Dead J is one of the most innovative and prolific electronic musicians making music in China. His music is dancy, crunchy, sonically diverse, and all-together banging. He was originally inspired to make electronic music because he felt that rock music had stagnated. “One of the charming things about electronic music is its individualism,” according to Dead J, “just like when an artist creates a painting by themselves. So the possibilities for electronic musicians are huge.” I highly recommend his new album, Ting Tai Le Ge.
When it comes to music “now,” it all depends on who and what we’re talking about. The stuff that gets advertised on harshly illuminated screens down on L Train platforms? The bands involved in what that Pitchfork describes as “the most important stories in music?” Spotify Playlists for the gym? The Bang On a Can Allstars? Generally, I mistrust these things, because I don’t see them making any attempts to use music’s great power to snap people out of the general stupor of malaise that seems to be a symptom of living in our times.
If you can start getting back to the markets that are a reasonable drive away on a regular basis, you’ll start to see your network of bands and promoters, as well as your fan base grow in those cities. Once that happens and you can rely on those markets to make you some decent money on the road, it becomes feasible to start tacking on additional dates in new markets. From there, that national tour you’ve always dreamed of is just a few short steps away!
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The 808 might be the only real indication of the harmony for the track, so it’s important that it feels solid. If there are chords, stick to roots, and at most try fifths and octaves.
Home producing your vocals takes some to get used to. Here’s some advice to help you out. But in the mean time, let’s talk about the microphone. If you’re recording at home, you’re probably going to use whatever mic you have lying around. So make sure to purchase something that fits with what you plan to record next time you get to the store.
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Brad Pack is an award-winning audio engineer, writer, and educator based in Chicago, IL. Brad holds a Master’s degree in Electronic Media Production. When he’s not in front of his laptop, Brad can be found in the mosh pit.
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From her native Tunisia via France, Abdelwahed made her name playing sets in places like The Boiler Room and Berghain. Her work fuses gritty urban dance rhythms with unconventional textures; it’s ambient, industrial, and traditional Arab music all wrapped up within an experimental techno framework. In an interview she poses a question that summarizes her artistic vision: “If the people who invented house and techno were Arab, if they had grown up with our rhythms and our instruments, what would it sound like? Would it be the drum and bass, house and techno we know today? I don’t think so.” Abdelwahed’s latest album is Khonna, released in November 2018.
Another tried-and-true method for promoting your show is to make sure your show’s information appears on local listservs, blogs, and event calendars as soon as the information is confirmed. Don’t sleep on these websites and print publications. They often post about a show weeks before the event, and local editors and writers check them out for potential editorial coverage. You can usually search for event listings and add your info yourself to their websites.
So, the Institute has collected and kept enormous records of French radio and television broadcast archives since since the 1960s. These archives are available online and are viewed and listened by people of all ages and walks of life every single day. The archives are currently only available online, and the majority of this collection remains unexplored.
Plus, holy crap, they gave Bieber his own entire verse this time! He grew up so fast. Seriously, though, it’s really cool how all of the verses in this song are completely distinct from one another, yet still follow an 8+4 construction.
It’s an ever-fluctuating continuum. Sometimes an idea will pop into my head completely orchestrated and ready to be written down, and other times it’ll just be a little scrap — something I have to sit down and futz around with for hours before achieving any sense of clarity about what exactly I should do with it. Orchestration has always been my favorite part of the writing process, and I enjoy trying to figure it all out, digging and finding the information already hidden in a piece of musical material that will guide my decisions about how to treat it.