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BTurner on 06/02/2010 at 12:00AM

French duo The Dreams live at WFMU

The Dreams feature Nafi and his girlfriend Armelle who have been behind a slew of French WFMU faves (A.H.Kraken, The Anals, Plastobeton, Scorpion Violente, Crack Und Ultra Eczema and have contributed to such imprints as Enfant Terrible, In The Red, Kill Shaman, Rococo, S.S., Permanent, Sweet Rot, TanzProcess and others). Comparisons bandied about have included Naked on the Vague, early PiL, Malaria and Xmal Deutschland.

Check out this live session from Brian Turner's May 4th show, engineered by Jason Sigal and dosed with a heavy dash of the dub chamber

>> full session mp3s

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herr_professor on 06/01/2010 at 11:24AM

Death is Dead

It is perhaps a sign of the times that a movement, or style, or whatever, isn't really established until someone declares it is over. It has happened a few times before in the chip music world but it didn't always result in such heated discussion as this post on the LSDJ mailing list. Other than being just another internet debate, it resulted in the Chip Music is Dead comp, released on the manifesterer's own netlabel Gainlad.

Considering the source post came on the LSDJ mailing list, it shouldn't be a surprise that most of the songs are LSDJ tracks made on a Nintendo Game Boy, but what was surprising is how many chip music heavyweights came forward with awesome and inventive songs. I have mentioned Overthruster, Starpause, and Bud Melvin, before on the FMA but there are also great tracks from Jellica, Nestroyer, and Gijs Gieskes .

So whilst you ponder whether it be dead or alive, enjoy the thirteen tracks above. and see you guys next week!

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macedonia on 05/29/2010 at 02:08PM

Windy City Head Bangers...

Who rocks the spot? LaRok rocks the spot...

With all of the shine that Chicago gets for its role in bringing house music to the world, some tend to overlook its involvement within other genres.  On that note, look who blew in from the Windy City to the FMA:  MC/Producer St. LaRok

A member of the Miami Beat Wave Productions crew, LaRok leans heavily on the lessons learned from late '80s/early '90s hip-hop, bringing his own intricate instrumentals and lively wordplay to the rap game.  If there's any truth to 2010 ushering in a second "Golden Age" for hip-hop, his Leap Year EP could certainly be used as evidence for that argument.  To get better acquainted with this artist's work, here's a double shot of LaRok to showcase his talents on the mic and behind the drum machine.

Intro tracks don't get much better than "TIME/Leap," featuring the St. flowing fluidly over a shoulder-hunching beat that allows hip-hop to flirt with bossa nova patterns.  Meanwhile, "Archetype" focuses solely on LaRok's production, which pits rolling, sharp snares against a cloud of inviting chords.  Consider him one to watch as this new decade gets underway...

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almar on 05/28/2010 at 09:00PM

new Pogus title: Gen Ken Montgomery

Brand spanking new on Pogus: GEN KEN MONTGOMERY
Birds + Machines (1980-89) (Pogus 21055-2)

"With the enthusiasm of a born-again composer, I reviewed music I composed in the 80s, giving special attention to pieces that fused electronic sounds with everyday recorded sounds and noisy songs." - Gen Ken


I knew of Gen Ken Montgomery long before I ever met him - in fact one of the first tracks to attract me to his music is on this cd. And then I did meet him - etc etc- (Ken was a co-founder of Pogus, by the way). So it is with special delight that Pogus can release this cd of Ken's works from the 1980's.


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katya-oddio on 05/27/2010 at 05:45PM

Rosevere Instrumentals

detail from cover of BACKTIME

Canadian artist Lee Rosevere has been riding on the crest of the free digital music wave for about as long as the web has been able to provide music files. Rosevere is a veteran artist on many netlabels and even operates his own quality and low key free netlabel, Happy Puppy Records.

Lee works in radio, and much of his instrumental album BACKTIME was originally composed for use as radio themes, underscores, or for "backtime." The latter is a term used by in the radio industry for background music programmed to finish at a set time. The tracks are made up of beats, samples, and electronic and live instrumentation.

The entire album is available at the FMA for free download. Enjoy it as a body of work or use it in your own projects.

 

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jason on 05/27/2010 at 09:00AM

WFMU broadcasting from Primavera Sound May 28-29

WFMU returns to the Primavera Sound festival in Barcelona, Spain this weekend. Tune in all day Friday and Saturday for live sets from New Pornographers, Pavement, Wire, The Fall, Sic Alps, Superchunk, Ganglians, Neu, The Clean, The Slits, Major Lazer, Diplo, Cold Cave, Condo Fucks (Yo La Tengo), Endless Boogie, Roddy Frame (Aztec Camera), Gary Numan, Van Dyke Parks, Dum Dum Girls, Liquid Liquid, Almighty Defenders (Black Lips + King Khan + Mark Sultan) and more (just added Crocodiles and Monotonix this morning!).

On WFMU's Beware of the Blog, BT lists approx. set times and writes: "We're not only uber-honored that Primavera has made WFMU their official American radio station, but also that so many incredible acts have given us their permission to carry their sets." Set times are subject to change, so be sure to follow WFMU's twitter feed for the live updates.

Like last year, many Primavera sets will be archived in high-quality mp3 here on the Free Music Archive. You can revisit highlights from last year's festival -- including Sunn 0))), Wooden Shjips, Dan Deacon, The Vaselines, The Bats, Magik Markers and many more -- over here.

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bennett4senate on 05/26/2010 at 04:00AM

Ten Tracks to Sync - Vol. 4

We're only at volume four, and already the worlds of still photography and video have come smashing  together like two tectonic plates, thanks to the drag-race-paced continental drift towards digital Pangea.

I'm speaking of course about the release of the first pocket-sized SLR digital camera that shoots 1080 HD video.

While my music video director friends may have already traded their camcorders for camera backs, what this means for you is that pretty soon photos of your newborn child are not gonna cut it - the extended family demands widescreen. Yo Lumiere brothers -pics or it didn't happen.

Vimeo user Ciaran is getting a jump on the game by sourcing his home video soundtracks from the FMA. Check out his video below, which utilizes a beautiful track from Twi the Humble Feather's live performance on WFMU.

You might not want to set your company softball game highlight reel to the lo-fi clanging of Asian Women on the Telephone or Welcome Wizard. But the gauzy, stumbling glitch hop from the Error Broadcast label (KenLo Craqnuques and Pixelord) makes another appearance in this volume and compliments summer evening lulls. Try Dither for wide open spaces.

Look, I know its graduation season. You've already got your son's After the Prom Party olde-time sepia-tone photo booth  pics. Just add classic ragtime and bam! Slideshow complete - take that, family email list!

As always, many thanks to the WFMU DJs playing FMA stuff on their shows - you're doing lots of the research legwork for me (Jason, Liz, I see you!!). To all readers, please keep the suggestions coming in for the 10 Tracks to Sync series.

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tracks to sync
MartyMcSorley on 05/25/2010 at 01:30PM

Future Islands / Double Dagger live at WFMU, May 2010

Nolen Strals of Double Dagger, live at WFMU (more photos here, and photos of Future Islands here)

I try not to repeat myself too often, but after hearing the new Future Islands album, learning their Danzig channeling vocalist was fresh off knee reconstruction surgery (stemming from an injury he sustained while moonlighting as a hype man for the Dan Deacon Ensemble), and hearing that they were hitting the road with new Thrill Jockey labelmates and Baltimore homies Double Dagger, I had to drop them a line. I was then doublely stoked after they asked if Double Dagger could come up as well. We had to make it happen.

Both of these three-pieces go after, destroy and rebuild any kinda label you might want to try to put on them. Future Islands constructs these amazingly pretty, tranced out, intense pop ballads that would move Robert Smith to tears of joyous sadness on the dance floor. Double Dagger somehow manages to whittle down and jam pack every sound you loved form 90’s post hardcore into a two liter bottle of drums & bass power punch, and add in Nolen Strals’s curiously strong vocals and we have an explosive combination that you maybe tempted to compare to Fugazi (but do so at your own risk).

The fact that we actually got these sets recorded was amazing! We thought it would be a good idea to schedule the session at ten a.m. the morning after the New York release party for Future Islands’ new album In Evening Air. Let's just say getting up after a record-setting night for Death by Audio’s bar and then having to fight though an army of cyclists on a five-borough tour did not make for the timeliest arrival... but big ups to both bands for powering though and delivering great performances and big thanks to Dave Mambach for manning the audio controls and making everything sound great and to my boss for letting me come into work an hour late.

Hope you enjoy the sets!!!
Double Dagger  |  Future Islands  |  WFMU Playlist & Stream for Marty McSorley 5/5/2010

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herr_professor on 05/25/2010 at 08:55AM

Mondo Trash80

Photo credit: M. Becker

With summer just around the corner, its time to get less aggressive with these chip music things, and get into good old fashioned summer jams. Perhaps the earliest US chip music artist to embrace the idea of creative commons releases was California's Timothy Lamb, aka Trash80. As a member of the 8bitpeoples collective he has released a number of online recordings, including this weeks featured EP, Icarus.

 A bit of a Renascence man, Lamb not only is a talented musican, with his smooth dance flavored tracks, but a programmer, graphic artist and hardware designer. Projects like his "Prosound Mod" to improve audio output on the Nintendo Game Boy opened the door on on a whole slew of mods to make the corporate toy more suitable for the trenches of club warfare, and his software and hardware projects like Arduinoboy, OKi Computer, and ChipSynth has made it possible for all kinds of crazy chip sound integration into the "pro" producers setup.

Above all his music is the most impressive, as showcased below on Icarus. Check out why TCTD picked it as the best release of 2008, and we will see you again in seven.

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andrewcsmith on 05/24/2010 at 10:30AM

The twenty-first century banjo

Uncle Woody Sullender at ISSUE Project Room

This here's banjo week on the ISSUE Project Room FMA page, and we're kicking off your Monday with some Uncle Woody Sullender. Woody played a concert last Saturday night, along with peace, loving and Nat Baldwin, and his sprawling improvisations can turn on a dime from Virginia fingerpicking to electronic drones. Far from your standard historical banjo fare, Woody plays a modified instrument (developed with STEIM in Amsterdam) in which a transducer essentially uses his banjo as a speaker cone for live electronic processing.

The thing about Woody's banjo playing is that at times the picking is so furiously fast that it starts to meld with and almost overtake the electronic backdrop. Other times, he brings out sparse, angular harmonics that seem like fragments more than like melody or chord progression. These electronics, coming from a transducer that essentially uses the banjo itself as a speaker cone, alternate between drones, electronic glitch noises, and sparse harmonic variations. For an instrument so associated (in popular music, at least) with the folksy strumming of the Seegers and the Sufjans, Woody plays it like it's something else.

And, yet, he also plays it like a banjo. The set begins with a minor-key chord movement, over which Woody plays the same three-note riff, which deconstructs into fragments, turning on the self-assurance of the opening phrase. The electronics—a simple filtered, distorted tone from the banjo—constantly interrupt the picking rhythms with irregularly synchopated noise. It's not as if there are two "modes," and Woody is mashing-up Virginia banjo with some Brooklyn electronic wizardry; they are fused elements of the same substance. Most importantly, it all comes as naturally as any language and, like language, contains moments of perfect ambiguity, where the sound is in both and neither of these zones.

Listen below to the first part of his three-part set. The whole thing is up on the album page, and is well worth the listen.

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