There some lyrics / songs out there that once heard or experienced, never leave you. I personally think Junkie XL is tha bomb, he is one of the most versatile producers out there, and time after time he produces gold. However, after his Elvis hit, his music has suffered from the lack of core emotions, and melodic structures that defined his genius.

But this song in particular is unique to me. The lyrics are so true to life, and raw (especially once you know what the lyrics are) the song really unfolds. From the radio static tune in intro, and euphoric breaks, to the gorgeous layered sounds and perfect lyrics.

This is special.

She was born fat to believe to be wed
is a blessing with doubt without believe
Matrimony, so phony
Her up bringing real gloomy
Like a church mouth to his pouch
Before filling a duty
Counting out to all around
Left room shadow
When thoughts about pout
Outlays with sulk
In disgust she’s filled with void
She said…

Zerotonine, I’m in line to feel fine
Everything else, makes me blind

Rings are gold and funds are mould
The story turns all to inconsistent, so bold
Now rise and unfold
All awhile I focus in the fiftieth mid
Wrapped to a person that could
Only be my dad
Mom’s bliss’s a chocolate but
Versus regret
She said, she said…

Zerotonine, I’m in line to feel fine
Everything else, makes me blind

Zerotonine, I’m in line to feel fine
Everything else, makes me blind

The girls next door
Slaves to explore
Gets more than she’s looking for
Adventure k.o. no quid pro quo’s
Gonna make her feel down and low
What a faint make up
(It’s) Hard to keep the face up
Many partners come and go
Before she wakes up
Those who stay
Make it tempo-free
made a wish she said
If you buy yesterday
Who’s faster, faster each day
and I stay on her finest array
then I heard her say
I heard her say

Zerotonine, I’m in line, to feel fine
Everything else, makes me blind

Talked to the one who had no fun
From the day of their own prom
Hide behind quibbler lunch
Heard the one of great importance

Zerotonine, I’m in line, to feel fine
Everything else, makes me blind

Zerotonine, I’m in line, to feel fine
Everything else, makes me blind

Found some free music from another fav artist of mine Eskimo. Chem it out!
Eskmo – Cloudlight Free Download

Artist Info

Brendan Angelides aka Eskmo is a San Francisco based electronic music producer and live performer. His multi-genre compositions have been featured on influential labels like Warp Records and Planet Mu, though while Eskmo’s tracks encompass a wide range of electronic styles, he avoids classification. Bleep.com called his tracks “masterfully produced…sophisticated, post-Dilla hip-hop funk” while sites like Boomkat describe his music as “[putting] Eskmo on his own electronic plateau.

In the past five years Eskmo has released over a dozen singles and EPs, most recently a collaboration with Amon Tobin as Eskamon, as well as touring as a live act throughout North America and Europe, opening for Flying Lotus, Amon Tobin, STS9, and The Glitch Mob amongst many others. Over time, he has come to be recognized by top-tier producers as having his own distinct ‘Eskmo Sound’; as Pendulum said this in a recent interview, “There are good producers, then there are dudes who..you never catch..and don’t even try. He’s one of those guys.”

And don’t forget the awesome video that goes with the free track.

Originally posted on Youtube vie NAME

One of the best music videos ever, directed by Chris Cunningham and masterfully executed by mr. Richard D. James aka Aphex Twin.

Window Licker video is a parody of contemporary American rap music videos. In the video, two foul-mouthed young men (a Latino and an Afro-american) in LA are attempting, unsuccessfully, to pick up two young African American women (referred to in the end credits as “hoochies”), when suddenly a ridiculously long white limousine (38 windows in length, including driver’s window) crashes into the two men’s black Mazda Miata (MX5) convertible, and a “pimped-out” Richard D. James, displaying a surreal amount of wealth and power, emerges with his signature fixed grin. The two women, among others, accompany James in his limousine while their faces morph into James’s own likeness (possibly a criticism of rap music videos or a display of Aphex Twin’s usual creepiness). The video was directed by Chris Cunningham, who also directed the infamous music video for Aphex Twin’s “Come to Daddy” in 1997.

It is worth noting that the men are “window shopping” for prostitutes during the video’s opening; the French term for “window shopping” is faire du lèche-vitrine, which literally translates to “licking the windows”.

The promo was nominated for the “Best Video” award at the BRIT Awards 2000, alongside videos by Supergrass, The Chemical Brothers, Fatboy Slim, and eventual winner Robbie Williams.

The full “Windowlicker” video is restricted to being broadcast only during the nighttime on most music television channels. A bleeped-out version of the video exists, and MTV Two even made a ‘daytime’ version, with all the opening dialog removed (the censored version starts with the arrival of the limousine) and some of the video’s more shocking images are also removed.

Love the original, and the album. Heres preview take on it. Deru – Hello (GYRE Mix). Still a work in progress.

….Also check out the new HTML5 Soundcloud player..sick !

Enjoy.

Had this lying around in my favourites for a few years now, an absolutely triumphant effort by Deru. Including his own made music video, which encapsulates everything the song is expressing. Pure class, enjoy.

Description: 

I’ve been following Maschine since prototype stages. The idea was at once obvious and welcome: build a software workstation, tightly integrated with pad hardware control, that fuses hardware sampler working methods with the on-screen flexibility of software. It’s software that focuses on working with sounds and patterns, outside the DAW-style metaphors.

Of course, there’s one thing you might quickly miss about your DAW – certain software instruments or effects that are available as plug-ins. That makes 1.6 the version a lot of people have been waiting for. With plug-in hosting capabilities, it could now be your all-in-one production and performance workstation – without losing the focus that first made it appealing.

Maschine comes of age in other ways, too, from 64-bit Mac support to better control of pads and drag-and-drop function. It really seems like version 2 – and like the revision that makes an already-growing choice ready for primetime.

Accordingly, while it is a marketing video, it’s fantastic to see what Underworld are doing with Maschine live.

Naturally, you’d make the obvious comparison to Ableton Live, but it’s nice to see Live face an alternative. In fact, I think Live might even benefit from having an alternative with which to contrast. Most of the comparisons have turned to DJ tools live, or conventional DAWs – minus the live performance features – for production, or hardware. Maschine is different than Live – a pad-based sampler at heart rather than Live’s combination of sample-playing tracks and arrangement view. But it’s also finally a tool that has the flexibility of Live (for things like integrating plug-ins), while at the same time encouraging live, physical play and kinetic control, whether in a studio or onstage. (And, of course, there’s nothing stopping you from using these two tools side by side.)

I’m enthusiastic about new drum machines introduced earlier this year, hardware and software alike. But it’d be tough to compare any of them to Maschine, particularly with this update. This isn’t a full review, but you can expect one (or perhaps more than one, from different perspectives) soon.

New in 1.6:
VST and AU plug-in support. Bring in instruments and effects, and – in a feature first seen in NI software in their Kore product – automatically map parameters to Maschine’s knobs.

Bundled instruments and effects. 1000+ sounds cover factory contact selected from Kontakt, ranging from Vienna Symphonic Library sounds to synths, guitar amps, and Abbey Road drums. Of course, those of you who have been chomping at the bit just to use your existing plug-in library won’t care too much about this, but it increases the appeal for those starting out.

More effects slots. There are CPU cycles on your machine not yet being used by crazy Reaktor patches or your library of plug-ins. Problem solved. The architecture of slots in general has been expanded for easier assignment to modules.

More Info: http://createdigitalmusic.com/2011/03/maschine-1-6-sample-workstation-now-with-plug-ins-makes-a-standalone-workflow-solution/

Description: 

Okay, I think this may be some of the best / worst promotional marketing I’ve seen for music software. It runs something like this:

Do you want to be just like Jamie Lidell?

The answer is as close as the iTunes App Store and your portable device.

Just download Native Instruments’ iMaschine app to your iPhone, fire it up, and then …

Forget it. Really. I mean, this guy is actually lying in bed in his PJs, the sound you’re hearing isreally just the crappy internal microphone on an iPhone 4 iPod touch, and what you’re hearing really is the line out, and this is really all one take. (I confirmed as much with Native Instruments’ Constantin Köhncke as we watched the final take earlier this week at their office.)

For all we talk about microphone selection and placement and such, there’s not much substitute for being able to sing. That is, iMaschine can make anyone sound like this, just so long as they are Jamie Lidell.

And, actually, maybe that means this isn’t such bad marketing after all – perhaps not for iMaschine so much as music software in general. I’m kidding, of course – once you realize you’re not Jamie Lidell, you can work out who you are. And you do have a voice of your own.

iMaschine

More Info: http://createdigitalmusic.com/2011/10/lying-in-bed-one-take-insanely-awesome-jamie-lidell-with-imaschine-iphone/

Real Scenes: Berlin from Resident Advisor on Vimeo.

Description: 

In August, the Resident Advisor film on Detroit gave us a chance to reflect on that city’s cultural response to economic catastrophe. To talk about a city that has seen sweeping change and challenge, it’s difficult to beat Berlin. Resident Advisor released the third installment of this series in September, but I missed it as I was traveling … somewhere … and it’s no less relevant today, least of all on a gorgeous, sunny day in the German capital on the eve of the coming winter.

The creators describe it thusly:

For the third edition of Real Scenes, RA and Bench go to one of the most special places for electronic music in the world: Berlin. When the Berlin Wall came down in 1989, techno became the underground soundtrack to the reunion between East and West. In recent years, it’s become an international destination for ravers—a cheap place to party with clubs that are renowned throughout the world.

Techno has become a business in the meantime. Yet Berlin still maintains a credibility that other cities lack. To understand why, RA and Bench went to the German capital eager to find out about its unique history and the reasons behind its continued relevance.

More Info: http://createdigitalmusic.com/2011/10/a-look-at-the-enduring-berlin-scene-in-latest-lovely-resident-advisor-film/

CsoundForLive – Csound For Everyone. from CsoundForLive on Vimeo.

Description: 

With great power comes great learning curves – or maybe not. Csound for Live, just announced this weekend and shipping on Tuesday, brings one of the great sound design tools into the Ableton Live environment. You can use it without any actual knowledge of Csound, without a single line of code — or, for those with the skills, it could transform how you use Csound.

For anyone who thinks music creation software has to be disposable, you’ve never seen Csound. With a lineage going literally to the dawn of digital synthesis and Max Mathews, Csound has managed to stay compatible without being dated, host to a continuous stream of composition and sonic imagination that has kept it at the bleeding edge of what computers can do with audio.

Csound for Live does two things. First, it makes Csound run in real-time in ways that are more performative and, well, “live” than ever before, inside the Live environment. Second, its release marks a kind of “greatest hits” of Csound, pulling some of the platform’s best creators into building new and updated work that’s more usable.

If you’re not a Csound user, you just dial up their work and see what your music can do. If you are, of course, you can go deeper. And if you’re somewhere in between, you can dabble first before modifying, hacking, or making your own code. And that means for everybody, you get:

• Spectral processors
• Phase vocoders
• Granular processors
• Physical models
• Classic instruments

More Info: http://createdigitalmusic.com/2011/10/csound-for-live-the-power-of-csound-in-ableton-with-or-without-any-coding/

The Gameleste – a custom instrument for Björk from Andy McCreeth on Vimeo.

Description: 

Sometimes, images and video can say far more than words, and it’s best to stand back rather than ramble on. (Cough, ahem.)

From Björk this year has come two visions of how to make new instruments. The Biophilia software for iOS is an interactive rendition of the album. As apps, you have the curious separation of tracks into individual application icons, available as separate purchases or a bundle. But the effect is one we’ve traced for a while: the music becomes non-linear and interactive, blurring the line between recording as reproduction and dynamic instruments that can transform what you hear. Most notably, it also comes, via an update, with MIDI as observed by Synthtopia. MIDI allows you to then radically transform the output of what you get, and I agree that this is probably the first “album with MIDI output.” (The deeper question: are other sequencers in some sense someone else’s musical/compositional creation?)

More Info: http://createdigitalmusic.com/2011/10/two-visions-of-instruments-from-bjork-an-app-with-midi-a-gamelan-celeste-with-midi/