#sonic underground Odyssey

[uselesstaroth]

Sonic: I'm not scared of water because it actually scares me, I just can't swim, so it's dangerous! For example, are you afraid of tigers?

Tails: No.

Sonia: No.

Manic: No.

Sonic realizes he's not afraid of tigers either.

[uselesstaroth]

Well I'm already working on a fic (Don't Escape, finally) so I guess this will be about the next fic I work on.

In The Rough: my single oldest au by far, the story of Nora Universe a natural gem born in a rebel planet seceded from Homeworld thousands of years before Rose Quartz's rebellion

Super Amy's Night Out: A story where every super state is its own individual, of which Super Amy hasn't come out in years, and Tails and Super Tails decide to help her out

Sonic Underground Odyssey: A fic where Sonic Underground happens after Sonic Frontiers, so Sonia and Manic have been doing their own adventures for years and none of the siblings heard of each other miraculously and also Infinite is there

Azure Wings: A Lego Monkie Kid au where Azure Lion, Peng and Yellowtusk created a child for themselves alongside Camel Ridge, who, among several powers, had the ability to discern the absolute truth, which gets them banished from home, their wings sealed away for millennia. Lady Bone Demon is highly central to the story.

Original Work: The Defana Family, a story I want to publish a book about in my native language. About several powerful individuals fighting a god threatening to reset the universe to undo his grief over his wife's death. This work would follow the speedster Zero's origin. Would be written in portuguese.

Make me work on my fics!

Rules: Make a 24hr poll listing the titles of every WIP you want to work on. (It’s fine if you only have one, still make a poll for the vote count). Whichever WIP title gets the most votes, write 1 sentence for every vote received.

Thanks for the tag @pelicanpig With the end of the year upon us, it’s a good chance to take a step back and reevaluate what I want to focus on.

I'll tag @spices28 @lily-alphonse @to-be-frank-i-dont-care Join in if you want! :)

[readhandedtitties]

YO! NICE TO HEAR THAT GLARE DIDNT DO THIS THING ALONE. PYTHON, YOU KNOW WHAT THIS MEANS. DROP THE KINLIST BOUY.

as one would want from me. alright, i'll lay it on you. -doctor chandra (odyssey two) -sheldon cooper (big bang theory) -doctor robotnick (sonic underground) -beetee (the hunger games) -chiaki nanami (drg2) -GLaDOS (portal) -pidge (voltron) -entrapta (SPOP)

[thelediz]

Sonic Underground episode 24: Mummy Dearest

I’m watching Sonic Underground in search of inspiration to finish a fic I’ve been writing forever. It’s a sad state of affairs. See the recap of the first three episodes here, if you're interested!

The plot (for want of a better word): One of Sonic’s ancestors was a prophet that predicted the rise and fall of Robotnik! Can the Sonic Underground find the scroll of prophecy and find out how to defeat Robotnik?

Is anyone getting the feeling someone in the writer’s room went to the middle east in this period of the series, or is it just me?

We begin with Sonia showing the boys a toy Cyrus gave her, called an ‘Intelliputer’ and after the whole zombie virus thing Cyrus cooked up last time I am immediately anxious.

It’s a surveillance laptop, basically, with very limited capabilities. Robotnik’s talking about some kind of expedition and finding Aleena, but walks out of frame before they can get actual details. HOWEVER

Also in the control room is an old book with a symbol on it that Sonia recognises as the Royal Hedgehog Crest. So apparently they need the book.

To do this, Sonic brings another new toy from Cyrus: very light SWATbot disguises. They use them to sneak into Robotnik’s headquarters and with toys like this I really have to wonder how the Resistance hasn’t just snuck in and shanked Robotnik in his sleep, I really do.

I know that’s not how kids shows work, don’t @ me.

They get in and would get the book easy does it, except Robotnik himself shows up halfway through the heist and even then, Sonic’s smooth talking (inside a robot disguise) would get them out except that Manic trips and breaks his disguise.

I question Cyrus’s engineering that it broke that easily.

Sonic just BARELY gets them out before the place goes into lockdown. This moment almost has tension to it!

Anyway, the book shows them the scroll of ‘Amun-Rappi’, which is… just… yep. Yep.

Okay, so let’s pause for a second to tell you why this plot point has always made me sigh a lot. Amun-Rappi is an ancestor to the royal family, and a prophet. To the point that he supposedly wrote out a step-by-step guide about how to overthrow Robotnik. They take him very seriously. AND YET no one saw Robotnik coming. No one has followed these steps. And this whole episode will ultimately have no plot relevance. In addition, Amun-Rappi is some weird… like, he looks like a fictionalised pharaoh, but in universe he is treated more like Cassandra of Greek myth. Which is, you know, whatever. The whole Mobius thing is a weird mish-mash of Roman globalisation nonsense so we deal. It’s just… I give SO MANY SIDE-EYES to the royal family for letting Robotnik into the kingdom with this in their history. This episode has stuck with me to the point that it’s kind of how I built up the entire Hedgehog royal family lineage from this one guy as a priest to the not!Egyptian King, whose descendents immigrated to the central kingdom before the Mobian wars that were mentioned in a past episode, but that IS SO MUCH HEADCANON NONSENSE and if I don’t do it, it just makes things messy.

THIS SERIES IS A MESS.

Anyway.

…Sonic is using Manic’s voice this time. Cool. Jaleel, I really think we need to re-record – no, no, you’re right, timing, move on.

The van (including the Sonic Underground) gets eaten by a Dune Worm. Robotnik and Sleet celebrate, while Dingo mourns Sonia. The audience is less concerned, because anyone who saw Pinocchio knows how this goes.

Sonia, who is the one carrying the braincell this episode, decides the best way out of this situation is to force the sandworm’s mouth open a bit (what) to let sand in (WHAT) until it surfaces (…kay) and spits the sand and them out (…uh huh). I mean, there’s logic to it. Not sure it’s my kind of logic, but we roll.

It lets them out in front of the pyramid and… as someone who replayed Assassin’s Creed Odyssey last year, I gotta say… this black, vaguely metallic pyramid… Issu artefact much?

Anyway. They get in through the secret entrance marked by the Royal H (the Hedgehog Crest. Yes, they call it the Royal H), only to immediately get frozen by magic by a… vaguely Jafar looking guy, who is there to protect Amun-Rappi's tomb.

But he recognises the royal hedgehog medallions, so apparently the necklaces have been things in the royal (which Amun-Rappi is not otherwise implied to be, yet) family for centuries.

Sleet and Dingo have been muddling through the other entrances, but catch up just as the guardian is showing the triplets to the main chamber. Remarkably, Sleet actually catches them with some sticky… stuff. But it’s for nothing, because Sonic ultimately breaks free with a superspin and takes the sticky gun thingy off them. The only thing this actually does is let the triplets know a SWATbot patrol is coming after them, so they have to take a shortcut to the burial chamber through two ‘chambers of death’. As you do.

So called, I guess, because there’s no way to disarm the traps without someone risking certain death first, I guess. But that’s what Sonic’s whole deal is, so he overcomes fire and water with only a few jokes and singeing and all is well.

Amun-Rappi was buried in splendour and with guardian souls but with very few treasures, gotta say. But said guardian souls take one look at Sonic, who is the spitting image of his ancestor, and back off. I dunno, I guess they needed to fill twenty additional seconds of the episode or something.

Amun-Rappi appears as a ghost, and demands a song in payment for the scroll, because of course he does.

THE SONG: We are Sonic Underground. Some… weird 90s rap thing that is directly referencing the plot for once and we just… yep. It is what it is.

Amun-Rappi curses Robotnik’s forces with his ‘Curse of Immobility’ while the triplets get away with his scroll of prophecy. But it’s all for nothing, because as soon as they remove it from the glass casing, it falls apart, as parchment is wont to do.

So that was an episode. I make way too much of it for world building purposes. I really shouldn’t, but egh.

Come back tomorrow if you’re interested?

[dinkyasssongtournament]

so I've gotten quite a few songs! some songs that I'm guaranteed to use, while others are in a bit of a pickle due to not having enough propaganda.

here's the list of them all!

Guaranteed Songs

songs that are guaranteed to get in, due to being the only one song from the franchise that was submitted, and has sufficient propaganda. or I added them myself.

Title Theme from Papa Louie 3: When Sundaes Attack

Donk-Donk from Rhythm Heaven Fever

Distraction Dance from The Henry Stickmin Collection

Guildmaster Wigglytuff from Pokemon Mystery Dungeon: Explorers of Time/Darkness/Sky

Outskirts from Bug Fables

Carefree Lazy Afternoon (BBQ) from Yo-Kai Watch 3

Grumblebum from Rain World

Case Select from Layton Brothers: Mystery Room

Ooparts -NEO Mix- from NEO The World Ends With You

Loonboon from Plants vs. Zombies

Klayman's Theme from Neverhood

Daycare from FNAF Security Breach

Indulgence from Melatonin

Clown Man Stage Theme from Mega Man 8

Sea Shanty 2 from Old School Runescape

Oopsy-Daisy from Kingdom Hearts

Cool Mixtape from Deltarune

Main Theme from Crazy BBQ

Death 13 from JoJo's Bizarre Adventure: Heritage for the Future

Randy, Mediocre Swan Wrestler from Dialtown

Dog Ending from Silent Hill 2

Riki the Legendary Heropon from Xenoblade Chronicles

Chicken Paradise from Ghost Trick

Mystic Cave Zone from Sonic the Hedgehog 2

Hidden Retreat from Tekken 6

Balrog's Theme from Cave Story

Gentle Breeze from Trauma Center: Under the Knife 2

The Young Sorceress' Foul Mood from Tales of Vesperia

Draw a Dog from Hylics

Party Island from My Singing Monsters

Metal Bork from A Hat in Time

Underground from Terraria

Into the Box Dimension from Club Penguin

Battle - Tesso from Persona 1

Sly Hunter - Chicago Awaza Mix from Hunting Ground

Flat Zone 2 from Super Smash Bros Series

Unexpectancy Part 2 from Pizza Tower

Not Enough Propaganda

songs that need a bit more propaganda, so if you would send some in, that would be very nice of you!

Underground Hug from Mad Rat Dead

Bonus Stage from Aladdin on Sega Genesis

Pleasure Island Amusement Park from Pinocchio on SNES

Map from Pikmin 1

Clockwork Chasm from Pikmin 3

Food Mart from Tomodachi Life

The Royal Academy of Katamari (Kimitaka Matsumae Remix) from Katamari Forever

Toad Brigade from Super Mario Galaxy

Buoyant Boogie from Splatoon 2

Bomb Rush Blush from Splatoon

Shopping from Splatoon

Flying Man from Earthbound

In That Holiday Mood from Miitopia

STAR ! STAR ! STAR ! from Beautiful Katamari

Prince's Lounge from Beautiful Katamari

Don't Give Up from Touch My Katamari

It's So Wonderful from The World Ends With You

Dreamy Darkness from Kirby and the Canvas Curse

Battle Among Friends from Kirby 64: The Crystal Shards

Preliminaries

songs of the same franchise, so they're put into preliminary rounds before the actual bracket.

Kirby

Slippery Slopes from Kirby's Return to Dreamland

Crystal Dungeons from Kirby's Return to Dreamland

Butter Buildings from Kirby's Epic Yarn

Sand Canyon 1 from Kirby's Dreamland 3

Mario

Strange Company from Super Paper Mario

Shadow Sirens Battle from Paper Mario: The Thousand Year Door

Run, Jump, Throw! 2 from Super Mario Odyssey

Undertale

Dogsong from Undertale

Bonestrousle from Undertale

Temmie Village from Undertale*

Katamari

Katamari on the Rocks (Arrangement) from We Love Katamari

One Chip March from We Love Katamari

Katamari on the Rocks from Katamari Damacy

Little Help from Touch My Katamari

Do Re Mi Katamari Do (-rh rehabilitation re-arrange-) from Katamari Forever

Tomodachi

Mii Apartments (Hungry) from Tomodachi Life

Island (Day) from Tomodachi Collection

Miitopia

A Lively Inn from Miitopia

The Great Sage's Theme from Miitopia

Extra Battle (Wonder) from Miitopia

The Legend of Zelda

Majora's Incarnation from The Legend of Zelda: Majora's Mask

Malo Mart Theme from The Legend of Zelda: Twilight Princess*

Touhou

Gemini Star from Touhou Lostword

Drunk as I Like from Touhou 10.5: Scarlet Weather Rhapsody

Ace Attorney

Investigation ~ Opening 2002 from Phoenix Wright Ace Attorney: Justice for All

Eccentric from Phoenix Wright Ace Attorney: Justice for All

Splatoon

Seep & Destroy from Splatoon 3

#14 crush from Splatoon 2

Happy Little Workers from Splatoon 2

Telephone's Theme from Splatoon 2

Nine out of Tension from Splatoon 3

Mother

Buy Something Will Ya! from Earthbound/Humoresque of a Little Dog from Mother 1

Hi Hi Hi from Earthbound

Sanctuary Gardens from Earthbound

Bean Bean Pork Bean from Mother 3

Fantasy Life

Job Anthem 3 from Fantasy Life

Kigurumi Group Theme from Fantasy Life

Vocaloid

Various Feelings from Project Diva

Doukeshi no Koushin from Project Sekai

*didn't get propaganda before, but now has new propaganda that works

so yeah! good luck!

[randomvarious]

Today's compilation:

Q Presents: The Best of the Best 97 1998 Alternative Rock / Britpop / Big Beat

Folks, this little comp here, which was included as a freebie sampler in an early 1998 issue of British music magazine Q, really gets at something that I've been banging the drum about for years now, and it's simply that, writ large, UK music is just better than American music. And I don't know how long it's been that way, but it dates back to at least sometime in the 90s. The things that have always seemed to set us apart from each other are our relative eases of access to different types of music and the overall rigidity, or lack thereof, of our many-tentacled popular music industries. And I'm gonna simultaneously get into both of those things right now. 

For one, while electronic music in the US has largely been treated as this weird and foreign sideshow, the UK has managed to fully embrace it. They had their Second Summer of Love back in 1988, which saw teenagers and twenty-somethings taken hold by the acid house phenomenon, in which large warehouses were commandeered in order to throw enormous and illegal late night raves. And outside of London, Manchester caught the bug for it especially, which then spawned an iconic scene called Madchester, with bands like The Stone Roses and Happy Mondays venturing into alternative/indie dance territory by incorporating acid house into their own respective sounds. Versatile British dance trendsetter Paul Oakenfold would co-produce the Happy Mondays' most acclaimed LP, 1990's Pills 'n' Thrills and Bellyaches, and in addition to that, enterprising DJs were also hijacking the airwaves with pirate radio transmissions of their own too, so they could bring other underground electronic music, like jungle and breakbeat hardcore, to the masses as well. 

And the prevalence of both the warehouse raves and pirate radio then seemed to engender this tradition among a significant amount of youths towards clubbing. Nightclubs would be open every night, often with some sort of theme or genre allocated for each one of those nights, and the young people would have their pick of where they wanted to go. And this time around it was all legal, except for all the drugs that you might choose to do 😅.

Now, the US, of course, has had its own clubbing history and culture too, but clubbing seems to be a far less popular activity among Americans, and you'll almost never hear our most popular radio stations showcasing the kind of electronic dance music that gets played at a club, whereas the BBC will be hip enough to air sets from some of the UK underground's greatest contemporary dance DJs.

So with nothing like a Second Summer of Love ever managing to occur in the US, despite the fact that we invented both house and techno, we still never really had a generation that electronic music successfully permeated to a comparable point of ubiquity as the UK did. And I think that's the main reason why our music isn't as good as theirs. You'll find electronic music in plenty of American pop material now, but we are so far behind what the UK has already been doing for decades. They developed their own scenes for every electronic genre under the sun and it ended up serving as this connective tissue to make the UK such a sonically vibrant and dynamic melting pot. Underworld's utterly strange techno odyssey, "Born Slippy," went to #2; drum n bass was popular enough to chart; Portishead, Massive Attack, and Tricky were all huge deals; and the big beat scene that was helmed by people like Fatboy Slim, The Chemical Brothers, and The Prodigy went simply bonkers. And the US really never had *anything* close to that, besides some of that big beat crossing over to soundtrack our futuristically-themed audiovisual media, like The Matrix, et al., and some car commercials.

And without that dimension of electronic music being able to flourish Stateside, the state of our own industry resulted in something that was a whole lot more cliquish and segregated. Little to no cross-pollination really ever occurred here and the most tangible thing we ever got out of it when it actually did happen was rap-rock and nu metal 😒. After grunge died, some of our biggest, most accessible American alt rock acts ended up being names along the lines of the Red Hot Chili Peppers, Third Eye Blind, the Goo Goo Dolls, and Everclear, and over in the UK, they had Radiohead, Oasis, and Blur. And Radiohead would end up drawing inspiration from Aphex Twin and IDM, and Damon Albarn from Blur would go on to form The Gorillaz. Do you see what I mean?

So all of this is to say that while Q could produce a CD like this, comprised of fantastic music by mostly UK acts that the record-buying public over there was already familiar with, no widely read US publication would've been able to pull off the same in 1998 with a CD of mostly US acts. They might've been able to cobble together a better album with purely indie material, but then a lot of the names on that CD would've been obscure to a whole lot of folks. And while this comp from Q presents UK-made electronic music in the form of big beat from The Chemical Brothers, big beat-hip hop from The Prodigy and prolific abstract Big Apple rapper Kool Keith, and vocally soulful drum n bass from Roni Size / Reprazent, the best that the US probably could've mustered in comparison would've been something from someone like Moby, and *literally no one else.*

To be clear, America has produced plenty of great music without electronic music being popular enough to really inspire it, but the problem is really twofold: that amount of music, for the massively larger population that we have in comparison to the UK, is in nowhere near as much of an abundance, and for the great stuff that we have made, our industry, mechanisms, and apparatuses don't really do all that much in order to successfully raise its profile to a point of pervasiveness like the UK does. And I think a lack of electronic music being somewhere in the accessible ether definitely has something to do with it all.

Seeing as how this post is already long enough as it is, let me just provide one example of a song from this album that's a) very good and b) by a popular UK band that's not very well-known to Americans. I'm sure the US has had an indie group whose sound approaches that of England's Mansun before, but there's no way that what they ever made ended up amounting to anywhere near a similar amount of commercial success. Mansun's music has been available in the US, but they've only ever managed to chart once here, on the Billboard Modern Rock Tracks list, with their 1996 single, "Wide Open Space," peaking at #25. And while the debut LP that that song is derived from, Attack of the Grey Lantern, didn't chart in any capacity in America, conversely, it managed to make it all the way to #1 on the UK's Albums Chart.

And the Mansun song that's on this Q comp here, "Mansun's Only Love Song," is from that same album too, and I think it's safe to say that no remotely popular American band has ever made anything quite like it. It's super catchy, melty, and silky-smoothly surging Britpop with icy synths and a distinct hip hop underbelly. And it's so good 🥰.

So, something that us music lifers always seem to be confronted with is this difficult-to-maneuver intersection between art and capital, which often leads to an axiomatic conclusion that striving for capital will always corrupt art, and sacrificing your art generates the potential to attain more capital. And while that's certainly borne out in the US to what feels like an extreme degree in more modern times, I don't feel like that conflict has ever been as dire across the pond, and this simple comp here of 15 songs that were mostly made by UK acts shows that some of those who are capable of making excellent and inventive music can also make a good chunk of change off of it as well, without having to either be a rare indie band that finds a way to strike rich, or a group of total sellouts. Whatever the UK's had in place, they've certainly managed to find that balance a whole lot more often than the US has, and one of the main reasons why they've been able to do it in the first place, in my opinion, is because the fertile ground that had been laid by acid house in the late 80s enabled electronic music, more broadly, to achieve a mix of popularity, accessibility, and inspiration that never came anywhere close to materializing in America.

Fin.

Highlights:

The Chemical Brothers - "Block Rockin' Beats (radio edit)" Texas - "Black Eyed Boy" Erykah Badu - "On and On" Bush - "Swallowed (7" mix)" The Prodigy - "Diesel Power" Supergrass - "Tonight" Portishead - "Cowboys" Depeche Mode - "Barrel of a Gun" Blur - "Country Sad Ballad Man" Mansun - "Mansun's Only Love Song" Primal Scream - "Burning Wheel" Roni Size / Reprazent - "Heroes" Oasis - "Fade In-Out" Radiohead - "The Tourist"

[ultravioletfuture]

ULTRAVIOLET VISIONS: UVF-010, Skyline Season 3, Bandcamp Layoffs, and the Revival of Website Culture

Hello UVF! Welcome back to another brand new edition of "ULTRAVIOLET VISIONS", where I give updates on the current underground Vaporwave/Electronica scene, as well as recommend some music I've been listening to along the way.

Firstly, just wanted to remind you all of our latest release on the UVF label!

UVF-010: The Book of Nonsensical Oddities Vol. 2: micronapz in the chromatic cloud fortress by waavypanda

This newest waavypanda release is the 2nd installment in their "Book of Nonsensical Oddities" series so far and its been a pleasure to make UVF it's home. Both releases are their own unique blend of synth heavy ambient/electronic music that present these beautiful sonic soundscapes filled with ear candy.

"micronapz in the chromatic cloud fortress" is much more dreamy and pillowy compared to Vol . 1. Waavypanda's use of glittery synths that are constantly generating these eclectic sequences of noise give this release so much shine and air. The track "heart tremors" is a big standout track for me with it's massive pads and glistening synths.

This release is a very refreshing piece of minimal, experimental, ambient/electronic music that I highly recommend for anyone wishing to space out and float into a whole different dreamlike world that waavypanda has painted in front of us. The album dropped last Friday October 20th, and is available digitally as well as on CD!

Skyline Tapes Season 3 / "SL​Œ​JAMS vol. 3" by amber dregs

Gonna give a quick shoutout to our friends over at Skyline Tapes for their official launch of Season 3 for their label! They just dropped their first release of the season, "SL​Œ​JAMS vol. 3" by amber dregs, and it is fantastic! Amber dregs has been one of the most prominent and promising artists to feature on Skyline Tapes and is finally back again with another banger release.

After a small hiatus, amber dregs has returned to bring us what I believe is their best project yet with its insanely crisp, vaportrap production. Tracks like "RETINA FLASH" and "ODYSSEY OF TRUTH" are highlights for me for their forward thinking sample chopping and percussion that drive the songs forward with such fluidity. Really happy to see amber dregs return and super excited to see what Skyline has to bring to the table for Season 3!

Also wanted to quickly mention that Skyline Tapes is currently accepting applications to volunteer for their "Skyline Street Team". If anyone is interested in applying to help promote some of Skyline's releases, events, and merch, I've left all the information down below as well as the Google Forms link to apply!

Songtradr's Acquisition of Bandcamp and the What This Means for The Future Of Independant Music

Let's get started with one of the biggest news in the online music space, Epic Games selling Bandcamp to Songtradr. Songtradr is a music licensing company that allows artists to license their music to then be legally used in content such as commercials or movies. In theory, as long as Bandcamp is allowed to run as is, just as it has been under Epic's acquisition for the past year, then this might be a great tool for artists to be able to additionally monetize their music with their already existing library of music integrated directly through Bandcamp. However, in the very short amount of time that this acquisition has been made public, Songtradr have not started on a great note with the community.

Late last month, Epic had already layed off around 16% of their employees and after then selling the company, only plans to have 250 employees offered a position with Songtradr. Any remaining staff that didn't receive an offer were layed off, despite various attempts from Bandcamp's union, "Bandcamp United", to settle an agreement to recognize them. It's said that a large portion of the employees that didn't receive offers were part of their writer/editorial team for the "Bandcamp Daily" articles.

Despite this maybe not having a major effect on most of the key Bandcamp music features, this news has shown Songtradr does not have as much care or appreciation for the curation/editorial side of the site and has left many users and artists to feel worried for the future. Many independant artists and listeners on the platform have shown a discomfort with the idea of a random company buying out Bandcamp and swaying the future of their beloved community.

In recent times, building your own website to sell your merch and distribute your music has already become a popular choice especially among certain independent music labels. Many artists have already been looking towards other alternatives for hosting their music and it seems like we might be expecting a resurgence of "DIY Websites" to come. But it's not just the Bandcamp acquisition that has artists worried about losing their community.

Twitter (aka "X") has gone through many major changes throughout the past year since Elon Musk's acquisition of the company back in April 2022. Over the last year, Elon's sporadic decision making as well as laying off large portions of the Twitter team has also made it's users very worried for the future of the site. To be fair, Twitter is a much bigger site and would take much more work to completely ruin overnight compared to Bandcamp, but I see a comparison to people's responses to both acquisitions. Twitter is where a lot of fan engagement, promotion, and community building occurs within smaller independent music groups, and Bandcamp is the heart and soul of where all that art takes place. WIth both websites potentially going through major shifts, it's very understandable for artists to want to look for alternatives that don't rely on the behalf of a large company for their art to continue disrupted.

At the end of the day, all artists want is a place to be able to share their music with a community of like minded people and for listeners to be able to partake in that without any hassle. In an ideal world there would be a platform that is completely run and controlled by artists without the need to focus on constant expansion despite having an already profitable business model. But in this age, capitalism begs companies to consistently find ways to grow and increase profits regardless of whether the company is already finding profitable success. Asking all artists to abandon all other resources and rely only on building their own website is far too drastic and unreasonable, but I would love to see a future where artists have a platform that is completely driven by the art and not profits. This future won't happen overnight and will require a ton of work, but artists should have the final say in how their platform is handled and distributed when the main "product" that is being provided is 100% produced by artists.

As for my own personal experience, the Twitter changes have heavily discouraged me to post or interact as much on the site and switch over to other alternatives like Bluesky. But with Bandcamp, we might just have to wait and see how drastic of a change things will be under Songtradr. I'm optimistic about Bandcamp being able to stay the same in essence, but these recent events have definitely encouraged me to look towards building my own website as a backup that is supplementary and not a replacement for distributing my music and merch. I would love to build a site in the near future that is completely designated to ULTRAVIOLET-FUTURE, and I love seeing other artists and labels start their own sites as well.

Before I end things off, just wanted to shoutout EQL since we're on the topic of websites. They run a cool site where they feature music news, weekly music picks, and occasionally host live events like DJ sets or Radio shows. They actually got to record an interview with Tech and James from death's dynamic shroud and it should be going up sometime this weekend so I highly recommend checking them out!

Thank you all for checking out this week’s UV Visions! This week's post was a bit wordy and more of just a think piece for my thoughts on the current state of things but I hope you all enjoyed!

If you aren’t already following UVF on our socials, go ahead and check us out at our Twitter and our Bluesky pages! Also join our Discord if you haven’t already since that’s where I’m most active and where I keep up to date on all the things happening with the label. We've got 2 new albums dropping by the end of the year so stay tuned for any upcoming announcements in the coming weeks! -portal.uvf

[im-just-a-dumb-gay]

Sonic Odyssey

I tried to mesh the Archie and Underground stories together along with other ones.

Aleena had to hide her triplets from Robotnik by handing them to 3 people from her court to find a home for them. Charles gave Sonic to his brother Jules and Bernadette who lived in the Acorn Kingdom. Manic was accidentally kidnapped by Fang. Sonia was raised by Tiara Cyberowski (forgot how to spell her name).

The amulets are not magical and instead are family heirlooms. I probably won't include the prophecy. I'm still figuring stuff out

[cinematic-collections]

Berlin Calling: A Mesmerizing Techno Journey

Berlin Calling: A Mesmerizing Techno Journey That Hits All the Right Beats!

Hey Techno Tribe, gather 'round because we're diving headfirst into the mesmerizing world of Berlin Calling! 🎶🌆

If you're a fan of pulsating beats, immersive storytelling, and the electrifying energy of the Berlin nightlife, you're in for an epic ride that will leave you craving for more!

🔊 Let the Beats Drop: A Techno Odyssey

Looking to lose yourself in a whirlwind of thumping bass and hypnotic rhythms? Berlin Calling is the perfect choice! This film takes you on a sonic journey that's like a dance floor for your senses. The soundtrack is an audio masterpiece that captures the essence of Berlin's underground techno scene, from the euphoric highs to the soul-stirring lows.

🎬 Unveiling the Story: DJ Meets Drama

But hey, it's not just about the music - Berlin Calling serves up a gripping story that pulls you in from the get-go. Our protagonist, DJ Ickarus, is a maestro of the decks who's got it all - fame, fortune, and a penchant for pushing boundaries. But as the music soars, so does the drama, and we're taken on a rollercoaster of emotions as Ickarus grapples with success, love, and the demons that threaten to silence his beats forever.

🎥 Cinematic Brilliance: Visuals that Pop

Prepare to be dazzled, because the visual feast in Berlin Calling is next level! The film paints Berlin's vibrant cityscape in all its gritty, neon glory. Every frame oozes authenticity, capturing the city's creative spirit and the edgy charm that makes Berlin the beating heart of techno culture.

💥 Adrenaline-Pumping Performances: A Cast that Shines

When it comes to performances, Berlin Calling delivers a lineup that's as diverse as the tracks in a killer DJ set. Paul Kalkbrenner's portrayal of DJ Ickarus is an absolute show-stealer, navigating the complexities of his character with finesse. The supporting cast adds depth and humor, making this cinematic journey as relatable as it is riveting.

📣 Spread the Vibe: Join the Berlin Calling Movement!

Ready to get lost in the rhythms of Berlin Calling? This movie isn't just an experience - it's a movement! So, grab your headphones, turn up the volume, and let the techno magic wash over you. Whether you're a die-hard techno enthusiast or just someone looking for a unique cinematic adventure, Berlin Calling promises to hit all the right notes.

🚀Get Ready to Dance Your Heart Out - Watch Berlin Calling Now!

Don't miss out on the electrifying journey that everyone's raving about! It's time to immerse yourself in the pulsating beats, embrace the drama, and let the Berlin vibes take you to new heights. Join the techno revolution and tune into Berlin Calling today!

Disclaimer: Side effects may include an insatiable urge to explore Berlin's underground scene and an increased appreciation for banging beats. 💃🕺

[arianakyle56]

Mankub Releases "Fly In The Ointment" — A 30-Minute Instrumental Odyssey from Manchester’s Finest Beatmaker

Manchester’s own master beatsmith, Mankub, has officially unveiled his highly anticipated new instrumental album, “Fly In The Ointment“, a dynamic and immersive project that highlights his innovative approach to beat-making. Released through the revered label Gold On The Mixer Records, this 30-minute sonic journey cements Mankub as a standout voice in the underground beat scene, offering…

[zzrrrmpff]

Princess Krell

Princess Krell is the tentacled alter ego of composer Bethany Barrett. Inspired equally by cosmic horror and early electronic music, she uses her Buchla Music Easel and modular synthesizer to access uncanny sonic realms. She also composes for film, most recently “Rock ’n’ Roll Ringo” which debuted in German cinemas in September.

https://xenavectra.com/princesskrell

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Martin Howse (solo set for smoke, light, radio waves and electronics)

Martin Howse is occupied with the links between the earth (geological and geophysical phenomena), software, and the a/human psyche (psychogeophysics) through the construction of experimental situations (performance, laboratories, walks, and workshops), material art works, instruments, fictions, texts, and software. His current project Orphans and voids, remains as a headless divination for obscure Eurorack assemblages.

http://www.1010.co.uk/org/

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CNM & Optical Collusion (A/V)

The structures are sorted by algorithms and bidirectional information. Disharmonic and rustling layers cause unrest and discomfort. Phase-shifting fluctuations, feedback effect loops and repititive rhythms reinforce the contradictory effect. Chunked vocal fragments are used as an equal musical element. Experiments that often become cinematic.

http://cnm.freak-animals.org/

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DJ CATFISH

Catfish is a trans nb originally from israhell based in berlin, emerged as a dj from the odyssey of corona into the queer Anti-zionist underground crew "queer cast" in Tel-aviv. He is mixing a wide range of genres from deconstructed club to old and new hiphop and pop, noize and ambient.

https://refugeworldwide.com/artists/catfish

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[uselesstaroth]

Reading my Sonic Underground fanfic again to try to get motivated to continue it (it worked but chapter order got changed so it'll be even longer before an update)

I like this interaction.

[8dpromo]

Bogendorfer - Cohuna Beatz (Vinyl Album Cuts) [B.A.B.A. Records]

8DPromo · Bogendorfer - Cohuna Beatz (Vinyl Album Cuts) [B.A.B.A. Records]

Step into the sonic universe of Cohuna Beatz, the latest vinyl voyage from Bogendorfer, the Austrian maestro tapped into the pulsating heart of electronic music. Released on the timeless medium of 12" vinyl, this LP is a passport to the diverse realms of deep tech, organic tech house, and groovy, funky downtempo. Imagine a sonic odyssey that traverses the lush landscapes of Vienna’s vibrant musical scene, guided by a pioneer who’s been electrifying dance floors and stirring souls under the guises of Dj Anza, IMIX, and FRANZ JOHANN. Within these diverse cuts, rhythm is king, melody its queen, and every track unfolds like a chapter from an epic saga of sound. Cohuna Beatz is a manifesto of Bogendorfer's decades-spanning journey through electronic music's ever-evolving genres. From the captivating call to the dancefloor in "Come On Now!" to the hypnotic collaboration with Morocco's Ismailovic on "Drop That Beat" to the mesmerizing, rhythmic declaration of "Gotta Move," each piece is a meticulously crafted symphony of beats and synthesized melodies. Crafted in the legendary Batusim Studio Oberwart, this collection is a testament to a relentless pursuit of sonic perfection, inviting us to a world where the rhythm is endless and every breakdown tells a story. For the uninitiated, Cohuna Beatz serves as the perfect introduction to Bogendorfer's rich musical legacy, while long-time followers will find it a refreshing addition to their auditory arsenal. It's an album that bridges generations, inviting everyone to bask in the glow of its universal groove. Let the needle drop, and immerse in the deep, organic rhythms of Cohuna Beatz – a journey through underground dance music and the very soul of its creator. Dive in!

Steve (Fort Knox Five) – “Loving these deep twisted future late night beats.” Jon Fugler (Fluke) – “Come On Now, Ogun, Faith Healer and Jogadour – all worth the price of admission. An absolutely immense selection.” Severino (HorseMeatDisco) – “Some great stuff here.” Snooba (Radio Panik) – “A sonic odyssey.” Quincy Jointz (Timewarp Music Radio Show) – “Good stuff. I like Ogun and I Feel Good the most.” Richard Hardcastle (All Out War Radio Show) – “Gotta Move hits the mark for me on this diverse and interesting collection.”

Available Now From: Bandcamp, Beatport, Apple Music, And Spotify.

[manitat]

MOJO’s Top 100 Epic Rock Tracks:

01 Queen – Bohemian Rhapsody

02 Led Zeppelin – Stairway To Heaven

03 The Rolling Stones – Sympathy For The Devil

04 Pink Floyd – Shine On You Crazy Diamond

05 The Doors – The End

06 Kate Bush – Wuthering Heights

07 The Beatles – A Day In The Life

08 Elvis Presley – An American Trilogy

09 Meat Loaf – Bat Out Of Hell

10 Richard Harris – MacArthur Park

11 The Beach Boys – Heroes And Villains

12 Don McClean – American Pie

13 Ike & Tina Turner – River Deep, Mountain High

14 Derek & The Dominos – Layla

15 Black Sabbath – Black Sabbath

16 David Bowie – Space Oddity

17 U2 – Bullet The Blue Sky

18 ELP – Fanfare For The Common Man

19 John Leyton – Johnny Remember Me

20 Kraftwerk – Autobahn

21 Procul Harum – A Whiter Shade Of Pale

22 Mike Oldfield – Tubular Bells

23 King Crimson – The Court Of The Crimson King

24 Radiohead – Paranoid Android

25 Bruce Springsteen – Jungleland

26 The Shangri-Las – Past, Present And Future

27 The Walker Bros. – The Sun Ain’t Gonna Shine Anymore

28 Yes – The Gates Of Delirium

29 Jethro Tull – Thick As A Brick

30 Prince – Purple Rain

31 Wings – Live And Let Die

32 Lynyrd Skynyrd – Freebird

33 Manic Street Preachers – A Design For Life

34 The Velvet Underground – Sister Ray

35 Frankie Goes To Hollywood – Welcome To The P...

36 Can – Mother Sky

37 Oasis – Champagne Supernova

38 Thin Lizzy – Roisin Dubh (Black Rose) Rock Legend

39 The Darkness – Christmas Time

40 Joy Division – Decades

41 Rush – Xanadu

42 Genesis – Supper’s Ready

43 The Who – Baba O’Reilly

44 Eric Carmen – All By Myself

45 Klaatu – Calling Occupants Of Interplanetary Craft

46 Deep Purple – Child In Time

47 Bauhaus – Bela Lugosi’s Dead

48 Freddie Mercury & Montserrat Caballe – Barcelona

49 Alice Cooper – Halo Of Files

50 Blue Oyster Cult – Don’t Fear The Reaper

51 Guns & Roses – November Rain

52 The Verve – Bitter Sweet Symphony

53 Lou Reed – Street Hassle

54 Ultravox – Vienna

55 The Nice – The Cry Of Eugene

56 Pulp – Common People

57 The Electric Prunes – Holy Are You

58 Nick Cave & The Bad Seeds – The Carny

59 Primal Scream – Higher Than The Sun

60 Scott Walker – Such A Small Love

61 Mountain – Nantucket Sleighride

62 Fairport Convention – Tam Lin

63 The Eagles – Journey Of The Sorcerer

64 Gordon Lightfoot – The Wreck Of Edmund Fitzgerald

65 Rainbow – Stargazer

66 Leonard Cohen – Memories

67 The LA’s – The Looking Glass

68 Supertramp – Fool’s Overture

69 The Monkees – Randy Scouse Git

70 Sonic Youth – Tunic (Song For Karen)

71 The Stone Roses – Breaking Into Heaven

72 Roy Harper – The Lord’s Prayer

74 McAlmont & Butler – Yes

75 The Grateful Dead – Dark Star

76 Klaus Schulze – Friedrich Nietzsche

77 David McWilliams – The Days Of Pearly Spencer

78 Julian Cope – Safesurfer

79 Buffalo Springfield – Broken Arrow

80 Iron Butterfly – In-A-Gadda-Da-Vida

81 Alex Harvey – Isobel Goudie

82 Flowered Up – Weekender

83 David Gates – Suite: Clouds, Rain

84 Fleetwood Mac – The Chain

85 The Bevis Frond – Tangerine Infringement Break

86 Spiritualized – Don’t Just Do Something

87 ELO – Eldorado Overture

88 Spock’s Beard – The Healing Colors Of Sound

89 Iron Maiden – Rime Of The Ancient Mariner

90 Patti Smith – Land

91 Kiss – Odyssey

92 Aphrodite’s Child – The Four Horsemen

93 Metallica – One

94 Dexy’s Midnight Runners – This Is What She’s Like

95 John Miles – Music

96 British Sea Power – Lately

97 Bob Dylan – Hurricane

98 Billy Joel – Scenes From An Italian Restaurant

99 Diamond Head – Am I Evil

100 Damien Rice – Eskimo

[doncarlo5050]

The Resurgence of Music: A Journey through Harmonic Distortion and Avant-Garde Innovation | Don Carlo

In recent years, music has experienced a remarkable renaissance, a resurgence of creativity and innovation that has breathed new life into the industry. From the underground clubs of New York City to the mainstream airwaves, artists are pushing boundaries, challenging conventions, and embracing the avant-garde like never before. But what lies at the heart of this musical revolution? Why are we witnessing such a profound shift in the landscape of sound?

To understand this phenomenon, we must first delve into the concept of harmonic distortion—a term that may sound technical and esoteric, but lies at the very core of what makes music so captivating. Harmonic distortion refers to the alteration of a sound wave, typically resulting in the introduction of additional harmonics or overtones. While excessive distortion can be undesirable, a certain amount of harmonic distortion can imbue music with a warmth and depth that our ears instinctively crave.

Think of it like this: imagine a perfectly smooth surface, devoid of any imperfections. While aesthetically pleasing, this surface lacks character, depth, and texture. Now, introduce a subtle ripple, a slight distortion that disrupts the uniformity of the surface. Suddenly, that once-perfect plane becomes alive, dynamic, and infinitely more interesting. It's the imperfections—the deviations from the norm—that add richness and complexity to the music we love.

As avant-garde pioneers like John Cage, Karlheinz Stockhausen, and Brian Eno have shown us, tension and deviation from the norm are essential ingredients in the creation of truly groundbreaking art. In the words of Cage himself, "I can't understand why people are frightened of new ideas. I'm frightened of the old ones." This sentiment encapsulates the spirit of the avant-garde—a fearless embrace of the unknown, a rejection of convention in favor of exploration and innovation.

But why this resurgence of avant-garde experimentation now? Some may attribute it to the cyclical nature of artistic movements, while others point to the increasingly complex and interconnected world in which we live. In an era defined by rapid technological advancement and social upheaval, perhaps it's only natural that artists would seek to break free from the constraints of tradition and chart new sonic territories.

In the midst of this deluge of avant-garde creativity, one thing is certain: music is once again serving as a vehicle for exploration, expression, and transformation. It's a reminder that, even in our hyper-connected digital age, there's still room for innovation and discovery. So let's embrace the discord, revel in the dissonance, and celebrate the beauty that emerges from tension and deviation. After all, as the avant-garde icons remind us, it's in the chaos that true artistry thrives.

As we navigate this brave new musical landscape, let's heed the words of Stockhausen: "The more we study the music of the world, the more we realize how much there is still to discover." So let's keep exploring, keep pushing boundaries, and keep pushing the limits of what's possible. Because in the end, it's the journey—the sonic odyssey—that truly matters.

Welcome to the avant-garde renaissance.

References:

- John Cage

- Karlheinz Stockhausen

- Brian Eno

- Rolling Stone Magazine

- The Guardian

Quotes:

- "I can't understand why people are frightened of new ideas. I'm frightened of the old ones." - John Cage

- "The more we study the music of the world, the more we realize how much there is still to discover." - Karlheinz Stockhausen

⚡️GIVE A LISTEN TO THIS UPCOMING RELEASE FROM ARKANSAS! Great Indie Rock! https://youtube.com/shorts/ZHU_Sccc_uA?si=64UWUiX4ym19cyk0

[stark-d]

Coming NEXT at Vintage Music Label

VML089 - ISAAC COLDMAN - THE GAME OF HUMILITY

Unleash into the abyss with "The Game of Humility," the latest sonic odyssey from Tashkent's elusive maestro, Isaac Coldman.

Dive into the haunted echoes of a pixelated nightmare with GAMER, where Coldman deftly melds the nostalgia of 8-bit synths with the cutting-edge allure of Melodic Techno. This sonic fusion beckons listeners into a dark realm where the boundaries between old and new blur, creating an auditory experience that is both haunting and irresistible. GAMER is a rhythmic voyage through time, a sonic labyrinth where the past and present collide in a dance of shadows.

Prepare for a dance floor revolution as Coldman unleashes the relentless power of Humility. Aggressive melodic undertones and stab basslines converge to create a symphony of chaos, igniting a frenzy on the dance floor. The relentless beats pulse with an unapologetic force, casting an enigmatic spell that demands surrender to the rhythm. Humility is a sonic tempest that pushes boundaries and challenges the very essence of dance music, a track that will make hearts race and the dance floor tremble.

Isaac Coldman's "The Game of Humility" is not merely a release; it's a descent into the shadows of sound, a journey through the realms of gloom and edge. Brace yourselves for an auditory experience that transcends the ordinary, as Coldman invites you to play a game where humility is the ultimate prize, and the dance floor becomes a battlefield of sonic conquest.

__WHO IS ISAAC COLDMAN?

Hailing from the enigmatic city of Tashkent, Uzbekistan, Isaac Coldman emerges as a formidable force in the realm of electronic music, a dark maestro weaving sonic tales from the shadows. With a career spanning over a decade, Coldman has etched his name into the fabric of the underground scene, sculpting his sonic identity amidst the haunting echoes of distant worlds.

Isaac Coldman, a name that resonates with the essence of the cosmos, embarked on a relentless journey into the heart of techno, a monstrous realm with seven heads that beckoned him with its enigmatic allure. For 11 years, he navigated the labyrinthine corridors of the DJ world, immersing himself in the atmospheric sounds of space that fueled his creative fire.

Two years ago, Coldman took the plunge into music production, driven by an insatiable desire to craft his own narrative within the vast universe of sound. He delved deep into the abyss of techno, honing his skills and sharpening his sonic blade, all in preparation for the ultimate conquest – his favored genre, the hauntingly beautiful melodic techno.

Isaac Coldman's musical creations transcend mere auditory experiences; they are journeys into uncharted territories, guided by the gravitational pull of melodic techno, melodic house, and progressive grooves. Each track is a testament to his mastery, a manifestation of warm bass frequencies and deep beats that resonate with an otherworldly pulse.

In the heart of Tashkent, where the echoes of the ancient Silk Road linger, Isaac Coldman stands as a sonic sentinel, channeling the mysteries of the cosmos into his music. As the darkness unfolds, his beats cast shadows that dance with an edge, captivating audiences with a sound that is both glooming and mesmerizing. The story of Isaac Coldman is one of sonic exploration, a journey into the unknown realms of Melodic Techno, where the echoes of distant worlds collide and create an auditory tapestry that is as enigmatic as the artist himself.