I’m getting closer to having my new site ready to launch. In the meantime, here are a few more links where I’m promoting my music online:
VIRB: http://www.virb.com/room34
INDISTR: http://www.indistr.com/room34
I’m also working on a few others, but these are the ones that had the best upload/customization interfaces so it was easiest to get up and running quickly. (Web 2.0, baby!)
I’m on a roll with the new music; after producing two new albums for the RPM Challenge, I’ve already started on another new project. Drenched in vintage ’60s and ’70s keyboard sounds (electric piano, organ, and the beloved Mellotron — no, I don’t really have a Mellotron, just this, which, come to think of it, is actually better, or at least more practical, than the original in almost every conceivable way), the album is going to be a tribute to the music of the Apollo years: 1961-1975. Heavy emphasis will be placed on 1969-1972, which also happen to be probably my favorite 4 years in music history. I’ve already got a couple of minutes of a first track (just backing tracks, with a scratch MIDI bass track, and a rough mix) laid down (which you can listen to below), and visual inspiration for the cover. Man, that old Apollo logo is sweet!
“Lunar Landing” version 0.1 • February 21, 2008 • 2:07
[audio:http://blog.room34.com/wp-content/uploads/underdog/lunar-landing.mp3]
For reasons I don’t care to get into, I was singing Leslie Gore’s modest ’60s hit, “Sunshine, Lollipops and Rainbows” (best known to Simpsons fans as the “chase music” Chief Wiggum and Homer play in the squad car as they chase Marge and Ruth Powers in the classic episode, “Marge on the Lam”), and as usual when I get a random song in my head, I wanted to crank up the audio clip of it from the iTunes Store for the amusement (or annoyance) of everyone within earshot.
As I was listening to the clip, I noticed something odd. The CD it’s currently available on is from the 20th Century Masters – The Millennium Collection series, easily identified by its distinctive black-white-and-gray cover designs. I believe these originally featured artists from the A&M label, but eventually expanded to include other artists currently distributed by various labels under the (very large) blanket of Universal Music Group.
And that, I guess, is how ’60s bubblegum pop like Leslie Gore (originally released on Mercury, I believe) ends up being distributed by the same label as Ghostface Killah.
In a rare bout of overabundant creativity (or inadequate self-restraint), I have finished not one but two CDs for the RPM Challenge. They’re available now on CD from Kunaki.
The first project, Unnatural Disasters, is a more traditional album of 9 tracks in styles running from straight-ahead rock to prog rock to Bitches Brew-era Miles Davis electric jazz to electronica, and running a little over 36 minutes. The music could serve as a soundtrack for a world tour of the strange places I’ve written about in my blog.
Also unnatural but less of a disaster, the second project, a single 38-minute track, is a piece of minimalist electronica with a structure based on the composition of a technetium atom. It is, appropriately enough, entitled Technetium. Up close, the music is ever-changing, yet on a large scale it is completely static; it doesn’t really go anywhere, but it also never precisely repeats in its entire 936 measures. It went from concept to completed album in about 6 hours, which is the half-life of technetium’s least-stable isotope.
You can learn more about the two projects, and listen to streaming versions of all tracks from the albums, by clicking on their respective covers to the right.
I’ve been a fan of Paul Slocum‘s various projects for several years now, but this takes the cake. From his blog post about a new project:
The program generates house music by progressively calculating the digits of pi and feeding them into an algorithmic music generator that I wrote…
The song is infinitely long and static. Every byte of the audio output is predetermined, even though only a small amount of it has actually been listened to. So you can jump to any measure in the song and it will always play the same music for that measure.
And it gets only more delightfully geeky from there.