#sound engineering and music production courses

[soundengineeringcourses]

Best Music production courses in india

Get Best music production courses in India offered by SoundIdeaz Academy. Explore a wide range of music production courses here. Complete and up-to-date course information is available on SIA online catalog. Join Now!

[musitechnicformation]

Our International Sound Engineering Course is designed for aspiring sound engineers from around the world. This comprehensive program covers all aspects of sound engineering, including recording techniques, mixing, mastering, acoustics, sound design, and live sound. With expert instructors and state-of-the-art equipment, our course offers practical training and hands-on experience that will help you build a successful career in the global audio industry. Whether you're interested in music production, sound for film, or live events, the International Sound Engineering Course will provide you with the skills and knowledge needed to excel.

[rohitmarri]

THE ROLE OF MUSIC IN INDIAN FILMS

Music plays a crucial role in Indian films, contributing significantly to the overall cinematic experience. Indian cinema, particularly Bollywood, is renowned for its vibrant and elaborate musical productions. The role of music in Indian films can be examined from various perspectives.

1 Emotional Expression:

In Indian films, music is often used to express and elevate emotions. Songs are inserted to capture the mood of a scene–be it delight, love, grief, passion, or terror. The words are carefully worked out to fit in with the plot and characters, digging deep into the human spirit with emotions that are hard to put into words.

2. Cultural Representation:

In Indian movies, music reflects the country’s various cultures. The soundtrack represents the varied cultural traditions of India incorporating classical Western as well as local Indian genres and styles like folk songs and contemporary hits. Dance in particular has long roots; according to records, all sorts of dances used to be a part of these pageants which is why they were called “all-India competitions.

3. Narrative Progression:

Many Indian film songs aren’t purely for entertainment; they often affect the narrative flow. Such songs can serve various functions: they propel the storyline forward, and they sometimes provide a backstory. In addition, they are used to highlight key moments in plot development.

The songs in the film are ingeniously integrated into its structure, which aids in creating a fully enjoyable watching experience.

4. Musical promotion:

Music is a vital part of how Indian films advertise themselves. Hit songs give a film a tremendous amount of publicity, and can be of real use to a movie at the box office.

Music releases as well as promotional events are often held to create expectations and to draw audiences toward them. This is yet another illustration of music’s value as a promotional device.

5. Cinematic Spectacle:

Indian films are known for their grand and visually stunning song-and-dance sequences. These musical extravaganzas contribute to the cinematic spectacle, providing a unique and entertaining aspect to the overall film experience. Choreography, costumes, and set designs in musical sequences are carefully curated to create a visually captivating spectacle.

Conclusion:

The role of music in Indian films is multi-faceted, serving emotional, cultural, narrative, and commercial purposes. Music is a key element that enhances the cinematic experience and contributes to the uniqueness of Indian cinema on the global stage.

[alxtiny]

You like me? | Song Mingi x reader

Synopsis: where you confess you feelings to mingi unintentionally

Pairing: Song Mingi x gn!reader, college au

Genre: fluff, crack?

Word count: 0.7k

Warnings: none :)

Notes: Happy Valentines day to all the other lonely souls like me, I hope this makes a part of your day better

masterlist

In the quiet corners of the university library, you found solace among the shelves of books and the gentle hum of whispered conversations. Seated across from your best friend Yuri, you couldn't contain the excitement bubbling within you.

"He's just... so unbelievably pretty, Yuri," you sighed, your eyes glazing over with admiration. "I mean, have you seen the way he concentrates on his music? It's like watching magic unfold." you exclaimed, throwing your hands up in exasperation.

Yuri chuckled, her eyes sparkling with amusement. "Ah, yes of course the infamous Mingi I’ve been hearing about so much these days. I see your crush has reached legendary status."

You opened your mouth to protest, but before you could utter a word, she continued. "You know, if he likes you back, then it wouldn't be wrong for you to make some moves on this guy, right?" She grinned mischievously. Letting out a groan you slumped forward, resting your chin on your pile of books, “What am I gonna do, he’s infuriatingly difficult to decipher.”

Smiling at you fondly, Yuri placed her hand gently on yours. "Come now Song Mingi can’t be that hard to figure out. He seems like a nice guy."

Shaking your head at your best friend, you let out a sigh.

“You're probably right, but his cryptic words are giving me headaches. I don’t even understand half of the stuff he talks about whenever we’ve talked before. Plus, he hasn't shown any signs of liking me.”

"And he’s always so focused on what he does to even notice me properly. Did you know he’s a music production and sound engineering major, Yuri," you continued, animatedly gesturing with your hands. "Apparently he gets the best grades in his year. He must really be talented. I like him so much it hurts at this point.”

As you ranted about Mingi's talents and irresistible charm, Yuri's gaze shifted over your shoulder. Her expression changed from amusement to shock. With the sudden shift in her face, you followed her line of sight to find Mingi standing there, clad in his usual dark glasses and with his unruly hair sticking out at weird angles, it all made him look so endearing to you.

In one hand, he held a sleek midi keyboard, and in the other, a small bouquet of flowers. Your eyes widened, and you could feel the heat rising to your cheeks as Mingi spoke in his soft voice, "You like me?"

You were brought back to reality, caught off guard by his sudden questioning. Stuttering slightly, you managed to nod and confess, "Uh, y-yeah?." His lips quirked upwards and you could see the pink tinting the tips of his ears. His shy smile made you want to kiss him senseless, but your legs suddenly felt very weak.

A mischievous glint appeared in Mingi's eyes, and he grinned. "Well, then I guess you won't say no to the date I was gonna ask you on." Without waiting for an answer, he placed the bouquet of roses in front of you, and placed his own instrument down on the table next to you.

Your heart fluttered uncontrollably, and you smiled back at him sweetly. A genuine smile that reached deep into your chest and caused your heart to swell with happiness. Your friend watched on curiously, smiling brightly as she watched your painfully shy ass interact with Mingi.

"I was hoping you could spare some time tonight so i could show you my work, since last time we talked you said you wanted to hear it,” a blush crept up his neck and face, “Of course if you’re busy, I understand,” he said gesturing to your books.

A shy smile spread across your face as you giggled and, unable to resist, leaned in to kiss his cheek. Yuri, still in shock, watched as her ultimate ship came true before her eyes.

Mingi's eyes sparkled even more, his face becoming the embodiment of the 🥺 emoji. "Is that a yes??"

You nodded, your heart pounding with excitement. "Absolutely, Mingi. I'd love to go on a date with you."

Yuri finally snapped out of her initial surprise and clapped her hands in glee. "Finally! My ship has started sailing!!" She looked at you with dreamy eyes like a little child who had been given candy as you and Mingi simply laughed at her expression

© alxtiny . Do not steal, plagiarise, translate, repost, or use my works on any platform in any way.

Send an ask or a message to be added to taglist

DISCLAIMER: THIS IS PURE FICTION AND NOT RELATED TO THE MEMBERS OF ATEEZ IN REAL LIFE PLEASE DO NOT TAKE IT SERIOUSLY

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[vyl3tpwny]

hihihihi!! im really curious how u go about mixing & mastering ur music cuz ur one of the few artists i know that can make such different songs but keep them consistently loud & not lacking in presence anywhere.. also despite monarch of monsters having alot of noise-rock elements, my eardrums don't bleed as much as when i listen to like jane removers stuff (no offense to her of course !!) so im just curious abt what ur process is like .. do u have any tips regarding mixing/mastering or mayb some resources i should check out? thxx

its a hard question to answer since mixing and mastering is both extremely nebulous and also different from engineer to engineer. for me, i know how to do both traditional engineering as well as stylized producer engineering. because of that, knowing both sides of a spectrum, i can do small adjustments on all ends of that spectrum to bring things closer to unity.

an example of this is because i'm extremely aware of how to work with phase relationships and resonance control, especially in low end mixing with drums and basses, i'm able to get acoustic sounding instruments to sound very beefy almost like im mixing electronic music. i also know how to take synthetic, digital sounds and make them feel more organic and real.

with making noise rock less abrasive but still intense, a lot of it is honestly watching the linear readouts and gently cutting things that get way too loud. rather than letting it all come through, or filtering it all, its just a slow approach of listening for frequencies that are unruly and bringing them down a bit. most eqs kinda suck at this if youre doing a lot of adjustments but fabfilter pro q3 is just the boss and makes shit like this super easy. but this is mostly for my own personal enjoyment. i love shit that makes my ears bleed too.

anyway i always recommend fabfilter products. two other indispensable tools for me this project cycle is oeksound's "soothe2" and "bloom". i tend not to use many shortcut methods of achieving a good mix, but these two get a fair amount of use for just automatically taming high and low frequencies. specifically for high end material i'll use soothe2 to notch out problem frequencies, and bloom to help maintain overall tonal consistency so as not to lose a lot of important frequency information!

[the-avs]

Promo~?

As the camera flickers to life, thanks to some fiddling by a man in a blue suit, you were able to see four individuals. The TV-faced man sat back down, sighing and breathing heavily, as though he had just performed serious labor. On the far left, just beside the TV-headed man, was another man with red hair and deer ears, and a sinister smile painting his lips as he sipped on what looked like black coffee. On the other side of the TV man, there was another man smoking a cigar with pink fumes swirling around the room, and wearing a large red coat with striped neck fluff. And finally, on the far right, there was the only girl in the room, a young lady with red, white, and black swirled hair, scrolling on her phone with a bored expression. She appears the most trendy of them all in terms of her clothing.

"Phew..." the TV man panted, turning to face the deer-eared man beside him. "Fuck, Alastor, why did you insist on this camera?" he demanded between breaths, the deer man simply lowering his mug from his lips and setting it down onto a coaster on the table.

"Ah, tsk, tsk, darling. You simply don't know the difference between class and 'trendy'. Rest assured, an older camera will do us just fine," the man assured. He then tilted his head, his smile never dropping, although he looked confused. "So I suppose it's on then, yes?"

"The fuck- Of course it's on! We're rolling! Fuck, let's just go down the line. Vel, you first, because I can't breathe," the TV man insisted, drawing out a groan from the girl. She didn't put her phone down, but she did spare you a look, looking at you with a bored expression.

"Fine. Name's Velvette, youngest overlord and ruler of social media 'n shit. Yadda yadda, you get the gist, don't be a dick, don't be a fashion disaster, and we'll get along fine," she listed as though it was nothing before quickly returning her gaze back to her phone.

The man beside the young woman gave a sinister smirk, a sickening look of lust painting his already creepy face. "Heya, sweet cheeks. Name's Valentino, owner of the Pride Ring's porn industry. Need a guy, a girl, something in between? I got you. I also accept 'sir' or 'daddy'~." Creep. Luckily, the attention is quickly taken off of him when the TV-headed man feigns a cough to get your attention.

"Ignore him, ignore him," he tried to laugh it off and be nonchalant. Valentino was still creepy, though. "I'm Vox, of course, the CEO and main engineer of VoxTek and numerous other products you may have heard of, including Voot Floops, VVs, the sound system Valkyrie, and of course, the Vogitek music app, not to mention VoxTube and the like. Pleased to make your acquaintance~" he said in a charmingly fake, yet professional tone, clearly attempting to maintain the appearance of the group's leader.

"Vox, darling, this isn't an advertisement," the man beside Vox said with a chuckle, a Cheshire grin spreading on his face. "Greetings, you wayward sinners! I'm certain most of you already know of me, but for formalities and politeness sake, I'll introduce myself. You may know me as the Radio Demon, my name is Alastor, darling! A pleasure to meet you, certainly, quite a pleasure! Now then, you see, we on the AVs have been rather bored as of late, and we'd like to socialize with those around us, so... would you be so kind as to give us a promo, dear~?"

(( Feel free to ignore, interact if not tagged, or ask for your tag to be removed!! :D ))

@human-monokuma @unknown-ultimates @ultimate-rider @pizza-for-my-friends @bartender-husk @bigkaijubaddie @hellhound-loony @hoshi-neko-hikari and anyone else!! Tagging is hard lmao-

[artoatsblog]

I feel like if the offense classes (scout, soldier and pyro) came together and became a band the closest thing to there sound would be maneskin, the only one to deviate for that sound would be Pyro would prefer making remixes pre-existing of songs (think the saint g roses situation, also Nightcore, pyro would love Nightcore).

Meanwhile if the defense classes (Demoman, heavy and engineer) decided to make music together their music would be similar to JoJi (ie: sad boy music (complement)) and of course engineer takes inspiration from old country stars.

And the support classes (medic, sniper and Spy) most likely would choose 80's and 70's rock bands for inspiration, but the funniest option is the three of them would be a boy band, the most comparable act would be the backstreet boys, but when medic decides to take care of the production they end up with something similar to the work of Austin mahone's dubstep-est productions.

Can you tell I'm autistic?

[pliablehead]

i asked @hellkitepriest their top 5 jonathan higgs vocals and now I've been asked to reciprocate and of course I will

leave the engine room. i. you're speaking to tumblr user (and twitter and geniuslyrics and twitch.tv and--) pliablehead, and this song is so stupidly important to my whole. T h i n g, and jon's vocal on it, specifically the original vanilla man alive album version, is 99% why. if I'm ever not deeply and cripplingly obsessed with the stupid artful nuance and deliberate decisions he makes flipping back and forth between chest voice and head voice/falsetto on this track then you will know it is because I have been taken over by body snatchers. (he doesn't quiiitte do it like this anymore though because he's a Different Performer Now and i respect that things have changed and i'm alo--) but like any and every version that exists he sings "walking hope" slightly differently and every single time it makes me want to SCREAM

good shot good soldier!!!!!!!!!!! here's a certified Pli Hot Take is that I think AFD is the album on which his vocals sound the most beautiful and exquisite as a whole. idk what was cooking in the studio but just every track hits so good, and good shot....... the bit where the music drops out and it's Just Him Singing and he's just SOARING up there.... put me in the ground . i have a video of him doing this Live In Front Of My Face and I still get chills watching it aaaaaaAAAAA

on that note: i'm also going to pick Desire. I think, of his Big Loud Yelling Songs, in his classic jonathan milieu of "i'm going to sing as high and loud as i possibly can because I think it sounds fucking cool," that Desire like,, exemplifies the successful execution of that as a concept. and he sounds so fucking good and I love the shit out of it. and obviously it's not sustainable at length live, and i definitely never saw him do it live as well as he hits it on the album in the 3 afd tour shows i caught, but man. can I tELL YOU THAT I'M EEEMMMPTTYYYYY

what C said about software greatman is genuinely how I Also Feel about software greatman it's just such a fucking good tune and all the choices he's making are so good and it does feel like a bit disingenuous because a lot of what Makes It is the production side but it's also. fucking good. as much as I think AFD wins best overall there are some CHOICE little moments scattered all across RDF that are stellar on their ownnnn and if jennifer on the album hit half as hard as jennifer live does it would be appearing on this list as well for sure

i have sooooaur many more that i could pick....,oughhh i'm so vocalist-pilled.....,,, ok can I give 5th place to a tie between your money my summer (Current Jon Vocal Decisions Era and it's soooo fucking stupid and sexy good live i encourage you to find legit any live version he does some truly heinous things) and the No.6 orchestral version of The Mariana because there is literally nothing so fucking satisfying as Jonathan Higgs reaching out for an extraordinary high note and just absolutely sticking the landing as if it's nothing. my dude. never imply that you're not actually a good singer ever again or I'll kill you <3

[surrealisticduvet]

Album Review: From a Radio Engine to the Photon Wing (1977)

Drawing from a surprisingly profound Allmusic review, I must mention that this album, having come out in 1977, is definitely inspired by 70s disco rhythm. The basslines are heavy, instrumentation is trancelike and steady, yet not boring. An album with such twinkling gems as “Rio” and “Casablanca Moonlight” could only have been effectively concocted during this musical era. Yet in typical Nesmith fashion, the album is not exclusively disco or rhythm – take a listen to “More than We Imagine,” where the intro blindsides you with a transition from 70s bluesy synth to a tropical pedal steel guitar riff (sadly not our good friend Red Rhodes – but still a delight). Suddenly, that bluesy swing is swung from dancefloor to beachside, and you have to just accept that you’re along for the ride. (Note - this song is so good that its title was used for the premier Nesmith lyrics website!) 

This album can get overlooked, falling in between The Prison and Infinite Rider on the Big Dogma – two hugely memorable productions.  However I truly think it holds its own, and deserves more than a little love; let’s get into it!

Favorite parts of the album:

“Rio” is obviously a fantastic song and probably doesn’t need any more lauding. It’s charming, catchy, and somehow does not overstay its welcome with a 7:02 runtime. I love the sound effects leftover from the music video in the background - it wouldn’t be “Rio” without the sounds of airport and party chatter (and of course, the “not Reno, dummy… Rio” at the end).

“Casablanca Moonlight” is quite darling, especially in the context of Michael’s fascination with classic television. As mentioned in the introduction, “More than We Imagine” is sublimely complex and is one of the more successful of his forays into genre-blending. 

“We Are Awake” is heavier than many of the other songs, dense with instrumentation and groove. There’s an extremely tasteful harmonica solo that never fails to delight me, layered on top of piano and guitar and that neverending bassline. Michael’s dry, subtle vocals don’t overpower, and neither do the backup singers’ echoes. 

“Navajo Trail” is one of my favorite covers of his – the “lolloping country & western bassline with his trademark minor chord changes” (to quote that Allmusic review) does something to my mind I can’t explain. It does not have that shuffling rhythm that it does in, say, “Tumbling Tumbleweeds” - instead, the bassline is so stiff and consistent that you could march to it, and it provides a magically captivating canvas for the ethereal vocal harmonies. 

“Wisdom Has Its Way” is a rather classic song in terms of what he usually writes. Stripped down, this could’ve featured on any number of his early albums. (Allmusic says that this song sounds like something off of Tropical Campfires – I scoff at that. That’s a stretch, at best.) 

Here, I’ll take a moment to say that I love a lot of the lyrics on this album. They’re neither too conceptual nor too practical and concrete. It makes sense that this album was made right after The Prison – not only does it incorporate the same inter-song transitions that tie the sound together into something that flows beautifully, but it speaks of spiritual enlightenment and self-actualization in a more practical manner than its predecessor did. Whereas The Prison spoke of practical matters in a conceptual manner, Radio Engine uses that which is tangible as an allegory for larger concepts. 

Critiques:

I know who we’re talking about but honestly – what is with the title? Do we know what it means? How are we supposed to remember it? (Walking into a record store in ‘77: “Do you guys have… the radio wing… photon… I don’t know, man. That new Mike Nesmith album?” “Huh? You mean that guy from the Monkees? Uh, check the bargain bin I guess...”)

“Love’s First Kiss”, co-written with someone else, which was rare, is the only middling song on the album in terms of lyrics and vocals. However, the song itself sounds so good musically that I tend to forget my complaints by the time it fades out; that, and it’s so grossly romantic that I’d frankly sit through a terrible song just to hear him say some of these things.

Finally – Michael knows how to write a hell of a disjointed album closer; I guess he just didn’t have anywhere else to throw this one. “The Other Room” is fine, and even good - but I don’t want to listen to it after sitting through what is otherwise such a groovy and relaxing album. It’s sort of like the album’s end credits… gets you ready to go back into the real world.

Conclusion:

I feel like I’ve said enough already. I don’t have a lot of context for this album’s creation to analyze it from that perspective, so I’m really just going off of the music alone, and the few things I know about the production of “Rio” and its accompanying music video. This was the beginning of a new, exciting era for Michael, and I think it sounds just great. 

[softquietsteadylove]

Hi! Love the bodyguard au and wanted to share an idea! Thena decided that Gil should record a lil song for fun. Just him singing…and her secretly loving it 😁

"No."

"Please, Gil?" Thena pleaded again.

"No," he sighed, really - really - trying to stay firm about it this time. He crossed his arms, determined not to let her tilted head and big green eyes sway him (this time). "I'm sure there's someone here who can record it with you."

"Uh, no-can-do, bossman," Kingo shrugged beside Thena. "It's an off day, They're opening it up for Thena specifically."

Gil rolled his eyes. At least he wasn't the only one who had trouble denying the Goddess of War. Everyone in this industry was ready to bend over backwards for her.

They didn't have forever, either. The audio engineer working with them clearly wasn't happy about being dragged out on a promised day off for him. This wouldn't be a full working day, it was just for recording this godforsaken duet.

Gil looked at Thena, who was still using her big eyes on him. He sighed, "there's really no way he can get here?"

She shook her head. "A terrible storm grounded all the planes, he'd have to go out of state even to get the private jet up. He'd never make it in time."

Gil rolled his eyes. All these insanely wealthy music stars and their private planes and money, and a freak thunderstorm could still ruin their day. He looked at Kingo. "You don't seriously think I should do this, do you?"

He figured of all people, Kingo would tell them to wait for a professional singer of some sort. Hell, even if they asked which of the interns were working as assistants hoping to get their 'big break', surely they could find someone.

But Kingo shook his head. "Thena's already comfortable with you, and you're here, and we have three and a half hours to literally lock sound and start editing the thing. So, yeah, I do think so, Gil. Get in the booth."

"Geez, okay," Gil huffed as Kingo shoved him through the door into the recording area himself. He undid his suit jacket, although Thena stepped through and pulled the door closed behind her.

"You might want to take it off, actually," she advised as she also pulled off her leather jacket.

"I'm really doing this?" he bothered to ask one more time, just in case. He was just wearing a t-shirt under it--the grumpy sound tech wasn't the only one supposed to have a day off today.

"I'm sorry, Gil, but it'll be quick at least," she offered a smile as they made their way into the actual booth with the mic. "And I know you can sing."

He blushed, avoiding the eyes of Kingo and their sound guy as he did. "Not like this, though. Singing with you in the kitchen is different from a mic that's gonna pick up every single breath I take."

"It'll be fine," she promised him yet again. She closed the door behind them and reached for one of the sets of headphones. "You've been listening to me rehearse it for weeks. And Ikaris can record his bit and they'll sew them together into one frankenstein duet for the final cut."

He sighed again as he put the headphones on. She was right, he'd seen her do this a million times. And they weren't going to produce the final song with his vocals on it, it was just so they could get Thena's sound finalized. They would probably overlay the solo vocals if they needed to for the final product.

Didn't make it any less embarrassing.

But looked at Thena as the song started. He was hyper aware of how much he was breathing, what his swallowing sounded like, every movement he made. But he just had to focus on Thena.

She really had an angelic voice. As soon as she opened her mouth, his eyes dropped to her lips. He could see the flex of her muscles in her neck, her tongue moved as she sang, as per proper technique of course.

He had to make sure he didn't miss his cue by staring at her like an idiot.

He leaned closer to the mic, feeling more unsure than he ever had in his life. But Thena smiled at him, encouraging him in their confined space. He started gently.

He just had to think of singing with her in the kitchen. They were at her place, cooking. She was helping him in little ways, singing little songs he liked because she liked hearing him sing. For what reason, he really didn't know. But she kept insisting on it, and he kept agreeing.

He looked at the words on the sheet provided to them, although his eyes slipped closed once or twice. He could practically smell the garlic, hear the sound of Thena fluffing the rice, her soft, gentle voice floating around like steam.

Thena's voice joined his again and he looked at her. Singing really did make her happy, and singing with her kind of had that effect on him too, maybe against all odds. But he watched her as their voices synced up, her accommodating him as much as she could. They melded together and he could almost admit that they made a great team.

His mind flashed to when she had told him she loved him in her sleep. He did tell himself he would stop thinking about it, but it was hard not to, especially at times like this.

It really wasn't that long a song either.

In no time at all the sound guy was leaning forward and pressing on the speaker. "That's great, guys. Let's run it again--Gil, don't be afraid to go just a little louder, man."

Gil grumbled to himself, feeling himself blush again. This was not part of his job description.

But Thena gave his hand a squeeze. "Please--you sounded wonderful, really."

He would get better at saying no to her someday, Gil told himself. It wouldn't be today, but it had to happen eventually, right?

[musitechnicformation]

Our Sound Engineering Training in Quebec is designed to equip aspiring sound engineers with the skills and knowledge needed to succeed in the audio industry. This comprehensive training covers all aspects of sound engineering, including recording techniques, mixing, mastering, acoustics, sound design, and live sound. Whether you're interested in music production, sound for film, or live events, our Sound Engineering Training in Quebec offers hands-on experience with industry-standard equipment. Learn from experienced instructors in one of the most dynamic creative centers and kickstart your career in sound engineering.

[rohitmarri]

THE ORIGIN OF MUSICAL INSTRUMENTS

Music has been an integral part of human culture for centuries, and the evolution of Musical Instruments has played a significant role in shaping the diverse sounds we enjoy today. From ancient times to the modern era, various instruments have emerged, each with its unique history and cultural significance. Musical instruments have captivated audiences across different cultures and continue to be cherished for their distinct melodies and harmonies.

The Ravanhatha, also known as the Ravanhatta, is an ancient stringed instrument that originated in India. Its name is derived from two words: “Ravan,” referring to the mythical demon king from the Hindu epic Ramayana, and “Hatha,” meaning hand. The instrument is believed to have been created by Ravana himself, showcasing his exceptional musical skills. The Ravanhatha consists of a resonator made from a hollowed-out coconut shell or gourd, covered with animal skin. It has two main strings made of horsehair or metal, which are played with a bow made of horsehair. Nowadays Ravanahatha is mostly played in the Indian state of Rajasthan and Gujarat.

The piano, a widely recognized instrument in Western music, has a rich history that dates back to the early 18th century. It was invented by Bartolomeo Cristofori, an Italian harpsichord maker, around 1700. Cristofori’s invention was a breakthrough in musical instrument technology, as it allowed for dynamic variations in volume and tone. The piano consists of a keyboard with 88 keys, each connected to a hammer that strikes a string when pressed. The black keys represent sharp and flat notes, while the white keys correspond to natural notes. This arrangement aids musicians in easily identifying and playing a wide range of musical tones on the Piano Keyboard. The strings are stretched across a wooden frame, and a soundboard amplifies the sound. The piano’s versatility and expressive capabilities have made it a staple in classical, jazz, and contemporary music.

The Harmonium, also known as the pump organ, is a keyboard instrument that originated in Europe during the 19th century. It was developed as a portable alternative to the pipe organ, allowing musicians to create organ-like sounds without the need for a large instrument. The harmonium works by using foot-operated bellows to force air through metal reeds, producing sound when the keys are pressed. It gained popularity in India during the colonial era and became an essential instrument in Indian classical and devotional music. The harmonium’s distinct sound and portability have made it a beloved instrument in various musical genres.

The Sitar also spelt sitar, is a plucked string instrument that is synonymous with Indian classical music. Its origins can be traced back to the 13th century, and it has since become one of the most recognizable and iconic instruments in the world. The Sitar features a long neck with movable frets and a resonating gourd body. It has a varying number of strings, with the most common configuration being seven main strings and several sympathetic strings. The Sitar is played by plucking the strings with a wire plectrum, creating a unique and mesmerizing sound that is characteristic of Indian classical music

Who doesn’t know about the Guitar? It is one of the oldest and most basic instruments in the music world. It usually has six strings. It is played with both hands by strumming with a guitar pick and simultaneously fretting with the fingers of the other hand. It is one of the famous musical instruments. Playing guitar seems fascinating in movies or dramas but what about turning this fascinating dream into reality? All you need is passion.

Conclusion:

The origin of musical instruments is a testament to the creativity and ingenuity of human beings. The Ravanhatha, Piano, Harmonium, Sitar and Guitar are just a few examples of the diverse range of instruments that have shaped the world of music. Each instrument carries with it a rich cultural heritage and a unique sound that continues to captivate audiences worldwide. Whether it’s the haunting melodies of the Ravanhatha, the expressive versatility of the piano, the soulful tones of the harmonium, or the enchanting sounds of the sitara, these instruments remind us of the universal language of music that transcends borders and connects us all.

[steddiebang]

An Act of Grace

Author: @daysarestranger l Artist: @bienmoreau Posting on Friday, November 3

On the morning after Broughton Hall’s annual summer fête, the body of a local Baron’s son was found on the grounds of the estate, as lifeless and cold as the morning was warm. Having spent the summer together, member of the household staff Edward Munson was the first to be suspected. As for the Baron’s son, perhaps there was more to him than the Baron would have society believe.  Decades later, Max Mayfield comes across the murder of Steven Harrington while researching topics for the second season of her hit true crime podcast. Along with her some-time engineer and full-time ex-boyfriend, Lucas, Max uncovers a story of two people that, entwined in secrecy and truths left unspoken, reaches out across history.

Keep reading for a sneak preview!

Complete Transcript for the Undone Podcast, Season Two: An Act of Grace

This transcript is based on the Undone podcast produced by Glad-Well House and Mayclair Productions. Original audio files can be found on www.undone-podcast.com, Spotify, and other podcast distribution sites. 

Link Episode 1

Title The Past is a Foreign Country

Original Release Date October 2nd 2023

[Intro music begins; fades]

MAYFIELD, NARRATING: ‘The past is a foreign country: they do things differently there.’ You know the quote, right? You might not know where it’s from, but you’ve heard of it. Heard people repeat it, with a shrug, lamenting the unfathomable manner in which us human beings used to behave, how we treated each other, what we used to believe. As if we, now—the enlightened—would never tolerate such things. 

You and I know differently, of course. 

[Door opening]

DUSTIN HENDERSON: Max, hi. Come in, come in.

MAYFIELD: Hey, Dustin, thanks. How you doing?

[Chairs scraping against the floor, a mug being set down on a table]  

MAYFIELD: Oh, you’ve got a copy?

DUSTIN HENDERSON: ‘Course I do. A bunch. Everyone I know is getting one for Christmas.

MAYFIELD: You’ll be popular.

DUSTIN HENDERSON: [Snorting] Yeah. 

[Pages turning] 

DUSTIN HENDERSON: Here it is. [Clears throat] ‘I liked him, though. We all did … There was always something gentle about him.’ That’s nice, right? It’s what you’d want people to say about you.

MAYFIELD: Yeah. I guess you ’re right. That you were liked.

[Papers shuffling]  

MAYFIELD, NARRATING: It’s the opening line to a novel. The quote, that is. A good one, actually. ‘The Go-Between’, written by L.P. Hartley in nineteen fifty-three. I’ve always liked the book, not for the opener, but for the way it portrays how the passage of time distorts things. How one event can happen early on in your life, and you can know with such certainty how it went down, only to look  back on it ten, twenty, thirty years later and see something entirely different. 

[Door hinges squeaking open]  

MAYFIELD: You’ve left it in the attic? 

DUSTIN HENDERSON: I thought you were coming tomorrow! 

MAYFIELD: Don’t try to make it sound like I’m not organized, you’re the one who doesn’t know what day of the week it is. 

[Boxes shifting, being dragged across the floor]

DUSTIN HENDERSON: It’s one of these, I made sure … You know, I was always having a go at Mum for being such a hoarder, but apparently she was onto something. 

MAYFIELD: It’s the hoarders of this world that keep me in a job. 

[Some grunting, more shifting]

MAYFIELD, NARRATING: The case I’ve been investigating for the past six months started in nineteen-twelve. Or, I suppose it started before that, but nineteen-twelve is when it really gets interesting.

The same year that Captain Scott and his expedition were beaten to the South Pole, all of them perishing on the return journey. The year that the Titanic struck an ice-berg in the middle of the Atlantic and sank, killing fifteen-hundred people. And the same year W.C. Handy published ‘Memphis Blues’, which went down in history as the first ever blues song. 

On June ninth, nineteen-twelve, after the small village of Deeping Saint David’s annual summer festival, the son of the local Baron dies in the grounds of the family’s estate.

Steven Harrington’s body is discovered not long afterwards, and he is pronounced dead by a local doctor. His parents, Lord and Lady Avondale, immediately suspect foul play. The police are brought in to investigate and an arrest is made. Even with a cast of potential ne'er-do-wells, there was only ever one suspect pursued.  

[Footsteps, something heavy being set on the ground] 

DUSTIN HENDERSON: Let me give it a wipe.

[Blowing breath]

MAYFIELD: You got it? Oh, yeah,  you’re right. I can’t believe the paintwork is still so good. It must be a hundred years’ old. 

DUSTIN HENDERSON: One hundred and eleven years, three months and sixteen days. The date was written on the back. 

MAYFIELD: [Whistle] It’s good, though. It looks just like the picture I saw. 

DUSTIN HENDERSON: I said it did! That’s an aristocratic jawline if ever I saw one. 

MAYFIELD: He was honorable. Like, officially.

DUSTIN HENDERSON: The Honorable Mister Steven Harrington. Does kind of have a ring to it I suppose. 

MAYFIELD: Yeah. Handsome bastard.

[Laughter]

MAYFIELD, NARRATING: Six months ago, I hadn’t heard of Steven Harrington, or Eddie Munson. I didn’t have any reason to, to be fair. It’s not a particularly well-known case, even locally. There are a handful of books that cover the key points in the local library, a few of the volunteers at the Harringtons’ ancestral home—now a bustling attraction for weekenders and families alike—know the reported account. Even fewer question it. Because why would they? Edward Munson was a thief who stole from the estate, killed Harrington when he was interrupted, and made off with the money. He was found by police the next morning, arrested, and made a full confession. 

A straight-forward case, all tied up in a neat bow. What is there to question?

[Two sets of footsteps walking on gravel]

MAYFIELD: Have you visited yet?

DUSTIN HENDERSON: Broughton? No, not yet. Mum’s talked about going, but they want to make it a group thing, so, organizing, you know. 

MAYFIELD: You sound dubious. 

DUSTIN HENDERSON: No. Not for me. I don’t know what she’ll make of it, though. What if it just bums her out?

MAYFIELD: It won’t. I don’t think it will, at least. I think it’ll be cathartic. Enlightening. 

DUSTIN HENDERSON: Well, you would say that. You’ve got a podcast to sell. 

MAYFIELD: Hey! 

[The thud of an object hitting its target]

DUSTIN HENDERSON: Ow!

[Outro music begins]

MAYFIELD, NARRATING: Except the money is never found. Except the precise cause of Steven Harrington’s death is shrouded in mystery. Except, for such a high-profile victim, the story is buried in the back pages of the local newspapers. 

It’s almost as if someone were trying to hide something. And nobody seems to have found that odd. 

Until now. 

[Music swells]

MAYFIELD, NARRATING: From Glad-Well House and Mayclair Productions, this is Undone, season two, An Act of Grace. I’m Max Mayfield. Let’s get into it. 

[Music swells; fades]

[thesinglesjukebox]

CHAPPELL ROAN - "GOOD LUCK, BABE!"

Good Song, Babe!

[7.76]

Alfred Soto: Hey, y'all, Spotify played "Good Luck, Babe!" after ILLIT's "Magnetic" -- are the streaming gods Jukebox-friendly? Maybe a synth line patterned after Wham!'s "Last Christmas" and a vocal that commands attention despite singing a line like "sexually explicit kinda love affair." Then again, that's how people talk. [8]

Jeffrey Brister: What if the narrator of “I Kissed A Girl” was a fucking liar whose inability to admit her attraction and healthily process and metabolize her emotions made her so transparently readable her spurned girlfriend shot a bullet made of yearning, resentment, and justifiably venomous smugness directly between her eyes? [9]

Taylor Alatorre: I have a soft spot for music that performs a kind of empowerment driven by romantic spite, while at the same time being precision-engineered to make the singer look small-minded and weak to the sober bystander; this is why I can never forswear Drive-Thru Records or pre-2016 Drake. In that vein, "Good Luck, Babe!" can be heard as a more ideologically palatable version of "Hotline Bling," right down to the self-degrading tinniness of the initial backing synths. Both songs construct a character whose presumptuous sense of entitlement becomes more apparent with time, and both ask us to sympathize with that character, not in spite of that entitlement, but because of it. Because relatability, and because we're hard-wired to believe almost any convenient lie if it's made to sound pretty enough. Chappell Roan's relative vocal restraint here represents her attempt to come off as the reliable narrator, to prevent too many of her unnervingly real feelings from spilling over. It's an effort that comes undone as soon as she gets to the bridge, when she drops the blasé affect, claims the power of omniscience, and uses it to peer into her rival suitor's future bedroom. "You're nothing more than his wife" -- sure, whatever you need to tell yourself. What, too cynical, you say? Whichever reading the listener goes with, they're choosing cynicism, either the listener's toward Chappell or Chappell's toward the other girl, who at the end of the day may just be a garden-variety bisexual; we're not allowed to know. Love is still a battlefield in the 2020s, queer love not excepted, and "Good Luck, Babe!" isn't afraid to show off the sometimes gory aftermath of those battles, caked in just enough gloss to give us the option of seeing something different in it. A potent cocktail of unraveling passions and high-grade copium, it arrives just in time to be used in AMVs of the final season of Sound! Euphonium, otherwise known as the official anime of yuri-baiting. Good luck, Kumiko! [8]

Will Adams: A breakup song directed at a queer person who was clearly uncertain, self-conscious and anxious about their identity leading them to push a great thing away? Oof. I'm the problem, it's me! But any discomfort I have with seeing myself in "Good Luck, Babe" is assuaged by its giant hooks, a bridge that mounts the tension (sadly, a rarity for pop at this point), and Dan Nigro's production, which draws from the same pillow-soft '80s synthpop of "So Hot You're Hurting My Feelings." It's the sugar to help the medicine go down. [8]

Leah Isobel: I'm convinced that Taylor caused a lesbian pop revolution. Not on purpose, obviously, but perhaps inevitably; of course her simultaneous insistence on both the femininity and the import of her perspective would inspire a generation of gay girls young enough to look for validation from pop culture and old enough to perform deep reads on the line "she's cheer captain and I'm on the bleachers." Some of those artists have even made minor commercial breakthroughs, though nothing has heralded the arrival of a real-deal pop star the way that "Good Luck, Babe!" has. On a musical level, I don't know if I see it. It's catchy, sure, but its chorus isn't quite as singalongable as "Red Wine Supernova," and it doesn't sell Chappell as a persona the way "Pink Pony Club" does. Its production and vocal delivery are so arch that all I can see are the references: a little Wham! synth here, a little Marina & The Diamonds-circa-The Family Jewels whoop there, a "Bags" melodic bite for good measure. (Sidebar: I'm compiling this for an eventual piece about how Immunity is the most influential pop album of the last decade no one steal this from me thank you!) But maybe that's it. A pop star is voracious, ambitious, all-consuming; she cannibalizes. What "Good Luck, Babe!" offers isn't mushy sincerity, but steely-eyed purpose. I don't love it, but I do respect it. [7]

Hannah Jocelyn: I've written so much about about the power of "Good Luck, Babe" but I don't think it's perfect. Among my nitpicks; the "sexually explicit kinda love affair" line doesn't land, the ending nearly kills the momentum, and I've always heard some weird aliasing artifacts on the hi-hats, even in the 24/48 flac download (which might be the nerdiest thing I've ever written on TSJ). But there’s a reason I've been obsessed with this song, and it's not just because I've wound up The Other Woman in emotional affairs with queer/questioning women before. I wasn't as on board with Roan at first, then this song made me go back and get acquainted with the Femininomenon. Unlike most of Midwest Princess, this is not OMG I'm a girl??? and I like GIRLS??? music, and unlike several similar songs about loving women in denial, it's not self-pitying. This feels more real, with palpably complex emotions underneath the showy vocals, and it feels messy in a way that queer pop stars were once supposed to avoid. I could go on and on, and I have, but I'll say this: I genuinely think this song will change lives and cause people to reconsider their identities. At least one of my friends has already mentioned crying to this song. I recently spoke with a music writer that claimed music wasn't necessary, but for the right person, some songs are. [9]

Alex Clifton: I don’t know what I can say about this song that Hannah didn’t already say in her excellent Billboard article, but I’ll try. Up until now Chappell Roan has been my good-time music, with tracks like “Pink Pony Club” and “Red Wine Supernova” regularly stuck in my head.  She’s a girl from small-town Missouri in full drag regalia aiming to give everyone a great time, and she constantly delivers on that front. “Good Luck, Babe!” sounds happy but is one of the more lyrically devastating songs I’ve heard this year, and Roan’s performance is incredible. The way she screams “I TOLD YOU SO” at the end of the bridge rips at something in my heart. It’s angry as all hell but also has a level of concern; Roan doesn’t want the subject to end up in a dead-end relationship and just wishes she’d get her shit together. It’s a delicate line to thread but goes to show that Chappell Roan isn’t just a novelty pop writer. It’s exhilarating watching someone’s star rise, and to watch this song specifically become the catalyst for additional recognition is unlike anything I’ve seen before.  [10]

Ian Mathers: I was hugely impressed with "Casual," even more so with Roan's first record overall, but I'm lightly gobsmacked here with how quickly she's put out something else that simultaneously feels like it could have been on The Rise and Fall of a Midwest Princess, like it sums up what that album was doing (and how well it does it), and like she's already moved past her work there. And it's her most successful single so far? It very much feels like things are going to keep going up from here. [10]

Jackie Powell: When “Good Luck, Babe!” came out last month, it wasn’t what I was expecting on my first listen. I got a tease from friends about what this song was about, but I was underwhelmed by the fact that I couldn’t clearly understand the story that Chappell Roan worked very hard on constructing. Her vocal style on other tracks like “Red Wine Supernova” or “Casual” is much more based in her chest voice and as a result is much easier to lyrically comprehend while listening. On “Good Luck, Babe!” Roan slurs a lot. She opts to implement much more mixing in her head voice during the hook which matches the sonic feel of the synths and drum machine that producer Dan Nigro has added in. The hook flutters and it flutters in a tone that’s paradoxical to the story she’s trying to tell. This is a song about rage, is it not? This is a song about compulsory heterosexuality, a phenomenon that is incredibly frustrating as it is prevalent in 2024. We don’t hear that rage until the absolutely mind blowing bridge where Roan’s upper register soars when she tells her past lover that she told her so. This story that Roan tells is one that so many queer people often face. It’s that same level of discomfort that Ben Platt and Renee Rapp have both sung about in their respective songs “Andrew” and “Pretty Girls.” This track’s importance can’t be understated. Its rise in popular culture can’t be undervalued. But I do wish that the story was illustrated more blatantly. Slurring aside, where is the music video for this? The video for “Casual” was exactly what a Roan fan would expect: a cross between the films Splash and Jennifer’s Body with a dash of heartbreak. I’m reminded of the queer women artists like Hayley Kiyoko and Zolita who have both gained a following for the honest queer stories they’ve portrayed in their music videos, which have garnered meaningful amounts of views. Meanwhile, DJ Louie XIVI recently had a Pop Pantheon episode that pondered if the music video is indeed dead. I would hate for that to be the case for Roan, an artist that thrives on theatrics, visuals and play— the fuel that her exponential and unexpected rise to stardom requires. [7]

Isabel Cole: I feel like it was probably deliberate to set the big bursting kiss-off chorus up in the flutiest part of her range where she can't really enunciate, but I still find it annoying to listen to. The bridge is pretty good, though. [5]

Mark Sinker: Gorgeous control of voice over bare control of desire; fragments of the crunchily expressed across the oldest (cliched, she says it herself) story, oh i'm the “other girl”!!¡¡ and then the closing device (which you can call brechtian if you’re fancy, or lazy) undermines it a little, at least musicially.  [6]

Joshua Lu: The bitter, lesbian reimagining of Gwen Stefani's "Cool" I never knew I needed. [8]

Wayne Weizhen Zhang: I am all for Chappell Roan's meteoric rise to fame as the next local drag supporting queer, but this song feels as basic camp as the fonts used in the visuals for her Coachella performance.  [6]

Nortey Dowuona: If anyone is wondering why this is the Chappell Roan hit, it's because it sounds like a synthpop song from 1986, and pop fans are still somehow locked into 1983-1988 as the best time to listen to pop music. That said, "you're standing face to face with 'I TOLD YOU SO'" is a FANTASTIC LYRIC. [9]

Katherine St. Asaph: The belted "I TOLD YOU SO" is unexpected and amazing. The part that flips the hook from "I'm Gonna Be (500 Miles)" into a soprano trill is great -- between "Super Graphic Ultra Modern Girl" ("Footloose") and "Red Wine Supernova" ("What's Up") she's now three for three on rewriting the Great Karaoke Songbook for 2024. The line "you have to stop the world just to stop the feeling" is so perfect it feels like it must have been written in stone centuries ago and just now unearthed. But if I'm being completely honest with myself, everything else in the track is pretty mid, and repeated listens just make the mid parts seem proportionally larger. [5]

Andrew Karpan: An exuberant jubilant kiss-off for fans of Roan’s last version of this (“My Kink Is Karma”) but more pointed, less funny and charged with a contemplative melancholy bellied under its titanic build. The radical space of queer longing turns into an ocean that lifts all boats. “With your head in your hands, you're nothing more than his wife.” We are lifted and listening.  [8]

Rachel Saywitz: I worry sometimes that I’m not wanting enough. Or I want, but the wrong things. Or I don’t want the right things enough. Chappell Roan is want, maximized and poptimized, and “Good Luck, Babe” is its earnestly sweet manifestation. Roan masters pop’s narrative drama as she coaxes her past, closeted self to breathy, sapphic jubilation with the wave of a bouncing synth wand and a Florence Welch operatic belt. Love is want, at its core, and I feel it cascading through me with each listen, urging my spirit to coalesce with my mind, for once. I want, I want, I want. [9]

[Read, comment and vote on The Singles Jukebox]

[discar]

HZD Terraforming Base-001 Text Communications Network

Chapter 38 | Prev chapter | Next chapter Chapter Index

Icarus: What IS that awful racket?

HIMBO: MUSIC!

Icarus: ...no. It's not.

SilverVixen: Is it pre-Zero Day music? Or did you somehow manage to record something contemporary?

HIMBO: IT WAS MADE BY A COUPLE PEOPLE WORKING ON A DAM. THE PLACE THAT ENDED UP BEING BANUK TERRITORY.

FlameHairSavior: Yellowstone National Park.

HIMBO: YEAH, I THINK I SAW THAT NAME. ANYWAY, I DON'T THINK ANYONE ELSE HEARD IT BESIDES THE LADIES WHO MADE IT. THEY USED THE ENTIRE DAM AS AN INSTRUMENT, SO IT'S TOO BAD NO ONE ELSE KNEW ABOUT THEM.

SilverVixen: Oh God, you've discovered indie music.

DIVINER: Oh my Ancestors, you're right!

HIMBO: I DON'T KNOW WHAT THAT MEANS. BUT IT'S NOT MY FAULT YOU GUYS DON'T APPRECIATE TRUE ART.

DIVINER: And he's even a music snob like a true indie fan!!

SilverVixen: I'm tempted to show you some of the classics.

DIVINER: Ummm... does that actually WORK? Or does it just make him a bigger snob?

SilverVixen: Point.

Icarus: Why are you even playing it out loud? You can set it to private easily. In fact, that should be the default.

HIMBO: I WANTED TO SHARE!

ADMIN [Zo]: It's my fault, really. I asked Varl not to smack him for it.

SilverVixen: Spare the rod, spoil the child.

DIVINER: ...that sounds horrible. I mean, if I have the context right.

MARSHAL Kotallo: Makes perfect sense to me.

FlameHairSavior: I'm not sure I want to hear about Tenakth child-rearing techniques.

DIVINER: You don't actually beat your children, do you??

MARSHAL Kotallo: I don't have any children myself. But no, of course not.

MARSHAL Kotallo: Punishment is an important part of any sort of teaching method. No cook is more careful than the one who has cut his hand. You cannot learn to dodge a blow unless someone tries to hit you.

ADMIN [Zo]: I understand the basic principle, though I disagree with any sort of physical retribution.

MARSHAL Kotallo: Not every problem can be solved by waiting three months. Sometimes more immediate consequences are required.

HIMBO: CAN WE NOT TALK ABOUT HITTING ME?

DIVINER: Okaaay...

DIVINER: Sylens, what kind of music do you listen to?

Icarus: Very little. I found some interesting atmospheric melodies, but I mostly use them as background noise, so nothing with lyrics.

FlameHairSavior: Huh, I almost expected you to say you only listened to some weird math thing.

Icarus: Ha ha. There is no "weird math thing" music.

DIVINER: You haven't found Rush????

SilverVixen: Remind me to show you Rush.

SilverVixen: Oh.

DIVINER: [Squee.gif]

FlameHairSavior: Of COURSE there's some weird math thing that Sylens would like.

DIVINER: There's something for everyone! From Norwegian Death Metal to Pop Rap, the old world was full of music!

SilverVixen: Really, it was. I preferred the classics, of course, but sometimes it seemed like every other kid was inventing a new genre.

FlameHairSavior: What do you do in your spare time, Sylens? You can't be plotting and scheming all the time.

Icarus: I prefer to watch documentaries.

FlameHairSavior: Of course.

DIVINER: Wait wait! What kind of documentaries?? Because I doubt you care about, like, the biography of the first president of the United States or whatever??

Icarus: There is a fascinating series called "How it's Made," which are short videos on what were, at the time, ubiquitous parts of daily life. There is a similar series with higher production on the History Channel, though as the name implies, that focuses more on the people and the history.

DIVINER: Oh I love that series!!

DIVINER: But the Quen weren't able to get much useful from it! So much of the data is corrupted! I don't think we have a single video about advanced technology!

Icarus: Unfortunately, I was not able to find much more that was useful. I did find an interesting video on how to build an electric engine, but I lacked the materials to replicate it. Besides, GAIA's machines are superior, and more readily available.

HIMBO: I'M SURE YOU LEARNED A LOT ABOUT HOW TO DISASSEMBLE AND RE-PURPOSE MACHINES FROM IT, THOUGH.

Icarus: That is true.

FlameHairSavior: Wait, if you couldn't get much technology out of this show, why do you like it so much?

FlameHairSavior: What kind of things did you learn from it?

Icarus: ...

Icarus: Cheese.

FlameHairSavior: I'm sorry, did you just say that you like to watch a show about how to make CHEESE?

Icarus: Yes.

DIVINER: Are you EMBARRASSED?

Icarus: I do not see how that is relevant.

HIMBO: LIKE, WHAT, CHEESE FROM A GOAT?

MARSHAL Kotallo: It's not all that complicated.

Icarus: The chemistry is quite fascinating, and the old world used a very interesting process to increase efficiency. And they used milk from an entirely different animal, which was never reintroduced into the ecosystem.

SilverVixen: Oh right, you don't have cattle.

SilverVixen: That means none of you will ever have a proper steak au poivre with cognac and frites.

FlameHairSavior: I refuse to believe those are real words.

SilverVixen: It's French.

SilverVixen: So no, they're not real words.

Chapter 38 | Prev chapter | Next chapter Chapter Index

[gxbtx]

The Internet - A Retrospective on the Odd Future Splinter Project

In the early 2010s, Tyler Okonma, or ‘The Creator,’ banded together an experimental hip-hop group of young black artists, naming the group ‘Odd Future.’ While the brand is highly recognizable and respected in today’s world, it was not always this way. This new sound of black artists creating art tailored to the (at the time) dominantly white skate culture led the group to face the discrimination of being called ‘weird’ and ‘gay.’ However, this group persisted in committing to being themselves, serving as an incubation period for many reputable artists we know today. Tracks such as ‘Oldie’ and ‘White’ introduced many of the popular music artists in today’s musical landscape. Odd Future curated the talent for the likes of Tyler, The Creator, Earl Sweatshirt, and of course, Frank Ocean.

In 2011, OF members Syd ‘tha Kyd’ and Matt Martians ventured off to create the splinter project dubbed ‘The Internet,’ introducing their discography with the album “Purple Naked Ladies.” Two years later, “Feel Good” introduced Patrick Paige II as the bassist and Christopher Smith as the drummer, tailoring new elements to the foundational sound PNL created. In honing their signature style, they experimented with Raliegh Ritchie in a few remixes such as “Free Fall” and “Stronger than Ever.” Syd stepped up confidently to the role of lead singer, reaping the soothing vocals that represented her undeniable swagger; additionally, her assistance in engineering early 2010s albums such as Goblin by Tyler, the Creator, Doris by Earl Sweatshirt, and Ali by Mike G built up her reputation as a talented music engineer. Paired with Patrick’s admirable bass skills and Matt Martian’s dreamy keyboard presence, the band would come to put out projects establishing their contribution to the new sounds of R&B.

LOVE SONG - 1

This short, simple ballad of a break-up holds a steady beat throughout the piece, with a short verse delivered by Syd. Syd’s soft, yearnful analysis of the state of her affair represents a common struggle of figuring out when to give up on the relationship. What is uncommon about this piece is the signature dreamy keyboard harmony, notably introducing a signature element that would come to identify this new band in future projects to come.

STRONGER THAN EVER - THE INTERNET REMIX

In a remix of several tracks from the Game of Thrones actor Raliegh Ritchie, The Internet brings an electronic buzz to the table that electrifies the heartfelt lyrics of resilience. The echoing of every verse resonates with the notion that the hardships associated with the constant strive to succeed can feel like shouting into a tunnel that lacks a response. Towards the end, Ritchie raises his tone and intensity, reaching a breaking point of feeling lost and alone, revealing he is driven mad by the implication of no resolution. However, the melody, “I fall but when I rise I’ll be stronger than ever,” is repeated to remind him of his resilience that will allow him to persevere. I connect to this song as I too have felt the struggles of reaching success, and like the melody, I have to remind myself what I am capable of to drive myself to succeed.

In 2015, Steve Lacy joined the group as the leading guitarist, graduating high school that same year. Steve’s relationship with the strings represented an incredible symbol of talent, taking inspiration from artists such as Jimi Hendrix, Thundercat, and the Neptunes. Combining these elements into the artistry of The Internet led to the production of the critically acclaimed “Ego Death,” breaking through the R&B world with unheard combinations of funk, jazz, indie rock, and R&B. Tracks such as Get Away and Girl challenged the very idea of what R&B can offer, with Tyler’s feature at the end reminding us of the humble beginnings. Rightfully so, the album was nominated for Best Contemporary Urban Album in 2016, as well as winning two BET awards.

GET AWAY

Lowering the tone to a deep bass sound, this provocative track begins Ego Death with a new concept of what The Internet can produce. Syd’s lyrics make the track portray themes of ostentation, calling on her same-sex affairs to create a unique singing dynamic about a girl in the articulation of an R&B woman singer. The low and slow beat still contains those dreamy elements in every Internet song, with Steve Lacy strumming a soft and light riff during the melody. The bittersweet theme is found in the lyrics of using drugs to escape the worries of committing to a relationship and is reflected accordingly in the instrumentals.

SPECIAL AFFAIR

This irreverent track mimics the sounds of nature; the dark and tense motif continues the character of a heartbreaker embodied by Syd. Syd’s soothing confidence creates a comfortable environment for the listener, while the deep bass lines and light, dreamy elements of Steve Lacy’s riffs continue throughout the track. The lead singer’s presence endures privilege, as the lyrics signify that she’s purely interested in intimacy without feelings. This provocative piece uses the sounds of nature to enhance the track’s tenderness, serving as an excellent nocturnal sound to accompany night drives.

GIRL (w/ KAYTRANADA)

The Internet continues to provide impressive collaborations, as Kaytranada's role of electronic/house producer registers a mesmerizing track that pulses a vibe unheard of. Kaytranada’s trippy yet tender sound paired with Syd’s vocals creates a gentle presence that makes the listener feel at ease. The lully track serves as a testament to the themes of yearning Syd creates, which can be misleading as conceived in previous tracks. The pulsing of the guitar riff alternating in and out of the beat, along with the small balance of bass, comes together to form a contemporary jazz track that few can pull off.

PALACE/CURSE (w/ TYLER, the CREATOR)

Palace/Curse ends Ego Death on a chill note, with Tyler’s accompaniment creating a whimsical ode to the girl. In Palace, a crowd is present to create an atmosphere that gets the listener hyped as if they’re actually in the crowd. The metaphoric Palace Syd sings about refers to the idea of seducing someone into her life of luxury, in accordance to the theme of the album. Transitioning into the low and slow “Curse” creates a feeling of daze, allowing the daydreamy elements of this band to shine. In the repetition of Steve Lacy’s repeating melody, ‘Baby I’m under your curse,’ and Matt Martian’s hypnotizing keyboard element to end the album on a jazzy note, this track entails as the perfect wrap-up of the incredible work that is Ego Death.

In 2018, the band created their last studio album under the name The Internet, dubbed ‘Hive Mind.’ More coverage of talent that Steve Lacy obtained peeked through, allowing the development of a new audience for his solo career. Before the release of this album, several members put out their own solo projects, such as Stevy Lacy’s ‘Demos’ and Syd’s ‘Fin’, alluding to the direction the band would go after the album. This final album serves as a more conscious reflection on the growth of the members throughout the years and the effect that music had on the process.

LA DI DA

Launching with his groovy guitar riffs, La Di Da allows Steve Lacy to shine through his vocals on the melody. Elements of the band’s signature style persist throughout this track, with added elements of funk. The fresh sound transforms into a softer jazz improvisation with a saxophone ending the track.

IT GET’S BETTER (WITH TIME)

If you’ve ever heard the track from Lil Uzi Vert, ‘The Way Life Goes,’ you’ll definitely be reminded of the same message Uzi presented to the listener. This tender track uses a bendy guitar riff to interact with a steady foundation of percussion, to which Syd’s lyricism provides a hopeful message of healing through hard times. Syd’s higher register in this track creates a satisfying comfort to the intended audience and is accompanied by an unexpected conscious verse from ‘Big Rube.’ His message of ‘The easy path rarely leads to what the heart truly desires’ comments on the discomfort required towards the pursuit of happiness. The track ends with a sunny jazz background to accompany a story from bassist Patrick Paige, who ardently explains his struggle with alcoholism and how he persevered through what seemed like a never-ending battle.

Overall, The Internet left an impact on the R&B world leaving a lasting impression. The contemporary elements the unique members contributed honed a signature sound of lulling comfort accompanying passionate and tender lyricism. This splinter project created an outstanding representation of the talent Odd Future would end up making, shaping these artists to be highly respected members of the musical community. While the band may no longer be together, their core values of passion for music bleed through the discography of The Internet, leaving the listener with a concept of how we can use music to truly create an emotional atmosphere.