What do you sound like on Nu-ILX?

https://ncxkd.bandcamp.com/track/--20

Some Bill LaBounty vaporwave

Ain't been doing the uke covers much but dusted off some Lightfoot the other day

Gonna maybe see about trying to write some originals to deal with the glut of thoughts in my head. We'll see!

https://www.youtube.com/watch?v=SW5LCfM3UJA

I’m going to be in a concert tonight at 5 PM ET of soloists singing songs by Daniel Pinkham. It will be live-streamed and published here: https://www.youtube.com/watch?v=4Ky2M5EqC9A

djp timestamp:
https://www.youtube.com/watch?v=4Ky2M5EqC9A

you killed it!

Thank you!

Put out a new sample pack of breakbeats & drum recordings, this one was more fun to make and tbh it feels much easier to get producers interested in a resource than to get anyone to listen to a new song, or DJs to check out a new track (even a promo). Much less saturated.

(https://chants.bandcamp.com/album/drum-basement-breakbeat-sample-pack-vol-2)

i recently set everything of mine to private because reasons, but decided to bring a few favorites back to youtube (including my rescinded contribution to the ilm post-covid comp). idk, i like some of my recordings. think of it as novelty music, inspired by smooth jazz or children's songs; commercial jingles from an alternate timeline. it was all created to listen to very loud on headphones while walking outside on a very hot day, so i've titled the playlist "music for walking." thanks for listening.

I pulled myself away from Baldur's Gate 3 long enough to finish something:

https://on.soundcloud.com/ookg9

[LONGPOSTING]

tl;dr- first new recording in six+ months. new recording, old song. i'm having a hard time reconciling that i've written a song i like and am proud of. see song info for more downer diary entries.

i hate that i keep posting in here. and in the nicest possible way: i really don't give a fuck if anyone ever hears a single note of my music ever. i don't ever want any of my music on a physical format. if anyone ever tried to give me any sort of compensation for any of my music, i may become personally offended. an ilxor who shall remain unnamed reached out to compliment something of mine once and i promptly thanked them, shut down that social media account, and set all of my music to private. making music is just something i do to bide my time amidst the madness, much like posting here.

but god fucking dammit, i know when i've come up with something i like and it's the reason i struggle so much with fucking everything in life. like--- does anybody work on anything because they just like what they're doing? i believe in airy fairy bullshit like robert smith having a normal job after the band didn't work out. and yet, still keeping the old guitar and amp around to play every few months as he can: it's the only way to hear his music.

i've struggled with this sort of thing my entire life but it's time to just drop the charade: i'm proud of a lot of my music. i'm not a very good musician in terms of my playing skill, but i've listened to enough records to know what kinds of chord changes sound cool and moody. and i stick with what i know -- bill evans famously said that's the perfect starting place in music: what you know.

i know some of my songs so well on guitar that i can go for many months without even thinking of a guitar, but play them from memory on the next occasion that arises. some of them are what they are, some are still unfinished with new insights awaiting, and some of them will most likely remain forever sketches; all of them are fun for me to play, no matter the unfinished feeling a lot of them have.

i always thought the song i'm posting about would stay in that last category forever and it's a song i've even posted on ilx before. when it's a song that's been played as much as this one, i have to start to believe it becomes a diary of sorts. anymore, it feels like every time i play it, i add more details to the emotions behind it.

i hate the idea that a song can't change and become better over time. like why is the initial studio recording always treated as the definitive version? what if your songs don't ever really stop ameliorating the more you play them?

my mental health is worse than ever, my heart is in a state of entropy, and my life absolutely influences my music, so when it's something like this, it feels extremely cathartic to say a song i've been exploring for the past five years finally feels finished.

and it also feels like a major fucking jam to me but what do i know, i can't even play the damm thing without flubbing a bunch of notes because i'm 1) too excited about the new revision and 2) too fucking heartbroken about the failed relationship that inspired it to practice.

anyway, thanks for listening. there's a dorian gray-esque "don't get too close to your art" cautionary tale in here somewhere i reckon.
[/LONGPOSTING]

chips i will definitely check that out when i'm able to focus a bit more efficiently.

I sang a couple of songs a capella at my uncle’s funeral service last month:

No Man Is An Island: https://on.soundcloud.com/Us4fgfWXwzKTutXv7

You’ll Never Walk Alone (the sound guy accidentally started the next song partway through, oops): https://on.soundcloud.com/5tP28awPx1AnA8m29

Some new stuff, feeling very happy with it.

https://themanitobanoreply.bandcamp.com/album/a-moment-of-the-false

Some new stuff, feeling very happy with it.

https://themanitobanoreply.bandcamp.com/album/a-moment-of-the-false

― cocaine bear say hi to me (King Boy Pato), Sunday, 10 September 2023 12:34 (two hours ago) bookmarkflaglink

I really like it, especially tracks 2 and 3. I love the way the distorted guitar bursts in in track 2, and the combination of low and high synth pads in the right and left channels on certain sections in track 3. (Did you not consider bringing back the higher pad for the ending? Maybe it wouldn't combine well with the guitar.). Also, the treatment of some of the drum sounds during rolls, where those sounds are very delicate, almost like pinpricks, very quiet but clear. Did you just high-pass-filter them, or is there something else that created that effect?

https://soundcloud.com/matthewmathieu/for-you

first time recording my voice in ~2 years

https://soundcloud.com/matthewmathieu/for-you🕸

first time recording my voice in ~2 years

That's a really wonderful song. Love the vocals and the endless shifting down. If you are interesting in my lowly feedback, I'd say that when the drums come in, it doesn't work as well as it should. Like, you can see on the waveform that it's going to happen and you expect to feel "Yes!" but it only feels "OK!" Also, an ending would be great. Could be a reiteration, but harder, or something new. Right now, feels like something big might happen and it only tapers out.

been doing a thing with some friends where we pull the track list of an old episode of 120 minutes and one guy writes all the songs down and then draws one out of a hat and we have to cover that song

i did blur's "girls & boys" as a beachy/latin disco instrumental

https://houseofsleep.bandcamp.com/track/girls-and-boys-blur-cover

ha! that sounds like so much fun.

I got a new synth & im not afraid to use it to make improvised gong jams and record them

https://on.soundcloud.com/CLrEdZ1XfMEcpvtN7

love both these tracks!

thanks!

love the improv track LL - what synth is that?

Korg minilogue — I’m loving it!!!
Thanks for listening!

i like everything everyone posts. i'm sorry i don't have much more to offer than that. i wish i knew more about theory and gear so i could have something more substantial to say.

i posted a bunch of other stuff on 77 recently so here's a couple other vault things. "setting #10" in particular is one i had high hopes for but i had no idea what to do with it, so here it is a couple years later with no context.

rcco.bandcamp.com

sorry, let me format that as a hyperlink: https://rcco.bandcamp.com/album/rose-creek-community-orchestra

I like Plum

thanks for listening!

hi bj.

thank you for sharing.☺

you're welcome!

Wanted to start making more music for myself after a bad working experience earlier this year. To try and purge that I made a kinda washy, expansive SOTL/Dead Texan style thing. The old me would have made it three times as long, but I find that brevity is often better when you're layering textures instead of changing chords.

https://nowherians.bandcamp.com/track/a-step-down-soon-no-joke

this is lovely

Thanks!

I've made a song featuring boot sounds of various devices https://archive.org/details/2023-ark/Boot+Sounds.mp3

I just did my annual Messiah recital https://www.youtube.com/watch?v=IWN3UztfxCE

Had some good & fun shows for my band's 30th anniversary: https://www.instagram.com/p/C09ju0tgMnd/

Technique-wise I very recently switched to using a back fulcrum (ring finger & pinky) and a lot of things started clicking in terms of speed and consistency. Promising developments!

wait what were you using before as the fulcrum?

also congrats on your anniversary!!

Thanks! I was using the thumb and pointer finger as the primary fulcrum with the other fingers more free to do finger control stuff, but it felt inconsistent and on my right (non-dominant) hand I was still having trouble with a lot of things. I had the revelation when I strapped on the snare to practice for these gigs (which I almost never do), when I started using the back fulcrum and found that I was getting the consistent rimshots and volume (while still being relaxed) that I was looking for.

There's a famous Tony Williams clinic where he talks about this, but it never quite made sense to me since it seemed like a rigid way of playing. But it seems to me you can use the back fulcrum (or a middle finger fulcrum, where it's sort of a triangle between the thumb + first finger + middle finger) and still have rebound. That's what I'm working on anyways. And almost immediately my stroke started to look & feel better, more integrated with the wrist movement, less to think about, more consistency across different surfaces.

It's hard to find drummers who teach this, but I also heard Nate Wood very briefly say in an interview that he switched to a ring/pinky finger fulcrum three years ago and that he wished he had done it a long time ago, that it's a better way to play drums. Everybody's hands & brains are different though.

I'm still trying to figure out how this works when playing the ride cymbal (ie switching to french grip and playing jazz patterns) though, if I move back to more of a pointer/middle finger fulcrum or can keep the same grip.

Btw I reserve the right to repudiate all of this in the future. :) Maybe this will be a blind alley, or a situational tool for certain kinds of playing.

Here's Nate Wood talking about it in depth with Mark Guiliana (who clearly does something completely different, which goes to show that there's no one way):

https://www.youtube.com/watch?v=pCAQkeqCs54

I was on the Cities And Memory podcast stream yesterday - doing what I would do if I could record inside the abandoned submarine pens at Kotor, Macedonia: https://audioboom.com/posts/8419423-kotor-bay

that's a cool idea for a podcast and your track sounds awesome

What budo said. I am listening my way through close to 500 of these recordings now. Yours was a highlight.

Re: what I was blathering on about above, I've already gravitated more towards using the middle finger as a primary fulcrum rather than the back fingers, there's more bounce and it's easier to go back and forth with the ride cymbal if I'm playing jazz. But either way has helped my wrist motion a lot, and gives a lot more control & power than relying on thumb & first finger and letting all the other fingers move with the stick. It's hard to explain but I'm still letting the stick move in the hand & rebound, and I'm working on more freely moving between the different fulcra for different situations.

i made this short instrumental alt tuning guitar piece i'm happy with. i tend to not have the patience to see a chord progression through but this one came together nicely. i feel like it could use a soft bed of noise underneath or something. suggestions welcome: https://on.soundcloud.com/Va2jV5iQ2rvZBDdn8

vault stuff. multi-part vaporpop suite. shoutout to js.

i love that!

@heez - way late but that's a lovely song would love to hear more

back on a very tenuous basis, the spectral REprojections compilation is bandcamp-only. overlapping with the philomath material quite often, we nicknamed it "beyond benton." if philomath represents the bustling center of the galaxy from which this music originated, the REprojections are the farthest edges of where you might end up; related by coincidence more than anything.

something tangible+based in reality about all this music is that it was recorded in late 19-summer 20, so right in the initial wave of covid/lockdown. not meant to be sad or depressing, just a statement of fact: it's what was coming out of my brain as the last semblance of any sanity slipped away. sure does sound nice sometimes, considering.

―BACK TO SCHOOL SPECIAL―

we're so excited to see you again, friend! you must have grown about three feet over summer break! great job, have a lasso! remember to ask if you need help with anything and don't forget to use your shelf marker! have fun!😃