I came across this today (apologies to Dave McSherry who currently has this song as an ‘earworm’ in his head), but I was amazed at the psychological difference turning this song into a major key makes.
Recently produced by Major Scaled – a version of REM’s ‘Losing my religion’, remixed in Major Scale
This artists work is being removed by major labels so you may not get to hear this for long….
this is from the vimeo post – http://vimeo.com/57685359
“Someone has gone to the trouble (I don’t know how but would suspect using Melodyne DNA or somesuch) of processing REM’s minor-scale downer hit ‘Losing My Religion’ so that all the minor notes are now major. When I followed the link I thought it’d be a cover, but no, it’s the original, processed. It’s uncanny – the song is just as familiar as always but the impact is utterly different. Kind of like finding a colour print of a film you’d only known in black and white, or seeing Garfield minus Garfield for the first time. I like it.”
A spokesman added that Bowie was the sort of artist who “writes and performs what he wants when he wants”.A second representative subsequently told the Guardian there were no plans for interviews or live dates.
His first release for about a decade, new audio work by Bowie is rare these days following his withdrawal from performing due to a heart condition.
Bowie is a major figure in the development of music in the late 20th Century and is renowned for constantly re-inventing himself, and always surprising people.
Produced by long term collaborator Tony Visconti, ‘Where Are We Now?’ was written by David Bowie, and was recorded in New York.
This unusual video was directed by Tony Oursler and harks back to David’s time in Berlin. Apparently he appears with Bjork (a friend) projected onto dummy heads.
He is seen looking in on footage of the auto repair shop beneath the apartment he lived in along with stark images of the city at the time and a lyric constantly raising the question “Where Are We Now?”
Unsurprisingly, 10 years since he was last heard, Bowie’s voice sounds older and more world-weary. The melancholic song sees him reviewing his time in Berlin – where he created some of his most groundbreaking music in the 1970s – as he lists some of his haunts with the repeated line “just walking the dead”.
And in the video directed by Tony Oursler, with the musician’s pensive face projected on to a puppet, he appears to be almost biting back tears as he looks back on his life.
Where Are We Now? was written by Bowie and recorded in New York. It was produced by long-term collaborator Tony Visconti, who has worked on many of his most famous albums, beginning with 1969’s Space Oddity.
A follow-up album called The Next Day is set to be released in March.
The closure of Bush House, home to the BBC World Service since December 1940, has provoked two wonderful soundscape projects.
Firstly, World Service studio manager Robin The Fog used recordings made in Bush House at night to create The Ghosts of Bush. “Here, atmospheric noises are slowed down and looped, with the help of some of the World Service’s ancient reel-to-reels, to form a piece of beautiful, warm spatial exploration. Chords swell and harmonic patterns emerge out of the building’s crepuscular creaking or Robin’s whistling, using the labyrinthine Portland stone corridors of the building, at one time the most expensive in the world, as a giant reverb tank.” (The Quietus, 2012).
Comedian Stewart Lee is passionate about electronic music and he take us on a remarkable musical journey. We discover how, after the Second World War, a small group of electronic pioneers began tinkering with their army surplus kit to create new sounds and music.
Tristram Cary started the first electronic music studio in Britain but, while France, Germany, Italy and the USA had lavishly funded research centres, British electronic music remained the preserve of boffins on a budget.
As the programme reveals, this make do and mend approach prevailed long after austerity Britain had given way to the swinging 60s, with Peter Zinovieff developing EMS synthesizers from a shed at the bottom of his garden in Putney. (Paul McCartney put on his wellies and took a look). Zinovieff is interviewed about his experiments in sound.
Unsurprisingly, the electronic community in Britain was a small, intimate group and joining Cary and Zinovieff was Daphne Oram, who devoted decades to developing a ‘drawn sound’ electronic composition system that never really quite worked.
Brian Hodgson tells us about 1960s experimental and electronic festivals, including The Million Volt Light and Sound Rave (1967) at which The Beatles’ electronic piece Carnival Of Light had its only public airing. We shall also hear how the radiophonic workshop broke new musical ground with Dr. Who.
Experts in the history of electronic music, including author and musician Mark Ayers and Goldsmith College lecturer in computer studies Dr. Michael Griegson give the boffins’ view and Portishead’s Adrian Utley explains why the early forays in electronics are still relevant today.
Produced by John Sugar
A Sugar Production for BBC Radio 4.
Robert Babicz is a Polish music producer, mastering engineer and live performer living in Cologne, Germany. With a career spanning nearly two decades covering genres from techno to acid house to minimal, Babicz has also been known under the pseudonyms Rob Acid, Acid Warrior, Department of Dance and Sontec amongst many others. He has released a number of very well respected record labels such as Kompakt, Treibstoff, Bedrock , Intec Digital and Audiomatique, as well his own labels, Junkfood and Babiczstyle. He is well known as a live performer, never a DJ, as he uses synths and live equipment and improvises in every set he plays. Watch the video here
In this short interview, he discusses mastering, what he thinks of mastering software,how you should prepare your track for mastering and gives an insight into the kit he uses.
BBC Radio 4 drama: The remarkable story of pioneering BBC Radiophonic Workshop music composer Delia Derbyshire and her influence on artists such as Aphex Twin, Orbital, Add N to X and Sonic Boom (Peter Kember who features in this drama). Listen to the programme here
Chris Bowlby profiles Ralf Hutter, the only founding member left of the German electronic band Kraftwerk. Coming from an obscure industrial background, Kraftwerk first formed in 1970, and are now credited with being hugely influential on a host of musicians and on music of diverse types, including electronic, hip hop, house and drum and bass.
Notoriously uncommunicative with the outside world, Kraftwerk used to only have a fax machine as a point of contact at their studio though Ralf Hutter says even that has now gone.
Krafwerk have just completed a major series of concerts in New York and are promising that they will be releasing a new album “very soon” – the first in nearly a decade.
According to this campaign,”The Loudness War is a sonic “arms race” where every artist and label feel they need to crush their music onto CD at the highest possible level, for fear of not being “competitive” – and in the process removing all the contrast, all the light, shade and depth – ruining the sound.” (taken from dynamicrangeday.co.uk)
THIS VIDEO EXPLAINS MORE
Big-name CD manufacturers are distorting sounds to make them seem louder. Sound quality suffers.
What is Dynamic Range Day ?
The “Loudness War” is built on the idea that “louder is better”. However this concept is fatally flawed. The goal of Dynamic Range Day is to reveal this flaw and spread an alternative message:
The fatal flaw of the “Loudness War” sound
In a nutshell: it doesn’t sound good.
Research shows there is no connection between “loudness” and sales
People don’t notice loudness when comparing songs
Dynamic music sounds better on the radio – here’s the proof
Modern music players undo loudness by using ReplayGain
Most listeners just turn loud music down !
So – “loud” music on CD has no benefit on the radio, online, on an mp3 player, or in your CD player. That’s why I call it a legend – the “Loudness War” makes no sense, in 2012.
Flying robot quadrotors perform the James Bond Theme by playing various instruments including the keyboard, drums and maracas, a cymbal, and the debut of an adapted guitar built from a couch frame. The quadrotors play this “couch guitar” by flying over guitar strings stretched across a couch frame; plucking the strings with a stiff wire attached to the base of the quadrotor. A special microphone attached to the frame records the notes made by the “couch guitar”.
These flying quadrotors are completely autonomous, meaning humans are not controlling them; rather they are controlled by a computer programed with instructions to play the instruments.
Penn’s School of Engineering and Applied Science is home to some of the most innovative robotics research on the planet, much of it coming out of the General Robotics, Automation, Sensing and Perception (GRASP) Lab.