Tag: music

E4: Every Extend Extra Extreme

Every Extend Extra Extreme is one of the games I’ve been totally been going crazy for recently. I tried the demo on Xbox Live Arcade and was instantly hooked. Explaining how it works is quite tricky… Wikipedia to the rescue

the player controls a ship which they can detonate at any time. This causes any enemies within a certain radius to explode, which in turn cause other enemies to explode in a chain reaction. As the game continues more and more enemies populate the screen allowing longer and higher scoring explosions. The player may halt the chain at any time to pick up power-ups (such as to increase enemy speed, add time, add temporary shield) or to start a new chain reaction.

The explosions add a percussive beat to the background music.

The player’s ship is destroyed when coming into contact with or being shot by an enemy while the player’s shields are down. This resets the level to its initial slow pace and bonus multiplier, therefore hindering the player’s scoring.

The one thing it doesn’t say is depending how your timing is with the beat, you get a small to large explosion radius. So bang on and you get something which can start a massive chain reaction while off beat and you only take out a few enemies.

Its pretty and glorious on a HDTV running at 60fps and fans of REZ HD will appreciate the finishing touches which Q! entertainment bring to their games. This is certainly my new Geometry Wars

The world’s most important 6-sec drum loop

Matt showed me this earlier in the week but I had to blog it. This is a excellent example of remix culture… Imagine if Amen had claimed copyright over the break? Or if they had licensed it only to the top producers in the music industry.

This fascinating, brilliant 20-minute video narrates the history of the “Amen Break,” a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music — a six-second clip that spawned several entire subcultures. Nate Harrison’s 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.

Pay a voluntary contribution or suffer the shame?

The Real Hustle being filmed in Brighton

So I'm really late to the whole Radiohead price experiment. Many people have said how great it is, others have said there just copying what smaller artist have been doing for years on sites like Amiestreet, some of pondered interesting questions and others have moaned about the quality. But what I found interesting was Ben Metcalfe's post which asks the question Would you pay a voluntary contribution for your BitTorrent usage?

Having pushed for so long for digital distribution methods that afford us our full rights under copyright (ie no DRM), it’s kinda time that we step up to the plate and prove that today’s digital media consumers are not looking to freeload… or are we?)

I was just chatting about this issue with a heavy BitTorrent user I know well, who’ll remain anonymous. For her, she finds BitTorrent the most convenient way to select and consume media – she watches a lot of foreign TV and also occasionally enjoys watching video on her PSP (which doesn’t support any DRM-for-video technology even if the content she wants to watch is available in a DRM’d format). Downloading torrent files from sites across the world and transcoding them into a PSP-friendly format has become a simple and painless process which she finds quicker and more convenient for her needs than any DRM system out there right now.

She is frustrated that she has to use what are currently deemed ‘illegal methods’ to obtain the media and can’t do anything to legitimize the content she is viewing.

So I know Chris Anderson is writing a new book called Free but honestly if I could pay the artist or production company for my DRM free download I would. Depending on the content I would pay between 1p – 2 pounds. 2 pounds for heroes, dexter, Dr Who, IT crowd, etc. 1 pounds for Ugly Betty, Apprentice, The Real Hustle, etc. 30p for Prison Break, Daily show, etc. I would also pay for podcasters and videocasters for their efforts if it was conveient and simple.

There was something interesting I heard at the wealth of networks conference in Boston. The Social Facebook application, called Causes. So the thinking behind the causes application is that the person can indicate what causes they support. But that application also tells people if you've donated money or helped that cause recruit new members. The idea being that if your friends have all donated loads of money over months, and you nothing. You would be shamed into taking the cause off your list. Now if you imagine something like this for TV, Music and even Film I guess? (I know Tioti is thinking about badges to indicate you like a certain show) you could have some site like last.fm or tioti/sharetv which tracks your tv/music but also shows when you donated money or helped out in someway. I guess the people who just want stuff for free will not sign up, but for the rest of us this is a way of showing your really a fan and enjoyed the show so much you paid or did something in return. This would also show the producers how popular there show/tune is and you could build grassroot graphs and charts I guess. If the real hustle series 1 rakes in a load of money and series 2 double that, you know your doing something right. If its less and less then its time to change something or give up. Its like voting for a show but the financial decision means votes are not given in vain or lightly. Hey and its helping out the people who work really hard. Just a idea, not really formed yet.

I'm not really a fan of Radiohead, but if this helps the content producers and owners into considering other business/revenue models, then put me down for 5 pounds…

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Gabriel and Dresden Featuring Molly Bancroft – Let Go

I've been listening to this tune a little too much I think. This is certainly the trance equivalent of a breaking up tune. Its very mellow and limited on vocals, but clear and effective at reminding me of current position.

 

I swear I don’t know, what time it is,
But I know this means, nothing much to me,
And I hear the voices, bring in my head,
And they keep telling, telling me to let go…
Let Go
Telling me to let go
Let go…
*It could be better that way*

Let it Go, Let it go,
*It could be better that way*
Let it Go, Let it go,
*It’s just better that way*
Let it Go, Let it go,
*It could be better that way*
Let it Go, Let it go,
It’s just better that way.

And I hear the voices, bring in my head,
And they keep telling,
Telling me to Let Go…To let go…
Telling me to Let Go…To let go…
Telling me to Let Go…To let go…
Telling me to Let Go…To let go…

*Aah a ah..let it go..*
*Aah a ah..let it go..*
*Aah a ah..let it go..*
*Aah a ah..let it go..*
*Sink me better that way.*

Let it go, Let it go
“It could be better that way”
Let it Go, Let it go
“It’s just better that way”
Let it Go, Let it go
“It could be better that way”
Let it Go, Let it go
*Sink me better that way..*
Let it Go, Let it go
*It could be better that way*
Let it Go, Let it go
*It’s just better that way*
Let it Go, Let it go
*It could be better that way*
Let it Go, Let it go
*It’s just better that way*

Scary how effective music can be sometimes…

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Its mid February and I feeling like I should go clubbing soon



Click To Play

The lasers are calling me or something… As part of my 2007 resolutions, I said I would go clubbing once a month. Well I'm itching to go clubbing again at Turnmills (damm flash site). The person I would love to hear is M.I.K.E, his tunes are right on the line between Trance and Progressive (perfect for listening to at work). But he's on when I'm up in Scotland (Friday 2nd March) and I'm meant to be in Bristol that weekend
too. So my other option would be to go next weekend (23rd Feb) which has a good line up too with the likes of Tall Paul, Above & Beyond and Rank1.

This will also mean another Dj mix before going out.

So if your interested in joining me on my quest into dance music, drop me a line… (yes Ryan that includes you). But be warned I tend to spend most of my time on the dance floor and I only do caffinated beverages.

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Good night at Turnmills and those Lasers



Click To Play

Recorded at Turnmills in the Gallery during Ferry Corsten's 4 hour set, Laser
action like I've not seen in a long time.

I had a great time at Turnmills yesterday. The venue is a maze and I wish I'd been to it before. Its not the crazy and some what shabby venue of the Camden Place but its certainly not Fabric. I would compare it to Heaven in style and maze like structure. The Dj booth sits in the middle of the biggest room but only looks out one way. This works well because one end gets very crowded and other side becomes a over-spill. I did briefly look at the other 2 rooms but didn't get a chance to really check them out.

Ferry was on good form playing a good selection of trance from across the board. About 4:30 Ferry dropped into a his tech dance stuff which went down really well. But I got to say the most impressive thing all night was the Laser's.

2 high powered electric cooled multi-spectrum lasers in one room. I mean what more can you ask for? So impressed, I shot a few videos (1, 2, 3, 4, 5, 6 and 7) in high def so I could display the power and intense nature of the lasers.

So generally yes I had a good time and I'll be back next month for another 5+ hours work out on the dance floor.

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A few hours before going clubbing for the first time this year

Dance in front of a laser

I'm so excited and I just can't hide it. The plan was to go to sleep for a couple of hours after eating dinner then wake up and get ready to go. However I'm sitting here writing this blog post, playing loud dance music, talking to Sheila on IM and trying to get a hold of Ryan Alexander. Ryan expressed a
interest in coming along tonight but I didn't have him on my twitter list so I missed it all. Anyway, I'm buzzing and I haven't even touched the Redbull yet.

I got a feeling that I might end up doing a quick mix while I'm waiting. There are some banging tunes which I've been listening to a lot recently and their just crying out to be mixed together. I've also been playing with the idea of doing a music dj podcast but I know I'd get sued silly. Anyway, I might provide a voice overlay track to my next mix if I find the time.

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Friday 19th Jan, One night with Ferry Corsten. You up for it?

Last time I went clubbing in Berlin



January 14, 2007 10

—

6am

— Ferry Corsten 4 hour set— at The Gallery at Turnmills, Clerkenwell, London

Four hour set from Mr Corsten, supported by Abel Ramos and Gavyn Mytchell

One of the top Dj's in the industry hits London next Friday. In my attempt to get back into clubbing before I get really too old physically to do it all, I'm going.

My only regret is that I'll have no one to share the night with. Most of my friends are into weird music (only learned who the police were a while ago) and won't be interested in going out till 6am. Unless I might be wrong? If your reading this and thinking yeah sounds like a good night then leave a comment or drop me a email. As mentioned on the podcast we just did, I only drink lots of Redbull so I'm legally allowed to drive my scooter home afterwards, which means theres a chance I could drop you home if your
on the way to Woolwich. I also found a nice discount on the ticket price.

Because so many people of the Ferry Corsten forum are going to see Ferry in Turnmills we wanted to do something special! So we can offer a special entrance for just £10. To get your ticked you have to go to THIS special link.
Please put : FINGERS in the Promo code box. Go through the rest of the options and then on the next page it will offer you the £10 ticket.

The last time I went seriously clubbing was in 2005 over in Berlin. My friend Carl was going to come out too, but his girlfriend was ill. So I decided to go alone. Now to be fair I had a flipping wicked night but there were some odd things to get use to in Berlin like getting money back for your glasses at the bar (actually makes a lot of sense). I must have shed like a ton of sweat that night because there were so many good tunes played by the likes of Paul Van Dyk and Tiesto.

The way I currently stay in touch with what's going on in the Trance and Progressive scene is via the member only Bit Torrent site Trance Traffic. Armin Van Buuren's A state of trance show is simply awesome and is a must if your into your trance and progressive music. Without it I wouldn't be currently listening to the classic Intuition
(Martin Roth Classic Style Mix)

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Flicker music podcast

Minimus EP cover

My friend Paul Crowley has created a flipping awesome podcast for his and Gareth Cole's exclusively online music lablel Flicker Tracks.Yes Flicker with an E not without the E. Anyway his just launched a new EP called Minimus and decided the 30secs preview you get from the Apple iTunes store wasn't enough for slow building arrangements which you find in a lot of house and trance music. And he's very right, there's tracks which sound nothing like the first 2 mins because thats your build up period (or mix period) then the track comes alive with something amazing which suprises the listener. Paul says it much better that myself

We decided that it is important that anyone interested in our material can hear significantly more than the 30 seconds currently afforded by iTunes. This is particularly important with club focussed music, where lengthy intros facilitate equally lengthy and seamless DJ mixes. Slow-build arrangements don’t necessarily reveal the true nature of the track in the opening bars, or in fact, in any given 30 second sample.

It’s always been true that the medium has dictated the format and length of mass produced music (from wax cylinders through to compact discs) but in this instance, the promotional method is creating an artificial limitation – the medium is not at fault. It is as if when writing material, you should now produce the musical equivilent of the elevator pitch to have the greatest chance of commercial success.

Were we to write and arrange our material so that the first 30 seconds gives the casual listener a more representative sample of what’s to come, we would then risk rendering the material less appropriate for the intended context – a club (which of course is creating another restriction on form, but one that we choose intentionally). Anyway, all this technology is supposed to be about creativity and freedom of expression, right?

Your damm right Paul. I've added the podcast to this entry which I hope will give it even more visability and I don't think Paul will mind. It would be easier for others to do the same if there was a creative commons licence like Attribution-NoDerivs License attached to the podcast. Then people could play it, copy it and even play it on a commercial radio station. I would also add – it would be great to have included a little tracklist (maybe linked to the direct track on itunes) in the blog post. But it was great to hear louise's voice over the music, very professional sounding.

So about the actual tracks.

1st track minimus – is damm fat and heavy, I like it and might have to get it for net Saturday's Bash.

2nd track bring you too – is a nice rich leader track. Something I would use to bring the crowd to a new place. This is certainly what I think of when thinking progressive or tech house.

3rd and 4th tracks are not quite my style but sound like something I would dance to in a house club.

5th track skidmark – is another fatty track perfect for playing in a bar, warm and smooth, perfect for a slightly upbeat lounge club. Saturday is calling its name.

So Paul it worked, your elevator pitch of a podcast has made me considered buying some of your tracks. Now if it wasn't in itunes encrypted mpeg4 audio (AAC) I could use it in a DJ set next weekend. Oh well…

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Digital Music is not a loaf of bread which can be stolen

In a long series of things which I've been meaning to blog for a while. I saw this on Torrent Freak.

Singer/songwriter Jeff Tweedy is part of the growing group of artists that understands that there’s more to music than selling pieces of plastic, and suing your fans.

In an interview with Wired Magazine (from a while ago), Tweedy said:

A piece of art is not a loaf of bread. When someone steals a loaf of bread from the store, that’s it. The loaf of bread is gone. When someone downloads a piece of music, it’s just data until the listener puts that music back together with their own ears, their mind, their subjective experience. How they perceive your work changes your work.

Jeff Tweedy is the leadsinger of the popular band Wilco, that won two Grammy’s back in 2005. He doesn’t consider copying and remixing as evil, but as a way to facilitate creativity.

On the official website of the band from Chicago we even see a link to the BitTorrent tracker where Wilco fans actively share high quality recordings.

Treating your audience like thieves is absurd. Anyone who chooses to listen to our music becomes a collaborator. People who look at music as commerce don’t understand that. They are talking about pieces of plastic they want to sell, packages of intellectual property. I’m not interested in selling pieces of plastic.

For those who are interested in the copyright debate, here’s a presentation by Larry Lessig titled “Who owns Culture“. The presentation served as an intro to conversation about p2p and free culture by Jeff Tweedy and Larry Lessig (audio link).

This all comes at a time when EMI music CEO and Chairman Alain Levy tells an audience at the London Business School that the CD as we know it is dead. And to top that, the IPPR released a study on why copying of CDs and DVDs for personal use should be legalised.

IPPR Deputy Director Ian Kearns said:

Millions of Britons copy CDs onto their home computers breaking copyright laws everyday. British copyright law is out of date with consumer practices and technological progress.

A recent survey among 2135 British adult consumers shows that most people don’t even know that they are breaking the law. Of all the people that participated in the survey, 55% said that they have ever copied CDs onto other equipment. However, only 19% actually knows that this behavior is illegal.

Well what more can you say? Three interesting stories in the downfall or change of the music industry.

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