Danny MacAskill - "Way Back Home"

Better Than Evil Knievel - It's Friggin Ray

    CollegeHumor’s Favorite Funny Videos

Carolyn Franklin - I Can't Love Without You - 1969

Bendish - Lights Out Of Barking EP

bit-phalanx.com

Bendish - Lights Out Of Barking EP

Bit-Phalanx is more than thrilled to present the debut EP of our newest troop, Bendish , who delivers something of a sun-kissed, hazy throw back to the lazy summers of the 90s with a throughly contemporary pinch... and some neatly tucked recognisable samples on his 6 track debut EP, 'Lights Out Of Barking' .

1. Indra's Pearl
2. Inherent Vice (Orgasm)
3. Walls Close In
4. She Wants It (More Data)
5. Komme Susser Tod
6. The Creator Of Dreams

Squarepusher Review on Pitchfork

I haven't listened to all of Squarepusher's new album, Ufabulum, but I've heard three new tracks and I've really enjoyed what I've heard so far.

I've just read the review of this album on Pitchfork and the 6.3 review has moved me to type out a few thoughts.

The reviewer seems to advocate for an adapted version of Ufabulum for first time listeners and those who just can't keep up. Jess Harvell, the reviewer, is like a kid busy colouring a picture of King Tut next to someone else's mom in grade 8 while the rest of the kids are practicing hieroglyphics.  

"Heiroglyphics are too hard," shouts Jess Harvell. "We all want to colour King Tut!"

No, we don't. But Jess should be colouring pictures because heiroglyphics are too hard for him.

It would be like Jess criticizing Usain Bolt for being too hard to see when he runs fast.

"That's always been what I disliked about Bolt's running; he never seems to slow down and I can't remember what it looked like when he was running in the middle or at the beginning! Usain's latest run seems to be another for-fans-only deal."

Yes, it is. Thank-you.

It seems that Jess Harvell doesn't like the new Squarepusher album simply because it's too hard for him to understand. It makes him exhausted. According to Jess, this has always been the problem with Squarepusher music. The complexity and layering in Jenkinson's ideas have always been what I and many other fans have enjoyed about this music.  

I've had jobs before where I was told to stop doing things well because it would make it too difficult for the next guy to come in a fill my shoes. In other words, do it half-assed so that the next guy will be able to keep up. I think this is the tone of the pitchfork criticism.

 

I've never been a fan of reviews that criticize music for being too full or overstuffed, overly complicated or too much of a good thing. Because remember, you don't have to eat the whole thing at once. 

Exercise a little self-control and I'm sure Ufabulum will continue to deliver surprises for years to come.

 

Pariah - Signal Loss

factmag.com

After a pause, Pariah returns with the wonderful ‘Signal Loss’

London producer Pariah has crept back into the light with a gorgeous new track.
His 2010 Safehouses LP was glossy and gloomy by turns, and definitely transcended the sum of its parts. Since then, Pariah’s been in cahoots with Blawan, co-founding the Works The Long Nights label and collaborating as Karenn in the final quarter of 2011. As reported, Pariah has a new three-track in the works for R&S, titled Rift. ‘Signal Loss’, the first cut to emerge from the disc, is now available to stream online.
As with Safehouses, there’s a dour streak running through ‘Signal Loss’. No effervescent lead-lines here: the closest thing ‘Signal Loss’ has to a hook is a pitched-down sigh that recurs at regular intervals. Burial’s often a clear influence on Pariah’s work, but ‘Signal Loss’ brings James Blake’s forensic experimentalism to mind. After a taciturn start, the track lifts off around the halfway mark. It’s definitely demure compared to those Karenn cuts, but ‘Signal Loss’ proves that it’s well worth keeping an eye on the quiet ones.

Royal Canoe - Hold Onto the Metal

Chic Gamine; Sunny Sunday

Kids' CBC: Chic Gamine, "I Love Pie"

EL-P - For My Upstairs Neighbor (Cancer 4 Cure)

Cannibal Ox - Stress Rap

Robot Quadrotors Perform James Bond Theme

Flying robot quadrotors perform the James Bond Theme by playing various instruments including the keyboard, drums and maracas, a cymbal, and the debut of an adapted guitar built from a couch frame. The quadrotors play this "couch guitar" by flying over guitar strings stretched across a couch frame; plucking the strings with a stiff wire attached to the base of the quadrotor. A special microphone attached to the frame records the notes made by the "couch guitar".

These flying quadrotors are completely autonomous, meaning humans are not controlling them; rather they are controlled by a computer programed with instructions to play the instruments.

Penn's School of Engineering and Applied Science is home to some of the most innovative robotics research on the planet, much of it coming out of the General Robotics, Automation, Sensing and Perception (GRASP) Lab.

This video premiered at the TED2012 Conference in Long Beach, California on February 29, 2012. Deputy Dean for Education and GRASP lab member Vijay Kumar presented some of this groundbreaking work at the TED2012 conference, an international gathering of people and ideas from technology, entertainment, and design.

The engineers from Penn, Daniel Mellinger and Alex Kushleyev, have formed a company called KMel Robotics that will design and market these quadrotors.

More information: http://www.upenn.edu/spotlights/penn-quadrotors-ted

Video Produced and Directed by Kurtis Sensenig
Quadrotors and Instruments by Daniel Mellinger, Alex Kushleyev and Vijay Kumar

Jinha Lee - ZeroN

What if materials could defy gravity, so that we could leave them suspended in mid-air? ZeroN is a physical and digital interaction element that floats and moves in space by computer-controlled magnetic levitation.

http://labcast.media.mit.edu/ 

BIG BANG BIG BOOM - the new wall-painted animation by BLU

Argentinian street artist, Blu, takes his freudian creature animations to the massive scale as they move across a desolate cityscape.

Blu is back with another monumental graffiti animation. They seem to grow larger in scale each time (duration too, Big Bang Big Boom is nearly 15 minutes of hand-painted stop motion!). Before I jump in, there’s another topic I’d like to illuminate here: the short filmmaker’s overly-grandiose sophomoric slump.
Blu is reaching that point where an artist, boxed in by initial success around a signature style, wishes to tell a larger, more important story that transcends their early explorations—an opus, a Lawrence of Arabia. Some succeed, others don’t. And I think I know what separates the two. I remember seeing Don Hertzfeldt’s The Meaning of Life for the first time and feeling disappointingly underwhelmed by an otherwise very talented animator. Don’s work is great. He has an impeccable filmography under his belt—except for The Meaning of Life. Why? Because Don’s best work is about the subtleties in life that go unnoticed. For filmmakers like Don and Blu, these big, grand stories are much too generic. We’re drawn to these filmmakers because of their ability to reveal and extrapolate on the nuances of life not ponder its ultimate existence.
In Big Bang Big Boom, Blu takes his first foray into stringing his signature anamorphic animation style into something of a cohesive story. Wisely, he doesn’t over-complicate the narrative, but rather uses a simple theme of evolution in which to craft his street characters. Though it might initially come off as a bit grandiose, try not to take it too seriously. Glance over the larger story and spend your time with his fascinating images like the shark eaten by a group of smaller fish in the shape of a shark or the evolution of mankind told through weaponry.
Blu’s real story is in his technique which he uses to great effect. It’s nothing new. This film with these techniques could have been made 50 years ago—even 100. And yet it’s completely new. No one has so freely moved across urban wastelands from painted walls to duct work to trash and other objects. Never before has such a desolate setting breathed such life. It’s that innocently antiquated yet boldly fresh quality that makes it so mesmerizing. Enjoy the next 15 minutes of your day.

Richard Divine - Plonked Spectral Video from the "RiSP-CD" 2012

Richard Devine

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For other people named Richard Devine, see Richard Devine (disambiguation).

Richard Devine
Birth name	Richard Coleman Devine
Also known as	Trapezoid
Origin	Atlanta, Georgia, United States
Genres	Glitchcore IDM
Instruments	Synthesizer Laptop Softsynth Computer
Years active	1995–present
Labels	Schematic Records, Warp Records, Sublight
Website	richard-devine.com

Richard Devine is an Atlanta-based electronic musician and sound designer. He is recognized for producing a layered and heavily processed sound, combining influences from hip-hop to old and modern electronic music. Devine largely records for the Miami-based Schematic Records, which was founded by (Josh Kay). He has also done extensive recording and sample work with sound designer (Josh Kay). As a result of praise of his music from Autechre as well as a remix of Aphex Twin's Come To Daddy, Devine recorded an album for Warp Records which was jointly released by Schematic and Warp.
Devine first started using computers for composition around 1993. Don Hassler, an instructor at the Atlanta College of Art, got him interested in computer synthesis, introducing Devine to CSound and other powerful computer-based applications. Devine claims he coded a couple FFT applications in SuperCollider, an environment and programming language for real-time audio synthesis. “It’s interesting, because you’re doing things to sound that just aren’t physically possible.”
Devine also uses Native Instruments (NI) software. His favorite NI applications are Reaktor and Absynth. Devine has designed sound patches for NI’s Absynth, Reaktor, Battery and Massive. He has also scored commercials for Nike, Touchstone Pictures and engineered and performed his own music worldwide.
Though he has contributed sound design to a number of hardware and software manufacturers, he recently released his first official sample library through Sony Creative Software entitled The Electronic Music Manuscript: A Richard Devine Collection

VAETXH - Crumbling Structure

Crumbling Shuffle (VAETXH explains):
I wanted this track to sound like an intricate machine or robot that is both unimaginably powerful and  ancient, rusting and crumbling, and that could grind to a halt at any moment. This affected the rhythmic style – mostly stable but occasionally coming apart at the seams and falling to pieces.
The first part sets up the machine as a savage beast, but one whose old age means it can’t keep up this intensity for long before giving up and crumbling into silence. As it powers up again, the bleeping is actually an exe file interpreted as audio, the sound of raw data. The exe file was Internet Explorer – pretty much all it’s good for.
The second part is a reflection of the first but softened with a melody. Again, this soon falls apart to almost nothing before building up to the 3rd and final section.
This final section is split into two sub parts. The rhythm in the 2nd of the these parts is actually almost identical to the 1st, just shifted a fraction of a beat to change the emphasis. This section keeps going until the machine runs out of steam – the beats get clipped away to nothing and I wanted to give the impression that this was the last time the machine would ever run.

VAETXH - Unfolding Mechanism

Unfolding mechanism (VAETXH explains):
This track started with an FM synthesis experiment where each note randomized the operators, resulting in these weird bursts of atonal frequencies and harmonics.  I built the first section around this. I then introduced a melodic glaze, originally written to soften the edges of the harsher sounds. This melody started as a tool almost, but as I developed it I realized that it deserved more focus, enough in fact to later give it a solo. Before this, I wanted another breather as a temporary retreat from the intensity. To emphasize this I tried something with my binaural mics: with them in, I recorded the harsher section playing while the quieter section played through some isolating headphones. The idea was that if I recorded putting on the headphones and taking them off again, I would effectively be transplanting the mind elsewhere for a while. It didn’t quite work, but sounded pretty sweet anyway so I wasn’t too bothered.
The whole thing is peppered with binaural recordings in fact, for example the sound of the waves in the melodic solo was recorded in Pembrokeshire, sitting the sea with the water almost up to my ears. They add a recognizable natural edge to some of the more abstract sounds, and makes them more tangible I think. The contrast of having both the artificial and the natural playing together makes me appreciate how complex seemingly simple natural sounds actually are.
The final section was an experiment into what would happen if you tried to brutally force one time signature onto another. Obviously they each needed their own space or it would have quickly gotten messy as fuck (and still did), so I put on a highpass filter side-chained against the invading rhythm, which creates that swooshing effect. Luckily the new time signature was my favorite of all (3/4), so the rest of the track was just playing around with increasingly small divisions of thirds, and tying off the strange rhythms with a simple straight hi-hat rhythm to give them a reference point. It’s all about the reference points.

Funkanomics - Jucachavezxx

FUNKANOMICS
Juwee, FxFarmer and Bobby Kudlicz: the three headz from the south of
Germany, who launched the project Funkanomics in late 2006, have since
then been touring extensively in the club scene. They have taken their beat
contoured live experience and mixed it with their own funked up style in
their productions. A sound that is designed for the dance floor and made up
of beautiful crunchy bass lines, coupled with pumping grooves. A merger
that works and once it starts can´t be stopped.
In their sets the "Funkos" impress by presenting their sound on four
turntables plus a very own live set including breakbeat with influences from
hiphop, funk, dope beats, reggae and electronica. They go against the grain
of conventional djing so smoothly, that you only have to listen to it once and
its inside your head. As a result the crowd is instantly whipped to a frenzy with
an imaginative and more approach to dance not confined to one genre.

Funkanomics on Soundcloud

Cypress Hill- Break 'Em Off Some

Review by Steve Huey - AllMusic

Black Sunday made Cypress Hill's connection to rock & roll more explicit, with its heavy metal-like artwork and noisier, more dissonant samples (including, naturally, stoner icons Black Sabbath). It's a slightly darker affair than its groundbreaking predecessor, with the threats of violence more urgent and the pot obsession played to the hilt (after all, it was a crucial part of their widespread appeal). Apart from those subtle distinctions, the sound of Black Sunday is pretty much the same as Cypress Hill, refining the group's innovations into an accessible bid for crossover success. In fact, it's a little startling how often Black Sunday recycles musical ideas and even lyrical catch phrases from the endlessly inventive debut. And the rock-derived, verse-chorus song structures start to sound a little formulaic by the end of the record (how many choruses feature Sen Dog repeating part of whatever B Real just said?). But in spite of that, Black Sunday still sounds vital and lively, since the group has a surer sense of craft. Most of the tracks are fleshed out into structured songs, in contrast to the brief sketches that punctuated Cypress Hill. The album benefits immensely from the resulting clutch of excellent singles (and songs that could have been), and while a couple of tracks feel redundant and underdeveloped, Black Sunday is overall a consistent, engaging listen, especially the flawless first half or so. Unfortunately, it's also the group's last great album, thanks to the musical recycling operation that began here and would handicap much of their subsequent work. 

Review 

Cypress Hill- Hand On The Glock

Cypress Hill - I Ain't Goin' out Like That

Mix Master Mike - The Joint

 
It was a chance meeting at the Rock Steady Anniversary Jam in NYC in 1994 with Adam Yauch of the Beastie Boys that would propel Mike to the next level. The two exchanged numbers and Mike often left crazy scratch messages on Adam's answering service. Fellow Beasties Mario C and Mike D caught on to his scratch message craze and in 1997 requested Mike's studio work for their multi-platinum album Hello Nasty. Soon after completion of Hello Nasty's recording, the Beastie Boys offered Mike to become their resident DJ.

http://www.mixmastermike.com/ 

Ms. Lauryn Hill - Zion

Lauren Hill will be playing in Winnipeg this month.

"Lauryn Hill has chosen Winnipeg as a destination for her second debut tour and there are no shortage of fans in this city who adore her. This is a once in a lifetime opportunity for many folks and I urge you to get your tickets early if you do not want to be disappointed."

Quote source

Lauryn Hill @ Coachella 04/15/2011 (Full Performance - Part 4)