“Experimental Pop” (Used 90 times)
deeperclaritynet on 07/17/2018 at 08:02PM
I chose to join the FMA because I believe that my music should be accessible to everyone regardless of money ! All of my music is available "pay what you want" on bandcamp, so it was only natural to move onto here as well. I've toured around alot of the country and have been making music for a long time, so I've developed alot of goals and principles for my music. I'm especially focused on making calm and thoughtful music, and it's exciting to me to make music of this ilk more available to the public (especially through means that aren't spotify/itunes etc!) Here is a bio that goes more in depth about my music :
A focused, painterly approach can be found throughout Philadelphian musician Tim Woulfe’s discography. Whether describing a single night of sleep on The Sleep Cycles (2016), the course of an average day on Silence (2017) or the myriad other explorations of place, person and nature on the many albums and EP’s that have been steadily released since 2013, Woulfe builds each track from the ground up with field recordings, nylon guitars, vocal harmonies and whatever else happens to be lying around the room at the time. These many layers make the songs feel human and lived in, a distinctly personal and stabilizing attempt at embodying stillness and softness in an often harsh and overwhelming world.
Stevecombsmusic on 03/26/2017 at 05:55PM
I'm very excited to announce the release of Anthology, a 4-disc, 60-song retrospective of my work. This compilation covers each of my albums, from 2014's The Sun is Rising to the just-released Etaoin Shrdlu, as well as my collaborations with other artists (like The Freeharmonic Orchestra) and other odds and ends from my catalog. It was something of a challenge to compress over 300 songs into a compilation 1/5 the size, but I think the finished product really is the best of what I've done, so please do check it out!
Stevecombsmusic on 05/06/2016 at 02:03PM
Hey FMA'ers. I've had an interesting day.
I'm used to people using my music in their projects. In fact at this point, I expect it. It would be weird if they didn't. Out of the roughly 250k downloads my songs have gotten, I'd bet at least half of them were for use in a video, on a podcast, or for a school project. And I love and am so grateful to everyone who does this because without it, I probably wouldn't be doing this anymore. To be honest, I think the FMA made my career what it is, and I owe it and the whole free culture community so much. That said, there is a limit to the freedom of my culture.
I woke up at around 11am this morning, because I'm a college student, and saw a couple of Twitter notifications (@stevecombsmusic, by the way). A German fan, @ruhpkid, tweeted at me to say that some guy named Big Juan put a copyright claim on a YouTube video of his in which he used my song, More Or Less OK, from my new album Riot, which is available here on the FMA. Ruhpkid gave me credit and was generally wonderful. But Big Juan was claiming that my song was his song, Equalizer. At first I didn't think anything of it, that it was just a misguided attempt at stealing royalties or something. The joke would be on him, of course, since I don't get any kind of royalties. But I did a Google search for "Equalizer by Big Juan" and found the song on YouTube.
That's when I got angry.
I hear the first three seconds, which is the same opening drum fill as my song, and think "Well, maybe he just sampled it and forgot to give credit." But it quickly became clear that that wasn't the case. This wasn't a sample, this was a theft. Big Juan literally downloaded my song, changed the title, and put it on YouTube as his own.
headphonica on 02/02/2015 at 09:10AM
thank you so much for waiting so long.
The silence is carefully filled with soundwaves.
Ana Bogner - Multiple Proportions [hpcd108]
And then, all of a sudden, as if the storm came to an end, the room became silent. One heard a silent rattling reminding us of sundering thoughts, but still the room was silent. There was a roar of anepia around us, a shaft of light above the horizon starting to scream. Then we lay, floated, lay again on the constantly shapeshifting floor, being held by contemplation’s grip. Bridges formed, ruptures yawned, their mouthes, wide open at first, slowly closing (this is the work of our scars set in motion). There are monsters in that soul, waiting for you. The spiral repulsed, and the waves broke against the rock, untiredly seeping further towards the Nothing of this world. You’ll be found by waves which pass through everything, and if you dare to follow them, you’ll find entropy. But not an entropy of loudness, no. An entropy sketched and betokened, an entropy enmeshing and unwinding. And all of this in a feedback of reciprocity, freed from the hierarchy of a predetermined approach. It repeats and remains non-identical to itself. Since I built it in my mind i know: they haven‘t built the city we need. The room was filled with sound, but still the room was silent.
2015 will be a bit louder for us, for headphonica, for you.
Lezet prepared a great compilation - as to name one highlight.
But LEO dictionary told me: Don't cross your bridges before you come to them.
So let us please our ears with the musci of Ana Bogner.
This release is a friendly collaboration with the relativ kollektiv from Leipzig/Germany.
We are looking forward to a long lasting friendship. ;)
katya-oddio on 06/17/2013 at 12:30AM
Stealing Orchestra have been amazingly generous contributors to the free music world for a decade. The orchestra has provided a prolific free netlabel (also at Free Music Archive) featuring their work and the works of fellow Portuguese bands.
In 2011, Stealing Orchestra released their concept album DELIVERANCE, containing nine new tracks and celebrating the 10th anniversary of the band's netlabel You Are Not Stealing Records and 13 years of making albums together. [press release]
Happy birthday, Stealing Orchestra, and thank you so much!