse in turn feeds into the theory-buzzing roil around conceptronica. The festival circuit, adds Kalliala, “has created a demographic that can be marketed to.”

...

But you can also sense some of the same problems that afflicted post-punk four decades ago, especially in its later years, when it reached an impasse. With conceptronica, there can be a feeling, at times, of being lectured. There’s the perennial doubt about the efficacy of preaching to the converted. That in turn points to a disquieting discrepancy between the anti-elitist left politics and the material realities of conceptronica as both a cultural economy and a demographic—the fact that it is so entwined with and dependent on higher education and arts institutions.

As fascinating as conceptronica can be, something about it always nagged at me. If its subject, in the broadest sense, was liberation, why then did I not feel liberated listening to it? It rarely provided that sense of release or abandon that you got with ’90s rave or even from more recent dissolute forms like trap, whose commodity-fetishism and sexual politics are counter-revolutionary but which sonically brings the bliss. The parallel is truest with post-punk’s critical commentary on rock itself, the way it refused the simple freedom and cutting-loose of ’60s and early ’70s rock in favor of tense, fractured rhythms that expressed alienation and unrest.

00000101000635280509208108617898

AUDINT—Unsound:Undead
https://www.urbanomic.com/book/unsoundundead/

For as long as recording and communications technologies have existed, the potential of the vibrational continuum that connects sound to infrasound, ultrasound and other inaudible frequencies has been evoked to access anomalous zones of transmission between the realms of the living and the dead.

For the past ten years the AUDINT group has been researching these peripheries of sonic perception (unsound) and the portals they open to new dimensions, activating a continual intersection between fiction and fact, and pressuring thought to become something other than what it has been. The 64 short essays in this volume probe how unsound serves to activate the undead.

Contributors from a variety of disciplines chart these warped zones, mapping out a zigzagging timeline stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), and speculatively extending into 2057 (the emergence of holographic and holosonic phenomena).

With texts by: Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

This full-spectrum audio trailer for Audint—Unsound:Undead features some of the sonic phenomena explored in the book, and pays tribute to some other spectres still close to us.

00000101000635280509208108581345

album je, a asi vzdy ostane, dokonalym mediom/nosicom. nenavidim tuto singlovu dobu, so zabudovanymi soundcloud export funkciami v akomkolvek dawku. vsetko je pominutelne. dnes vydaj a zajtra zabudni. nerozmyslaj nad tym, nedavaj tomu kontext, naco. tvoji posluchaci maju aj tak attention span podenky. hlavne ze ta 808cka dobre moduluje. (EPcko je na tom len o trochu lepsie). ziadna dobra hudba na tomto svete nevznikla za par hodin.
everything of value takes time.

milujem albumy. milujem to, ked piesne davaju zmysel v naslednosti, kontexte. uplne najradsej mam albumy, z ktorych jednotlive tracky nemusim mat ani az tak rad osve - ale v kontexte toho, co hralo pred nimi a pride po nich - su extremne dolezitym kusom skladacky.

neexistuje idealny pocet piesni na albume. albumy by sa mali skladat tak, aby na nich nebola vata. to vsak neznamena, ze kazda skladba ma mat singlovy potencial. dobry album potrebuje tracky, ktore daju posluchacovi vydychnut. inak je album prepchaty, nezrozumitelny, prilis. v tomto zmysle je vata potrebna, ziaduca, a teda prestava byt vatou. (v singlovom svete na vatu zabudni).

rokmi sa viac a viac posuvam k hudobnym projektom, ktore su nadzanrove. kedysi som vedel celkom presne zhrnut, ake zanre aktualne pocuvam a rozumiem tejto evolucii, ktorou som musel prejst. dnes mi najviac hovoria albumy a umelci, kde sam upne nechapem, co sa deje. je to mix vsetkeho a nicoho. matematiky, emocie, nepredvidatelnosti. idealne vsetko prehnane a prehrotene na tisic. musique concrète, do ktorej sa dnes nebojime vratit tradicnu muzikalitu. s lepsim zvukom.

nemam potuchy, kam sa to posunie dalej. dnes sa takato meta hudba proste tvori. a ak sa mi podari najst nieco, co ma z nej oslovi, pocuvam ju, a som fascinovany, a hrozne si to uzivam. neviem si predstavit, co budem pocuvat o 7 rokov. neviem si predstavit, co bude vznikat. tesim sa.
(kedysi by som neveril, ze dokazem byt pri texte o sucasnom smerovani hudby takto optimisticky. well, times change).

// dlhotrvajuce myslienky zhrnute pocuvajuc vessel - queen of golden dogs.

00000101000635280509208108533975

Viete, že tu bol Kode 9?
http://fm.rtvs.sk/rubriky/hudba_fm/171931/rozhovor-s-kode-9

Rozhovor je trocha dlhší a treba scrollovať, ale dá sa aj vypočuť.
Rozprával o tom, ako vznikala londýnska basová scéna, ako funguje nezávislé vydavateľstvo, o Burialovi, ale aj všeličo nehudobné, čo to všetko prepája a dáva návod ako uvažovať o súčasne hudbe.

00000101000635280509208108508307

Toby Heys: SONIC, INFRASONIC, AND ULTRASONIC FREQUENCIES: The Utilisation of Waveforms as Weapons, Apparatus for Psychological Manipulation, and as Instruments of Physiological Influence by Industrial, Entertainment, and Military Organisations.
http://researchonline.ljmu.ac.uk/6092/1/543845.pdf

This study is a trans-disciplinary and trans-historical investigation into civilian and battlefield contexts in which speaker systems have been utilised by the military-industrial and military-entertainment complexes to apply pressure to mass social groupings and the individuated body. Drawing on authors such as historian/sociologist Michel Foucault, economist Jacques Attali, philosopher Michel Serres, political geographer/urban planner Edward Soja, musician/sonic theorist Steve Goodman, and cultural theorist/urbanist Paul Virilio, this study engages a wide range of texts to orchestrate its arguments. Conducting new strains of viral theory that resonate with architectural, neurological, and political significance, this research provides new and original analysis about the composition of waveformed geography. Ultimately, this study listens to the ways in which the past and current utilisation of sonic, infrasonic, and ultrasonic frequencies as weapons, apparatus for psychological manipulation, and instruments of physiological influence, by industrial, civilian, entertainment, and military organisations, predict future techniques of sociospatialised organisation.

vyzera to byt seriozny pocin ale trochu zapadnuty, nevydany, s malo odkazmi, z 2011 2 roky po sonic warfare neviem nakolko nadvazuje alebo opakuje

00000101000635280509208108479242

Hľadám obrázok/infografiku hudobných žánrov.

Je to taký dlhý obrázok (na výšku), v ktorom boli žánre zoradené do kategórii od tých „najťažších“ po „najľahšie“ – „od martial industialu po top 40“.

Bolo to tu pred pár rokmi. Také isté existuje aj so spisovateľmi.
Neviem to nájsť. Poradíte?

00000101000635280509208108443487

http://www.quasifantasia.org/
Quasi Fantasia is a new publishing project exploring the intersection of music and politics.

There are fewer and fewer outlets willing to publish work that situates music culturally and politically, or work that approaches these questions from a radical perspective. There are even fewer that approach music through the lens of radical theory, or with the rigour of real cultural analysis.

We believe that music has the potential to prefigure a new world, and that it is the job of the critic to locate the transformative potential within culture.

To that end, we're opening a call for pitches. The first part of the project will launch early in 2018, and all submissions will be paid.

Ideas we are interested in include:

The political content of all music, whether explicit or otherwise
New modes of production and distribution of music
New modes of production and distribution of music criticism, and the ways in which it is funded
The democratic potential of music, and the subverting of the performer/listener dynamic
The politics of sound itself

Please send pitches to pitches@quasifantasia.org

Thank you.

+++

Quasi Fantasia is a loose collective of writers based in the UK and US. We welcome submissions from around the world, and particularly from groups and identities that are under-represented in mainstream journalism. We are also happy to consider submissions from people in the broader music industry, including those in business and technology.

00000101000635280509208108440703

dobrý kanál, francúzsky skladateľ robí hudobnú analýzu zaujímavých a obvykle dosť komplexných kúskov s pestrým výberom, všetko od bacha cez weberna, ferneyhougha, stockhausena až po beefhearta, vysvetľuje skladby po častiach a patternoch + pozadie ich vzniku atď. plus rozhovory s hudobníkmi, ktorí hrali na cpt. beefheart - trout mask replica vysvetľujúce, ako oná obludnosť vznikala.
https://www.youtube.com/user/temporalfissure/videos

×÷ßßß$ˇ~[☼◙ş→☻ü84ó♀ÇüŮń§►♫☺♀♂ć☺<ˇ

00000101000635280509208108332475

Re-Engineering Hegemony: Glass Bead in conversation with Mat Dryhurst, Holly Herndon and Alex Williams

vyborny rozhovor po trase hudba-umenie-technologia-infrastruktura-l/acc politika-buducnost

"We are obsessed with YouTube stars, not always for the quality of the work being made, but for how distant the rules of engagement are with anything that has existed previously in an arts context. I see most contemporary artists now as simply curators of phenomena that they have witnessed existing in the real cultural battlefield—snippets of something happening in Eastern Europe, a font from here, a reference to an obscure YouTube trend from kids with cell phones in Chicago. This is an indeterminate, prostrate state—one that normally ends in a conclusion of “IDK WTF to do. There is just too much, but this looks nice.”

The challenge is to not simply observe this world from the outside, and congratulate ourselves for the conversations we follow, but to participate within that culture and exercise some of the ideas and models we believe in within an arena that has legitimate impact. This is really hard, but ought to be the goal."

...

"We have found enough ways to create and exchange waveforms. I find that pursuit quite boring. The exchange of time and context specific gestures is at a premium, and I think finding a way to participate and complicate those exchanges is of paramount importance.
I also think that algorithmic music is a distraction. What I cherish about music’s power is its humanity and live-ness. I have said for some time that I think the next great rupture in musical culture (equivalent to the establishment of the independent distribution systems of the eighties and nineties) will be a new radical assertion of independence online—not a hermetic retreat, but a community of artists who learn to be faster and more vital than the content mills; artists who self-host and experiment with the means of dissemination so as to make the waveform economy look geriatric. I see traces of it happening and get very excited to think about what it might turn into with the right momentum."

0000010100063528050920810833247508332488

Mi to pripomenulo ako som kuberbubusovi pisal ze preco sa umelci spoliehaju na korporatne platformy typu youtube, twitter, facebook, google blogger a su potom strasne prekvapeni ked korporat sktrne co sa nehodi. A co naozajstny self-hosting znamena (minimalne vlastna domena registrovana na seba).

Historia, meretrix vitae.

000001010006352805092081083324750833248808333146

nielen umelci ale vpodstate kazdy, a preto lebo je velmi narocne az nemozne dostacujuco nahraditi nimi ponukanu funkcionalitu. selfhosting vid milion projektov okolo /r/rad_decentralization a platform cooperativism, ale vacsinou len pokusy

00000101000635280509208108284671

In COUM Transmissions the future members of Throbbing Gristle would intensely interrogate the nature of art and performance, along with testing their own experiential limits, across almost a decade of unique 'actions'. Join us on a journey through their strange world where their compulsion to find a pure and honest form of expression saw them tearing up taboos, severely unsettling the establishment on the way. Images thanks to the Tate Archive / Cabinet Gallery.

more

00000101000635280509208108282733

RIP
http://repeaterbooks.com/uncategorised/mark-fisher-1968-2017/

Nedavno vyslo (repeater je pokracovanie Zer0 books)
http://repeaterbooks.com/books/the-weird-and-the-eerie-mark-fisher/

0000010100063528050920810828273308548194

do dvoch mesiacov by malo vyjst toto:
https://repeaterbooks.com/product/k-punk-the-collected-and-unpublished-writings-of-mark-fisher-2004-2016/

0000010100063528050920810828273308283610

https://theoccupiedtimes.org/?p=12841
http://crackmagazine.net/article/music/mark-fisher-interviewed/
https://www.urbanomic.com/mark_fisher/

00000101000635280509208108169476

https://twitter.com/PlaceYourHands

00000101000635280509208108119072

Oneohtrix Point Never talks his 13 favourite albums

00000101000635280509208107923074

review noveho albumu od Jamie Xx na Boomkat.com ma totalne dostalo:

"Jamie xx practises safe raving with his debut solo album proper, following a 2011 collaboration with Gil Scott-Heron and production as part of The xx. 'In Colour' posits Jamie as the pre-eminent posh soul boy, lifting and massaging inspiration from the rich heritage of late '80s + early '90s London dance culture and channelling it into a pop-ready format palatable to Radio 1 daytime tastes and festival soundtracks. The putative "soul" of rare groove, boogie, hardcore and early jungle is sucked out and spliced with vocals in feathered arrangements ripened up for students and yummy mummys alike - all under one roof. From the deflated hardcore of 'Gosh' to the trudging 'Girl', it's as seductive as a Waitrose fridge on a warm day, infused with exotic tropical reference points in the steel drums of 'Obvs', mixing the suburban Breaks of latter-day Chicane and Marine Parade with woolly chords right out of a Lamb classic in 'Hold Tight', or nodding to seminal Joss Stone in 'Loud Places'. Oh, it's going to be a great summer, we can just feel it."

LOOOL

00000101000635280509208107886758

4,2 mil. pozretí na youtube znamená minimálku v US; na spotify 1,1 mil.
http://www.factmag.com/2015/04/10/digital-music-streaming-revenue-infographic-2015/

00000101000635280509208107865722

future instruments 2214

...

Put most crudely for the fretfully hierarchical minds of 2214, Gan is a cross between a synthesizer, a record collection, and a game of golf. Taking its name from regions of ancient China and its language, old acronyms for telecommunications networks, the now-inundated villages of the Maldives and a childlike slang for “game,” Gan is both a musical instrument and a way of listening. It sounds like just about anything you can imagine, and most of what you can’t. To play Gan you need to visit a Gan Field with some smart paper (use your own or pick some up for free at the gate) running the necessary software. Rather like a park, the Gan Field is an attractive, three-dimensional area filled with grassy hills, sculptures, and unusual architectures. (One of the most popular ones is located half a mile above Vancouver, but its waiting lists can be long.)

The dimensions and sectors of the Gan Field correspond precisely to certain musical changes, and your smart paper is the map. Doubling as the membrane of a speaker, it always plays continuous loops of between ten seconds and ten minutes whose characteristics depend on where you are on the field. As you move through it (as an individual or in teams) and discover new areas, the loop accordingly changes and develops like a composition, and you can save the results.

There are also random variations in the sonic make-up of the Gan Field from day to day, known as “the weather,” but some elements always remain the same. What’s more, on the Field you can find and use pre-existing loops and recordings, interact with the other Gan players you meet as you roam, listening to and drawing on their loops, and employ props and vehicles for various compositional purposes. Gan is a musical instrument you walk around inside.

00000101000635280509208107857198

https://en.wikipedia.org/wiki/Evolutionary_musicology

An introduction to evolutionary musicology

Abstract

In this introduction to the new field of evolutionary musicology, we see that thestudy of music origins provides a fresh and exciting approach to the under-standing of human evolution, a topic that so far has been dominated by a focuson language evolution. The language-centered view of humanity has to beexpanded to include music, first, because the evolution of language is highly inter-twined with the evolution of music, and, second, because music provides a spe-cific and direct means of exploring the evolution of human social structure, groupfunction, and cultural behavior. Music making is the quintessential human cul-tural activity, and music is an ubiquitous element in all cultures large and small.The study of music evolution promises to shed light on such important issues asevolution of the hominid vocal tract; the structure of acoustic-communicationsignals; human group structure; division of labor at the group level; the capacityfor designing and using tools; symbolic gesturing; localization and lateralizationof brain function; melody and rhythm in speech; the phrase-structure of lan-guage; parent-infant communication; emotional and behavioral manipulationthrough sound; interpersonal bonding and synchronization mechanisms; self-expression and catharsis; creativity and aesthetic expression; the human affinityfor the spiritual and the mystical; and finally, of course, the universal humanattachment to music itself.
http://neuroarts.org/pdf/origins_intro.pdf
http://monoskop.org/images/b/b1/Wallin_Merker_Brown_The_Origins_of_Music.pdf

0000010100063528050920810785719807886869

jes

×÷ßßß$ˇ~[☼◙ş→☻ü84ó♀ÇüŮń§►♫☺♀♂ć☺<\ˇ

00000101000635280509208107846344

https://soundcloud.com/erbertobossim/erberto-bossim-mord-vorbei-in-mix

axone MUSIC COPYRIGHT and Intellectual property
axone Contemporary music
axone 2step Vs Dubstep
axone forumz
axone NEXT & EXPERIMENTALNE HUDBAE

Technopol by Tittingur released September 29, 2022

Technopol by Tittingur
released September 29, 2022