#virtual soundsystem records

[lezet]

Imperial Needles - "Imperial Needles 7" is out on VIRTUAL SOUNDSYSTEM RECORDS (Mexico)!!!

Imperial Needles - "Imperial Needles 7" is out on VIRTUAL SOUNDSYSTEM RECORDS (Mexico)!!! Imperial Needles are a new electronic music duo consisting of Ken (Dj Odraz) and Igor (Lezet, Øüð, Koi Karp, Pluto's Head,Temple Minds ...). They merge experimental electronica, industrial music, instrumental hip hop, horror movie soundtrack elements,ambient music and pop. Ken and Igor are long-time friends who have collaborated numerous times on various projects since 2007. https://virtualsoundsystem.bandcamp.com/album/imperial-needles-7

[kkiilleerr]

!OUT NOW!

sata肉の夢 - 9 headed monster

brand new album is now available at virtual soundsystem records! enjoy your listening 🎧

[dustedmagazine]

Parquet Courts — Sympathy For Life (Rough Trade)

Photo by Poonah Ghana

Drop the needle on track one of Parquet Court’s new album and you’re immediately catapulted back to the early 2000s. That’s when New York’s sweated and bopped to LCD Soundsystem, !!!, The Rapture and a cohort of bands mixing rock, mutant disco and no wave into second generation dance punk. “Walking At A Downtown Pace” has all the hallmarks; loose drums, driving bass, declamatory vocals, choppy guitars and, above all, swagger. Never ones to tread water, the band always look to add to their musical wardrobe. They like to try on new things and when they get it right they can be as compelling a proposition as any of their forebears, but in the wrong outfit they seem uncomfortable and self-conscious. On Sympathy For Life the quartet mix the very, very good along with interesting but failed experiments. Songwriters Andrew Savage and Austin Brown capture the ennui and alienation of virtual life as well as the excitement and dread of the great reemergence. In Sean Yeaton and Max Savage they have a killer rhythm section that gives even the least successful songs elements that excite but a lack of energy or focus, results of the times perhaps, undermines their stated intention to produce a zeitgeist defining dance record.

The chugging Southern boogie at the heart of “Black Widow Spider” maintains the pace before a diversion into the meandering “Marathon Of Anger” dominated by a bleeping synth, Yeaton’s peripatetic bass line and a languid vocal performance that seems at odds with the lyrics “this city has changed/as the kettle got tighter/we changed our shape and shot the truth up like a cure/we've got the power/the streets are walkin, a marathon of anger”  The bass thrum and synth stabs that power “Application Apparatus” are pure Suicide and song builds with a satisfying fuzz of guitar. “Homo Sapien” channels Primal Scream’s attempt to be the new Stones and here the Parquet Courts capture the energy and fire of their early live shows. Elsewhere you’ll detect DNA from Talking Heads, ESG and Material. Much of the album was edited from lengthy improvised jams and that along with the attempts to stop at each station on the dance/punk subway line, may account for the lassitude that creeps into some tracks. 

There is a lot to like on Sympathy For Life despite its unevenness. Savage A and Brown are acute observers, Savage M and Yeaton a really excellent and versatile rhythm section, the band’s willingness to swing outweighs its misses and when they hit Parquet Courts drop into those dive-y, sweaty clubs we’ve all missed. 

Andrew Forell

[lainbotvirtualmgzn]

Miércoles de estrenos.

El Productor Aesta Tovich acaba de estrenar su nuevo Ep bajo el sello de los Virtual Soundsystem Records. Explotando géneros como el #Jungle o #Drum & #Bass no lleva a un destello de creatividad sonora. Experimentando con máquinas e ingeniería análoga, este es un proyecto fresco del cual seguramente seguiremos escuchando material. Recordamos que siempre en #VSR la descarga es gratuatia así que dale mucho amor a este Proyecto.

LainBot VirtualMgzn, RuidoPeriferico

[juventudpandroginia]

Listen/purchase: Pandemia by Orquesta Pandroginia

[wldpttrns]

Romantic beach strollin' vaporwave from Neon95 (via Virtual Soundsystem Records.)!

[joyfulunion]

Broken Machine Films Presents... - Album 22 ‘Showtime! (End Credits)’

Broken Machine Films Presents... ‘Album 22 Showtime! (End Credits)’ is out now on Illuminated Paths and released in conjunction with the great and powerful Virtual Soundsystem Records.

Purchase Cassette: Broken Machine Films Presents... - Album 22 ‘Showtime! (End Credits)’

[yesthatssadirichardslove]

At Sundance, documentaries resurrect lost eras of music

NEW YORK

Can a music scene still develop the way grunge did in 1990's Seattle or hip-hop did in the Bronx in the 1970s? Or has the digital makeover of music made such geographical-based explosions obsolete?

It's a question that hovers over the Sundance Film Festival documentary “Meet Me in the Bathroom,” a vivid and shambolic time capsule of early 2000s New York when bands like the Yeah Yeah Yeahs, TV on the Radio, the Strokes, Interpol and LCD Soundsystem made the city — and Brooklyn in particular — one the last easily identifiable hotbeds of rock music.

The film, which debuted last Sunday at Sundance, is directed by Dylan Southern and Will Lovelace, and adapted from Lizzy Goodman’s book, “Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011." Focusing mainly on the first handful of those years, the documentary is an ode to an already far-gone era when a wave of bands revitalized New York's music scene, capturing the gritty romance of the city. Brief interludes of news footage hint at a broader digital narrative forming largely outside the scene's bubble: Y2K fears, the onset of Napster, the introduction of the iPod.

“One of the things we kept asking is: Is it even possible for a scene to emerge in one place with such intensity?” Southern, who with Lovelace made the 2012 LCD Soundsystem documentary “Shut Up and Play the Hits,” said in a recent interview. “Now the way we consume music is different, the way we listen or even make music is different. The Guardian newspaper, when they reviewed the book, they described it as a flashbulb moment before everything changed.”

“Everything is so democratized and spread out,” adds Lovelace. “People don’t seem to buzz around music the way they once did.”

At Sundance, though, there is always buzz around music documentaries. At last year's virtual festival, Questlove's “Summer of Soul (or ... The Revolution Will Not Be Televised)," which documented the 1969 Harlem Cultural Festival, was arguably the festival's biggest breakout hit. This year's Sundance, which is also happening virtually and runs through Sunday, abounds in music documentaries. Among this year's crop is the first film of a three-part Netflix documentary on Ye (formerly Kanye West), “jeen-yuhs," and the Sinéad O'Connor doc “Nothing Compares.”

The films differ widely in subject and style but they each resurrect a musical past that feels very distant from our present.

In the first part of “jeen-yuhs," which debuts next month on Netflix, is a not-yet-famous Ye, struggling to score a record deal, selling beats and yearning for the kind of ubiquity that has followed, more or less nonstop, since his 2004 debut album, “The College Dropout." His hustle is all-consuming, as is his confidence. “Even me doing this documentary, it's a little narcissistic or whatever,” Ye says in a self-reflective moment that now seems prophetic.

But there are also tender scenes in the film, directed by Coodie and Chike, that speak to what propelled Ye in the first place — like the touchingly sweet support of his late mother, Donda. She's the most encouraging of mothers, rapping along to her son's lyrics and telling him, “You play tracks the way Michael Jordan shoots free throws.”

Such a maternal relationship never existed for O'Connor, who speaks about the abuse she suffered from her mother in Kathryn Ferguson's “Nothing Compares." In the collective memory, such as it is, O'Connor has been largely reduced to only a caricature — that fiery bald Irish singer who tore up an image of the pope on “Saturday Night Live.” But “Nothing Compares," by laying out O'Connor's life, which she discusses in off-camera interviews heard through the film, gives O'Connor's music and career the depth it deserves by tracing the pain it was forged in. She was just 20, and pregnant, when her 1987 debut album came out.

And from the start, O'Connor was ever-ready to confront injustice, whether it was the Catholic Church she had be schooled under, or even the Grammy Awards' ghettoizing of rap. Sometimes her protests came with self-aggrandizement, but you can't watch “Nothing Compares” (which unfortunately, since the Prince estate didn't allow it, doesn't include “Nothing Compares 2 U”) and not think that O'Connor's rage came from a genuine place. And the intervening years, which have seen much uncovered about long-concealed abuse by Catholic priests, have cast her criticisms in a different light.

“I was always being crazied by the media, made out to be crazy,” she says in film. But the abuse of children by priests, she says: “That was crazy."

"Nothing Compares” suggests O'Connor, in speaking out the way she did, was ahead of her time. Yet the documentary stays largely in the past, effectively ending in the mid-'90s and not following O'Connor's life since her brief mega-stardom. A Sundance standing ovation might have been a crowning moment of redemption for O'Connor. The film's festival Q&A was canceled after O'Connor's 17-year-old son, Shane O'Connor, recently killed himself.

Southern and Lovelace made “Meet Me in the Bathroom” (the title comes from a Strokes song) mostly during the pandemic. Though they always intended to focus largely on archival footage, the circumstance led them to keep the film entirely in its period, without modern-day reflections. Instead, “Meet Me in the Bathroom” captures the feeling of limitless potential — of seemingly born-to-perform singers like Karen O and Julian Casablancas making their first steps onto a stage. The directors considered each thread a coming-of-age story.

“In a weird way, COVID helped us because in lockdown, people had time on their hands and they were happy to climb into the attic or go into their storage unit and find these things that had been there for 20 years,” says Southern. “What we didn’t want to do was make a typical behind-the-music rock-doc where you have talking head interviews with the bands 20 years later and it really takes you out of the time. We wanted as much as possible to situate the audience back in that time.”

[joemuggs]

Occupy the Dancefloor 2012

Been talking about politics in dance music a lot lately. Obviously the Bassiani protests in Tbilisi and Berlin have thrown it into relief, but there’s a lot of other vigorous discourse going on, both to do with the current age and in looking back 30 years to the “Summer of Love”. In thinking about it, I dug out this piece I wrote for Mixmag at the end of 2011, published in Jan 2012. I present it now without comment, except to say it’s pretty fascinating how much has changed in some ways and how little in others.

“The atmosphere was electric! I'd never felt such a concentrated positive energy before. People from every walk of life and background were united...”

It's the sort of quote you've probably seen in interviews with DJs a hundred times before, but this time we're not talking about the summer of '89 or any other hoary acid house reminiscence. This is Optimo's JD Twitch recounting his visit to the Occupy Wall Street encampment last summer.

2011 was a hell of a year by any standards, with conspiracies, scandals and crises at every turn. The Arab Spring and war in Libya, riots across the UK, Greece and Spain, Europe edging ever closer to economic collapse, the hackgate scandals, public services being cut to ribbons by a government of comically posh pantomime villains... it seemed sometimes we've had a decade's worth of news all in one go, and it shows no sign that things are going to calm down any time soon. Quite the opposite, in fact – by the time this issue hits the shops, we're fully ready for a couple of small nuclear wars to have broken out and the Euro to have been replaced as currency by peanut M&Ms.

But what's all this got to do with Mixmag? Ravers generally go their own merry way, right? Switch the news off, pull the curtains tighter to blank out the dawn, turn up the music and crack on – leave the politics to Bono? Well, yes and no. The Occupy movement, which sprung up in cities across the western world to demand accountability from institutions in response to the banking crisis that underpins much of the chaos in the world today, has not had much vocal support from the clubbing world – until more recently.

In December Massive Attack's 3D curated a show with Thom Yorke and Tim Goldsworthy (ex LCD Soundsystem), and has been putting up online a series of mix sets by the likes of Horsemeat disco, all in support of the Occupy movement. And a glance at occupymusicians.com shows a small but steadily increasing number of dance DJs and producers among the indie bands and experimentalists standing up and being counted. So is clubland developing a social conscience?

Maybe it's just that we're remembering that dance is not a bubble separated off from the world after all. Professor John Street, author of the new book Music and Politics, points out that “from the 1920s when US sheriffs would issue decrees about how couples could dance together, to rock'n'roll and the scandal of how teenagers reacted tot he music, and on through rave, the powers that be have been as exercised by the performance of dance in crowds as they ever have by the lyrics of songs.” That is to say, the simple self expression of dancing can be as much of a political act as any protest song, and indeed can have more effect.

Trance deity Paul Van Dyk, himself no stranger to political activity, is clear too that losing it on the dancefloor doesn't mean losing touch with wider realities; perhaps unsurprisingly for someone who grew up in oppressive Communist East Germany, he believes the freedoms we enjoy should be trumpeted from the rooftops. “People, artists, movements can be hedonistic and free spirited,” he says, “but also speak out and make a statement of the fact that this is a more tolerant and respectful group than many others in society.”

The author Tim Lawrence, who has closely studied the roots of modern dance culture going back to the start of the disco era, concurs. “I just don't accept that going out clubbing is self-absorbed,” he insists. “Sitting at home and looking in the mirror is self-absorbed. Going out with friends and engagement in a physical activity that only works if everyone participates and contributes is an act of socialising and community. If we stay at home and watch TV all the time we're saying one thing about the kind of society we want to be part of. If we go out dancing, we're saying another thing. Dancing is political.”

Matt Black of Ninja Tune founders Coldcut goes further, but sounds a note of caution. “Yes, people commune and collaborate through dance events,” he agrees, “and often they share an interest in making the world better, in social justice – but as with everything that gives people pleasure that culture is very easily hijacked by those who want to make a quick buck. Cocaine becomes involved, egos become involved, and very quickly you lose touch with the constructive spirit that was so inspiring in the first place.”

“But,” he continues, “that's maybe part of the natural cycle of things. The punk of today becomes the suit of tomorrow, the spirit of rebellion wears off somewhat. That's not necessarily a bad thing, though: I think there are probably a lot of people in ordinary jobs now who still carry the inspiration of acid house and rave with them, and when they see something like the Occupy movement, they think 'yes, that's something I understand and can get behind' because they know that feeling of being part of something bigger.”

It's not just old ravers carrying the inspiration of the past forward though. Many in the dubstep generation are aware of the power of dance music's communality, its deep roots, and the potential this has for social action. Loefah, as co-founder of Brixton's DMZ night is one of the most important figures in the growth of dubstep and all that's followed. His diverse Swamp 81 label is named after the police operation that sparked the original Brixton riots 30 years ago – but he stops short of making direct political statements, instead preferring to use the networks of art and music to deliver coded messages, not preaching but drawing people in and allowing them to make their own conclusions.

“When I was a teenager,” says Loefah, “pirate radio and white labels were everything, and as you got more and more into it, you began to understand the culture. Then when I went to the jungle raves, you'd become a part of this community, meeting the people you'd heard shout outs to on the radio, and you get something from it that's impossible to explain unless you're there but it's powerful and it's not controlled by any authorities. It might sound elitist, but it's not: anyone could be a part of it, but you have to make the effort to find out and understand it.”

Ben UFO, DJ and founder of the Hessle Audio label, is emphatic that the communities created in this way post jungle, garage, dubstep and grime are politically important. “Dance music in London especially,” he says, “has always provided a space for people from all sorts of different class backgrounds, different races, genders and identities to come together for a common purpose and communicate with each other - this is quite radical in itself, and I think it's easy to forget that. A good example of this is the multitude of conversations facilitated by music in the aftermath of the riots this summer, with my whole Twitter timeline dominated by the riots as they were happening and afterwards. Likewise a radio station like Rinse FM preserving and archiving a record of music made, presented and distributed by young, predominantly working class kids is a hugely significant thing in its own right.”

So club music IS political, even when it's not trying to be. But are we on the verge of it becoming more so, of ravers voicing resistance to entrenched power alongside the Occupy protesters? Don't count on it – after all, the instinct to close the curtains and chop out another line is still strong. US journalist, music business expert and Occupy LA campaigner Giovanna Trimble sadly points out that dance acts who may pay lip-service to anti-establishment views are slower when it comes to turning out for protests or organising benefits. “I have not seen any support from electronic dance music acts,” she says, “especially the ones who identify themselves as political beings.”

The opportunities are there, though. Trimble still holds out hope: “I feel that of all genres, EDM has the most space for activism as the demographic is far more open-minded and less 'corrupted' by corporations.” And veteran German house singer Billie Ray Martin sums up exactly why getting bodies out on the street is powerful just as “the mass feeling of possibility and power that the height of house in '88 and onwards” had produced for her. “We've lived in a time of virtual socialising,” she says, “and it's all very fake. it's easy to click 'like' on a post that says 'do you want to personally go out and change the world?' and then move on the latest video on there and not even ever think about why you clicked 'like'. I wish we would go out on the streets and shout it out – and that's where Occupy comes in. I hope it gains the kind of power it deserves. I'm there all the way. 'Like'!”

[hcmj]

HCMJ’s Favorite Albums of 2017!

Listen to a mix featuring these albums here: HCMJ’s 2017 End Of Year Mix

Honorable Mentions:

Carla dal Forno - The Garden

GFOTY - GFOTYBUCKS

ミスト M Y S T - 緑の目

Nmesh - Pharma

Black Marble - It’s Immaterial

Leyland Kirby - We, so tired of all the darkness in our lives

世界は80年代に終了しました - People Lead Such Busy Lives

Virtual Vice - Sanctuary Runner

Golden Living Room - Autoscopy

DESIRE - STAQQ OVERFLO

20) World War - Soundsystem

Distorted Redrum rhythms dripping with gabbery, housey, bounceable goodness. Every moment is more relentless than the last, with strange electronic and sometimes nightmarish sound elements effortlessly woven into the complicated crescendos that comprise each track. 

STREAM/DOWNLOAD

19) Curved Light - Quartzsite

It’s rare to find a synth album that isn’t endlessly droning or cheekily nostalgic. Quartzsite utilizes slow-attack expansive pads alongside stabby knob turners without falling into the tropes that have been turned over time and time again over the last decade. Subtle but fast tempo percussive elements ticking beneath pure white pads and icy synthfalls of pure crystal.

STREAM/DOWNLOAD

18) Geo Metro - Ravage2099

Fellow Philadelphia artist Geo Metro dropped this dense debut on Tiger Blood Tapes earlier this year. His shows are always foggy headthumpers with mind melting realtime sampling, deep drones, dancing rhythmic enigmas and astral melodies. None of this was lost in translation to magnetic tape, the bubbling pulse of beyond - a spiritual guide.

STREAM/DOWNLOAD

17) Disasteradio - Sweatshop

Another incredible performance I was fortunate to witness this year was Eyeliner AKA Disasteradio. His on stage MIDI splicing with its gravity-increasing, vocoded, show-stopping finale was exhilarating and inspiring. All of that energy, bombast, and humor can be found on Sweatshop. There’s also a high level of musicianship - touching upon 90′s FM video game music, new wave DEVO synthpop, and moments like “Unleash The Free TV Revolt” which echo Daft Punk vocoder jams. Playful and reflective of what childhood in the early 90′s actually felt like.

STREAM/DOWNLOAD

16) x.y.r. - Labyrinth

x.y.r. could keep putting albums out like this every year until I die and I would still count them among my favorites. No one does lo-fi synth music the way he does - his unique musical character pulses and wanders in this fuzzy maze.

STREAM/DOWNLOAD

15) Computer Graphics - Lo-Fi

This collection of hazy house jams was a lens back through time. Flashbacks of downloading strange electronic artists off LimeWire in the early 00′s, sinking endless frustrated hours into PixelJunk Eden, and now dancing around my house with Computer Graphics bumping. It’s just as dreamy and hypnotic as you’d hope.

STREAM/DOWNLOAD

14) Nico Niquo - In A Silent Way

Taking a step away from the “darkwebwave” of 2015′s Epitaph, Nico Niquo explores more expansive snow plains on In A Silent Way. Gone are the stabbing vocal samples an occasional swirling rhythmic patterning - in their place is Eno-esque slow burners with that rise and fall like the breaths of a sleeping frost giant against moments of purity and silence. 

STREAM/DOWNLOAD

13) Arca - Arca

Arca’s 3rd full length is thick and operatic. Like haunted ballroom music with a broken falsetto whispering in your ear, being engulfed in underwater explosions, or watching the credits roll on your own life. It’s sometimes oppressively stark, sometimes intimately vulnerable, and always entrancing. I was initially pulled in by the video premiere for the masterpiece “Desafio.”

VIDEO STREAM

12) Nyoi Plunger - Poiret Status

Playful and full of detail, twisted and bent as it’s pulled into a black hole and spit out again. Poiret Status is always teetering on the edge of a nightmare. Strange voices laugh and coo, like being trapped in a realm ruled by the manifestation of fear, or a dance hall where your very physicality is distorted, warped, and twisted as time becomes unhinged and there’s nothing left to hold onto.

STREAM/DOWNLOAD

11) The Caretaker - Everywhere at the end of time - Stages 2 & 3

Discovering Leyland Kirby’s work was a turning point in my life. Over the last decade release after release of both haunted ballroom music as The Caretaker and reflective synth/piano music as himself have becomes markers for the years of my life. This year we received the next two stages of the dementia simulation of Everywhere at the end of time. The flowers have wilted, and the darkening mind is displayed with a poignant beauty.  

STREAM/DOWNLOAD

10) TVVIN_PINEZ_M4LL - orz

More than half a decade after the wave rose and fell, torch bearers continue to twist the pop of the past to express new ideas and add their emotional mark to the blockchain of internet music. In the case of the prolific TVVIN_PINEZ_M4LL, orz uses vaporwave techniques and traditions as a framework for an emotionally radiant, deeply personal love story. Bursting with raw emotion and feelings of NUWRLD.

STREAM/DOWNLOAD

09) Various - Even Further

It feels weird putting a remix compilation on one of these lists, but the Zoom Lens label tribute to Infinity Shred is one of those rare moments when a compilation isn’t just a total mishmash of whatever happened to be thrown into the pot. A fitting showcase of the LA label’s diverse palette of sound, from Berserk ost aping to widescreen chiptune bliss - heavy beats and the brightest black leather darkness that is worthy of Infinity Shred’s cinematic scope.

STREAM/DOWNLOAD

08) FIRE-TOOLZ - INTERBEING

Metal-screeches in empty halls drip over post-eccojam synth operas, spastic crystalline outbursts, and high-tempo-high-energy half pipe spaceship rides with broken bits of sound and a cyberpunk sheen. Songs completely split open with massive bombardments of noise and an endless layering of digital artifacts. A labyrinth of glitched out modernity.

STREAM/DOWNLOAD

07) Koeosaeme - Sonorant

Fast and full of neck-breaking spins, Sonorant alongside Nyoi Plunger’s Poiret Status were two of the most forward-looking albums I heard this year. With the endless tiny pattering of a billion bits of music playing up against unnatural arrangements of bizarre rhythmic breaks and supernatural harmony. Part sound sculpture part audio apocalypse.

STREAM/DOWNLOAD

06) Piper Spray - r.i.p.

When pieces of you die and slowly fall away, they leave a trail of memories in their wake. Piper Spray, one of my favorite artists of the last decade, has been prolific and mysterious - even elusive. His entire body of work has since been deleted from his bandcamp and only this retrospective release that looks back at the last 7 years of his output and life in 6 tracks remains. Full of noise, pain, frustration - with a touch of sorrow and sweetness we are given once last glimpse into the nostalgia for a place we’ve never known. His music has been my constant companion on my own personal journey these last 7 years. RIP Piper Spray.

STREAM/DOWNLOAD

05) Euglossine - Sharp Time

It wasn’t until I was lucky enough to play a show with Stany Bebe AKA Euglossine that I discovered to my amazement that the majority of the sounds on this album were performed on MIDI guitar. The sound blips and pan flutes expressed with metronomic precision on a real guitar having its note data interpreted by a MIDI conversion box. Mind blowing musicianship and sprawling melodic composition.

STREAM/DOWNLOAD

04) Giant Claw - Soft Channel

I couldn’t stop listening to Soft Channel this year! The culmination of everything that has come before and a wide leap into the future. Orchestral fragmentation in a thick rainbow of sound that breathes and pulses - the sound design is mind blowing, frantic and brilliantly produced. It’s a crisp and meticulously designed new height. 

STREAM/DOWNLOAD

03) Marcus Fjellström - Skelektikon

It’s hard to believe it’s been 7 years since Marcus Fjellström’s Schattenspieler was listed as my favorite album of 2010 (on the inaugural annotated list!). Now, all these years later, we were finally treated with a proper followup - and tragically lost Fjellström himself. Skelektikon is a remarkable swansong, picking up where Schattenspieler left off - diving deeper into the anxiety ridden halls of darkness. Larger orchestral arrangements pop up, tape flutter constantly threatening to snap the dread to a sudden end. There’s is a sometimes darkly romantic turn to its harmonic movements however - a humanizing touch that makes the ghosts that much more terrifying.

STREAM/DOWNLOAD

02) Sour Gout - I S O L A T E

It doesn’t matter how you get there, only how good the ideas are. I S O L A T E may be built out of a collection of new age and incidental music samples, but its collages give a sense of a deep personal expression. Saccharin guitar, C418-esque piano phrases, and blankets of emotional vulnerability eventually fall into the uneasy loneliness of the 15 minute title track. The empty soul that was once full, bordering on brooding but very soft to lay in. I found myself keeping this one on loop for hours at a time.

STREAM/DOWNLOAD

01) Machine Girl - ...BECAUSE I’M YOUNG ARROGANT AND HATE EVERYTHING YOU STAND FOR

Machine Girl puts on a really incredible/brutal show - and the recorded version of that experience loses none of the warped maelstrom of sound that makes them so viscerally intense. Heavy industrial punk with face smashing breakdowns peppering every track - like moments of floating in violence as you’re torn apart by passing gravity wells. Disillusioned anger with the musical chops and temperament of someone who grew up listening to Phantasy Star Online music - it was my favorite album of 2017!

STREAM/DOWNLOAD

[alatpesta]

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[virtual-reality-dimensions]

LCD Soundsystem' Dance Tonite VR Experience Turns Users Into Performers In The Video

Dance Tonite resides on a single URL and depending on your device, gives users different roles within the experience. Without a VR headset (viewing on your laptop, for example), the default view is a bird’s eye perspective, and you can click and hold on individual dancers to see their POV. If you use a VR headset, like Daydream View, you’re in one of the rooms watching dancers around you. Diving in with room-scale VR kit like Oculus Rift (or a similar device that reflects your physical movements in the virtual environment) is the most fun, allowing for full participation.

For those that can add to the performance, you’re given a 16-second clip of music to dance to for a VR motion capture recording. In the recording, the headset is represented as a cone and the controllers as cylinders. Once the music ends, it starts again, and you can add new choreography alongside the previous loop of yourself that was just recorded. Up to 10 instances of your fly self dancing can be created, and your room can then be added to the Dream Tonite project for others to watch.

Source: https://www.theverge.com/2017/8/22/16179476/lcd-soundsystem-vr-experience-dance-tonite

[lainbotvirtualmgzn]

#LainBotAdventures

El Robot Under de Los Ruidos.

Con un fugaz regreso al planeta de agua, descubrimos que un Robot había llegado a los receptores móviles de muchos humanos. CRY ROBOT es un Productor Querétano que renace con cada producción y que nos lleva por medio de la lisergia auditiva, a un sector lleno de circuitos Beats. Adentrandonos en su imaginación descubrimos una oscuridad llena de luces que creaban atmósferas indescriptibles. El Axioma Virtual Soundsystem Records. Recargo todo lo necesario vía Marco Aviles que con un talento muy único pondrá todos tus sentidos en un trip de buena música para bailar, reventar, rolar y disfrutar.

Adjuntamos todas las redes sociales de uno de los miembros de la familia #VSR para que le des muchas megusteadas, Likes, y muchas compartidas.

https://www.facebook.com/CRY-ROBOT-812860215755624/?modal=admin_todo_tour

https://soundcloud.com/onsla694

https://cryrobot.bandcamp.com/

https://www.youtube.com/channel/UCKHqsJx5cj_YoQmy7Or1BAg?view_as=subscriber

Texto LainBot VirtualMgzn

VSR are Jav Alcántara & Esequiel Rodríguez Ortiz

Arte Osmar Maldonado <3

[giggleplier-blog]

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Looking overseas, Caroline Claims' 2014 tape Fifty Million Elvis Supporters Can not Mistake was editioned to Compact Disc through Western Plastic in February. Tura New Songs Ltd is a not for revenue popular music organization based in Perth, Western Australia. Tura is a manufacturer along with information centre and supporter for New Popular music. Established in 1987 Tura has a proud past of accomplishment in launching cultural development in Western Australia off inner city Perth to remote areas from Western Australia.

The New Songs Workshop presents a chance for pupils, personnel as well as graduates to work together, make up, curate and conduct brand new interact, to interact along with major global artists, and also to associate with the public via functionality. That additionally delivers a pathway for pupils to administer popular music performance as research study, and also an extensive range of other study options.

Hitchhiker is actually the thirty-eighth studio cd through Canadian singer-songwriter Neil Youthful, because of be actually discharged on September 8, 2017 on Reprise Records. Co-produced by Youthful and also David Briggs along music with post-production from John Hanlon, the cd was actually originally captured on August 11, 1976 at Indigo Cattle ranch Audio Workshop in Malibu, California. American Dream is actually the upcoming 4th workshop album by American stone band Liquid Crystal Displays Soundsystem. It is actually prepared for launch on September 1, 2017 through DFA Records as well as Columbia Records. This wased initially introduced on January 5, 2016, the day after it was actually uncovered that the band was reconciling after a dissolution long lasting virtually 5 years. American Goal functions as the band's initial album in seven years, following This Is actually Taking place. Before the cd's launch, Liquid Crystal Displays Soundsystem did at large songs events along with smaller shows to promote their get-together. Two cd tracks, "Name the Cops" and also "American Goal", were discharged with each other as the cd's lead singular on May 5, 2017.

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Bubbled and tingling neon vaporwave from 27 U H F (via Virtual Soundsystem Records.)!

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LCD Soundsystem Announce Musical VR Project

The fusion of virtual reality (VR) and music is one that has become increasingly common. With artists and groups such as Bjork and The Gorillaz taking advantage of the opportunities offered by VR. Now American electronic rock band LCD Soundsystem have announced a VR collaboration for its new single ‘Tonite’.

The VR collaboration, titled Dance Tonite, was created as a virtual dance party. The viewer goes between virtual rooms, viewing the dance performances created by LCD Soundsystem fans. All choreography used in the project was created by fans and recorded using room-scale VR set-ups. Fans used head-tracking and controller motion tracking to record the movement used in the performances.

Each performer in the Dance Tonite VR experience is represented by an abstract object, such as a cone or a pair of cylinders. This shows that individuality of movement and style is still present, even when rendered down to such a basic form. The constraints were devised as a way to encourage creativity and dare participants to do something different.

Dance Tonite can view viewed using a Google Daydream headset, on a browser as a 360-degree video, or for users who have a full room-scale VR set up such as a HTC Vive, they can add their own dance performance to the party.

The Dance Tonite experience was realised using the WebVR open VR standard that allows users to view VR content over a web browser. The experience was created by artists Jonathan Puckey and Moniker in collaboration with the Data Arts Team.

A making of video for Dance Tonite is available to view below.

VRFocus will continue to bring you news on the latest VR projects and experiences.

from VRFocus http://ift.tt/2vln3ZM