Swifties say they’re leaving X over Elon Musk’s support of Donald Trump—and the rhetoric that has erupted on the platform following Trump’s win.

The Beatles have been nominated for two Grammy awards this year, and no, we did not accidentally fall into a time warp back to the 1960s. The Beatles’ song “Now and Then,” refined with the use of AI and released last year, is up for Record of the Year and Best Rock Performance. So, the […]

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TikTok on Thursday debuted a new feature that will more closely connect its app, which already influences which songs top the charts, to the streaming services where users discover and play their favorite music. With the launch of a new “Share to TikTok” feature, music fans will be able to directly share tracks from both […]

© 2024 TechCrunch. All rights reserved. For personal use only.

After 17 years, a group of Redditors have identified “The Most Mysterious Song on the Internet.” It’s just the beginning.

A music education game with fish to teach note names, ChimeCandy was made by Richard Hurley of Hurley Piano for kids with special needs at the Williams Community School, a dedicated special needs school in Austin, Texas. A music puzzle game set in the ocean where fish swim to unlock the sound of notes in the current, players drag the fish diagonally down the screen to the right and drop the fish into its note slot. They’ll hear the note sound when they do so.  

Interns from Austin Community College wrote the code; the development team includes: Angel Barbosa Olivares, Lenny Muldoon, Clinton Nyagaka, Wayne Stovey, and Richard Hurley.

“The game does for note learning what ABC does for alphabet learning,” says Richard. “It is an early introduction to pre music lessons learning in music.”

The game, for now, can only be played on destop and laptop. iOS and Android are in the works. ChimeCandy earned a Cool Tool Award (finalist) for “Best Arts, Music or Creativity Solution” as part of The EdTech Awards 2024 from EdTech Digest. Learn more. 

The post ChimeCandy from Hurley Piano appeared first on EdTech Digest.

Will Hatcher got internet famous when Metro Boomin sampled his AI-generated song for a diss track released during the Kendrick Lamar–Drake beef. That was just the beginning.

Het bericht PlayStation: The Concert volgend jaar in Ziggo Dome verscheen eerst op DutchCowboys.

Here’s another mixtape I made from a sealed, pre-recorded cassette I got for 99 cents at the record store. I tape over the cassette’s protection tabs and then I tape over the music and then I tape over the artwork.

I’ve made so many mixtapes this year that I think I’m starting to crack what I really love in a good mix.

Vibe.

What I really love in a mix is a vibe rather than a theme.

This comes up a lot this time of year when people post their Halloween mixes. All the songs are about witches or demons or whatever, but they don’t really cohere musically.

(I make exceptions for Bob Dylan’s brilliant Theme Time Radio Hour, which ruled completely, and also had a Halloween episode. Also: a radio show is different than a mixtape — the DJ can add context, switch the mood, etc.)

Anyways, I named this mix after Ray Bradbury’s collection:

“October Country . . . that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and mid-nights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain. . . .”

I wanted it to sound like what October sounds like to me — in feeling, if not in lyrics. (To be honest, I barely listen to lyrics most of the time, which might be surprising to hear from a writer, but I’ve been a musician a lot longer than I’ve been a writer?)

SIDE A
– Chris Isaak, “Wicked Game”
– Tom Waits, “Down in the Hole”
– Screamin’ Jay Hawkins, “Little Demon”
– Ty Segall, “Girlfriend”
– Leonard Cohen, “Waiting for the Miracle”
– Scott Walker, “On Your Own Again”

SIDE B
– Depeche Mode, “Enjoy the Silence”
– Fever Ray, “Shiver”
– Thee Oh Sees, “Ghosts in the Trees”
– Ravyn Lenae, “Sticky”
– Keith & Tex, “Run to the Rocks”
– Bjork, “The Anchor Song”
– Charles Simic, “We Were So Poor”
– Portishead, “The Rip”

Originally, I had a wizards vs. witches thing going with the sides, and I was going to do Bjork, Fever Ray, and Ravyn Lenae and more on side B, but, again, I throw out concept and theme for vibe when I do these things.

The Charles Simic poem was kind of an accident — I was just looking through Spotify at my “Liked” tracks and tried to find a short snippet to fit the rest of the tape. (On the actual cassette, I play a tiny little portion of “The Rip” to end the side, but I think it goes nicely as a full song at the end.)

You can listen to the mix on Spotify.

I’ve made 11 of these things so far this year! If you want, you can listen to a big 10-hour playlist of them all.

Filed under: mixtapes

Here’s a bonus August mixtape inspired by the music our family listened to while driving around Oahu last week.

I made it from a sealed, pre-recorded cassette I got for 99 cents at End of an Ear. I tape over the cassette’s protection tabs and then I tape over the music and then I tape over the artwork.

This is the mix I really wanted to make for August, but I needed to go to the island first to make sure everything worked. (“Make Time Stop” should’ve been the September mix!)

SIDE A

– Richard Myhill, “Hawaiian Link”
– Janet Kay, “Silly Games”
– Heimo Rhonda, “Sunshine in Hawaii”
– Haruomi Hosono, “Saigono Rakuen”
– Raymond Scott, “Vibes & Marimba”
– Benjamin Rogers, “On a Coconut Island”
– Dominique Demont, “Un jour avec Yusef”
– Paul McCartney, “Ram On”
– Roedelius, “Wenn der Südwind…” (snippet)

SIDE B

– Señor Coconut, “Showroom Dummies”
– Martin Denny, “The Enchanted Sea”
– Harmonia & Eno, “When Shade Was Born”
– George Kulokahai and His Island Serenaders, “Aloha Oe”
– Raymond Scott, “Portofino 2”
– Gaussian Curve, “Impossible Island”

This tape was trimmed down from a 2 1/2 hour playlist I had on shuffle as we drove around the Windward Coast and the North Shore. The best way I’ve found to make a “vibes” playlist is to dump a bunch of stuff in there, and put it on shuffle, and anything that doesn’t fit, you just delete it as you go. 

When it comes to making an actual tape, however, I think you just have to start with the song you want to start with on side A and do one track at a time. (I was going to start with “Ram On” — it was really kind of a theme for our trip: I learned it on ukulele while we were out there and the 9-year-old even requested it — but it’s a song that works better for me towards the end of a side.)

Janet Kay’s “Silly Games” wasn’t on my original playlist, but I heard it by the side of the pool and I got excited because I love that song and started singing along and realized I haven’t put that one on a mix yet. (They were playing a lot of great Jamaican tracks at the resort we stayed at.) 

Everything on this mix is streaming for now, so you can listen on Spotify: 

This is the 9th mix I’ve made this year — if you’d like to listen to them all in one big batch, I made a 6+ hour playlist out of them.

Here’s August’s monthly mixtape I made from a sealed, pre-recorded cassette I got for 99 cents at End of an Ear. I tape over the cassette’s protection tabs and then I tape over the music and then I tape over the artwork.

I was going to save this summer fading fast vibes mix for September, but I’ve decided these days not to save things, to make them when they’re ready:

It was a short tape (only 30 mins) so it was a short mix:

SIDE A

– the first few seconds of Led Zeppelin’s “Black Dog”
– waxahatchie w/ MJ Lenderman, “right back to it”
– big thief, “time escaping”
– durutti column, “sketch for summer”
– nick drake, “pink moon”

SIDE B

– the mamas and the papas, “got a feelin’”
– bob dylan, “went to see the gypsy”
– the feelies, “raised eyebrows” (faded out around 1:50)
– crooked fingers, “sleep all summer”
– thee oh sees, “golden phones” (faded out after about a minute to fill the tape)

A couple of these selections seemed a little obvious to me, but “Pink Moon” is the perfect song for filling 2 minutes at the end of a mixtape! (And it’s also a perfectly recorded song, no matter how many commercials you hear it in.)

It was a cheap tape that I hit a little too hard on the recording, so it runs a little hot.

I’m trying to extend the pool vibes from the “Firecracker” mixtape, so I don’t really plan on listening to this again until September, but you can listen to it any time here:

This is the 8th of these mixes I’ve made — if you’d like to listen to them all in one big batch, I made a 5-hour playlist out of them.

Filed under: mixtapes

Four Tet’s Three is one of my favorite albums of the year, so I was delighted to come across an interview with Kieran Hebden on the Tape Notes podcast discussing its making. He rarely gives interviews, so before listening, I really knew nothing about him or how he works. It was a delight to hear about the making of a record I’ve spent so much time with. 

Four Tet’s music is extra special to me because my 11-year-old composer and I both love it — I put “Loved” on my February mixtape and Owen put “Lush” on the mixtape we collaborated on this month. It was wild to me to hear Hebden describe how he works in Ableton, drawing the notes on the piano roll instead of playing them on the keyboard. (Something I see Owen do a ton when he’s composing.)

I really loved Hebden’s attitude towards making music after many decades. He says that if he can stay excited about listening to music and enjoy the making of it while also avoiding the trappings of success and the bog of the industry, that it actually makes the work more successful. Just a wonderful listen. 

When he was asked about his most important piece of equipment, he said his hi-fi system because it’s what helps him listen to music in a level of detail that helps him really explore and hear sounds. (Check out the gigantic ongoing Spotify playlist of what he’s listening to.)

This emphasis on listening came up over and over again in the interview, and I wanted to copy down his advice to other musicians: Listen to more music.

“Listening to a lot of music and really exploring it and doing that level of investigation of really understanding where things have come from.”

He then describes swimming upstream: 

If you listen to a current record now that samples an old nineties record, and then you check out the old nineties record, find out that sample’s like an old soul record for the drum break or whatever.

And then you go listen to the old soul record and then you find out who the drummer was who played that drum break. And it’s like, oh, it’s Bernard Purdy or whatever.

And then you look on Wikipedia and check out all the other records he made. And then you’re like, oh, he worked with this producer a lot and you check out what that producer did.

To listen to music in that way and explore it and study it, I think is hugely valuable in terms of learning how to be a good arranger, a good producer, a good musician. The more you take in of understanding the sort of like great music that’s out there and the things that came before, it’s so powerful.

Everything’s there, all the information’s there. And then if you take everything you learn from that and then combine it with your own ideas and your own emotions and stuff, then you sort of set up to sort of push things forward. I think that’s much more useful than spending all your time being like, I’m just gonna be learning what every single thing in Ableton does now for the next few months…

You’ve got to love records so much, he says, that you want to make something that can sit on a shelf alongside the records you love.

It’s a lesson that is true for all creative people: Your output depends on your input.

If you want to be a great musician, you need to listen to more great music. If you want to write great books, you need to read more great books. If you want to make great films…

(Steal like an artist.)

Here’s another monthly mixtape I made from a sealed, pre-recorded cassette I got for 99 cents at End of an Ear. I tape over the cassette’s protection tabs and then I tape over the music and then I tape over the artwork.

This one started out a little differently than the others: I asked my 11-year-old son and composer Owen (check out his album TECH) to trade tracks with me in a collaborative playlist. See if you can tell whose tracks are whose: 

This was enormously fun — we had a little iMessage window going and our Spotify windows open and could see our changes in real time. Some of his picks really impressed and surprised me. 

Only trouble was, I misjudged the length of the tape, so I had to cut it down and rearrange it a bit — I started side B with “Funkytown” (we both love that song) and wound up adding Yukihiro Takahashi because we’d been listening to so much Yellow Magic Orchestra: 

SIDE A

– yellow magic orchestra, “firecracker” (with a snippet of Martin Denny’s original at the beginning)
– daft punk, “motherboard”
– four tet, “lush”

SIDE B

– lipps, inc., “funkytown”
– yasuaki shimizu, “kakashi”
– yukihiro takahashi, “drip dry eyes”
– toby fox, “ruins”

I’ve made 7 of these mixes now and I wound up buying another dozen 99 cent cassettes when I was at End of an Ear last time, so it looks like I might just do this indefinitely?

If you’d like to listen to them all in one big batch, I made a 5-hour playlist out of them.

Filed under: mixtapes