#beatwork

[janerra-ava]

because of that rant I went on last night, here are my favorite electronic/beatwork/sampling albums👍🏾

#topsters #album recs

[deadcactuswalking]

REVIEWING THE CHARTS: 05/08/2023 (Travis Scott's 'UTOPIA', Calvin Harris/Sam Smith, Central Cee/Drake)

Content warning: More Drake than usual

For a ninth consecutive week, we have Dave and Cench at the top of the charts with “Sprinter” - welcome back to REVIEWING THE CHARTS!

Rundown

This sure was a week. A pretty busy one at that, one that’ll be a pain to write about, so in all honesty, my main goal is to keep this pretty brief… not that it’s all that easy when there are 12 new songs and a ton of what we always start with - the notable dropouts, which are songs exiting from the UK Top 75 after five weeks in the region or a peak in the top 40. This week, we say farewell to last week’s debut, “K-POP” by Travis Scott featuring Bad Bunny and The Weeknd, for obvious reasons we’ll discuss later, but also songs that actually stayed around for at least one week longer, like “Militerian” by J Hus featuring Naira Marley, “Makeba” by Jain, “Toxic Trait” by Stormzy and Fredo, “Don’t Say Love” by Leigh-Anne, “Tattoo” by Loreen, “Cupid” by FIFTY FIFTY, “Until I Found You” by Stephen Sanchez, “Boy’s a liar” by PinkPantheress, “I’m Good (Blue)” by David Guetta and Bebe Rexha, “I Ain’t Worried” by OneRepublic and “Riptide” by Vance Joy - why was that still here anyway?

We then see returns for Post Malone as his #3 album AUSTIN makes its impact. We have a debut later on, but “Mourning” and “Chemical” re-enter to take up his other two spots on the chart at #56 and #24 respectively. As for our gains, which are usually infinitely more interesting, we see boosts for “Highs & Lows” by Prinz featuring Gabriela Bee at #60, “Asking” by Sonny Fodera and MK featuring Clementine Douglas at #51, “Nothing Compares 2 U” by the late Sinéad O’Connor at #30 since the impact of her death straddled between two weeks and then gains for the Barbie phenomenon: “Pink” by Lizzo is at #27, “I’m Just Ken” by Ryan Gosling is at #14 and Charli XCX gets her sixth top 10 with “Speed Drive” at #9.

This week’s top five on the UK Singles Chart has most of the surrounding madness kind of absent, as it’s pretty standard - it consists of “vampire” by Olivia Rodrigo at #5, “Barbie World” by Nicki Minaj, Ice Spice and Aqua at #4, “Dance the Night” by Dua Lipa at #3, “What Was I Made For?” by Billie Eilish at #2 and of course, “Sprinter” at the very top. Now for the mess below.

NEW ARRIVALS

#72 - “Deli” - Ice Spice

Produced by RIOTUSA

Okay so not only is this a busy week, it’s also not a great one. A lot of these new arrivals I am not near to being a fan of - apologies to break the illusion that I write these in order - and sadly, this deluxe track from Ice Spice is no different. Sure, the Jersey club beat is propulsing and overwhelming with its slightly fuzzier but still dominant bass and the pretty cool syncopation with the large, distorted claps and the 808 - it sounds cool, bordering on intricate beatwork and unplanned synthesis. Miss Poopie here, however, tries to convince us she’s not a “regular artist” by raising her voice for once and providing incredibly basic bars in that still limited flow. Personality doesn’t really make up for everything, and given the lack of groove or really all that many dynamics in the very short time this song has to even do anything, I think I’m starting to already be kind of over the slight novelty of Ice Spice. It’d be great if someone like Lay Bankz was here to do the beat some justice.

#68 - “Rave Out” - Turno, Skepsis and Charlotte Plank

Produced by Skepsis and Turno

Who, who and who here are UK drum and bass DJs Turno and Skepsis, and singer Charlotte Plank, who’s still charting with “Dancing is Healing” as of this week. The song is… fantastic. Genuinely, this is incredible. We have three drum and bass songs to cover here, they’re all kind of the saving grace of this week, but this one is by far the best. I don’t know if this is a sample - I couldn’t find one in my research - but the hypnotic reggae beat that starts the song is really unexpected and incredibly smooth, with the apathetic blast of horns and organic bass perfectly fitting the content about the comedown from a “rave”, which I think means a lot more than a party here. The way everything from this reggae instrumental just melts down into a liquid drum and bass groove, as Plank repeats the same paranoid questions asking where the person is going to go “when the rave’s out”, is really striking, especially with the start-stop tendencies of the chorus and the splatter of spikier bass tones warping in and out in the post-chorus. The horns come back with rising synths, but none of it is worth all that much when it gets compressed into this mindless, carefree break. If I had to nit-pick, Plank isn’t exactly as enveloping as she could be to make this tone really work, but considering the song is actually relevant to men’s mental health, with the echoed reminders from Plank serving not as a complete control over the guy’s mind but rather just a sinking feeling regarding how men don’t feel like they have much of a space to actually confide in people or relax their brains due to constantly feeling like they have to be in control or stoic. It’s a touching message and a mesmerising banger of a song to tell it in, so good work - hope to hear more of it on the charts. Oh, wait, I will…

#65 - “Bittersweet Goodbye” - Issey Cross

Produced by Luude

Alright, Luude, this may be getting kind of silly now. “Bitter Sweet Symphony”? Really? When I first heard of this, I wasn’t necessarily shocked of the sample flip but it was amusing and when I first listened to the song, I nearly did a spit-take. To do my due diligence as the chart person, I should mention that the original song by The Verve hit #2 in 1997, being blocked by Puff Daddy’s version of “I’ll be Missing You”… both songs actually sample classic rock bands, funnily enough, though The Verve do it in a much more subtle way, even if the strings from the Andrew Oldham Orchestra’s version of The Rolling Stones’ 1965 #1 hit “The Last Time”. That’s right - this is sample-ception already before Luude even touched it. For the record, I’m not much of a fan of the song, but the orchestral lead - that I personally think gets very tiring over six minutes - is pretty iconic nowadays. It’s also a bit risky to sample, given the song is infamously the host of a slimy songwriting dispute, but Richard Ashcroft is now the sole writer credited on the track as of 2019 so most of the Issey Cross royalties I have to imagine are also going to him, which should help on some of the lost residuals. There is actually very little to say about the new song itself, funnily enough, as whilst Luude may be making his money doing silly drum and bass flips of classic songs, the returns aren’t always fantastic. I still laugh every time Ms. Cross harmonises with the string melody in the pre-chorus, and the drop has fairly enough push to it to work without being fully comical. I’m not big on the song overall, but it is a fairly standard flip of a very difficult-to-deny loop, with an okay vocal performance so it just by a pinch becomes serviceable, mostly on novelty factor.

#58 - “One Direction” - ArrDee and Bugzy Malone

Produced by LiTek and WhYJay

This new collaboration from ArrDee and Bugzy Malone isn’t exactly the best song ever, but what makes it beautiful is that - okay, I’ll stop, mostly because I can’t say this is beautiful. The horn line is just staccato and obnoxious, as even if it provides some needed bombast to drill that ArrDee can absolutely replicate, it does blow the song up to grander proportions that it cannot fully reach, mostly because the refrain is… awkward, as they vaguely trade bars, and the verses range from ArrDee ironically saying that comedians should steer clear of him - in a really lazy Eddie Murphy reference that doesn’t actually make any sense - whilst delivering what is basically a comedy-rap verse. Bugzy sounds more awake than usual, sure, but mostly because he’s surrounded by annoying sound effects so it’s like he has to work for the attention of the mix, which to be fair, is pretty well done considering how much it has to deal with that is just straight-up annoying. I really want to like this given the energy, but I can’t endorse something as obnoxious as this unless it embraces the silliness of itself more so than just a couple pop culture references.

#52 - “Enough is Enough” - Post Malone

Produced by Post Malone, Louis Bell, Rami and Max Martin

Dropping on the same day as UTOPIA seems like a mistake in the short-term but honestly, I somewhat doubt the audiences overlap that much anymore, especially considering that I’m convinced now that this synth-infused depresso pop-rock is the kind of music Post actually wants to make. This didn’t stop the Official Charts Company from accidentally missing the song out when they first posted the chart, so maybe they agree that enough truly is enough? Well, I don’t see how you could be convinced either positively or negatively by this track in particular. It’s 12 tracks into the album, without a video, so this really must be the fan favourite… and it’s okay. It’s got a typical acoustic frolick and Post’s signature warble, sometimes reaching into really rough falsetto, but any potential it could have had is quashed immediately by those terribly-mixed synthpop drums crashing down into the song and rendering it worthy of car adverts, with no update to the lyrical content to warrant a more serious sound, and no real bridge to be found… so this is practically just a regurgitation of a pop formula that vaguely works. I wish Post the best, but this is dull and doesn’t really make me want to check out any more of that album.

#53 - “Big 7” - Burna Boy

Produced by Danitello, MD$, Mike Wavvs, Otis and Super Miles

Burna Boy seems to be leading up to an album with these singles and honestly, overall, they seem pretty promising, ESPECIALLY this one. Sure, it’s another pop-R&B crossover, but the vintage-sounding keys function great off of the messy bounce, which may get in the way of Burna Boy’s flow initially, but he quickly grows into it and delivers one of his richer, more soulful performances, with a rasp on the chorus that sounds experienced and wiser as a result of the deaths in his life that he mentions in the verses, of Sidhu Moose Wala and Virgil Abloh, wherein he starts to come to grips with his now-international role as a self-proclaimed simultaneous “ghetto gospel preacher” and “two-times community service breacher”. It’s not exactly anything all too new or out there, but it’s an honest and catchy song about his experiences that deserves some spins.

#31 - “Baddadan” - Chase & Status and Bou featuring IRAH, Flowdan, Trigga and Takura

Produced by Chase & Status and Bou

Read the song’s credit and its production credits - you’ve just said the word “and” five times, and it would be generous to call whatever you constructed a sentence. If you’re thinking “Who the Hell are these people?”, I kind of am too, but apart from the drum and bass DJs at the helm that we know, as well as Flowdan from the Roll Deep grime collective who actually charted earlier this year with Skrillex on “Rumble”, we have IRAH, who seems to post at least one voice-over of Family Guy scenes on his Facebook page, Takura, who’s from Zimbabwe and has actually charted with Chase & Status before at #98 in 2011 on “Flashing Lights” and Trigga, who sure is Trigga, and has collaborated with Bou before. In fact, they all seem pretty accustomed to emceeing or at least guesting on drum and bass tracks, so what harm can be done by putting them all on a track together? The trio at the production helm have curated a pretty atmospheric and dark, menacing beat with a very 2014-feeling progression, especially with the wonky synth and reverb on Takura’s voice, and none of the emcees really impress or disappoint. IRAH’s introductory verse has the most menace, but Flowdan kind of runs away with the spotlight, mostly because his rhyme scheme is so percussive that it perfectly plays with the breaks. Most of the content are just threats, and I can’t say I’m over the Moon about the drop or Takura’s contributions in general, but the melodrama Chase & Status always bring is still there, and I could see it growing on me due to its sheer intensity soon enough.

#26 - “On the Radar Freestyle” - Drake and Central Cee

Produced by Harley Arsenault and Kid Masterpiece

“You know that’s how Jesus died, that’s how Julius Ceasar died - I bet they were decent guys, I swear they remind of me sometimes” already feels like a classic Drake bar. In fact, the song has a vintage aura surrounding it - mostly because this is the best verse Drake has delivered for about a decade, and the soul sample in the back, whilst bizarrely mixed like everything else in this “song”, adds a lot of sweetness to this otherwise hype-focused Jersey drill beat. Hell, for a YouTube freestyle video, this production is pretty unique, smattering the silky sample in a lot of filtering to the point of unrecognisability under an insanely hard and groovy drill pattern. I actually really like Drake here too - I’m not a hater, but I’ll sound like one later - as he actually delivers some pretty great lines regarding his status in Canada and he’s not going for menace or intensity here as much as he is just rampantly flexing, and it comes off pretty well, especially with that recurring “six” theme referring to where he grew up in Toronto, but being implemented really slickly - particularly in the opening line where he has to put emojis over three faces because the feds can’t see those (six) eyes. When Drake wants to, he can really deliver, and the awkward pauses after some of the weirder sex bars seem absolutely built for the reaction videos. Whilst Cench isn’t nearly as lyrical, stepping up to rap after old man Drake sits down, he sounds relentless in a lot of honestly pissy and vengeful-sounding bars, riding the beat excellently and intensely with lyrics a tad more compelling than I think is probably given credit, and his flow, whilst the same as Drake’s, sounds effortless and honestly kind of better coming from Central Cee. This may not really be a song, but it’s a damn impressive set of two verses that actually has some replay value for me so whilst I don’t think it’ll stick around at all, it was great whilst it was here.

#21 - “HYAENA” - Travis Scott

Produced by Travis Scott, MIKE DEAN, WondaGurl, Noah Goldstein and Jahaan Sweet

I didn’t like the substanceless void of vaguely-cool-sounding nothingness that was UTOPIA. At best, it was a set of guest collaborators putting in their best efforts only to be trampled on by the lack of ambition of its lead artist, and at worst, that lead artist’s ambition somehow gets way ahead of him and makes a formless mess that failed at any point to actually grip me into his world like he’d done before. We don’t exactly have the three best tracks from the album lined up here either, but at least we have one of them in the form of the opening track, “HYAENA”. It is on here that Travis sounds the most focused, and it is absolutely a convicting opener when you first press play on a Travis Scott album and are met with isolated progressive rock vocals carelessly slopping into a distorted jungle of groove. It probably has Travis’ only good verses on the entire album, delivered with energy and full of… well, nothing, but it’s at least delivered well, in place of a real hook, because it really doesn’t need one. Even when trying to deliver a crazy, industrial track, Travis ends up sounding the most human on this one, even if the content isn’t exactly thoughtful. Sadly, what I expect is for this one not to last and be replaced by a fan favourite like “I KNOW ?” next week, as can be the case when the three-song rule and big albums collide.

#18 - “Desire” - Calvin Harris and Sam Smith

Produced by Calvin Harris and BURNS

Hmm… this sounds familiar. Anyway, ahem… You know, even with a weak chart, I did not expect the hype for a new Calvin Harris track to be this [DECENTLY] high. After all, his disco efforts were met with underwhelming results, and… [SAM SMITH] hasn’t had a [SOLO] hit of [THEIR] own in years, so this collaboration being as immediate of a smash as it was kind of took me aback. I do like that Harris can experiment now and step his foot into different passions for both singles and albums markets, even if the British public clearly prefers one over the other, and with BURNS on co-production (yes, seriously, that hasn’t changed either), I think I’m predisposed to as well. [SAM SMITH] sings about a relationship that gives [THEM] a heavenly euphoria and begs [THEIR] partner to take the chance to go further, and I could not think of a better instrumental for that young-love energy, as spiralling keys and synths surround [THEIR] cooing. Once [THEY GET] into [THEIR] falsetto, the plummeting hardcore bass arrives and picks up the pace, allowing for the rickety drums to clash through. Instead of a drop after that, though, we get an – admittedly cheap but charmingly so – piano breakdown that then builds itself up through a simple emotional force. It’s a basic piano melody that then hides itself back under the catchy hardcore beat for another verse, until [THEIR] falsetto once again rubs itself against a deeper bass fuzz, except this time the escalation is immediate and grandiose, with fluttering percussion reflecting their accelerating heartbeats. It never fully locks into a groove either, because their love going further, whilst possible, is still a “[DESIRE]” – only starting to feel real. My only real complaint is that it fades out for radio purposes, when I want to hear this go further and further because it deserves an even higher level of detail, I want to hear this narrative pushed through, I want to hear what happens next, and that’s the most frustrating thing. Maybe a remix will give me more closure, but an extended edit would be great, or even just hearing how this is used in a DJ mix. The fact that Calvin Harris and BURNS have me gripped into the sonic theming of this track should be telling of how well they’ve constructed it though, and if Harris is going to briefly dip back into EDM tunes, I absolutely want to hear more where this came from - and God, if that’s what I said all those months ago when I first reviewed “Miracle”, maybe the blame is on me, but this is alarmingly similar down to even the lead vocal melodies, the song’s limited vocabulary and I have the exact same qualms, given it’s also way too short… but I’m not as interested in the Sam Smith narrative than I am Ellie Goulding’s, and it does come off as a cheap recreation. Just like this review.

#13 - “FE!N” - Travis Scott featuring Playboi Carti

Produced by Travis Scott and Jahaan Sweet

This is depressingly bad. We start with cheap rage synths that don’t carry any of the filtered weight as many of the beats Carti ends up on, so it just flairs through the instrumental as Travis murmurs an intro before the beat shuts down said synth into a clogged-down bassy trap number, as it remains for the rest of its runtime. In Travis’ verse, you can hear these little MIKE DEAN-esque synth inflections that are sprinkled on top in a desperate attempt to make anything about this actually interesting, especially Travis is full of nothing as always, and Carti’s hook is mind-numbing. His verse… can you call it that? Does that fit the legal definition of a verse? His second one does, and I at least appreciate his attempt at going for a deeper voice and inflection - it’s more experimentation than Travis is doing on this. With that said, the song ends abruptly with no catharsis for any of the previous three minutes, before Sheck Wes, who’s on ad-libs, can even get a word in edgewise, which is a shame since he’s the most interesting vocal presence here. Maybe with a more lyrical rapper on one of Travis’ more mindless cuts, there can be at least something of intrigue, so we’ll see with…

#10 - “MELTDOWN” - Travis Scott featuring Drake

Produced by Coleman, BNYX, Boi-1da, Vinylz, Tay Keith, Skeleton Cartier and Travis Scott

I get so easily tired of “menacing” Drake. It never sounds authentic, and is more often just an excuse for him to say absolutely embarrassing bars and still come off as “cool” - as he does in this, or deplete himself of any required energy, as he tries not to do here but considering all three of these beats - it’s like the BTEC “SICKO MODE” - refuse to wake up. We have a rote Memphis-influenced beat with strings, followed by a beat that acts like fanfare - or at least it would if we didn’t have sound effects and Travis’ backing vocals drowning out any impact the bass could have had. I do kind of like the way that certain parts of the beats maintain their presence, even if the transitions are not as exciting or innovative as “SICKO MODE”, which it is clearly trying to emulate, especially given the last beat is a Tay Keith clunker wherein Travis kind of sounds like he’s alive… vaguely. Apparently, Drake sends shots as Pharrell and Pusha on this one, but to be honest, if I were them, I wouldn’t see much point responding as the man burns bridges for headlines that he doesn’t need. Once again, I am asking for you to retire.

Conclusion

Once again, that sure was a week. Best of the Week goes to Turno, Skepsis and Charlotte Plank with “Rave Out” though the “On the Radar Freestyle” by Central Cee and Drake was way closer than I’d usually admit, as it grabs the Honourable Mention straight from poor Burna Boy this week. As for the worst, it really is a plentiful set to choose from, but I’ll go with “FE!N” by Travis Scott featuring Playboi Carti as the Worst of the Week with a Dishonourable Mention to… hey, look, it’s Travis Scott again with “MELTDOWN” featuring Drake. Hopefully a lot of this will clear out soon enough but for now, thank you for reading and I’ll see you next week!

[lezet]

Koi Karp - "ゴジラを殺すつもりはなかった:SUPERHITS " releases today on MACHINE TRIBE RECORDINGS (USA)!!!

A best-of album from Koi Karp

digital and cassette

"Ragged edge music super team Awkward Geisha and Lezet are at their bizarre best with these 15 tracks of mangled beatwork, sound collage, noise, and general mischief, proving once again that these boys have no issue throwing genre under the bus."

Koi Karp are Ade Rowe and Igor Jovanovic

https://mtrecdistro.bandcamp.com/album/superhits

#koi karp #igor jovanovic #related projects #machine tribe recordings #usa #uk #serbia #best of #greatest hits #experimental music #experimental electronic #noise #other #glitch #beats #hiphop

[rcmndedlisten]

Navy Blue - “Chosen”

Photo by Devlin Claro

Arguably some of the most interesting listens from the rap world these last few years have been coming out of its underground, with Navy Blue, Armand Hammer, MIKE, Wiki, and AKAI SOLO piecing together collages of introspective poetry with an understated art soul beat aesthetic. The closest thing up until this point we’ve heard in the mainstream like this has been Earl Sweatshirt, but then again, we’ve also seen Earl and this crew jump on each other’s tracks anyhow. Further proof of this wave of alternative hip-hop’s success is the news that Navy Blue has joined Def Jam after self-releasing his catalog up until this point, and on “Chosen”, we get a first look at how this style might evolve with major label intentions. Not much has changed from Sage Elsesser’s creative process, with the track featuring glassy loop beatwork from frequent collaborator Budgie, though the murkier coat of past material has been wiped away from its surface to clear the way for Navy Blue to flex on his destined ascent. “Build me a Noah Ark, I'm ready for the flood whenever it comes,” Navy Blue rhymes. A sea change is coming...

Navy Blue’s “Chosen” single is available now on Def Jam.

#new music #navy blue #def jam

[atcostmag]

Mirèle - Obedient

An under two-minute acceleration of focused club energy, Mirèle shares her invigorated single for “Obedient”. Providing a to-the-point snapshot of the Russian-Israeli artist who has inhabited her many online personalities, Mirèle’s Eva Gurari flickers past her different many façades. Working with a number of high-profile collaborators in Russia’s indie circuit, the track sees its beatwork laid out by Artem Shumno, and its creative direction by Moscow-based creative agency and promotional company System 108. Speaking how she operates with a close network of fans and friends who resonate within her wavelengths, Mirèle had this to say:

“I have a super-friendly community with whom I share my demos like with friends and get the first feedback on releases. All changes in music and images happen absolutely naturally, along with me, my team and mood. It seems to me that experiments are my style”

Riding along to its clunky rhythms, “Obedient” juxtaposes in its exhilaration Mirele’s sugar-sweet vocals which contrast with her dry-deadpan raps that coincide with an early club-rap aesthetic. Interpolating from its lyrics, the track is not one to be taken literal, and offers the tongue-in-cheek groundwork to be Gurari’s one and only. 

You can check out the track and video below:

#mirèle #eva gurari #Israel #russia #music

[eartapas]

"Spill (feat. mau from nowhere)" by Divorce Court is a gripping addition to the hip-hop environment, perfectly blending lyrical prowess with inventive sound. The music emanates sincerity, with Divorce Court's pensive lyrics seamlessly merging with mau from nowhere's individual sound. "Spill" explores themes of personal development, self-discovery, and the intricacies of human relationships. Divorce Court's cooperation with mau from nowhere provides a fascinating synergy that keeps listeners captivated from start to finish. The sophisticated beatwork and melodic hooks of the song make it an instant earworm, with a unique blend of modern and classic hip-hop components. It demonstrates the artists' ability to push the genre's bounds while remaining true to their roots. Talk about a killer tune.

#Spotify

[webgross2023]

Music Production Courses in Chandigarh

Music Production Courses in Chandigarh

Many people are looking to establish a career in the music industry due to its dynamic scope, endless collaborative opportunities, and creative surplus. Even if you aren’t the best at singing or writing profound lyrics, you can still crack your way into the field. But how can one prepare themselves for entering this field if they have no knowledge about the industry? Beatwork Studios is here to resolve all your questions by providing the finest music production courses in chandigarh. With over 10 years of experience, we offer world-class mentorship from reputed maestros. We dabble in a range of sound engineering courses in Chandigarh, which are targeted to make you well-versed with all music production skills. Our course syllabi is designed to cater to beginners and experienced professionals alike. Learners have the liberty to choose from a variety of courses, such as beat maker course, sound design course and mix and mastering courses, among others. Our mission is to make musical learning as interactive and result-oriented as possible to offer fruitfully established careers. In addition to offering courses, Beatwork is also the finest sound recording studio in Chandigarh which is open for all singers and composers. We are equipped with advanced technological equipment to offer a seamless and desirable recording experience for all. Reach out today and get immersed into a world of qualitative musical learning with us! 

[mainsiam]

Trina smarky mark

Trina smarky mark full#

Trina smarky mark download#

Blender also invited him to perform at their MTV Video Music Awards after-party. Following the album's release, American musician Beck asked Girl Talk to open for him at a concert in London. The album's positive reception boosted Girl Talk's popularity and reputation, and Night Ripper has been described as his breakthrough album. Ultimately, no lawsuits materialized in wake of the album's success, which Girl Talk described as "liberating." The label also went over the possibility of a royalty system, but ultimately scrapped it when they decided that it would only weaken their fair use argument. Anticipating lawsuits, Illegal Art prepared a defense citing the fair use trademark law as a legal backbone for the album's use of samples. Online music stores eMusic and iTunes both pulled Night Ripper from sale due to sample clearance concerns. At least one CD manufacturing plant refused to press the album, and the head of another plant asked Girl Talk and his label to justify the use of two specifically chosen samples. Illegal Art did not clear any of the samples used on Night Ripper, leading to several problems in the album's distribution and release. Strong demand prompted the label to produce physical CD and LP copies of the album for shipping to select record stores, as well as make it available for purchase on several online retailers.

Trina smarky mark download#

Illegal Art released Night Ripper on as a digital download on their website, available in two choices: a single seamless file, or separated into individual tracks. Subsequent audio mastering was done by Jonathan Schenke. It took seven to eight months for Girl Talk to complete work on the album. He was also working as a biomedical engineer at the time, obliging him to divide his time between his day job and his music career, including production of the album. The album was created by Girl Talk as one long piece of music, which he subsequently split into individual tracks. He also recorded original synthesizer and keyboard instrumentation for certain tracks. The entirety of Night Ripper was produced using a WAV digital audio editor, with Girl Talk manipulating samples by chopping, layering and transitioning them. Songs come out everyday so it's never ending." So I've been cataloguing samples for years, I have this massive library. I sample loops and breaks and vocal clips all the time. Commenting on the process of choosing samples to use, he explained: "I'll just hear something on the radio or at a party and go ahead and sample it off a CD or record or download it. ĭescribed by Girl Talk as "a record that reflects own personal music tastes," Night Ripper features over 300 samples of other artists' songs, spanning several decades and genres. The album's stylistic change was brought about by Girl Talk's experiences performing live, which influenced him to "make the music more accessible and push the party vibe." Following the release of Unstoppable, he spent an additional two years touring before beginning work on his third studio album.

Trina smarky mark full#

While still retaining the sample-based nature of Secret Diary, Unstoppable focused more on beatwork as well as structuring and layering samples into full tracks. Night Ripper was later re-released for download on the Illegal Art website through a new " pay what you want" pricing system. None of the samples used on the album were cleared prior to release, causing several online retailers to pull the album from their listings. Illegal Art initially released Night Ripper as a digital download on their website, later making the album available on other sites and shipping the album to select record stores due to strong demand. The album was produced by Girl Talk in seven to eight months and mastered by Jonathan Schenke. The album was originally produced as one seamless piece of music before subsequently being broken into individual tracks. He constructed Night Ripper whilst working as a biomedical engineer, dividing time between both of his occupations. The album is composed almost entirely of samples taken from other artists' music, along with minor original instrumentation recorded by Girl Talk himself. Night Ripper is the third studio album by American mashup musician Girl Talk, released on May 9, 2006.

#Trina smarky mark

[beatworkstudio]

If you're searching for a music engineering course. BeatWork Studio is a well-known name for music engineering courses in Chandigarh. We are providing the recording lessons, beat making, mixing & mastering, and a complete production course. Explore your creativity with our Music Production & Specialized Sound Engineering Courses. For more information, visit our website!

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[v-stok]

Igloo Mag reviews my album 'Liminal'

"There are albums that pass through Igloo’s door that follow familiar sonic trajectories we’ve heard before, then there are albums that slowly emerge from the depths, unknowingly, and with their own unique production and audio-visual dynamics. Valentin Doychinov’s V-Stók moniker is one we’re familiar with and Liminal falls into the latter category. A whole other beast in itself—subtle dub extracts, instrumental tangents, and glitchy transmitted noises are more disjointed and surreal this time around.

Off-center rhythms are surrounded by ghostly guitar plucks and atmospheric strands, carefully tethered by vintage machines working diligently in the background. “Walz with Ghosts” and “Caravan” aptly depict Liminal‘s sonic wonder while thin melodies drift in the margins. As skeletons of The Future Sound of London are exhumed, V-Stók finds comfort in the uncomfortable. Tracks like “Subterranean” slither about with jazzier, almost improvised pulsars as does “A pocket within a pocket” and its lively Squarepusher fee.

The merge of crumpled electronics is placed many miles beneath V-Stók’s ability to juggle darker moods with a flare for shuffling instrumentation (ref. “Microcosmos”). The title track, a piece that stands alone, reaches the summit with calming static pulses and crunchy pseudo-beatwork—meandering through cavernous voids we’re compelled to walk through with our eyes closed."

#press

[mtmblrblg]

Nicebeatzprod.

#beatwork #nicebeatzprod #rap #instrumental #sad

[alex6186]

I’m a hater lol 😂 😭 😢 😃 #workstation #work #beatwork #beatworklike #funnyandsad https://www.instagram.com/p/B1SE0oelFD6/?igshid=1gz56l9pata6a

#workstation #work #beatwork #beatworklike #funnyandsad

[fleetling]

stream of conscious thoughts while watching the filmed live on Broadway "Company"

so sad raúl

the voicemessage one liners in the opening are actually underated

lol everyone holding their instruments

but why is the cast (mostly) as white as the freshly fallen snow

oh raúl is standing on the piano during the opening number

"woooow"

i do miss the "do do dos"

hmmm in both cases the woman says i love you or something and the guy doesn’t. Or at least sarah and jenny?

but when bobby asks kathy about love she says "i'll be a good wife"

now martha's on the piano

ah the "dressed up all in black" speech

  and "and drink...and cry" - the best

okay heavy funeral stuff, lilies, barefoot, black veil, also monochrome wardrobe

whispering ‘’don’t tell paul’’

raúl esparza "marry me a little" i think is one of my favourites

*"tell but lie" - a line

slapping the bass to start off ‘‘side by side’’

joanne on tambourine

also dig the marching band situation

oooooh only with the kazoo part i was like ah i see. because everyone is part of the band but not bobby

but larry expresses care for joanne

elizabeth stanley as april like the beatwork and essence

#company #sondheim #stephen sondheim #broadway #company 2007 revival #look i made a post #musicals #musical theatre #bobby baby #theatre

[monstrumpologin]

Randome Headcanon #2:

JULIAN DEVORAK AND JARETH THE GOBLIN KING HAVE SIMILAR CLOTHING STILES

, just a different collor pallet. julian is red + black + feathers or tassels and jareth blue + silver or cream white + glitter. both wear leather.

just imagine, jareth in julians normal clothing, only the red bits of the coat that he has hanging over his shoulders are silver and the black is blue and julian in jareths clothing, the red-ish short leatherjacked, the blue coat from the ballroom szene but in black with the glittery beatwork at the shoulders in red... imagine jareth in those over knee boots

but i think jareth also would like some of asras, nadias and lucios stuff.

#jareth the goblin king #julian devorak #the arcana #nyx hydra #the labyrinth #the arcana asra #nadia satrivana #count lucio

[dustedmagazine]

Throwing Snow — Dragons (Houndstooth)

Dragons by Throwing Snow

The man behind Throwing Snow, Ross Tones, is aptly named: the guy is really particular about his tones. On his new album Dragons, tones are at the forefront and songcraft takes a back seat. Right from the start, Dragons looms out of the darkness with fire in its belly. Synth lines rise and fall in snarling waves. Beats snap and thump. It sounds fantastic, whether blasting out of speakers or bouncing around your brain-box on headphones.

“Halos” feels like a throwback to the old-school, glitched-out sampling of Paul Hardcastle’s “19,” but crossed with the futuristic shape-shifting of Aphex Twin’s “Windowlicker.” “Lithurgy”’s half-time breakbeat is lent a stately grace by the simple elegance of the melodies traced out across its jagged skeleton. “Traveller” harks back to Four Tet’s Pause in its combination of spritely metallic melodies and buoyant beatwork; the kick and shakers alone feel like they’re ready to knock the eyeballs out of your head. “Purr” earns its six-minute run-time thanks to the canny juxtaposition of woody, fleet-footed rhythms and rushing spirals of synth, plus a rattling sub-bass breakdown and some achingly melancholic chord changes. “Equitem Nocte” has a pugilistic dancefloor-ready bounce that’s crying out for the vocal talent of an artist such as Roots Manuva. But best of all is the glowering synth bass of “Brujita,” like a tundra storm blowing across a midnight horizon, the siren-like melody calling out into the darkness. 

There’s no disputing Dragons’ ear-catching sound palette and hefty production dynamics, with each of the 10 tracks offering up something to draw the listener in. However, there’s not much in the way of development within and between tracks, with some of the ideas leading to musical dead-ends, such as the way “Elder” fizzles out as it’s starting to get interesting. So while Dragons has plenty of great moments, it sadly lacks a cohesive musical narrative to reward repeat listens.

 Tim Clarke

#throwing snow #dragons #houndstooth #tim clarke #albumreview #dusted magazine #bristol #electronics #uk bass

[broketunez]

Im working on these 10 minutes challenges to see how far I can go with my creating process, this also forces me to work at a faster level, therefore boosting my game. Hope you enjoy this. #broketunez #beatmakingsession #broketunezstudio #4am #5amclub #beforethesunrise #flstudiochallenge #levelup #10x #motivation #everydayhustle #dontwastetime #musicdaily #fillyourcalendar #getupearly #dosomething #dontworry #art #artwork #beatwork #flstudiocookup https://www.instagram.com/p/B6sUGOMAuf3/?igshid=2mlysrgep85v

#broketunez #beatmakingsession #broketunezstudio #4am #5amclub #beforethesunrise #flstudiochallenge #levelup #10x #motivation #everydayhustle #dontwastetime #musicdaily #fillyourcalendar #getupearly #dosomething #dontworry #art #artwork #beatwork #flstudiocookup