I really have no words for this one, other than there’s a hilarious APC40 meme happening on the Ableton forums. Is it love? Disdain? The APC as the new “All Your Base” for the Live warping set? Does it really matter?
http://forum.ableton.com/viewtopic.php?f=1&t=116396
It’s good to know that, even as Ableton Live use has spread, us computer music folk are really not normal.
Via Tara Busch on Twitter of AnalogSuicide.
You know that viral, deeply inspirational Britain’s Got Talent clip in which a lone singer bursts the preconceptions and expectations of the whole world, dazzling audiences and bringing people to tears with her talent?
Yeah, okay, so this is pretty much nothing like that.
This is more in the category of self-deprecating artists who aren’t afraid to laugh at themselves, being exactly what you’d expect them to be – and then some. Let’s call it “dorkpop,” intentionally geeky musicians willing to be just the people they are. Three keyboards, and one man with a keytar. (Note that he basically demonstrates in the video why these should be called shoulder-mounted keyboards or something, since the only thing they have in common with a guitar is a strap.)
Artists able to laugh at themselves: always a good thing.
But the really funny thing about this clip is that Simon Cowell apparently can’t laugh. He seems somehow offended by the fact that they don’t take themselves seriously. Mr. Cowell, unable to handle irony?
Well, if Susan Boyle was so heartwarming you needed a dose of irony, here it is.
Via our friends in the UK who themsleves have quite a lot of British talent, MusicRadar (of Computer Music and Future Music):
Simon Cowell bemused by keytar trio
“This is not serious, right?” Evidently Mr. Cowell has quite a bit in common with certain grumpy readers of this site in comments. (You know who you are. We forgive you.)
The Internet, having satisfied itself yesterday with video that faked a Beyonce who couldn’t sing, now imagines news that can. And Steve Reich is proven ahead of his time — again. (Congrats on the Pullitzer – it took them just five decades to notice!)
Yes, Antares’ Auto-Tune plug-in – now so ubiquitous in mainstream, non-audio-engineer knowledge that it’s become a generic description like “Kleenex” – can be applied to everything. (We, um, can only hope these industrious YouTubers are using legally-licensed copies – that is, until Antares releases a 99-cent iPhone app.) And so, hilariously, we imagine a world of news sung hip-hop style.
As it happens, this digital foolery does reveal something deeper. One of the joys of language in general, certainly true of English, is the degree to which musical-like inflection turns our spoken words into songs. In English, these inflections are more decorative than syntactical – good news, as unlike a language like Mandarin, the wrong inflection won’t get you in trouble. But I think a lot of the texture of the music of English-speakers – native and non-native alike – is influenced by the rhythms and melodic contours of our speech. Would Jazz have happened in a country without American English and its regional dialects? Given the sounds of “talking” trumpet mutes, my guess is it would have sounded quite different.
Poor video, but gives you the idea (where’s the official Steve Reich YouTube channel?):
The Auto-Tune News is intentionally silly, of course. But even without digital aids, people have been finding songs in recorded speech. Take composer Steve Reich: without the aid of Auto-Tune, he found surprisingly in-tune sounding melodic fragments in interview recordings for pieces like Different Trains, and later built an entire opera around the technique. (The Cave, with its accompanying video, below.)
Antares, for their part, is keeping a good sense of humor about all of this – and laughing all the way to the bank. There news stream has followed the pop culture references to their product, and even jokingly suggested they would introduce Direct Mind Access Composition Technology on April Fool’s Day. (Don’t laugh too much: I heard composer Jon Appleton, sitting alongside fellow luminaries Bob Moog, Laurie Spiegel, Morton Subotnik, and others, suggest a musical brain hat at a panel on the future of music. I’m happy to actually shut down my mind occasionally, so I don’t entirely understand the appeal.)
Previously:
AutoTune: The Song, a $99 Version (Hide!), and Some History
And here’s part I of Auto-Tuning the news. Daily Show, eat your heart out:
Something has happened with electronic musicians and producers. We’re not confined to the ghetto of electronic sounds any more. You could argue it’s a sign of waning interest in those timbres, but I think it’s something else: people are simply becoming more flexible creative producers, comfortable with acoustic and electrified and synthesized sounds alike.
So, in that spirit, one of my most anticipated albums of this year has been one that’s mostly instrumental and not-terribly-electronic or digital. It’s the March release Saskamodie from Mocky, Somali-Canadian-Yemeni musician. I’ve just begun listening to it, and I’m quite enjoying it. It’s definitely retro, a groovy, poppy reverie that seems more than a little inhabited by the soul of Serge Gainsbourg, who once recorded in the studio in which it was recorded. It’s also effective partly because it fits squarely into the realm of jazz. It oozes warmth and humor, sonically and musically.
In the meantime, Mocky himself has shown us how to market effectively with tongue planted firmly in cheek, as seen in the video above. It’s a dangerous maneuver to attempt – trained professionals only. But by invoking some digital effects and a heavy dose of hyperbole, Mocky I think manages to strike a balance between self-promotion and self-deprecation.
Kasio Kristmas from Jim McKenzie on Vimeo.
Feeling a warm, holiday glow – or is that just nostalgia for simpler times, times when less digital information was needed to capture sound? Bits were real bits; sampling rates were low enough you could count to the top of them. Kids walked uphill through the snow both ways to buy a new Casio keyboard, and they didn’t yet believe Nintendo’s R.O.B. was a gimmick. They had none of your Grand Theft Audio nonsense: they hummed along to annoying tunes and watched sprites dance across the screen like a derezzed Sugar Plum Fairy.
These should put you even more in the mood, then.
8-bit Jesus is a work-in-progress by Doctor Octoroc, applying the style of an NES game to each Christmas favorite – think “Super Jingle Bros.” Unfortunately, the good Doctor’s server has been overwhelmed by holiday cheer, or his server admin has been drinking too much Egg Nog. Anyone got an alternative link? Found at:
8-bit Jesus, the NES themed chiptune holiday album [boing boing Offworld]
8-bit collective, the all-powerful assemblage of chip artists, has their own holiday creation: a virtual musical advent calendar, in which each day is a new tune. Best title yet: “Joy is all up in this B*****.”
8-bit Advent Calendar [8bitcollective]
Fans of 8-bit or newcomers wondering what the fuss is about, Weekend America did a story on the Blip Festival that just concluded here in New York:
Lastly, Bohus Blahut at Retro Thing points to the album Kasio Kristmas, as seen in the video at top. It’s not free, but it does feature freaky-looking fellows dressed as coneheaded aliens. Bohus’ copy is ready for them to add to their press clippings:
With more than a touch of Devo (and that’s a good thing), vintage electronics, and oodles of out and out weirdness, these AA battery powered tunes re-electrify the holiday classics.
Enjoy!
And just to round this out, I’m running this photo by Scott Beale of laughingsquid, because I didn’t photograph my bottle, and because it seems somehow appropriate, and will likely inspire someone’s own 8-bit (or 64-bit) album.
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