This month will feature a couple of articles by yours truly! This first one is an album very special to me that I only recently came across. FLIES is an experimental artist without limitations from Massachusetts. His newest EP, ‘Exi(s)t,’ exhibits interesting mixtures of memorable chord progressions, voices, beats, combinations of clear and lo-fi samples, and textures. While not in the chip realm, I wanted to expose those who love that genre with others that integrates otherworldly elements to hopefully inspire, and continue to expand the beautiful world of music and sound design.
This month, instead of the usual review, I decided to put together a helpful guide for those looking for more insight on playing live shows. Playing shows can be super fun, but being less than prepared can cause a ton of stress.
Here’s the scenario: Your show’s date is set. You have a month or more to prepare. Tons of time, right? Wrong. Chances are, you’ll procrastinate. You have other gigs to focus on. You’re working on an EP (or four). You’ve got somewhere between one and three jobs. You might be studying. Maybe you have a family. Everyone has a million things on their plate, and that’s OK. It’s normal. With that in mind, you need to keep your eyes on the prize, because rule number one of this whole thing is:
If you commit to something, do everything in your power to produce good results.
Maybe you just like playing shows for fun. Maybe music is how you pay your bills. Maybe you create as a way to express yourself, maybe you’re more of a programmer and are developing music tech tools as a way to test them. Whatever. Regardless of why you’re part of the industry, it all comes down to this: If you are not reliable,people won’t want to work with you. People serious about their craft do not mingle with people who aren’t dependable, professional, and on time. It doesn’t matter what field that you’re in. As Jim Rohn said in one of my favorite quotes:(more…)
When I started off writing articles with the Blog, I came across a west coast artist named WMD, and reviewed his release, ‘Entelecheia‘. A little less than a year later, I discovered his release, entitled ‘Hiraeth‘. Notorious for entitling albums with strong, morose, and sometimes unorthodox words, WMD named this album after a Welsh word that has no direct English translation. The only words close to it are words such as ‘longing’ and ‘homesickness’, specifically for a place that might not even exist. I have to admit that part of what draws me to WMD’s music is the sense of nostalgia and deep emotional connection that is tied into it, and I can’t help it. I’m drawn to things I have experience with, and can understand.
On the night of the 22nd, a bunch of East Coast dwellers got together to perform at The Middle East Upstairs in Cambridge, MA. They got together to give the people what they needed for their Saturday night,: and that, my friends, was a night of over the top lo-fi goodness. From the openers to our magical headlinah, the stage was graced by:
Myself, Sam Mulligan, Br1ght Pr1mate, Kris Keyser, and Radlib! Hell. Yes. This article covers the show, what these guys are doing, and how they’re making it happen.
This month’s review is a little different than the past reviews that I’ve done – instead of it being about an album, it’s about a really unique experience I had where I shared the art of game audio, including the history of chiptune, with a fairly new camp called Girls Make Games. The camp was created by Laila Shabir, a graduate of MIT and CEO of LearnDistrict, an educational game company. The objective of the camp is to put an end to the gender gap in the gaming industry by recruiting young females with prior interest in gaming to show them how to create their own video games and the process required to do so.