|
Register | Blogging | Today's Posts | Search |
|
Thread Tools | Display Modes |
10-01-2021, 04:08 PM | #811 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
The Return of gmusicbrowser!
Such an exciting day! I happened to visit omgubuntu.co.uk and a headline caught my eye from December of 2020 which read, “GMusicBrowser is Back From the Dead with New GTK3 Port.”
This was thrilling news, as gmusicbrowser was my favorite large music library manager for Linux back in 2015. Back then I’d published an article after discovering the application and had described it as, “a robust utility with impressive handling for libraries in excess of 100,000 tracks, and best of all – a fully-customizable interface.” Sadly, development of the application halted several years ago and the Ubuntu Software Center retired it in favor of the simpler but powerful Clementine application. If you’re curious, Slant.co published a detailed side-by-side comparison of the two applications here. Searching the web for more news on the release I found an article from March 1, 2021 on Linux Uprising titled, “gmusicbrowser Music Player Sees First Release In More Than 5 Years.” While not available from the Software Center, installation is manual but fairly simple for Ubuntu users by downloading the .deb package at gmusicbrowser - download. This however was only half the battle for me, as I had painstakingly crafted a custom application layout for gmusicbrowser to let me browse my library by folder structure and by multiple points of metadata all at once. I dove into my archived documentation and was elated to find that I’d taken detailed notes on how to install the custom layout I loved step by step. From my notes, I saw that the layout mine was based upon was titled “laiteAraknoid2” - one of several layouts included in a package formerly available from vsido.org. Sadly, the download link from 2015 was long-since broken, but ever-the-archivist, I found that I had downloaded and saved the package to my local file system along with an instruction guide I'd written on how to restore it! I followed my six-year-old instructions to the letter, and was overjoyed when the next launch of gmusicbrowser instantly restored my custom tweaked version of the layout along with all my folder configuration and user settings! The entire process took fewer than five minutes! All that was left to do was rescan the library for all the content I’d added in subsequent years. Three hours and 45 minutes later I was all synced up and ready to go. Here is a snapshot of the layout with one of my primary audio folders selected. I have a little tidying up to do with some of the metadata but that’s an advantage of this layout scheme, as I can quickly identify and correct stray tags. This will empower me to explore my library anew! Such a great way to begin the fall season!
__________________
Quote:
Quote:
Quote:
|
|||
11-13-2021, 07:23 AM | #812 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
"This is a journey into sound."
"This is a journey into sound."
Just dropping in for a quick collection update - My holy trinity of 1987. The two singles were featured prominently on mash-up culture mixes and retrospective surveys of early hip hop / dance music. The full-length LP is the rare debut album by The KLF, (Kings of the Low Frequencies / Kopyright Liberation Front), then performing as The Justified Ancients Of Mu Mu, and would be impossible to release in today's litigious music market. They faced similar challenges in August of 1987, when The Mechanical-Copyright Protection Society ordered The JAMs to recall and destroy all unsold copies of the record. The JAMs made a bonfire in the Swedish countryside and burnt the LPs. Pictured: - Eric B. & Rakim – "Paid In Full (Seven Minutes Of Madness - The Coldcut Remix)" - The Justified Ancients Of Mu Mu (The KLF) – 1987 What The F***'s Going On? - Bomb The Bass – "Beat Dis (Extended Dis)" Interestingly, both "Beat Dis" and "Seven Minutes" contain samples of "Train Sequence" by Geoffrey Sumner (1958) and "Pump That Bass" by Original Concept (1986). And all three of these releases were first issued in 1987. Furthermore, M | A | R | R | S' hit, "Pump Up The Volume," also released in '87, shares its namesake titular sample with the Coldcut "Seven Minutes" mix, each lifting the spoken-word vocal from Eric B. and Rakim's "I Know You Got Soul" from their debut Paid In Full LP released earlier that same year. Whosampled dot com cites no fewer than 437 songs that went on to sample the classic hip hop track. The Coldcut Remix is filed under Hip-Hop, "Beat Dis" is House/Breaks, and 1987 is Leftfield/Plunderphonics. Each is a milestone in the history of DJ culture. #keepthisfrequencyclear
__________________
Quote:
Quote:
Quote:
|
|||
12-06-2021, 08:22 AM | #813 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
Thoughts on My Research to Close Out the Year
“If you copy from one author, it’s plagiarism, but if you copy from many, it’s research.” -- Wilson Mizner Friends, I've been working on writing a book, and I'd like your insight. For the last several years, I've been compiling and constructing a vast library of materials on a range of interrelated subjects. These include but are not limited to the following: Privacy Rights, Copyright Reform, Copyleft, Open-Source, Creative Commons, Consumer Culture, Propaganda, Social Engineering, Gift Economics, various forms of Anarchism, Digital Abundance, Kopimism, the Access to Knowledge Movement, Mutual Aid, the Moral Economy, Antimarketism, the Free Culture Movement, Open Culture and Remix Culture, the Open Content Project, Free Music Philosophy, File-Sharing (a consumer gift system), Post-scarcity Economics / Digital Abundance, the Information Society / Knowledge Economy, Digital Rights, Crypto-Anarchism / Cypherpunks, as well as Mass-Surveillance and its Impacts on Journalism. I've constructed a library of several hundred books, essays, documentary films, articles, periodicals, and other resources, and then organized the content with a network of spreadsheets, folder systems, and a notebook of rich-formatted documents linking directly to all content cited in my archive. My organizational strategies have proven useful to aid me in navigating the material. I've employed a master spreadsheet to track which content I have in physical or digital formats, which ones I've consumed and which I have yet to explore, and I've used Google Books to dynamically extract critical content I've highlighted from those texts into a series of documents with cited excerpts for future reference. I endeavored to secure digital counterparts for all physical materials where available to facilitate content extraction and to automate progress tracking. This research is supplemental to the work I perform managing my own media library. During the pandemic I produced a media workbook on the cloud comprising over 200 spreadsheets dynamically organizing over 26,000 of my favorite albums and published a year-end survey of metrics from 13,000 albums representing the top 1% of the artists in my archive. Perhaps I can incorporate some of those infographics and analytics into related areas of my research on the aforementioned topics and themes. Early on in the project, I found myself disheartened that the majority of the published material on these subjects trailed off after the first decade of the new millennium, with little content examining the critical new era where streaming digital media has become the norm. Perhaps to that end I might be the one to write a book to fill that void. I just fear that my efforts as a cultural custodian are rendered moot in this age of on-demand content and that there will be no one left with any interest in my work. There are also the socio-political aspects of the subject matter which might be unwise to publish and associate with my name, so I’ve considered employing a nom de plume. I’d appreciate the insight and perspectives of my readers regarding these considerations. Is this content still relevant? Is it safe? Is there an audience who might find my work to be of merit? I'll continue to curate and refine my notes on these materials in the years ahead. It'll be an engaging and enlightening journey.
__________________
Quote:
Quote:
Quote:
|
|||
12-24-2021, 01:19 PM | #814 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
Brian Eno Collection Milestone to End 2021
I’ve made it an astonishingly productive end of the year at Innerspace Labs with one of my most beloved collections!
Recently, I took a trip to my old home town and dropped by a local record shop which had posted some of their latest vinyl arrivals to social media. Among the titles my keen eye spotted My Squelchy Life - one of the few albums missing from my Brian Eno vinyl collection. I didn’t pass up on the opportunity and added it to my library. This however, required that I restage and reshoot my photo of the updated collection, which takes exhaustive hours of work to implement. I spent a few days updating my related collection documents and staging the new photo. Then, as my silly luck would have it, the very next day I picked up five more of his albums that I was missing from another shop, and then found myself with a decision to make. Every time I add a title to this collection, I’ve needed to update my spreadsheets for the discographic chronology, update my 55-page process guide to make sure nothing is overlooked, gather the LPs from their various filing locations and box sets, sort them in order of release date, un-polybag all releases to reduce camera glare, stage the shot, photograph them, then post-process to correct lens distortion, perspective, white balance, and other properties, update the collection photo in all of my archival documents, then publish and share the results to social media before re-polybagging and re-filing all titles. As such, to reduce the workload, I took it upon myself to perform an itemized audit of the nearly 200 releases in Eno’s catalog to build as complete a library as possible of the artist and producer’s works issued in the vinyl format before photographing them again. After inventorying his discography and checking the complete release history of every album to see whether each was issued on vinyl, I then checked the resulting set against my own library to see what I was missing and which had the potential to be secured from various marketplaces around the web. Finally, as Eno has collaborated with hundreds of other artists, I examined the tracklist and liner notes for all missing releases to determine how essential each would be for my library, primarily based on how significant Eno’s role was for each given release. Once I had a final list of missing titles, I secured mint sealed copies of each qualifying release at the lowest price with international shipping for all items and, as of the end of 2021, have satisfactorily constructed as complete a library of Eno’s work on wax as I’m going to be able to build. With that stage of the project complete, I set myself to the task of staging and re-photographing the collection once again, post-processed the raw images and updated all related documents. In addition to the dozens of art prints, books, lithographs, 409 digital releases, and other miscellanea I’ve acquired, I’ve now successfully built a sizable library of most major releases issued in the vinyl format by the artist. The vinyl portion of my Eno library now comprises 49 of his best-loved works totaling 77 discs of content, including the highly sought-after Music For Installations 9LP limited edition box set. It's a labor of love.
__________________
Quote:
Quote:
Quote:
|
|||
12-24-2021, 02:34 PM | #816 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
I've been grappling with breaking the laws of thermodynamics to pop perfect popcorn in less than the 2 mins 30 secs spelled out on the bag. As soon as I work it out I'll post an intricately-staged process guide to share my results.
__________________
Quote:
Quote:
Quote:
|
|||
02-12-2022, 09:15 AM | #817 (permalink) | ||||||||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
Artist Showcase: Terminus Void
I am honored to have the unique privilege of showcasing an emerging and impactful ambient artist operating under the moniker, Terminus Void, who is about to release his second full-length space music album, Origins Unknown. Origins follows the composer’s self-released debut album, Interstellar from 2021 issued in the middle of the global pandemic. The album’s transportive interstellar journey serves as a brilliant offering of experiential escapism to transcend the anxieties and troubles of the modern world.
From the composer’s official one-sheet press release: Quote:
After only a few communications with Smith, it was instantly apparent that he is no dilettante by any stretch of the imagination. Smith expertly incorporates his penchant for the sciences into his musical efforts. When detailing the inspiration for Origins Unknown, he explained that the title track was inspired from Louis & Bebe Barron's pioneering works featured in the 1956 film, Forbidden Planet. On this track, Smith incorporated into the baseline modified audible wave instrument recordings from the Juno spacecraft as it passed through the magnetosphere of the Jovian moon, Ganymede on June 7, 2021. Smith’s passions for science and space exploration have been lifelong. Over twenty years ago, he constructed a radio telescope from a satellite TV antenna, microwave amplifier and a HAM radio receiver. This fact provides a glimpse of the artist’s technical proficiency and celestial-focused scientific intellect, and reveals that the idea to process these auditory frequencies into music had been there for some time. He was kind enough to expound his compositional methodology thusly: Quote:
Quote:
I should call attention to a difference in the mixing of the material offered on the official Terminus Void YouTube channel and the content on his final albums. Smith explains that, as an incentive to his YouTube subscribers, he uses the channel to publish pre- album release tracks and that they are published as they are composed and recorded. He notes that these are non-mastered tracks and in some instances they are different from the final production in terms of length or tonality. For the truest Terminus Void experience, listeners should seek out and purchase the final mixes. Check out the pre-mastered version of the title track from Terminus Void’s debut LP, Interstellar below. I’ll offer a brief examination of Interstellar - “Interstellar” is the title track and lead single for the album. Beatless, though grounded with a few anchoring bass tones, we embark into the inky-black depths of space. There is an elegant timelessness to the piece, just as the absence of day and night in an extraterrestrial journey removes our perception of its passage. The work is brimming with anticipatory excitement of the voyage that lies ahead. It is a perfectly-fitting opener to the album. This serves as an exquisite introductory selection to the artist’s oeuvre. “Distant World” opens with haunting spectral dissonant tonalities. The sparsely-placed heavenly and alienesque timbres suggest that this may serve as a science-fiction anthem for a yet-unnamed cinematic masterpiece. We are entering a world unknown. “Arrival Home” features majestically suspended chords and a lone synthesized disembodied vocal. Its seraphic and gossamer quality truly marks our celestial homecoming. "Beyond Static Tolerance" introduces a fixed low-frequency sequencer pattern beneath the drifting fleeting choral tones occupying the upper register of the spectrum. The track evokes feelings of isolation and suspense as the traveler awaits the climax of their cosmic journey. Expertly-mixed NASA communication samples appear toward the end of selection enhancing the experience. “Darkness” is dark ambient music at its most superlative. And clocking in at over eleven minutes as the album’s longest track, it rewards careful attention in your finest circumaural headphones. At times I wondered whether futurist role-players might find this album useful to enhance the atmosphere during their gaming sessions. “Darkness” especially might lend itself to such an effort. The best ambient music functions well in both dedicated conscious and background listening, and “Darkness” works fantastically in an array of listening environments and conditions. “Nothing In The Way” returns the listener to a rhythmic territory with a classic synthesizer pattern and soaring minimalistic melodies. The deep-voiced narration element dramatically complements the suspenseful quality of Interstellar. Whether intended to inspire feelings of weightlessness or timelessness, the theme of space travel is masterfully executed here and throughout the album. "Lost In Time" is steady and rhythmic, but maintains the empyrean thematics employed consistently in all of Smith’s work. The track conveys a gaze toward the heavens, inviting the listener one final time to leave terra firma behind. “Distant World - (Epilog Mix)” closes Interstellar. The alien landscapes are carved and charted to remain in our memory long after the album session concludes. The traveler’s odyssey is complete. Terminus Void’s 2021 debut album, Interstellar There are countless metaphors for the spacetime journeys offered to us by ambient space music artists like those showcased on Hearts of Space, and all of them are actively employed in each weekly segment of the show, now at over 1,300 episodes and counting. It is so exciting to discover a new musician who himself professes to draw inspiration from those very transmissions, and who successfully crafts soundworlds on par with the greatest veterans of the genre. What Terminus Void succeeds at accomplishing with his transportive music is to highlight the certitude that these impressioned interstellar journeys are, in truth, journeys within. As I said, I encouraged Smith to send his work to Stephen Hill, and hopefully he’ll find new fellow sonic travelers through playback on a future transmission of the program. On February 10, 2022, Smith posted a pre-mastered demo of the title track from his upcoming second album, Origins Unknown to YouTube. It is a superb specimen of dark ambient space music, richly-organic, rewardingly nuanced, and introduces the listener to a vast and intricate world of cosmic exploration. Of the track, YouTuber, Paradigm writes: Quote:
What I found most captivating about Terminus Void's ambient style is its balance of classical sophistication and cinematic intrigue. It's that property which inspires me to return to these songs again and again. I was absolutely delighted to experience this music. The compositions are magnificently meditative, and certainly reward careful headphone listening. Terminus Void is otherworldly cosmic space music, and it's the subtle and slowly-unfolding properties which make the works so enjoyable. These are intimately ethereal, transcendent, and heavenly soundscapes. Highly recommended! Terminus Void’s music is now available on iTunes, Apple Music, Spotify, Bandcamp, Amazon and other online distributors. Or visit https://terminusvoid.com/. I’ll close with a personal comment from Smith, who concluded a letter with a touching statement about my work as an archivist. I believe it sheds some fantastic light on the mark of his character. Smith remarked: Quote:
Watch https://terminusvoid.com for an official announcement of the release of Origins Unknown slated for release this April.
__________________
Quote:
Quote:
Quote:
|
||||||||
04-30-2022, 06:51 AM | #818 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
Dark Ambient’s Terminus Void Returns with Origins Unknown
I'm thrilled to share the news of the release of Terminus Void's second album, Origins Unknown. My readers will recall my recent artist spotlight showcasing his debut release, Interstellar. After encouraging the artist to send the album to Stephen Hill of the long-standing radio program, Hearts of Space, he followed my suggestion and was featured on PGM No. 1314, Stellar Quest! We couldn't be more pleased to have exposure to a global audience of discerning space music listeners!
Given the incredible impact of Interstellar, I had great hope for his second effort. Thankfully, I couldn't be more elated with the resulting recording. Origins is hauntingly epic, from the opening drones of "Discovery" to the concluding atmospheric majesty of the album's finale, "Memories of Rain." Fantastically transportive, the listener is suspended in a state of experiential cosmic serenity for the entirety of the listening journey. Origins is cinematic dark ambient space music at its finest. With his second effort, Terminus Void brilliantly channels the otherworldly film score work of Vangelis with incredible adeptness and impressively artful proficiency. This is particularly evident with the aforementioned closing selection, complete with Bladerunneresque rainfall, soaring synths, and choral effects employed throughout the track. Origins Unknown was mastered in 24-bit hi-res audio, (unlike its predecessor, Interstellar which was mastered at 16-bit), and is officially available in lossless archival FLAC and WAV. Listeners are encouraged to secure the album at the best quality offered and to take it in using their finest listening equipment so that none of the subtly nuanced spatial qualities are lost on this exceptional recording. This is an album that, like Interstellar, rewards dedicated and attentive listening. The album's namesake track is masterfully alienesque, brimming with lavish extraterrestrial vitality but sufficiently understated so as not to disrupt the shadowy, spectral quality of the album as a whole. "Dark Outpost" paints a vividly ethereal tenebrous expanse - truly an effective soundscape for dark ambient voyages. And surprising cinematic elements are introduced to heighten the excitement of the album-length saga. Each track effectively adds its own unique properties to the crepuscular ambient odyssey that is Origins Unknown. Nothing is extraneous, wasted, or omitted, making for a most-satisfying musical venture from start to finish. Origins is a triumphant successor to Terminus Void's debut, and reinforces that he is a potent and compelling figure in the dark ambient scene today. Check out Terminus Void on iTunes, Apple Music, Spotify, Bandcamp, Amazon and other online distributors. Or visit https://terminusvoid.com/.
__________________
Quote:
Quote:
Quote:
|
|||
05-12-2022, 04:15 PM | #819 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
Completing My Penguin Cafe Collection
I am so excited to have achieved a new musical milestone, having assembled a complete collection of all full-length studio releases issued in the vinyl format by The Penguin Cafe Orchestra and their later incarnation, The Penguin Cafe. This includes the first-ever vinyl edition of The Penguin Cafe's 2011 debut, A Matter of Life, issued by Erased Tapes on May 6, 2022. I've previously written about my adoration of this fine ensemble back in 2017, where I summed up the beauty of their music thusly: The music of The Penguin Cafe Orchestra is tranquil, eclectic, and magically pastoral. The albums are classified as works of minimalism but are impressively dynamic recordings. Rich with subtly and understatedly intricate instrumentation, their music is a seamless and masterful blending of an impressive roster of genres, weaving together classical and contemporary elements. The result is magical and elegantly surreal. These records are stubbornly difficult to label or classify. Spanning a broad range of influences from classical to jazz, featuring middle eastern or perhaps Indian inspired drones, as well as Cajan, traditional folk melodies, African rhythms, and more, these elements blend seamlessly into marvelous soundscapes and musical vignettes reminiscent of Moondog’s symphoniques. There is a timeless serenity to these recordings, and I’m grateful that I was at last ready to let them into my life at a time when they served as a sensational complement to my headspace of late. From start to finish, The Penguin Cafe is a treasure of heady and engaging arrangements, and some of the most peaceful sounds you’ll ever hear. I really enjoyed an observation from a fellow listener named bpnicast who remarked, “The dispassionate, cerebral atmosphere here creates its own unique space that seems to slow time and demand hushed attention – an emotional connection achieved through stillness and abstraction.” That is precisely what I enjoy about these albums. It will be a pleasure to play them again and again and to share them with those who bring joy into my life.
__________________
Quote:
Quote:
Quote:
|
|||
05-27-2022, 04:08 PM | #820 (permalink) | |||
Music Addict
Join Date: Feb 2015
Location: The Organized Mind
Posts: 2,044
|
New Brian Eno Documentary Announced!
Just a quick check-in to share the news!
2023 will see the release of a new documentary film exploring the unparalleled career of producer and self-professed non-musician Brian Eno! The film is directed by Gary Hustwit, who produced such critically-lauded documentaries as Helvetica, Rams, I Am Trying To Break Your Heart (the Wilco documentary), Moog, and others! Hustwit consistently showcases smart design and expertly pairs his films with music by progressive-minded artists. Both his films Objectified and Helvetica featured music by El Ten Eleven, and Eno himself provided the score to Rams. For a taste of Hustwit's adoration of quality design aesthetics, check out his free 10-minute 2020 documentary short, The Map, about the reinvention and transformation of the NY subway system map to a living, real-time interactive application for the digital age. Watch it at https://www.hustwit.com/the-map Watch the teaser trailer for the upcoming Eno film posted to the director's Twitter account here: https://www.twitter.com/gary_hustwit...12289589465088
__________________
Quote:
Quote:
Quote:
|
|||
|