notes.husk.org. scribblings by Paul Mison.

2013-10-04

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quote 22:15:49
“ Because Echonest didn’t have the particular data we needed and the Billboard API has been disabled, I mined Wikipedia for a complete list of all the Billboard #1 songs since 1940, tidied it up, and converted the HTML to XML to JSON. One of the best things about the whole weekend is that we now have the only machine-readable dataset of every single #1 Billboard song since 1940, and it’s on GitHub, and it’s my greatest accomplishment. You’re welcome, the internet. ”
Chloe Weil writes up her project with Jeremy Keith at this year’s San Francisco Science Hack Day, San Francisco.

2013-08-08

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photo 03:04:24
sfmuniverse:

The 2013 Outside Lands Music Festival is going on this weekend and the SF Weekly has re-imagined the lineup as Muni Metro lines on their Music Metro system map.

Each line is a genre, take the N-Judah for electronica or transfer between any line at Paul McCartney.

Paul McCartney is never recommended.

sfmuniverse:

The 2013 Outside Lands Music Festival is going on this weekend and the SF Weekly has re-imagined the lineup as Muni Metro lines on their Music Metro system map.

Each line is a genre, take the N-Judah for electronica or transfer between any line at Paul McCartney.

Paul McCartney is never recommended.

(Source: sfweekly.com, via sfmuniverse)

2013-08-07

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photo 18:02:00
A fantastic review of Robin Thicke’s latest album by Tyson Wray, apparently from an Australian newspaper (via spitzenproduckte). See also.

A fantastic review of Robin Thicke’s latest album by Tyson Wray, apparently from an Australian newspaper (via spitzenproduckte). See also.

2013-07-21

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quote 03:34:16
“ Live, they eschew laptops – “the idea of one crashing on stage scares the fuck out of me”, says Hung – in favour of a bewildering chain of pedals, keyboards yielded from car-boot sales and children’s toys, connected with rainbow-coloured cabling. “It’s nice to feel like you’re part of the schematic,” says Power. “When you’re plugging things in, physically, it’s like an extension of you.” ”

Fuck Buttons, the kings of noise, an article by  for the Guardian.

Slow Focus is out on Monday (Tuesday in the US), and I can’t wait- I’ve been listening to the preview on Pitchfork but I want to wander around listening to it.

2013-04-04

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quote 23:29:27
“ it’s hard to see how music and art can continue to develop or challenge itself within these new, very commercial frames. ”
Karin Dreijer Andersson of the Knife, in a Guardian interview: ‘Music history is written by privileged white men’. Well worth a read.

2013-03-29

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quote 00:55:00
“ As to tempo, preference is also to be given to brisk compositions over slow ones (so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated. ”

One of ten Nazi regulations about jazz music written by Josef Skvorecky, as quoted by Josh Jones in an article for Open Culture, The Nazis’ 10 Control-Freak Rules for Jazz Performers: A Strange List from World War II (via)

Skvorecky is quoted as saying: “I read them, gnashing my teeth, in Czech translation, in [a] film weekly, and fifteen years later I paraphrased them – faithfully, I am sure, since they had engraved themselves deeply on my mind – in a short story entitled I won’t take back one word.”

2012-08-03

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quote 12:29:55

The contrast between this summer’s two uber-spectaculars – the diamond jubilee concert and the Olympics opening ceremony – couldn’t be starker. At the former, Gary Barlow produced a musical vision for austerity Britain where geriatric crooners rubbed shoulders with talent-show alumni at the end of the Mall. Madness were the risky prospect.

At the latter, something far more radical happened. The floor of the Olympic stadium was torn asunder to the sound of thundering techno and the Queen watched as the union flag was hoisted to a record by one half of Fuck Buttons.

Robin Turner at the start of his arti le on Underworld’s brief to ‘frighten people’ at the London 2012 opening ceremony in The Guardian.

(Source: iamdanw)

2012-05-10

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quote 21:24:00
“ “Tomorrow Never Knows” is a particularly interesting song to examine from a rights perspective. It’s credited to the songwriting team of Lennon and McCartney, but it was written by Lennon, or rather it was Lennon who came up with the ten or so repeated sonorous notes. The actual words were adapted from The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead, which was co-written by Timothy Leary (among others). But the passages used are from the Bardo Tholo, an 8th Century Buddhist funerary text attributed by tradition to Padmasambhava. So who ultimately wrote the lyrics? Musically, the importance of the song is not its (barely-present) melody or its droning harmonic structure, but its use of audio loops, a technique borrowed from Stockhausen. McCartney was interested in the avant-garde approach but it was George Martin and several EMI technicians that actually got it to work. So who ultimately made the song? And which amongst them will receive a portion of the $250K? ”
John McCoy on Pathetic Fallacy in Surrender to the void, a post about the $250k fee demanded by the Beatles (or rather, the holders of their rights, given half of them are dead). It’s probably worth reading it in context (it’s a short post) but I loved the web of creativity listed here.

(Source: john-mccoy.blogspot.co.uk)

2012-05-07

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photo 15:32:11
Studio Parris Wakefield:

Tasked with the brief of ‘deep space and nebulae’, Howard Wakefield researched through the collection of Nasa imagery at SpaceImages. While tempted with a nebula called Factory, its name was too good to be true, for it didn’t compare with the more expansive deep blue nebula of Hubble NGC 346 SMC. Peter Saville was keen to see how it could be transformed from being purely documentary, so suggested an inverted, monochrome version.

Studio Parris Wakefield:

Tasked with the brief of ‘deep space and nebulae’, Howard Wakefield researched through the collection of Nasa imagery at SpaceImages. While tempted with a nebula called Factory, its name was too good to be true, for it didn’t compare with the more expansive deep blue nebula of Hubble NGC 346 SMC. Peter Saville was keen to see how it could be transformed from being purely documentary, so suggested an inverted, monochrome version.

2012-04-11

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quote 23:12:39
“ There is [a] clear appeal for music bloggers, who have been at the sharp end of some of the music industry’s dysfunctional ways in recent years – fielding takedown requests from a label’s legal team for tracks posted at the explicit request of its marketing team, for example. ”

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