#Earthbound Soundscapes + Music

[postmakerkiwi]

🚗 Twin Avenues ②

[anosci]

(151-165 albums etc that I’ve listened to this year, copied from twitter) (now with art. [1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12])

names and thoughts below cut

151/ John Tejada Presents Future Stars, Vol. 4 (2023) feels kinda retrofuture??? also, all over the place. yet just ok. hilights? Drew_and_ Pranav - Landing (massive cool! earthbound vibes my beloved) !nspector - Dead of Night (apt title)

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152/ PrismCorp Virtual Enterprises - ClearSkies™ (2013) midi miasma. it does have a nostalgic summery feel though. neat.

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153/ PrismCorp Virtual Enterprises - Home™ (2013) maybe its cheap but sometimes, midi musak is quick to fly into my heart. it's kind of hit and miss overall but also: finally, some respect for the XG classics!

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154/ Packed Rich - Warp Field (2023) there's a softness to each element, yet the percussion often sways a bit frenetic. a warm energy to contrast (and yet compliment) the cold timbres. "Fluid State" standout i think

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155/ Atom TM - HD (2013) man. i love this flavor of atomtm. the blindingly electric raw electropeppy whatever this is. kraftwerk 2. idk. exception: "My Generation". that's a really cool punk vibe but not my cup of tea. emphasis: still a really good tune.

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156/ Aleksi Perälä - Mental Union 3 (2013) maybe an odd place to start AP's catalogue, but im pulling from my 2013 list so: it's a really cool oldschool throwback vibe with a coat of shiny microtonal paint. apparently it dual released on rephlex? it's a perfect fit for the label.

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157/ Blawan - Dismantled Into Juice (2023) oh holy shit that is a SOUND. id be more verbose but idk what to add lol. fun to get excited by wild textures

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158/ Overmono - Good Lies (2023) summer party sound in a… hazy… 2step i think its called? it's neat but overall it doesn't seem to stick with me. vibes resonating at a different frequency ykno?

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159/ The Black Dog - The Grey Album (2023) broadly, a good album with some bleepy soundscapes. kinda chill. but… nothing really stood out for me? EXCEPT "Empire Statement Humanoid", which hits me just right …but that was on an earlier single, so hm.

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160/ Hiroki Kikuta - Indivisible OST (2019) i saw someone say this was kikuta's best work yet. that's a high mark to reach, but ill say: it's a solid ost all around. he rly flexes his action music here but I prefer his more chill swings (f.ex "Perpetual Heartbeat")

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161/ TOWA TEI - Lucky (2013) weird structure here. the start is filled with style that i dont care for, but cant deny its flavor. then it chills out into its own thing, which i enjoy more. however i think track 2 is cool and fascinating as it sounds ahead of its time to my ears

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162/ Machine Girl - GRLPWR EP (2013) cool chicago vibes… core? mixed bag imo. Howl and Krystle get it tho

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163/ VesperTown - Kaleidoscope (2014) very of the era, very bright and shiny. "Colour Wheel" is revealing to me that this is another sound i am nostalgic for

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164/ Sobria Ebrietas & Iliaque - Chemtrails (2023) opens full blast MASSIVE, perfect headphone material …then it kinda chills out and is ok overall. that opening track tho!!!!

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165/ Hudson Mohawke & Nikki Nair - Set The Roof (2023) hudmo always slappy. a bright and shiny gleam with just a touch of silliness. good vibes. its p short but slaps enough that im including it here lol

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next page

[domers-group8]

Neel - Research

Idea 1:-

Concept: 

A visually stunning aerial journey through diverse, contrasting real-world environments, accessed and transitioned between via shimmering, chrome monolith-inspired portals.

My First concept “Earthbound Portals” is inspired by portal parkour or portal switching in Minecraft. But instead of pixelated biomes and blocky mountains, we’ll switch them with the unfiltered beauty of Earth. Imagine the hyper-realistic environments: a rainforest-like Amazon rainforest, the dunes and desert like the Sahara desert, snowy mountains like the Himalayan mountain range and so on.

The portal is inspired by the Utah monolith only in a hollow rectangular format. The chrome monolith portals act as adrenaline-pumping gateways, whisking the audience between environments in a dizzying blur of light and sound. The camera swoops and dives, mimicking the disorienting rush of transition, before settling into smooth aerials that showcase the breathtaking landscapes in all their glory.

Here is a list of suitable environments that can be included in the clip:

Rainforest: Lush canopy, vibrant flora and fauna, mist rising from the jungle floor, calls of exotic birds and insects. (Summer, rainy season)

Desert: Vast sand dunes, wind whistling through canyons, distant mirages, occasional cacti and desert wildlife. (Day, hot and dry)

Arctic Region: Icy plains, snow-capped mountains, frozen oceans with glacial floes, eerie silence punctuated by cracking ice and howling winds. (Winter, twilight)

Ocean: Deep blue expanse, white-capped waves crashing against unseen reefs, playful dolphins, migrating whales breaching in the distance. (Sunny, calm)

Volcanic landscape with bubbling lava, geysers, and plumes of smoke.

Bustling cityscape with towering skyscrapers, honking cars, and the murmur of crowds.

Lush green meadows dotted with grazing animals, babbling brooks, and chirping birds. (Spring, sunny)

Transitions:

Portals: Shimmering, reflective chrome monoliths integrated subtly into the environments. Upon entering, a blinding flash followed by a whooshing sound as the scene cuts to the next environment.

Camera Movement: During transitions, quick cuts and zooms create a dynamic, disorienting effect. Within environments, slower, sweeping aerial shots showcase the vastness and detail of the landscapes.

Soundscape effects:

Hyper-realistic sound effects are specific to each environment: raindrops in the rainforest, sand blowing in the desert, ice cracking in the Arctic, crashing waves in the ocean.

Subtle ambient music that complements the environment without being intrusive.

Conclusion:

This concept provides a strong foundation for developing a truly captivating and immersive experience that transports viewers to the far corners of our planet in a thrilling, parkour-inspired journey.

References:-

Minecraft (2009). Xbox, PC [Game]. Mojang, Stockholm.

www.youtube.com. (n.d.). The Best Minecraft Seeds for 1.19. [online] Available at: https://www.youtube.com/shorts/YgKlv2Xom3w [Accessed 27 Jan. 2024].

‌Wikipedia. (2023). Utah monolith. [online] Available at: https://en.wikipedia.org/wiki/Utah_monolith#:~:text=The%20Utah%20monolith%20was%20a [Accessed 27 Jan. 2024].

www.youtube.com. (n.d.). Amazon 4k - The World’s Largest Tropical Rainforest Part 2 | Jungle Sounds | Scenic Relaxation Film. [online] Available at: https://www.youtube.com/watch?v=es4x5R-rV9s&ab_channel=ScenicScenes [Accessed 27 Jan. 2024].

www.youtube.com. (n.d.). The Most Surreal Desert Landscapes 4k - Deep Relaxing Film. [online] Available at: https://www.youtube.com/watch?v=T0K25IMYxl0&t=293s&ab_channel=DeepRelaxingFilms [Accessed 27 Jan. 2024].

[secret-vore-lair]

Fear and Wisdom

Ara and Fervent, both mostly-corporeal metaphysical entities, are a picturesque couple most days. But sometimes only one of them can have what they want. Contains lots of romantic teasing, the melancholy of ages past, and safe cuddly vore.

***********************************************

Ara stood still as a statue, watching the sunset from atop a dais in the ruin where she and her partner lived. The roof of this place had long ago crumbled, leaving the sprawling, colorful mosaics within exposed to the elements. Ara looked out on the world from its center looking like the only piece of history in the whole place that time couldn’t touch. A great lioness with fur of gold, feathered wings of purest white folded motionless along her back. Not even breath broke her stillness and silence, as she drew no air into her lungs, made no rhythm with her heart.

There was a family of waterbirds that she was watching, their nest on a worn stone that rose up from the bay below the ruin. That stone had been much taller, long ago. The tallest of many, and there had been more nests as well. She overlayed the old memory over reality with the slightest thought, watching it play out in perfect clarity and fidelity.

The sphinx could hear the cacophony of the swarming birds calling out to each other, squawking in indignation as they swooped down on the baskets of fish the villagers carried only to be batted away. She could see the small ships drifting languidly through the clear, lively waters of the bay. She could feel the shade from the roof over her head, and observe as the priests, her priests, meted out blessings from the steps of her temple.

She sighed and let the vision slip away. The village was gone now, and the priests. All lost to time. Even the stones had been worn down. It was the way of things. Now she watched two birds land at the edge of the single nest. The parents, returning to roost with a freshly caught fish for their chicks. That nest had been passed down, destroyed and rebuilt many times over countless generations. No, not countless. She knew the number. She knew the exact number of bird generations between the fall of her civilization and now. She knew the precise number of sunsets, and what the weather was like each day. Her memory spanned eons, and it was flawless. And she needed a distraction.

Lucky for her, night was falling.

A black-feathered wing draped over her shoulder, and an ivory claw caressed her cheek. “I’m awake, my love.” Ara turned to face the source of the deep, velvety voice that seemed as one with the chill, misty air rolling in from the calm waters of the bay. Fervent looked refreshed and composed now, his inky down fading into and deepening the sunset shadows, obscuring his outline and adding to his imposing stature. Far from the messy, exhausted pile of feathers he presented during the day. Unlike Ara, he actually needed to sleep. He blinked his luminous green owl eyes at her as she nuzzled into his chest. “You seem somber, dear.”

“I feel better now that you’re here. I think I just need something to occupy my mind. How was your rest? I heard you moving around and muttering to yourself earlier. Bad dreams again?” She curled up on the stone platform, and he joined her atop it.

“Indeed. Giving me indigestion as usual. Conscious fear always sits a little better. It’s a little more . . . straightforward. The stuff the subconscious conjures up tends to unsettle my stomach with its surreality.” He nestled himself closer to her, relishing her warmth. She shone so brightly. She was his guiding star. “But sometimes someone falls asleep inside me and dreams frightful visions. What am I to do but accept the free meal? Besides. . .” His jagged beak split into a sly grin, and his forked tongue slithered around its edges. “I know I have you to soothe my insides, don’t I?” His form blurred, and he was on top of her, beak wide open and dripping with jet black saliva. Little silver stars spun and twinkled in the fluid, winking in and out. Ara smirked and reached up with a paw, closing his beak.

“Tempting. And an excellent opening move, darling. You know I find that view hard to resist. But have you considered . . . this?” With a wry smirk of her own, Ara wrapped her wings around her partner’s neck and dragged his head down, planting an extremely sensitive ear right on her gut. “Check. . .” Ara took in a breath of the cool evening air and let her body come alive. Her lungs expanded, her heart took up a steady tempo, and best of all—

grroooaargle. . . gruuurrr. . .

“. . . aaaaand mate,” she purred, feeling rather pleased with herself as her lover’s entire body shivered, his form distorting and glitching out for a moment as the full might of her internal soundscape left him stunned. Ara laughed and used the opportunity to roll him off the dais and onto the temple floor, pinning him down as he let out a very undignified yelp. She lowered her head beside his and licked her chops in his peripheral vision. She whispered, “Imagine being in the middle of all that, Fervent. And I’m just winding up, too. You know from experience that it’s only going to get much, much louder once you’re inside. Why don’t you claim your rightful place?”

“But. . . You ate me last night, too,” Fervent protested halfheartedly.

“Really? I don’t remember,” Ara replied with a chuckle, dragging her tongue up the side of his face.

“I just mean, when do I get another turn?” He asked, a bright purple blush staining his cheeks.

She raised up, perched on his chest, eyes glowing in the dark, watching him with the certainty of a victor. “When you can tell me, with absolute and unshakeable assurance, that the thing you want most in this moment is not the pressure of my body reshaping you, taking that ethereal fear fluff you’re made of and compressing it into a perfect fit for the innermost chamber of my body, my being, a stomach shaped by the gods themselves. Is this the night when you can convincingly tell me that you desire to eat me more than you desire the musical bliss of belly gurgles tuned against the instruments of the divine to perfectly convey the absolute satiation your presence within me provides? Can you look me in the eye, nay, look me in the maw and say with conviction that the idea of your feathers dropping from my lips as I surround your body and seal it away for the evening doesn’t fill you with a sense of purpose?” She spread her wings wide, angelic and silhouetted against the final, red light of the day. She brought her muzzle down to his beak and opened wide, ruffling his feathers as she breathed out a sweltering, glowing mist. A breath of holy light. “You, my love, are my chosen one. Rise into me. Let my light deepen your shadow.”

Fervent hummed, staring up into her wide, welcoming jaws. He knew when he had been beaten. “You make a compelling argument, as always,” he said with undisguised awe. Sure, she was getting her way, but she always made him feel like he was the lucky one, even so. Arguing over which of them was hungriest for the other was hardly the worst disagreement a couple could have, he knew. So with a mix of resignation and excitement, he raised up his head, his shape becoming more fluid, and she took him in her jaws, and he was pulled into her softness and her inner glow.

Ara worked quickly, her beloved disappearing into her jaws with only a few swallows. He was as big as she was, but easily compressible, and eating someone alive was much easier when things like breathing were elective. The sphinx felt her belly round out with her meal, the glowing walls stretching and flexing to accommodate him with relative ease. “Ahhh, ambrosial as ever, my dearest.” She cleaned a feather from the roof of her mouth with a flick of her tongue and sent it flowing down her gullet on a river of saliva to join the rest of Fervent’s mass. She flared her wings and looked out over the water. “And far lighter than you look.”

“If you’re going to be the lover of a sphinx, the one thing you shouldn’t be is dense,” Fervent replied, shifting around to get comfortable.

“Indeed not. And it’s certainly convenient that devouring you doesn’t keep me earthbound. Why don’t we take a quick flight over the bay?”

“Whatever you wish, my star. I would follow you anywhere.”

Ara purred and ran a paw along the curve of her stomach, summoning up a few lengthy gurgles for Fervent to bask in as he sloshed around. “Thank you for this. Truly, it was just what I needed. And tomorrow night, if you’re still in the mood, I’ll be yours. Sound good?”

Fervent hummed in the affirmative, cozying up to the walls as they moved around him, focusing on the sounds of her body as she held him in the fullest, greatest sense. Her concession was appreciated but unnecessary. He could play this game and lose to her every night and still be satisfied with the outcome. He adored her. It was as simple as that.

[thesinglesjukebox]

WEDNESDAY CAMPANELLA - THE BAMBOO PRINCESS [7.86] Have a good Wednesday! And a good day, as well...

Ryo Miyauchi: "The Bamboo Princess" wipes Wednesday Campanella's slate clean. Gone are the mouthful word salads, replaced by a lyrical and logical tale that makes more use of silence. Kenmochi Hidefumi moves away from the hottest dance-music sounds for string plucks, woodblocks and big brass, though he still can't resist including some skittering drums and electronic sound effects. The biggest shift comes from Kom_I, whose vocal aspirations of the past few years fully bloom. Knowing her performance antics of the past -- which included a few times where she wandered backstage mid-song as the TV cameras kept rolling -- it's a moment of growth to witness the once-restless Kom_I stand rather proper and calm while embracing the music. [8]

Pedro João Santos: A quiet triumph from Wednesday Campanella, whose Galapagos EP bridges the gap between their pop sensibilities and their newfound propensity toward ambient soundscapes. "The Bamboo Princess" is peppered with bubbly horns and string arpeggios, conflating buoyancy with tranquility. The florescent pre-chorus means to lull us into a summer trance, only to be disrupted by that burst of energy within the hook -- playful and earthbound. The theme appears to be rejuvenescence through death, which is as bright an outlook on finitude as they come. [8]

Julian Axelrod: Gorgeous and surreal in its electronic approach to nature, like watching a beautiful sunset fade into a desktop background. The sumptuous strings set the table for one of the most vivid and exciting drops in recent memory, a whirlwind of horns, yelps and snares that makes a pretty convincing argument for trusting the machine. [7]

Dorian Sinclair: I'm a huge sucker for pop songs that make use of traditional forms or instruments. Perhaps it's because I'm Indigenous -- it is difficult to make generalizations across cultures, obviously, but there's a long history of us finding ways to modernize while remaining connected to our traditions and history. It helps, of course, that "The Bamboo Princess" is smartly put together, with instruments combined in interesting ways and KOM_I's voice effortlessly skimming above everything else going on in the mix. [7]

Tim de Reuse: Soft-loud-repeat isn't really a new paradigm in J-pop, but this has such loose, organic sound design that it's a joy even when it's predictable. It helps that the overstuffed arpeggios that lie underneath the chorus are short-circuiting my secret love for Bollywood-esque string section theatrics. [8]

Katherine St Asaph: Every time I think it's no longer possible for pop to surprise and stun and sound utterly new, like sound has found an entirely new way to unfurl out into the universe, I'm proven wrong. Strings help. [9]

Iain Mew: The progression of the strings and beats is a gorgeous otherworldly scattering which brings to mind equally the celestial procession in Studio Ghibli's take on the same traditional story, and Oxide & Neutrino's treatment of the Casualty theme. While this particular techno-pastoral sound is a new twist, its ambition and the confident execution is no more than par for Wednesday Campanella. [8]

[Read, comment and vote on The Singles Jukebox ]

[cynicalharmonia]

Final - Is This Sound Art?

My final is called “Is this sound art?”

It is a collage that combines many concepts that we learned of in class. From John Cage’s take on sound, noise, and silence to the late 20th century masters of sampling all the way to the modern day vaporwave and glitch art scene.

I was influenced by dirt style, vaporwave, plunderphonics, Ryoji Ikeda, glitch music and art, acousmatics, Christian Marclay, James Tenney, Hugo ball, Amacher, and the internet as a whole. The visual (skit) format was influenced by Forcefield and early Fluxus performances.

My Piece very much has a lot to do with comedy and internet/digital culture. I wanted to make something that peeked back at my life so far and all the things I enjoyed growing up with (and still do today). The video is done in skits, sort of like a “Robot Chicken” of sound art. It is called “Is This Sound Art?” because I have a sense of humor and mainly because that is a very thing I questioned myself with while making this piece. It starts with me receiving a VHS that contains a collection of my past, told through various things I’ve enjoyed throughout my life, like video games, music, internet memes, anime, tv, and movies. It begins and ends with the tape, and the video in which I am watching begins and ends with heavy distortion. I very much enjoyed working with both Premier Pro and Adobe Audition to create this project; I learned many new skills and hope to improve my editing prowess in the future. 

When creating the sound pieces, I later introduced gifs and stills that complimented what was going on, later I incorporated clips from movies and eventually one thing led to another and I was simultaneously making sound art and videos that were edited around the sounds. Through responding to one thing the other came along shortly. Most (if not all) the videos used are replaceable with other clips or stills if edited properly. The sounds created gave me a vision of the visual aspects that would better portray the very impact of what I intended the sounds to have in the first place.

I will post images of my project panel to help show the actual process involved in creating this piece. 

Process:

One of the thing I didn’t get to go over in detail in class was the process and the lengths in which I went to to find fitting video clips to match my sound sample pieces. 

Note: 95% of the video clips used did not retain any of their original material in terms of sound or were edited/transposed with other sounds!!! 

(a perfect example of this is found at the 1:44-1:45 min mark in my video, in which you see an M40A3 sniper from CoD4 go off and seemingly hear the sound of a gunshot to go with it. This is in fact not at all the sound you are hearing (or a gunshot noise at all!), instead, I used a section of the recording of “Fearless” by Pink Floyd and added a reverb effect in Adobe Audition that makes it sound void and distorted to make the effect. (the same song is used at 0:58-1:01, and football chant section at 1:14 and 2:30 respectively)

Also, many video clips were edited to make it look like people/characters are speaking words in which my sound collage sample is saying, but they are just either examples of pure chance, like at the 1:17 mark, where it looks like you see The Hound from Game of Thrones singing “I’m Tickled Pink” by Jack Shaindlin. (He is actually singing....this.) Or they were intentional morphed into looking like they spoke the word, like the obvious one at the 1:20 mark.

I started my process by mingling together sounds and songs samples from various medias and in some cases spoken word. I then, completely separately, compiled a massive load of videos from various sources on the internet, and also recorded some videos myself, of myself, and from footage of video games recorded by myself. I then tried my best to fit my sound examples together to form separate “skits”, then I did the daunting task of editing the videos together in a way to make it look like it all fit together somewhat naturally!

Description (as seen on YouTube): 

This is a project that I made for my sound art class! It combines themes we learned like plunderphonics, collage, acousmatics, and sound sampling to create something that is meant to be a revision of my past. I explore things that are important to me through: Internet culture + memes, video games, anime, TV, movies, music, and more! My main inspirations were glitch art, vaporwave, dirt style, and the core essence of what it is to be a sound sampler. I always ask myself: What is sound art? And to no avail, i get myriad of answers and descriptions. I created this piece to challenge the very question of what makes something "sound art" and what makes it just some plain old memified video found on the interwebs. This took me 3 days straight to create and I hope you'll enjoy!! 

Samples: [Emboldened = Used for longest period(s)]

Sounds - From the beginning (some are used multiple times with varying degrees of effects/distortion/application)

CD Scratch sound effect (edited - later used unedited)

VHS Tape Hiss (used throughout VHS tape and distorted at beginning)

Voice Recording - “What is Sound Art?”

The Boredoms - Budokan Tape Try

dubbed.wav - (voice sample)

Footsteps recording - by me

Ambient noise of city recording - by me

Steven Connor: Photophonics - excerpt as text to speech

Lighter flick sound recording - by me

VHS Tape Insert sound

Static effect 2

Paper Rad - Welcome to my site

Hitting my TV recording - by me

Come on, what is this shit? recording - by me

Glitch effect(s) (I used about 7 of these, I will list the #’s used)

John Cage - Music of Changes

Me playing Violin in response to music of changes

VHS Static Noise

THX Sound

Glitch effect 1

Glitch effect 2

20th Century Fox Intro - Recorder Edition

Glitch effect 3

Glitch effect 4

Highly distorted pokemon noise 

Error noise - subtle

Omae wa mou shindeiru (NANI?)

Chewbacca's Roar

Saya No Uta - Song of Saya I (Video Game/Visual Novel)

Sonic Youth - Green Light (barely heard underneath Song of Saya during seq.)

Junko Ohashi - Telephone Number (first awooo)

Windows computer error noise

Warren Zevon - Werewolves of London (second awoo)

My cat (Luna) meowing - recording by me

Pixar Animation Intro (used bounce sound)

“This Isn’t Sound Art!” - Voice recording of myself

Naruto - Sadness and Sorrow

WTF Am I Doing? - Text to speech (text to sing!)

“The thief was smart” from the YouTube Video, “Professor pwnage”

The Velvet Underground - All Tomorrow's Parties

Pink Floyd - Fearless (Highly reverberated/distorted during 0:58-1:01, and the sniper scene(1:44); I also used the football chants found near the end of the song at 1:14 and 2:30)

“What I am calling poetry is often called content” - Quote from R Murray Schafer - The Soundscape reading from class, Text to speech

Big Bill Hell’s (Fuck You Baltimore! excerpt)

Cheering crowd (stock sound)

Glitch effect 5

Korg-M1-Windbells MIDI sample file

Birds chirping (stock sound)

ORA ORA ORA - from JoJo’s Bizarre Adventure (Anime)

“Because life doesn’t happen...But i’m making sound and that’s the important thing” Quote from filthy frank video.

Glitch effect 6

Helicopter.wav (stock sound) (used during Monty Python: Upper Class Twit of The Year part) - This is worth a watch :D

Leeroy Jenkins - Popular Meme from the video game: World of Warcraft

Glitch effect 7

I’m Tickled Pink - Jack Shaindlin

Vinyl Crackling sound sample

Hey! Listen! - Navi from the video game: Zelda

Asuka saying “Ehh”- From the Anime: Neon Genesis Evangelion

Cpt. Beefheart - Veteran’s Day Poppy

Radiohead - Fitter Happier

Avengers: Age of Ultron dialogue + ambience

ELO - Mr. Blue Sky

“Too many F****** People” - Recording of myself

Beeping censor effect

ARA-ARA

Who the hell are you?

Frantically writing - sound recording by me

Guided By Voices - I am a Scientist

The Grateful Dead - St. Stephen (used underlapped w/ “I am a scientist part-distorted into chime like sounds, also used at 2:01 more clearly)

Porky Means Business - Track from the video game: Earthbound

Call of Duty 4 Intro sound effect

“Aw shit, here we go again” - (GTA: SA Meme)

Nintendo Gamecube startup noise

Super Mario Bros. Theme

Dropping coins - Recording by me

Led Zeppelin - Going to California

Clannad OST - Roaring Tides II (Anime song)

Robert Johnson - Hellhound on my trail (used at 1:58-9)

Steins;Gate Opening (Anime; Used glitch sound from beginning)

Truck backing up beeping sound

Ally Kerr - The Sore Feet Song (used at beginning of the Halo 2 sequence in juxtaposition of Led Zeppelin’s “Going to California”

George Carlin - Advertising and Bullshit (”I call this piece...Advertising”)

Guided By Voices - Wonder Boy Poet (briefly behind “The Sore Foot Song”)

Door Stuck! Door Stuck!!! (Used video as media and mic chatter as audio)

Yawning - recording of me

Powerful goku vs the pursuer

To Zanarkand - Final Fantasy X

Lelouch’s Checkmate (Dub)

Galaga sound effects

TV static sound effect

Nautical Almanac - sounds from clip (further distorted/warped)

Mac death chime

Windows (PC) crashing sound

USSR Anthem played on Nokia 3310 phone

ZUNpet Test (Touhou video game music emulator)

Popotan Intro (eroge) (source of Caramelldansen meme dance)

“Help me” - Voice recording by me (reversed)

Rain ambiance stock sound

“Aw Shit” - Voice recording by me

Toto - Africa

Shion Laughing Insanely (Anime: Higurashi [a personal favorite])

The Doors - How To Touch The Earth (I AM THE LIZARD KING!)

VHS eject noise

VHS getting destroyed video

[kaajoo]

Dreamstate Logic - Earthbound [SpaceAmbient]

📡 Dreamstate Logic is the solo electronic music project of Colby Sixx (b. 1985) currently residing in the vast, unforgiving expanse of desert land known as Arizona. Drawing influences from the entire spectrum of electronic music genres, Dreamstate Logic manifests in the form of a constantly evolving futuristic downtempo/ambient/electronic soundscape containing the energy of all the thoughts, emotions, and experiences of his own personal journey through inner and outer space. 

 An active synth musician for over 15 years, he worked endlessly for over a decade as the keyboardist of a melodic metal band, obtaining live performance, tour, and studio recording experience first hand along the way, working with many well-known producers and performing at several large and small venues around the country. 

 The love for electronic music had always been there since his first interests in trance and industrial music in his early teen years, and all the time performing and writing over the years felt that he could express himself musically much better in a solo setting. So the experiments began with electronic music composition in 2010 and eventually parted ways with his previous musical endeavors in pursuit of this project exclusively. 

 Dreamstate Logic is a project with the goal in mind of inspiring deeper contemplations of our universe and the reality we are all a part of. Conscious observers within an infinitely vast cosmos, so quick to forget that we are all a part of the same infinity... and if only for a moment we are able to stop and take a step back and open our minds and simply observe, we will realize the fact that the energy contained within us all is a part of something much bigger, much older, and much more powerful than we can even begin to comprehend. And once we all come to this realization and begin to resonate with ourselves and others and the world around us, a new age of enlightenment will be within our grasp...

"We are what we think.  All that we are arises with our thoughts. With our thoughts we make the world." ~Siddhārtha Gautama

"Space exploration is a force of nature unto itself that no other force in society can rival." - Neil deGrasse Tyson. 

 🛰️ All music on SpaceAmbient channel is used to promote indie artists. Any space music and photo submissions, copyright issues: anbientspace@gmail.com More info in the about section on my channel. Enjoy cosmonauts...

[theconservativebrief]

They all start the same way: a few minor chords from a pipe organ, maybe a quick plug for Bromo-Seltzer or some other apothecary’s helper no longer in circulation — and then the creak.

It is the creakiest creak to have ever creaked, so drawn-out and borderline polyphonic that it could be mapped on a musical staff. Doors, even those leading to dank candlelit basements in which creepy bards wait with tales of the macabre, do not make this much noise in real life. (And that’s true; the creaking sound effect was achieved with a rusty swiveling chair. Pity the poor self-starting staffer who once oiled the makeshift instrument under the impression that he was helping out.)

But that’s just the order of the day on The Inner Sanctum Mystery, where there’s always a chill in the air, black cats yowl at the full moon, and no hinge keeps quiet.

Spun out from Simon & Schuster’s series of cheap paperbacks and then spun out once more into a six-picture series of feature films in the ’40s, the title gained the most prominence as a radio serial running 526 episodes from 1941 to 1952. Creator Himan Brown struck the same chord with audiences that Rod Serling would continue to clang all throughout the 1960s on The Twilight Zone, attaining impressive longevity through an infinitely renewable formula and the public’s unslakable thirst for fear.

Brown cohesively bound the many installments of this radio anthology by sticking with a consistent structure and tone befitting the morbid subject matter. A vampy host brought over from the Broadway stage (Raymond Edward Johnson, at first, then Paul McGrath from 1945 onward following Johnson’s enlistment in the war effort) would ham it up as he introduced the night’s diversion with florid language that would make Edgar Allan Poe proud.

Then followed an account of danger and suspense, playing up atmosphere and tension over gutbucket descriptions of gore, erring on the side of “spooky” rather than “horrifying.” These punctuated by occasional appearances from the schoolmarmish Lipton Lady, come to shill for sponsored tea and tut-tut the twisted little deviants who tuned in.

The narrator’s raconteurish presence set the scene as an act of yarn-spinning, a framing device harkening back to the scary-story form’s beginnings in the oral tradition. By creating this familiar cast of characters and an accompanying sense of communal gather-round-children experience, the Sanctum established itself as a place anyone could go to get scared out of their wits in the comfort of their own home.

While some episodes dove into the supernatural (to wit: “The Horla,” in which Paul Lukas contends with an invisible demon borrowed from an old French novella), they more frequently landed in an earthbound, Hitchcockian register. With all the gravitas that the sonorous cast could muster, they emphasized a human element among the violence, illustrating the ease with which jealousy, arrogance, or anger can drive a person to homicidal extremes.

All that each half-hour segment needed was a sturdy hook on which it could hang puns, pulpy pleasures, and purple prose; hubristic would-be masterminds plotting their perfect crime, average Joes stalked by unseen predators, lovers losing their senses in fits of feverish passion.

The dark side of the FM dial provided a playground for some of the era’s most lauded talent to cut loose, and launched careers for a handful of future stars. Because the Sanctum’s signature fusion of lurid content and arch humor toeing the line of camp offered many thespians a reprieve from a diet of soft-focus melodramas and dignified theatre work — not to mention a quick check — it attracted the cream of the day’s crop.

Silver screen monster-men such as Bela Lugosi and Boris Karloff were regular fixtures on the airwaves, the invisible man Claude Rains showed up for “The Haunting Face” (an episode now preserved by the Library of Congress) and two years out from Citizen Kane, Orson Welles dropped in to provide vocals for “Death Strikes the Keys.” Helen Hayes and Mary Astor set a course for the scream queens of the ’70s with their earsplitting terror, and even Frank Sinatra lent his velvety baritone to “The Enchanted Ghost.” For audiences in the ’40s, listening felt like attending a swinging costume party with all their favorite celebrities.

For listeners in 2018, however, the Sanctum and its library of nightmares live on as a totem of nostalgia for a bygone era, both of horror and audio media.

The Inner Sanctum Mystery took me unawares on — when else? — a dark and chilly night. During the final hours of an October day’s road trip with a friend, we were scanning the FM dial when an eerie shriek burst onto the radio and caught our attention. After about 20 rapt minutes, we learned that a local affiliate liked to treat Long Islanders to some vintage frights when the according season rolls around.

Though many episodes have been lost to the sands of time, a healthy portion remain available to stream online, and revisiting this curious chapter of horror has become my favorite Halloween ritual. There’s a hokey appeal to the conspicuous old-fashioned-ness of the crackly broadcasts, all corn-syrup blood and rubber bats. Brown pushed the horror envelope by taking advantage of radio’s inability to graphically represent grisly material, allowing the suggestion of depravity and letting the listener’s mind fill in the rest.

Inner Sanctum Mystery host Raymond Edward Johnson poses with a presumably creaky door. CBS via Getty Images

Moreover, Sanctum hails from a time when consumers had a more formal relationship with what they listen to. In a pre-TV America, the radio was appointment entertainment, commanding rooms where sitting families would place the sum total of their attention on a narrative that leaves you behind if you zone out. There’s something meditative about doing nothing but sitting and focusing, eyes closed, imagination firing on all cylinders; it raises the zen state of lower wakefulness achieved by moviegoers to the Nth degree. While you listen, everything else stops.

As the popularity of long-form radio storytelling has declined, podcasts have moved in to fill the vacuum, but some of the jerry-rigged charm has been lost along the way. Freed from dependence on a gatekeeping broadcast station, independent outfits everywhere have flooded the internet with anthologies and long-form series updating Sanctum’s template. The White Vault is one such program, following a perilous expedition to a research facility tucked away in a frost-choked wasteland. Producer Travis Vengroff and creator/host Kaitlin Statz agree that the content and the platform housing it have both changed since Brown’s day.

“Older radio teleplays generally emphasized stage acting and live audio design,” they explained via email. “As many of the shows were performed live for radio, they created soundscapes on the fly using whatever objects or tools they could fit in a soundstage… From a production perspective, audiences now expect more.”

Attaining a standard of professionalism is more doable than ever, but that polish has widely supplanted techniques with their own time and place. As Vengroff and Statz put it, “Stories are now pre-recorded, edited, and mastered prior to being released. So instead of shaking heavy paper, actual sounds of thunder might be used, and the sounds of wind and rain might be used in place of a dramatic organ performance.”

That technological evolution is reflective of a wider shift away from the stylized pre-packaged irony embodied by Inner Sanctum Mystery and towards an approximation of real life. “Over-the-top acting was also desirable because shows during that era emphasized excitement,” the White Vault team said, “often taking listeners to distant locales to tell grandiose stories. While a podcasting sub-genre still exists to cater to the fans of the old radio plays, modern audio drama has since shifted its style.”

While the audio drama medium’s evolution clearly points forward, employing more sophisticated equipment and techniques, the limitations of Sanctum’s era forced personal touches that are now easily automated. Statz and Vengroff aren’t bothered by these sea changes, or by the notion that consumers might be taking in their handiwork while cooking, driving, cleaning, working out, or “powering through any mind-numbing tasks.” The listener has claimed dominion over the shape of their entertainment, pausing and playing as they please, streaming and downloading at their own pace.

Maybe it’s time to let the old ways die, and accept that Inner Sanctum Mystery’s specific register of mannered, corn-adjacent horror lives on solely as a novelty in a modern radio landscape. But what is Halloween if not the season of novelty, an occasion for goofy artifice, for plastic and foam?

Inner Sanctum Mysteries host Raymond Edward Johnson and actress Virginia Owen demonstrate the old head-in-a-hatbox gag. CBS via Getty Images

Excluding only sci-fi, horror attracts more purists than any single genre, and that diehard fanbase can be a double-edged sword. Slasher flicks remain the one trend-impervious box-office bet, as recently proven by the umpteenth Halloween’s resounding success, yet this comes at the cost of some measure of homogenization.

Plenty of people equate horror with straight-faced scares, as if its inherent value can be measured in ounces of cold sweat. Those in search of something a bit kookier can perhaps have a detached chuckle at kiddie-demo Halloween specials, but otherwise, they’ve got to search a little harder.

The Inner Sanctum Mystery, then, serves as an alternative to all things sleek and serious, occupying a universe where the words “gritty reboot” have yet to be uttered. This facsimile of time travel transports listeners to a horror paradigm governed by the notion that being scared should be kind of fun and kind of silly.

Brown preferred to emulate the feel of a fairgrounds haunted house rather than a house actually haunted, with the added benefit that most of his tricks had yet to calcify into cliché. Conceived with a wink and performed with absolute conviction, his work aptly embodies the spirit of Halloween as a jovial celebration of all things frightful. Every day was October 31 in the Sanctum, all the nights stormy, all the screams shrill, all the doors creaky.

Episodes of The Inner Sanctum Mystery are available to stream via archive.org,

Original Source -> Why the vintage terrors of The Inner Sanctum Mystery make for great modern Halloween fare

via The Conservative Brief

[mode7rap]

Bagre drops ambient VGM hip hop album 'La Fantástica Distopia Del Hombre Pez'

via Game Music 4 All

I'm searching and digging, and this is what I discover. Brought to us via Lunar Tape Records, and based out of Santiago, Chile, Bagre drops an amazing and intense collection of rumbling glitched up beats which pull from hip hop and classic video game sounds. 

There are a variety of instruments and sounds in this collection. Many songs open with what sound like old radio recordings, not to mention the variety of sound effects from classic games like Earthbound, and who knows what else that I  just couldn't recognize during this laid back yet complex array of sounds. 

The artwork, and music all scream the aesthetic I take such pleasure in hearing. Give this album a listen if you love glitched out 16 bit RPGs and extra fuzz and the faint electronic tones of youth.

La Fantástica Distopia Del Hombre Pez by Bagre

“Desde Talca, ciudad del Sur de Chile Bagre nos presenta “La Fantástica Distopia Del Hombre Pez”. Ciencia ficcion, videojuegos y HipHop son parte del imaginario sonoro de Bagre. From Talca, Town Southern Chile Bagre presents “La Fantástica Distopia Del Hombre Pez”. Sci -Fi, video games and HipHop make part of the soundscape of Bagre. ”

— Bagre

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