A reconstructed version of a KLF album most of whose copies were destroyed after a legal dispute with Abba has been donated by the band to the British Library.

The library said it had acquired The Acetate, the only physical copy of a new version of 1987 (What the Fuck Is Going On?) by the Justified Ancients of Mu Mu, who later renamed themselves the KLF.

The Sierpiński triangle (sometimes spelled Sierpinski), also called the Sierpiński gasket or Sierpiński sieve, is a fractal attractive fixed set with the overall shape of an equilateral triangle, subdivided recursively into smaller equilateral triangles. Originally constructed as a curve, this is one of the basic examples of self-similar sets—that is, it is a mathematically generated pattern that is reproducible at any magnification or reduction. It is named after the Polish mathematician Wacław Sierpiński, but appeared as a decorative pattern many centuries before the work of Sierpiński.

The film maps a new history of electronic music through the visionary women whose radical experimentations with machines redefined the boundaries of music, including Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani, and Laurie Spiegel.

The documentary is voice by Laurie Anderson and brings together archival footage, interviews and long periods of letting the music speak for itself.

SISTERS WITH TRANSISTORS is the remarkable untold story of electronic music’s female pioneers, composers who embraced machines and their liberating technologies to utterly transform how we produce and listen to music today.

The film maps a new history of electronic music through the visionary women whose radical experimentations with machines redefined the boundaries of music, including Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani, and Laurie Spiegel.

During the pandemic, musical artists have raised the bar on NPR's Tiny Desk Concerts. Because they can't actually perform from Bob Boilen's "tiny desk" in NPR's music office, they've been given carte blanche to imagine outside the box. The performances themselves are what you'd expect from these artists — terrific — it's the sets that they're having fun with.

Back in August, Billie Eilish and FINNEAS performed in front of a realistic cardboard cutout of Bob Boilen's desk. Then, in September, Phoebe Bridgers used a green-screen to make it out like she and her band were playing from the Oval Office.

Enter Miley Cyrus. For her concert, she not only embraces the concept of "tiny" but makes her backdrop a personal statement.

Enjoy this amazing aerial flight through a future cyberpunk city. With calm ambient and rain sound in the background. This City gives you the vibes from the atmosphere of Blade Runner, or the Game Cyberpunk 2077, but also reminds of Mute City from the Game F-Zero or the City of Tron.

This week was the 40th anniversary of the release of Phil Collins' "In the Air Tonight, the legendary debut single off his first solo album "Face Value"! Phil Collins’ 1981 debut single, “In the Air Tonight,” is one of the most influential pop songs of all time.
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at 3:41​ one of the most dramatic, legendary and talked-about moments in the history of music arrives: the entrance of Collins’ gated drums, in particular THAT astonishing 10-note tom-fill, leading to a proper backbeat and the introduction of John Giblin’s bass. The gated reverb drum sound was first heard a year earlier on Peter Gabriel’s song “Intruder,” on which Collins also played drums. Engineer Hugh Padgham heard Collins play drums through the heavily compressed reverse talkback mic on a new SSL desk, which also had noise-gates on every channel, and was awe-struck by the unexpected new sound. Gabriel and Collins also loved it, and the SSL was duly rewired so the talkback mic could be recorded easily. For “In The Air Tonight” a year later, Collins and Padgham recreated the sound with heavily compressed and gated ambient mics. The resulting thunderous gated drum sound has since been imitated countless times, and is now so deeply engrained in popular culture that it’s easy to forget how revolutionary it was at the time.

Hugh Padgham is one of the world’s top producers, on par music industry legends like Phil Spector, George Martin, Quincy Jones, Phil Ramone, Brian Eno, and Rick Rubin, to name but a few. The reason why Padgham enjoys, perhaps, not quite the same name recognition is because he prefers to remain behind the scenes, or, in his case, the desk. He likes to call himself “an invisible catalyst,” someone who gets the best out of the artists he works with, without taking any of the limelight.

Over the course of a career spanning five decades, Padgham has been the “invisible catalyst” behind dozens of best-selling, multi-platinum albums, many of them genuinely ground-breaking. Among them are recordings by XTC, Peter Gabriel, The Police, Yes, Phil Collins, Genesis, Kate Bush, David Bowie, Howard Jones, Paul McCartney, Sting, Roger Waters, Suzanne Vega, Sheryl Crow, The Bee Gees, Peter Frampton, McFly, and many more. Altogether it earned him four Grammy Awards.

On March 7, 1983, New Order released the single “Blue Monday.” In addition to its massive commercial success, charting in the top 10 in several different countries, the single established New Order’s reimagined voice, distinct from the raw emotions and haunting melodies of Joy Division, and launching the world of dance music into a whole new era. As John Bush declared: “‘Blue Monday’ cemented New Order’s transition from post-punk to alternative dance with vivid sequencers and a set of distant, chilling lyrics by Bernard Sumner” At first, in the time between Curtis’ death, and “Blue Monday”, New Order struggled to find their identity as a band. Their first single” (“Ceremony” with “In a Lonely Place”) were tracks they had written with Curtis before his passing, and their first album (Movement, 1981) followed in the same vein of dark, haunting ytacks, as their work in Joy Division. What “Blue Monday” offered, instead, was a startling break away from that emotionality and into the mechanized sound of drum machines and synthesizers. As Sumner reflected in 2015: “I think ‘Love Will Tear Us Apart’ connects with people because of the emotional content within the song, and I think ‘Blue Monday’ connects with people because of the startling lack of emotional content within the song. It’s kind of contradictory, really.” While the sonic shift seemed to be a drastic change, there are several lines of influence that can be drawn between the track and the band’s earlier work. The impact of a band like Kraftwerk on New Order should come as no surprise; however, it was actually Ian Curtis who introduced the electronic music pioneers to his bandmates. As Hook explained: “My earliest memory of Kraftwerk was being given an LP by Ian Curtis. He gave me ‘Autobahn’ and then later ‘Trans Europe Express’. I was absolutely mesmerised by both. Ian suggested that every time Joy Division go on stage, we should do so to ‘Trans Europe Express’. We did that from our first show, until nearly our last […] Joy Division were very tied to Kraftwerk, but it wasn’t until we got to New Order and were able to afford the toys that our primary source of inspiration became, ‘Let’s rip off Kraftwerk’. Their music was beguilingly simple, but impossible to replicate.”

In 2014, the electronic musician Hrishikesh Hirway launched a biweekly podcast, “Song Exploder,” that works as a tonic for such confusion. Each episode sees a guest artist dissect a song he or she has written, recorded, or produced, considering the provenance and punch of its individual components. The premise might sound vaguely clinical, or even joyless—music, of course, is about more than its parts—but “Song Exploder,” which is in its sixth year and has recently been adapted into a Netflix series, is warm, deep, and illuminating. The show is rooted in Hirway’s expansive curiosity about how, exactly, art is made. After a while, his central question—“How did you get from nothing to this?”—begins to feel applicable to nearly every endeavor we undertake.

The speaker you will create is equipped with everything you can imagine. It has six speaker drivers, a charging indicator, a battery indicator, a bass boost, a treble boost, and an easy handle to help you carry it wherever you go.

In recent weeks, ambient modular synth videos have started popping up more frequently on YouTube. The videos center on the gear, with hands coming in and out of frame to slowly adjust a knob or push a fader. Amid the hypnotic sounds, there’s oodles of multi-colored cables, glowing lights, and more often than not, a bit of decor.

In this episode of "What Makes this Song Great?" we explore the music of David Bowie.

Love the details. Would LOVE to have that knowledge myself ....

Apple may have discontinued the last of the click-wheel iPods years ago, but a large community of iPod modders resurrects them for their sound and nostalgia

Synthpop Artist made in the 80's

Personal assistants are hot these days. Open source personal assistant is a dream for many developers. Recently released Jasper makes it really easy to install personal assistant on Raspberry Pi and use it for custom voice commands, information retrieval and so on. Jasper is written in Python and can be extended through the API. More importantly, Jasper uses CMUSphinx for offline speech recognition, so much waited capability for assistant developers.

Happy bday Cornelia Froboess! Die Saengerin & Schauspielerin feiert heute ihren 70er. http://t.co/m9zGsQ62Yi #Conny #Schlager #Musik #music

Grossartigst!!! Die wunderbare Bonnie #Tyler vertritt Grossbritannien beim heurigen #Songcontest: http://t.co/HfJCQ7rEN3 #UK #ESC #music

Buchtipp: Year Zero by Rob Reid http://t.co/dexmkRbK #copyright #music #sf /cc @michelreimon @georgleyrer @nic_ko #fb