Posts in Music (20 found)
xenodium 1 weeks ago

Ready Player cover download improvements

At times, even purchased music excludes album covers in track metadata. For those instances, ready-player-mode offers , which does as it says on the tin. The interactive command offers a couple of fetching providers (iTunes vs Internet Archive / MusicBrainz) to grab the album cover. The thing is, I often found myself trying one or the other provider, sometimes without luck. Today, I finally decided to add a third provider ( Deezer ) to the list. Even then, what's the point of manually trying each provider out when I can automatically try them all and return the result from the first successful one? And so that's what I did. In addition to offering all providers, now offers "Any", to download from the first successful provider. Now, why keep the option to request from a specific provider? Well, sometimes one provider has better artwork than another. If I don't like what "Any" returns, I can always request from a specific provider. While on the subject, I also tidied the preview experience up and now display the thumbnail in the minibuffer. In any case, best to show rather than tell. Enjoying your unrestricted music via Emacs and ? ✨ sponsor ✨ the project.

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fLaMEd fury 2 weeks ago

Carl Cox On Waiheke

What’s going on, Internet? Ferry ride over, no kids. Bus to Onetangi. Alibi for a late lunch. Picanha steak with seasonal vegetables. Unfortunately, they had some type of beer shortage, so their usual selection was limited to four tap beers. I enjoyed the Ruru Hazy, even though it was a hazy. Hopefully, they have the full range available next time I’m there. The gig was a minute walk up the road at the Wild Estate . I was wondering how they would do the setup, and once I saw the fences and tents set up on the front lawns, it made sense. We got through check-in sweet as. The drinks were supplied by Pals. We grabbed a drink, my wife a Purple Pals and a Frankie’s Cola for myself. We took a short walk around the venue to get a lay of the land and found a table to sit down at. There was one person there enjoying a pizza. We said hello and sat down. Shortly after, a couple approached and asked if the seats were free. Of course, come sit down. Let’s chat. Want another drink? Sure, let’s go. Friends were made. Another couple, two friends, sat down in the remaining seats. Hi, how are you? More friends. Time to dance. We met up on the dance floor. A group of new friends dancing amongst the crowd to Nichole Moudaber before Carl Cox came on. Both sets were amazing and just what I wanted to hear on a Saturday afternoon. It’s pretty cool that Carl can play something like Awakenings Festival to hundreds of thousands of people, and then a month later play a small venue on Waiheke to a crowd of a thousand. The gig started at 3pm and went until 9pm. Perfect timing for us. We decided to skip staying to the end of Carl’s set and grabbed the 8:11pm bus back to the ferry terminal. I think we made the right call, as the next boat back to the city was at 9:30pm. Sure, we had to wait at the ferry terminal, but we were at the front of the line and got a seat right away as the boat turned up. There were hundreds of people left waiting at the terminal for the next boat. We managed to get home and into bed by 11pm. Perfect timing for a good enough sleep before kids’ activities in the morning. ← Previous 1 / 4 Next → Close ← Previous 2 / 4 Next → Close ← Previous 3 / 4 Next → Close ← Previous 4 / 4 Next → I miss nights out like these. Hey, thanks for reading this post in your feed reader! Want to chat? Reply by email or add me on XMPP , or send a webmention . Check out the posts archive on the website.

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ava's blog 2 weeks ago

album: girls by princess nokia

As I said before, I’m a lazy listener . I don’t listen to a lot of music; I often just like one song of an artist, and I tend to listen to single songs and playlists instead of albums. But recently, I finally checked out the new album of an artist I enjoy: Princess Nokia. It’s been a few months since the “GIRLS” release, but it totally passed me by until now. After listening to the album, I felt changed. Healed. It felt like a whole body experience! For once, an album that I wanna experience as a whole. I do not dare to pluck out songs from it, remove them from their context, or to play one over and over and over again. I want the whole thing, I want the experience of each song being embedded in the rest, I want to “earn” listening to my faves and eagerly await their turn. That’s a new experience for me. So I wanted to write down how the songs (except FM intro and interlude) made me feel, what moves me about them. I’ll bring up something that continues on throughout the album irrespective of specific songs: Uplifting songs, and specifically women empowerment songs are often rather… clean. They’ll talk about all their material wealth, their perfect looks, their moods and hobbies in a way that feels sanitized. Good vibes only, being confident but not too much, treading carefully, still being kind and nurturing, not pushing many boundaries, no talking about trauma or resentment, no offending anyone. There is just clean self improvement in a way that doesn't gross anyone out. They sound like “ I like myself, but don’t worry, I am not arrogant or anything, I’m not a downer and I still look fuckable in the eyes of men and will laugh at your bad jokes. ” I sometimes miss the darker, more embarrassing emotions; anger that doesn’t feel watered down, accusations that aren’t sugarcoated, beauty that doesn’t hinge on heterosexual performance. Grossness, imperfection, self-isolation that isn’t depressed or sad, a vibe that doesn’t feel like a curated version of the Manic Pixie Dream Girl. Songs that treat women fully as people with all kinds of uncomfortable edges and unreasonable feelings, not just advertising space, a decorative item, a housewife, the main character’s development, and a hole. Things that are embarrassing, that the world heavily wants to police you for. You are always supposed to forgive and forget, to be relatable and put others’ needs first, to be the bigger person and give in. You’re supposed to read everyone’s mind. You’re the homemaker. You’re supposed to wear eyeliner “ so sharp it kills a man ”, but do it for him. You can sing about getting all the guys and driving in your sports car, but it has to feel like a persona, a trend, an act (not real), a revenge on rap music, and you have to still shake ass for them. You’re defiant, but you're so palatable. Queer art and sexuality feels different, more free, less in this box. Your body is sexy like it is, but not because it is contorted and watched. There’s more room to be evil and disgusting, your worst instead of best version. The mainstream empowering songs can feel like you’re only your “true” self when half of your humanity is missing; you love everyone and not take anything personally and are above everything, and every struggle is already therapized, processed, and neatly packaged up into a relatable lesson for everyone’s consumption, with an unspoken vow to never do it again. Not here, at least in the beginning. We are in the struggle, we are holding grudges. We know healing isn’t linear, and indulging in our worst thoughts and re-entering some grief and anger about what happened to you every now and then is normal and healthy. The vibe is eerie, it’s deep at night, the wolves are howling. We’re up late, we’re sick with anger, we can’t and don’t want to sleep. Girlhood is a spectrum Pretty is destruction I just fell from grace And I made it into something Everywhere around us, we’re inundated with beauty ads under the guise of self care. Put on all these products to become happy and look your best, queen! Not doing this is so slob, so bedrotting, so depression. Have you done your morning shed? Your 5 minute gratitude journaling? To be a woman, you have to take care of yourself, be in your feminine era! I enjoy using some products to make me feel good and affirm my gender - that’s not a crime! But the goalposts keep moving, more and more products are presented as staples, and getting started with a routine feels overwhelming. Do I do it for me, or for you? For us? I nick myself while shaving my leg and bleed, and waxing hurts more; my trash can is full of sheet masks, and we’re all scrolling while the conditioner does its magic. The hair gets tangled up anyway, hurts while brushing. It mats in the neck while you’ve called in sick due to cramps and you keep rolling around in bed trying to find a comfortable position. Everything we carefully draw on our faces gets demolished again, every acrylic nail fades into dust, and there’s a callus where the nail tech hits your skin with the e-file. It's two-fold. What makes you pretty can also make you a target and bring you destruction; the attention of evil people, jealousy. Now I'm fucked up and I'm bended If only I could understand the reason for my crying If only I could stop the fear of dreaming that I’m dying This is also partially a quote from Jennifer Lynch from The Secret Diary of Laura Palmer. What bends can snap. Every time I know it’s coming, every time I think I am prepared, but I’m not. The feelings overpower me, but why am I so sad? Why does everything seem so dark and hopeless? Why does my mind wander to worrying about terrible events and tragedies? Why do I simultaneously want to kill myself and fear I won’t wake up again tomorrow? Even a look in the cycle tracking app doesn’t make that go away. I have to wait for it to pass and trust that this isn’t the truth. This is for my rapist And all of my abusers You may have all the world fooled But I see right through you [...] I've been a statistic, and everyone ignored me [...] But I am a girl, so they hate my fucking guts They tell me I ain't shit And that I fucking suck If I was a man, I would get away with murder But I am a girl, so I have mental disorder So many like me have coped by directing it all against themselves. The outside world can’t be reasoned with; they’ll blame you, they won’t believe you, they’ll make themselves out to be a victim because your criticisms or accusations made them feel bad. Every time you try to fix it or extend an olive branch, the other party stomps on it and the situation gets worse. So you comply, you grey-rock, you plan your escape, you write it in your journal, you daydream about a different life. You starve yourself, you overexercise, you cut and you burn, you give yourself a bad haircut at 3am, you spend money you don’t have to make yourself happy, you numb yourself with the benzos you got your your anxiety. You do everything but not punch their face, scream at them, or give them the silent treatment, because if push comes to shove, you. will. lose. You are dependent on them and their approval. Everyone who feeds you can also starve you. It also reminds me of the Ashnikko quote " God made me pretty, you made me mean. " I am very girly And also very violent The juxtaposition of girlhood and violence makes the final girl so compelling. The final girl is a woman who is the sole survivor of a group in (usually) a slasher film, who are chased by the villain. She gets the final confrontation with the villain and often ends up killing him. Final girls tend to be very beautiful and have a certain aura, an implied moral superiority through refusing certain behaviors or acting "like a lady". I’m past my expiration date He called me damaged goods I’m the rotten fruit Low hanging in the woods How dare you weaponize my looks? I’m a bad bitch You’re impotent and bald We all know why you’re angry You’ve hit the wall, they say. 30 year old women are ancient. Your life is over. You are undesirable. If no one chose you by now, there’s something wrong with you. Even if you tried getting with people, each relationship was one too many; now you’re a whore. You’re easy. You’re the last option. You are not allowed to have standards, be happy someone picked you at all. Make it work with them no matter what. Never be mean to him back! If he acts out, that’s your fault. Stop expecting anything of him, stop nagging him, stop being such a bore and a prude, stop bring slutty in public. Why can’t you be agreeable? Why can’t you maintain your body in a pristine condition? Who wants you with a buzzcut and your blood and sweat? It’s a projection. The people throwing these things at you do not age well either and are afraid of being alone. Manipulating women with kindness is such a sin to me Premeditated You pretend to be a friend of me And rip out my wings while I’m sleeping You’re fucking dead to me I remember the time when my friendships with boys started to transform in early puberty. They suddenly acted odd. They weren’t carefree and silly anymore, but more macho, sarcastic, weirdly flexing. It’s like they went from being a person to being the image of a gender, forcefully. They put on a mask and looked at me differently. Now hangouts became unsafe. Every conversation could send the wrong message. I was now expected to do the work of managing these hormonal moods around me, juggle everyone’s feelings, and fawn. Make people comfortable. Reject them, but not too much, and not in a way that would hurt them so deeply that they’d retaliate physically or by spinning up rumors. But you first have to learn that, so by the time you’re 16, you know that in the eyes of others you are simultaneously ugly and fat but also a slut, and everyone whose romantic interest you had to handle like a fragile flower and spend nights worrying about allegedly didn’t want you anyway. Friendship destroyed. But some are more sly than that, and that’s even more painful. They’ll strike when you least expect it and disarm you with kindness and safety before you know what’s happening. They wield your connection like a sword. He’d never do that; that was probably unintentional; he didn’t mean it like that; he just needed some support in a stressful time; I must have sent mixed signals; I didn’t say no, so it was my fault. My friend’s brother went and did some weird shit Do I tell her Or keep it to myself? Is it common? Does she already know now? If I told her, I think she’d be embarrassed I think about it and all the girls just like me I dance around it ‘cause I don’t wanna hurt her This is what keeps rapists and similar folks so protected in our society; they’re embedded in the systems we rely on. Not just emotionally, where they have the potential to destroy our friendships. They’re your coworker, and you don’t wanna create a weird environment at work (even though they did), or they’re your boss and you need that promotion; they’re your grandpa, your uncle, your older brother, and you’d make everyone sad and split the family, ruining the family get-togethers (even though they did). The common solution once again falls on the girl. She will suck it up, she will keep it a secret, she will direct the anger against herself and protect everyone else from seeing it. Succubus male demon I know what you did I know what you did I know what you did But the mood begins to lift. We got the pain and crying out of our system. Our pants are stained, our beds are messy. It’s laundry day. We kill ourselves a thousand times in our head, but now we’re better, we reemerge on the scene. The vibe is hopeful. Now we want it all and we don’t mince our words. Eat your heart out, cunt I’m holding nothing back Of course I’m wishing death on you I hope you have a heart attack Sorry, did I do that? I have not one remorse There’s a pivotal shift in your life, maybe because of therapy, when you stop internalizing everything and directing everything against you, no longer taking on the blame for everything and denying your own feelings. The time of making amends towards these people and prioritizing their comfort over yours is over. Now you let them know. You have become independent, you have a backup plan, you’ll make your escape. You’ll give them a piece of your mind. You allow yourself to have these dark thoughts and wishes that you have always swallowed and pushed away. You own it now. “ I’m a bitch? Okay, I’ll be that. ” You’ll get called mean for things men pat each other on the back for. And I’d rather be seen as arrogant while I love myself, than being seen as arrogant for self-isolating and sitting in the corner with a resting bitch face because I’m nervous, insecure and just want to hide. I heard I’m a fucking cunt I know I’m a fucking bitch I’m judgmental, mean as shit My autism make me tick This song makes me cry. The longing for a girlhood like the movies and TV shows depicted is as much as I memory as the real girlhood we lived. We searched for it and saw glimpses of it in the cherry-flavored glitter lipgloss we put on at 8 because it was included in some horse magazine for girls, the short skirts we aspired to wear while we played browser dress-up games at 12, or in the iced latte we got at Starbucks at 15, feeling like those Instagram girls older than us. Lemon girl, kiss, kiss, she's so sorbet Lip gloss, glass skin, and a doll-like face Bows tied, mini skirt, skirt, skirt, ballet Iced chai, stardew, internet cafe I like that this song doesn’t feel rooted in the past or too nostalgic; it still mentions more modern elements of girlhood of the girls growing up right now, not just the singers’ upbringing - like Chappell Roan, glass skin and matcha. Things change, but some things stay. The core is the same. The yearning, the collage of all these things we want to be, the Pinterest boards, the feeling of what it is like to enter puberty or be a teen, or your “second puberty” in your 20s. The idea of sleepovers, the stereotypical cliques, Mean Girls, giving the other girls gum or your Labello in class, strawberry cented paper or pens. Even if we didn’t live it, a part of us wanted to. So badly. And even just listening to songs that have this vibe feels like a throwback to that time where we thought this was in the cards for us. It's so healing, even when older, to occasionally do these really girly nights for you. Make your phone pink, add glitter, wear something pink, play a browser game again, add charms to everything. It's going to be alright. Brow tint Lash lift Nails done Life’s great In the first song, pretty is destruction . But here, it’s also self care, a way to feel reborn, make yourself feel good. Beauty rituals and feeling put together gives us a little boost. It’s affirming, it’s relatable, you’re in the in-group. No matter other disagreements or differences, stuff like this is what can transcend barriers between women, in a way. Even if the beauty standards themselves or the procedures and rituals differ, we share in knowing how it feels. It’s a gift and a curse; on one hand, strutting down the street feeling your best after getting your nails done, but also having phases of wanting to do away with all of it. It costs so much time and money, and is it feminist? Is it not? Who am I really doing it for? Would I do these things if no gender roles and beauty standards existed? The feelings around it are messy. Can you truly own something, make it yours, do it for yourself if it is so mandated? We try. I’m in love with her See myself in her Think I know that girl I’m in love with her See myself in her I think I am that girl This piece makes me feel warm and connected to any woman, no matter the age, upbringing, or the time when she first started pursuing womanhood. It makes me recognize myself in every woman, and recognize them in me. It also makes me proud of everything that I have already achieved and look forward to achieving more. I simultaneously feel like the little girl I was, and the protective adult woman I am, and the motherly figure I needed. I want to give all versions of me a deep hug. I know everything I admire in other women, I also have in me. God, boys are so out Girls are in, girls are in And I'm obsessed with them, I love everything about them Their hair, their nails, their accessories Their poetry, their songs The cherry girls, the latte girls, the lemon girls, the coconut girls, the tropical girls The girls who get it, the girls who don't get it The girls who rot in bed all day, the girls who get up and go to Pilates and yoga Like, I'm somewhere in between both of them and I just love it I love being a girl, there's nothing else in this world I'd want to be Do you know what I mean? This is the power song. The song to put on at the gym, the song for getting ready to go out, the song for strutting down the street in the summer in your best fit. The kind of song that makes you think of music videos showing moments of parties and jumping into the pool. The song for when you are sick of the sad songs after a breakup and start to own singlehood again, feeling relief and contentment with it all. Acceptance. A way forward. A little manic. Girlhood, girls bleed Mean girl, girl fun Girl books, girl code Girl hate, girl love Free the girls Hope they all get divorced It’s time to shock yourself awake, remember you have free will, do some daring stuff, reinvent yourself. What does the average common man have to reinvent himself? A new car? A change in beard style? Going bald? But you . You have everything. New makeup, new nails, new haircut, new hair color, new style, new clothes, new bags, new rings… even plastic surgery, if you want. New aesthetically pleasing home decor where his shit used to be. It’s a new chapter. Drop dead gorgeous Scream queen fun Beauty pageant killer She's the one It continues with a similar vibe: This song makes me feel like an it girl, a red carpet girl, a girl hunted by paparazzi. A girl dressed by Chanel and other luxury brands. The kind of super model that is inexplicably always somewhere in France. Once again, a nod to Gossip Girl (which I still have to watch!), what seems to be a staple in many teen and early 20s women's lives. This one is kind of the weakest song for me on the album, but still enjoyable. It feels like a breather in-between; just a nice imagery about loving the sea, craving the beach and feeling like a mermaid; beautiful, mysterious, a siren. My favorite on the album, and the second song to make me cry. Sound-wise, it’s very clearly inspired by, and a nod to, Lana Del Rey, who was also mentioned in a lyric in Drop Dead Gorgeous (“ Lana del Rey, side of fries and a Diet Coke ”). I first thought Lana had a feature on it, it’s that close. Tired of surviving, I just wanna live White picket fence with no man and no kid Love is romantic, I know that it is Love by myself is the love that I give The track fills me with hope for my future, that I can make it, that I can create the life I want for myself and the ones close to me. That even if everything goes wrong, I’ll still have the love I give to myself. Our wishes sometimes get distorted, we get influenced by marketing or the goals of others and wonder: Am I asking for too little? Should I aim higher? Am I a fool for wanting so little? If I reach my easy goals, what then? Am I missing out? The most peace we can give ourselves in life is to be happy with little and having the appropriate amount of gratitude towards the things we already have. You can aim high, but you can always be happy with less. Isn’t all that we want some damn safety, getting out of the stressful areas, some time with loved ones and ourselves, and time for our hobbies? Green juice, Bling Ring Soft girl life, take it easy Pink room, pink clothes Brand new house, Pink Bronco I remember being a teen and imagining the life I’d live once I moved out. Not just the aesthetic of the furniture, but how the fridge would be sorted and how my clothes rack would look. Always having fresh flowers on my desk. Hanging out on the balcony in the summer. A whole apartment to myself, not just a room that felt like it was rented from a parent. I’ve been out of my parent’s home for close to a decade now, and the dreaming continues; now about living in a different city, closer to friends and family, in a bigger place, with my wife. I have outgrown the person I was when I moved into this apartment. Back then, I was recently broken up with, in the middle of a traineeship, not earning much, financially reliant on parents, and it was my first own apartment. I was very frugal, modest, minimalist and very attached to an all-white, empty home. I swore never to move in with anyone again. But I have changed, and my needs have too. Nowadays, I work full time, I am no longer reliant on anyone financially, I am halfway through a degree, I got more qualifications and I am married. I welcome color now, textures, a bit more decoration, less sterile. I’m willing to let someone in, to live with someone again, to share a space. I want character. It’s time for a new chapter, to build something together. It has manifested in the desire to sell a lot of my furniture and get new one with my wife at flea markets, antique stores, and eBay. I am willing to let go of who I was and embrace my new goals, my new perspective and new life. I wonder about the room we’ll paint pink in our new place. This song reminds me of what I’m doing it all for. My pink Bronco are the degrees I want, the job I want, the home I want, the entire life I want. After everything I've been through, and all the hard work I put in, I deserve it. I want pink diamonds, pink flowers, pink sand Took off my hair and rolled in the sand Starting life over, it's my second chance Packed up my suitcase and never looking back I'm standing firmly, the past is the past Well, pink is forever, at least in my head I had to actually research who that is! She’s an influential fashion designer, and her current fashion brand also bears her name. The song is filled with references to powerful and influential women (real and fictional): Phoebe Philo Joan Didion Emily Dickinson Chloë Sev (= Chloë Sevigny) Beth Dutton Maxxxine (reference to the movie with its character Maxine Minx) Suspiria (reference to the movie its character Mother Suspiriorum) It’s clearly a girlboss-fantasy (“ I’m dodging taxes babe ”). I never thought I’d miss the boss babe era of online content and that stream of feminism, but now that influencers have shifted into romanticizing being a SAHM and tradwife, I kinda do. The lyrics and beat remind me of The Devil Wears Prada somehow; I think of Meryl Streep as Miranda Priestly. It makes me feel as if I’m walking to my luxurious fashion industry job, wearing a fashionable long coat, some heels, and huge sunglasses with a fitting fancy bag. This is more like Princess Nokia’s previous albums (especially Everything Sucks ) both the sound and the lyrics. It’s rap, it’s competitive, it’s Sugar Honey Iced Tea and It’s Not My Fault . It's a message to people that love to see you fail, that doubt you, that are jealous. There's a difference from a star and a girl in a moment Half of y'all is temporary and you don't even know it You had your fifteen and I seen that you blown it My bad, I had to show it, I think you had to know it The song, and therefore the album, ends with a little message I can relate to, applied to me and my circumstances. I’ll let it close this blog post, too. I finally understand myself and my process And I respect everyone, but I know myself best And I don't like working with writers I don't like working with a lot of producers The formula to my success is silence, isolation, stillness My talent is best suited in that environment I know what works and I know what doesn't work I know what I like, who I like, what I want to make And everyone who works with me, they respect me They don't question it, in fact they encourage it And yeah, I wrote this entire album by myself in a span of one year And I had the best fucking time and it's the greatest album I've ever made So I know what I'm doing I trust my process Reply via email Published 10 Feb, 2026

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fLaMEd fury 2 weeks ago

The Summer Took Hold

What’s going on, Internet? I was going to have this post as the December wrap up post but the summer took hold of me and here we are at the end of January and a week into Feb, lol. December kicked off with a Tuesday night gig, Lewis Capaldi At The Spark Arena , a fantastic show. I finished off a post about what music ownership means to me , I was happy to get that one out of drafts and published. Then we were straight into finishing up work for the year and I took some time to reflect on the beers I drunk , the books I read , and the music I enjoyed throughout the year. Christmas was an exciting time. With a four year old and a two year old we were in full hype mode. I also got into the hype and had a blast. We had a pre-Christmas lunch at my brother’s place with his family and my parents, two days of work and then straight into Christmas Eve prep which we had at my parent-in-law’s place with the kids, their aunties and all their grandparents. They actually managed to go to sleep and woke up super excited and we got to do it all over again on Christmas Day. I braved the mall on Boxing Day and managed to pick up the last copy of the 2025 Indie Store exclusive re-issue of Get Rich Or Die Tryin’ pressed on red vinyl. The mall itself wasn’t too bad, but the traffic into the mall was horrific. Worth it though. With Christmas out of the way we had a couple days down time before we started our road trip down south. This was so much fun. Our end destination was the Marlborough Sounds, and we broke the trip up into stages so we could explore some of the country and also make sure that the kids weren’t stuck in a car non-stop for days on end. On day one we headed to the Hawke’s Bay via Orakei Korako Cave & Geothermal Park . We stayed one night in Havelock North and visited the national aquarium in Napier before continuing on to Martinborough where we spent two nights. The kids got some grandparent time and my wife and I managed to head over the hill to Wellington to catch up with some friends. On New Year’s Eve we packed up the car again and made our way with the kids to the ferry terminal in Wellington to cross the Cook Strait and make the drive to a remote part of the Marlborough Sounds . After four nights down there enjoying the remote tranquility of the top of the South Island, we headed back to the ferry terminal in Picton to catch the boat back to Wellington and drove straight back to Martinborough for a week of working remote rather than cutting the road trip short. We then packed the car up for a final time and made our way back up north, back to Havelock North again for one more night. Before heading north again the next morning we took the kids to Splash Planet and had a fun time in the water and playing mini golf. We stopped off in Hastings for some ice cream before heading back to Taupō where we stopped off at the Hooker Falls and Cobb & Co for dinner. My wife and I have great memories of family dinners and birthday parties at the Cobb and were hoping the kids would have a blast, but I think they were over it and were just tired. Luckily it was only three more hours back to Tāmaki Makaurau so I made the drive home while the family slept. Then it was back home to unpack and get back to the reality of the weekly grind of school and work. What an epic road trip though. I look forward to more of them, and they’ll only get better as the kids get older. I’ve been watching a lot of great shows recently, old and new. I saw Tulsa King on Cory’s website, gave it a go and ended up watching the entirety of season one over a couple days. I’m going to get right onto season two as soon as I can. The second season of The Vince Staples Show was like a fever dream. Short episodes, easy to watch. My favourite universe, the Power Universe had season three of Power Book IV: Force on the screen and I loved it. It’s so over the top and the premise is wild. Great end to the series and looking forward to Power Book Legacy! I watched all four episodes of Sean Combs: The Reckoning - it really shows what a psycho that guy is. The fourth season of Industry has started and I’m watching my way through that, I have no idea if I actually like this show anymore - it’s kinda fever dream like itself, but I’ll keep watching it. Shrinking is back for its third season. And finally A Knight of the Seven Kingdoms started, I loved the books and I’m loving this show. Set a hundred years before the events of A Song Of Ice And Fire, it’s a bit more lighthearted and funny than Game Of Thrones was. Been a good run of movie watching over here recently. Partly due to Mr 4 taking more of an interest in them. He’d been coming home from preschool talking about KPop Demon Hunters , and we’d been listening to the music and so we sat down and watched the movie together one afternoon. I really enjoyed it. He did too. He’s also been into Paw Patrol recently so as a treat he’s been able to watch some of the Paw Patrol movies starting with PAW Patrol: The Movie , which I also ended up really enjoying. Surprising at the big names doing the voices. Totally different to the budget voices on the Tonies 🤣 So yeah, the movie was really good, although he got quite upset when Chase lost his confidence. It was cute. Christmas was also a bigger than usual thing in our household this year and so on Christmas Eve we all sat down together and watched Home Alone with him. A fun movie which he enjoyed, and maybe laughed a bit too hard at parts. When the kids did eventually go to bed I enjoyed the annual screening of The Guardians of the Galaxy Holiday Special . During the roadtrip we stayed at a motel on the way down south and we took advantage of the yearly screening of Grease - one of my all time favourite movies. After the kids sleeping for hours in the car we knew they weren’t going to bed easily so we had a family movie night. Grease isn’t a kids movie, but it’s also quite tame compared to movies today. I enjoyed it, they enjoyed it and we all had a good time, and they eventually went to sleep. The other movies I enjoyed were Woodstock 99 which dove into the absolute state of the 99 Woodstock festival and how it eventually turned into what it was. What a shit time that would have been. On the lighter side I enjoyed Good Fortune and then Shithouse , which has a shit name, but explored the isolating side of social interaction. Eleven records added to the collection across December and January. A lot of anniversary editions and special pressings landed on the shelf. Here’s all the posts I enjoyed recently. You can check out more over on the Bookmarks archive. Shellsharks is back and publishing Scrolls again so go check that out. Hyde is still publishing his Over/Under series and has just published issue #50 with Bobby Hiltz . I really love the way Hyde personalises each Over/Under interview with his guest - it makes for an interesting read and shows that he does go out of his way to read their websites. xandra has also just dropped the Autumn/Winter 2026 issue of Good Internet magazine. I can’t wait to get stuck in and read all the new articles while I wait for my physical edition to arrive. Plenty of hacking on the website over the break. I’ve been messing with the homepage layout. I’m still not entirely happy with the bento, but it’s fine for now. I’ve added a “Stuck In My Head” section that highlights the six most played songs from last.fm . I’ve also moved the webrings into the bento and revived my buttons collection - I’ve got more to add here later. I’ve started adding garden indicators for living posts that I intend to keep working on over time. I will eventually create a /garden/ page to list these pages for easy browsing. I guess that tag page serves that purpose at the moment. Along with that I think I’ve improved the post metadata on each post that helps tell the story better with category, tags, and dates. Let me know what you think. I spent some (a lot) of time unifying the look and feel across Beer Fridge , Recordshelf , Bookshelf , and Comics pages with cleaned up CSS and introducing a common layout for the stat cards. That damn comics page needs a lot of work. This update was brought to you by Girl in Stilettos by Annah Mac Hey, thanks for reading this post in your feed reader! Want to chat? Reply by email or add me on XMPP , or send a webmention . Check out the posts archive on the website. App selection criteria - Cory Dransfeldt on his criteria for choosing apps. Delete Spotify? Sure, But Don’t Just Replace it With Another Subscription - Stephanie Vee on thinking beyond just swapping one subscription for another. Why RSS matters - Ben Werdmuller on why RSS still matters. What happened to the comment section? - The History of the Web looks at what happened to comment sections. Three Predictions For The Web - Three predictions for the future of the web. IndieWeb Carnival December 2025 – The IndieWeb in 2030 - The Frugal Gamer hosts the December 2025 IndieWeb Carnival. Static sites killed the blog comment star - Did static sites kill blog comments, and can old tech bring them back? An Island in the Net in 2030? - Khürt Williams imagines the IndieWeb in 2030. Drinking The Largest Beer At The Airport Makes Everything Better - A celebration of the airport beer. Backing up Spotify - How to back up your Spotify library. 30 Years of br Tags - A look back at 30 years of the humble tag. Looking beyond collective blogging - V.H. Belvadi looks at what comes after collective blogging. Readers, writers and blogging ethics - On saying what you mean and being damned. How and Why Do I Blog? - Reflections on the how and why of blogging. Building an IndieWeb house (I): introduction - Starting the journey of building an IndieWeb house. The IndieWeb Doesn’t Need to ‘Take Off’ - Susam Pal on why the IndieWeb doesn’t need mass adoption. Experiences with social medias - Reflections on experiences with social media. Writing Hyperlinks: Salient, Descriptive, Start with Keyword - Nielsen Norman Group on writing better hyperlinks. Why 90s Movies Feel More Alive Than Anything on Netflix - Why 90s movies hit different. You should start a blog today - A nudge to start blogging. Self-hosting versus lots of small indieweb providers - The trade-offs between self-hosting and using small IndieWeb providers.

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Andy Bell 3 weeks ago

I listen to a lot of I Prevail

I only discovered them in July 2025 and I’ll let this last.fm chart do the rest to illustrate the point. I think this chart sums me up as: Anyway, I think they rip. They’re a bit cheesy, sure, but this record especially sounds massive , so if you’re into metalcore etc, give ’em a try.

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Preah's Website 1 months ago

Grandmaster II Released

Today I received the email from Bandcamp that Grandmaster II was released . I believe this is their second full album, besides the live album. I've been listening to it today after purchasing it and the vinyl on Bandcamp, and already love it. Just as great as the first album. I first learned about this band when I was at an eastern-style teahouse I frequent in Austin (gong-fu method tea) called West China Tea House . Their music was playing in the background, and the server was saying how it's her boyfriend's local band. Then, I found that the lead singer, the boyfriend in question, was sitting next to me this whole time. We talked about his band, and my fiancé especially enjoyed talking music since he has his own band, albeit a hobby one. They both share a quirky sort of "roleplaying" aspect for their bands, although I think my fiancé's band is a tad less serious. The Galacian Web, a vast system of universes, each one containing a realm unknown. Within this web lies an intergalactic traveler of time and space. He has made a name for himself collecting sacred artifacts across the lands of gods and men. Many call him The Grandmaster . He is a lord of both chaos and order. He has endured the grand stare of Alutian, The Holy Star. He has held The Holy Flame of Titunus. But most of all, he has written the Sacred Prophecy; an ancient text containing all that he has witnessed. After traveling for centuries, he finds himself in a new realm known as “Earth”. His journey is far from complete, but in order to finish his quest he must first gather the minds of the faithful. He must pass his powerful knowledge onto the Loyal Zealots of The Grandmaster . — " Meet Austin’s grooviest intergalactic-musical cult ," KUTX The article from KUTX then explains that the band was inspired by a scammer who called himself Grandmaster. The lore only bubbled up from there. I love all their music, and have it all downloaded. Never been able to attend a live show due to my distance from Austin, but that would be nice someday. I recommend checking them out. Subscribe via email or RSS

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Brain Baking 1 months ago

Keiji Yamagishi's Retro-Active Was Last Year's Most Played Album

Fans of retro games will no doubt recognise the name: the Japanese video game composer and programmer Keiji Yamagishi is famous four his work on Ninja Gaiden and many other great (S)NES soundtracks during from tenure at Tecmo. Yamagishi-san moved on to produce his own chiptune music together with Brave Wave Productions when the gaming industry moved on from composing music in only eight bits. His 2015 solo debut duo album, Retro-Active Pt. 1 and Retro-Active Pt. 2 has been on the daily playlist ever since I bought it. I’m a sucker for 8-bit chiptunes neatfully mixed together with contemporary beats, which is exactly what you’ll be paying for here. The first track on the first part, aptfully called First Contact , is enough to give you a taste of what you’ll be in for: It doesn’t stop there: Yamagishi-san collaborated with multiple other big hitters from the (retro) video game music world, such as Manami Matsumae (Mega Man, Trip World, Derby Stallion, …) and Ryuichi Nitta, his trusty co-composer who also worked on Ninja Gaiden. It’s best to let the music do the talking here. If the first track from Pt. 1 hasn’t convinced you, perhaps the first track from Pt. 2 , Thought Police , will: I also love the album cover art. If you simply can’t get enough, there’s a remixed version Brave Wave also put out that I have yet to discover. As always, both albums are available at Bandcamp. It looks like Keiji Yamagishi released a third related album in 2019 called The Retro-Active Experience which is a compilation of the first two and a few remixes. That’ll be my reward for writing this and searching for the accompanied links. A quote from a random review left behind on Bandcamp: “Yamagishi is a living legend.” – CHIPTUNES WIN, Glenntai Happy Saturday! Related topics: / music / By Wouter Groeneveld on 24 January 2026.  Reply via email .

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@hannahilea 1 months ago

Ensembler: Swipe to match with musicians near you!

An app for building community through playing music, one ensemble at a time. Meet your musical neighbors and make some noise

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Martin Fowler 1 months ago

My favorite musical discoveries of 2025

My favorite albums from last year. Balkan brass, an acoustic favorite of 80s returns, Ethio-jazz, Guatemalan singer-guitarist, jazz-rock/Indian classical fusion, and a unique male vocalist.

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flowtwo.io 1 months ago

Stuff I Dug in 2025

The end of the year provides an opportunity to look back on all the media and entertainment I enjoyed over the last 12 months. I like taking some time to reflect on what had an impact on me, and why I liked it. It's fun to do during the holidays when I generally have more free time to write. So without further ado, here's my favourite music, film, and TV from 2025... Speyside is off of Bon Iver's 2025 album SABLE, fABLE. It's a relatively straightforward composition—just an acoustic guitar, some violin, and Vernon's soft vocals. But the lack of elements allows each one to stand out and add exactly what it needs to the sound. Each twang of the guitar rides along with Vernon's crooning in beautiful harmony. And small breaks, the sonic negative space, gives breathing room for the lyrics to sink in. A minimal masterpiece, in my opinion. I've been a fan of Milky Chance since university. Their first big hit, Stolen Dance , was one of my favourite songs back in those days, which was like...2013. Damn. In the (many) years since, this German duo released several more albums and EPs. I've always found a few tracks on those releases I liked. Their sound has stayed consistent—spaced-out, electronic folk rock. It's funky and easy to get lost in. Their latest release, Trip Tape III , is a continuation of their Trip Tape series. As the name implies, they're mixtapes instead of a proper album. They contain covers, unreleased demos and original songs all blended together into a perfect lazy-day-on-the-beach soundtrack. Or a summer road trip. Or playing pickleball with your Uncle. Whatever it is, they make good vibes. I had Trip Tape III on repeat for months this year. I love Camouflage , Million Dollar Baby , and Naked and Alive —all standout tracks for me. So for this stellar mixtape, and for continuing to deliver these upbeat indie vibes for over a decade, Milky Chance is my artist of the year. First off, this guy's name isn't Barry, it's Joshua Mainnie. Secondly, I'm unsure whether he can swim or not. But what I am sure of is his ability to make incredible dance music. Barry's—err, Joshua's —first album, When Will We Land was a launching point for his career (no pun intended). It received praise for the vibrant, "organic" sound superbly crafted by Mainnie. It's upbeat, unruly and has plenty of variety. Barry Can't Swim released his second album, Loner , this summer. It's reminiscent of his first album in all the right ways. Samples, beat patterns, and instruments all layered into an evolving melody that blends seamlessly as the album plays out. It's all danceable but feels very raw and emotional at the same time, probably because of the heavy use of vocal samples. Loner opens with the insanity inducing The Person You'd Like to Be , a sort of sonic ego trip that includes positive affirmations from robots and drawn out chords that sound like sirens. But after this crazed start, Mainnie takes us on a ride to a daytime dance party. Kimpton is bouncy and bright, complete with horns, steel drums, and some sort of chanting chorus. Things start to mellow out near the end of the album— Like It's Part of the Dance is a favourite of mine. I watched Past Lives while on vacation last February. I'd heard good things about it—it premiered in 2023 and received lots of praise, including Oscar nominations for Best Picture and Best Original Screenplay. It was one of those stories that leaves you with an odd nostalgic feeling afterwards, and not only because it's a story about childhood love. It's also the way the movie is structured; It takes place over 3 periods separated by 12 years in between: 1999, 2011, and 2023. Thus it provided a bird's eye view into the main character's life at these different stages. You see how she grows up and how certain paths she takes have ripple effects years into the future. It all just made me think about about quickly we age, and how our life will only ever play out once. I also appreciated how un-Hollywood the story was. It doesn't end with any grand gestures or dramatic rekindling of a childhood love. It ends very realistically, just a quiet goodbye between two friends and an acknowledgement of life's what if's. Life will take you in many directions but you'll always carry your memories (or, past lives) within you. Okay, so I first watched Blackberry back in 2023 when it came out in theatres. But I re-watched it earlier this year, so it still counts. Matt Johnson is a Canadian director best known for his television series Nirvanna the Band the Show . It's a hilarious mockumentary series that stars him and co-creator Jay McCarrol conspiring to get their band—named Nirvanna the Band —a gig at the Rivoli. It's one of my favourite TV shows of all time. Not just because of it's hyper-local setting and comedy, it's also a uniquely funny show. Blackberry was Johnson's "breakout" film in the sense that it was his first with a multi-million dollar budget. It received critical acclaim and numerous awards at the Canadian Screen Awards. And rightly so, because it's a masterfully executed film. Johnson carefully interweaves his signature fast-paced comedy into a real story about the rise and fall of one of the landmark technologies of the 21st century: the Blackberry. It was dramatic, nerdy, and seriously funny at the same time. just casually showing up for your movie premiere in sweatpants and a Jays T-shirt In 2025, Johnson premiered his next film, Nirvanna the Band the Show the Movie —a spiritual successor to the TV show. I unfortunately haven't seen it yet; I'll have to wait for the theatrical release in early 2026. I really appreciate Johnson's love for his home and how he stays true to this in his work. He wants to change the idea that Canada is just a cheap place to film American movies and TV. It's also a place with it's own stories; stories that deserve to be told. I'm looking forward to seeing what Johnson will sink his teeth into next. I read he's directing an Anthony Bourdain biopic and a Dungeons & Dragons movie. I didn't watch too many documentaries this year to be honest. In any case, my selection for the most impactful documentary I watched is The Present . And fortunately for you, it's available in it's entirety on YouTube. It's a short, but beautiful film about Dimitri Poffé, a young man from France who was diagnosed with Huntington's disease in his 20s. The documentary follows Dimitri's bikepacking journey across Central and South America in an effort to raise awareness for the disease. As a novice bikepacker, the premise was enough to hook me. But it turned out to be much more than just another YouTube bikepacking recap. Overlaid with an incredible monologue from Dimitri himself, The Present focuses on time, and specifically the time we have here on Earth. What we can do with it and what we're capable of. It was really moving and sad at times, but ultimately it delivers an important message that anyone could benefit from hearing. Adventure becomes a way to feel truly alive. It becomes a way, even for a moment, to stop the ticking clock of life — Dimitri Poffé I'm not finished Demon Slayer yet, but this has undoubtedly been the most entertaining TV I've watched all year. Normally I'm not a huge fan of Anime, but I decided to give this show a try based on a recommendation from a friend. Demon Slayer is an adaptation of the Japanese manga series of the same name, published between 2016-2020. The anime is a few years behind, so it only concluded in July of this year. It's action-packed, it doesn't take itself too seriously, and the art direction is wildly creative. Demon Slayer takes place in a fantastical version of Japan full of demons and demon slayers, all of whom have a flair for the dramatic. If you're like me and haven't watched much anime, then the dialogue might throw you off a bit. It's very...explicit. Every character states their intentions and actions directly, either out loud or as an internal monologue. It can sound a bit melodramatic at times. Overall—it's a really fun show to watch. only downside is Zenitsu is the most annoying character on television Seth Rogan's The Studio was a rollercoaster ride of a series. The concept is probably the easiest thing to get greenlit from a studio, Hollywood loves a show or film about itself. The cinematography stands out for me; the show is mostly composed of long running shots and dialogue driven scenes. And it moves along at a breakneck pace—always tense and on the verge of collapse. This makes for good comedy albeit with an elevated heartrate. I also loved the music in The Studio . The show uses an original score of mostly drums with only small flourishes from other instruments at key moments. This percussion-heavy soundtrack complements the show's pace and emotionally-charged dialogue so well. Episode 2, The Oner , exemplifies all the best aspects of The Studio . It takes the extended shot theme to it's extreme by filming the whole thing as a single shot. Not only that, the episode is about a movie set where the crew is attempting to film a single-shot sequence. So it's all very meta and self-aware. It's completely unhinged and disastrous due to Rogan's character (the studio executive) trying to be helpful but accomplishing the opposite. It also establishes the kind of person he is for the rest of the series—idealistic, friendly, but lacking self-awareness. It's hilarious TV, give it a watch if you're looking for a laugh.

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Ankur Sethi 1 months ago

I'm not listening to full albums anymore

In the last few years, I’ve lost my appetite for discovering new music. The main reason is that I’ve focused on listening to full albums for most of the last decade, but increasingly I find it irritating and anxiety-inducing to listen to albums from start to finish. I’ve been reading/watching music reviews online since my early twenties. In this time, I’ve also been part of a number of music communities online. One defining characteristic of music discussions online—at least in the Anglophone world—is that they’re centered entirely around the album. To most critics and “serious” music fans, the album seems to be a single, indivisible unit of music that must always be considered as a whole. Five minutes with a search engine will dredge up hundreds of blog posts and op-eds touting the benefits of listening to complete albums rather than individual tracks. Some people almost attach morality to the act of listening to an album. If you’re not listening to full albums from start to end, in a darkened room, with your eyes closed, with noise-cancelling headphones, then do you even respect the music? Are you even a true fan? In my mid-twenties, I wanted to be a musician (I still do, but not as intensely). So when I started taking music more seriously myself, I focused my listening mainly on albums. This wouldn’t have been such a terrible thing had it not been for the fact that I didn’t enjoy listening to full albums. At all. Never had, never will. I grew up in an era of cassette tapes. When I was a teenager, my parents would take me to the local Planet M once a month, where I would be allowed to buy exactly one album on tape. My family couldn't afford CDs because CDs cost ₹400-500, whereas cassette tapes cost ₹100-150. So even when most of the world had moved on to CDs, I was still listening to all my music on tape. When you're listening to albums on tape, you're not really skipping around the tracklist. Sure, it’s possible to skip tracks on a cassette tape. That’s what the rewind and fast-forward buttons are for. But it’s not easy. You have to know precisely how long to rewind and/or fast-forward so you land where you want to. If you don’t get it right the first time, it becomes a frustrating back-and-forth dance between the rewind and fast-forward buttons until you manage to find the exact spot you need to be. Kind of like parallel parking in a tight spot. Listening to most of my music on tape, I should’ve grown up to be the sort of adult who enjoys listening to albums, right? But that's not what happened. The moment I discovered I could record my favorite tracks from their original tapes onto blanks, I stopped listening to full albums altogether. I had discovered the joys of making mixtapes, and there was no going back. When my family finally bought a computer, and I discovered how to download MP3s from the internet, I completely gave up on listening to full albums or even downloading them illegally. Freed from the constraints of linear analog media, I began collecting individual MP3s, making playlists, and curating music for myself. This changed in my twenties. As I started participating in music communities, going to gigs and festivals, and running a music blog, I also started forcing myself to listen to albums. That’s how all the pros did it, after all, and didn’t I want to be a pro? However, even when I was listening to nearly a hundred new albums each year, they didn’t quite make sense to me. They still don’t. To me, they just seem like a convenient packaging for a collection of music. Outside of some loose themes and sonic similarities that hold an album together, I don’t see why a certain set of tracks placed in a certain sequence makes for a better listening experience than a slightly altered set of tracks in a slightly altered sequence. There’s a lot of talk about the artistic intent that goes into curating and sequencing an album. But when artists play their music live, they often curate setlists by mixing and matching tracks from several different albums. DJs go even further, curating their mixes from tracks by many different artists, genres, and eras. If musicians themselves don’t constrain themselves to the album format, why must I? Sure, there are some artists who have turned the album into an art form . There are albums out there that are designed to be one unified, cohesive experience. But those albums are exceedingly rare. I’m willing to bet less than one in a hundred albums is designed to be listened to as a unit. Most albums are just collections of tracks that an artist made in a certain time period, or which share a common theme or sound. Albums also seem to me a modern invention, one that came about because of the technical limitations of recording media rather than a human tendency for enjoying a certain amount of music at a time. An LP is about 40-50 minutes long , not because that’s a magic number but because that’s how much music a vinyl record can hold. That’s why so many rock albums are still around 45-50 minutes long to this day. Rock music rose to prominence in the heyday of the vinyl record. On the other hand, hip-hop rose to prominence around the time audio CDs became more common, which is why many rap albums are a bit longer at around 60-70 minutes . The length of an album has little to do with something inherent in the genre or user preferences and everything to do with the technical limitations of the media it's distributed on. And now that streaming music has become more common, we see many artists breaking the mold . Some artists release albums that last several hours , while others only ever release singles. Unless an artist is planning to release physical versions of their music, they’re no longer constrained to the album format. So after more than a decade of forcing myself to listen to albums, I too am releasing myself from the constraint of album-centric listening. Starting this year, I'm going to listen to music in the way I enjoy: by seeking out individual tracks that move me, and arranging them into curated playlists for myself and my friends. To discover new music, I'm listening to more singles, curated playlists, and radio stations. I'm reading Bandcamp editorials and diving deep into obscure tags. I'm allowing myself to open an artist's Spotify page and click around on whatever tracks catch my fancy. I'm even allowing myself to listen to albums on shuffle, something I’ve already done with Audrey Hobert’s Who’s the Clown over this last week. I'm hoping that by freeing myself to listen to music in the way I want will allow me to discover a lot more this year.

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Circus Scientist 1 months ago

I used AI to play my Classical composition

When I was starting out with guitar the first pieces I learned were Classical ones. At the time I was very influenced by Bach, even learning to play some of his pieces (Bach created a lot of music for the Lute – a cousin of the guitar). Back then my dream was to get an orchestra to play one of my pieces, but that never happened and I soon moved on to Jazz and other things (mostly juggling). In 2026 my dream can finally be realised. Using Suno I uploaded a recording of one of my pieces and told it to do a Baroque version with an orchestra. Here is the result: On the free version of Suno you don’t get a lot of control, they say that your composition is 80% AI 20% your own work, but I think that they got the melody and a lot else exactly right. I think it’s an interpretation of my original piece that I really like. Judge for yourself – here is the original (recorded with a tape deck back in 1995): The post I used AI to play my Classical composition appeared first on Circus Scientist .

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An Algebraic Theory of Music

In my last post, I was struggling towards an algebraic theory of music. This idea has been burning in my mind ever since, and I wanted to give some updates with where I’ve landed. We begin by modeling a musical voice , which is, roughly speaking, the abstract version of a human voice. The voice can be doing one thing at a time, or can choose to not be doing anything. Voices are modeled by step functions , which are divisions of the real line into discrete chunks. We interpret each discrete chunk as a note being played by the voice for the duration of the chunk. This gives rise to a nice applicative structure that I alluded to in my previous post: where we take the union of the note boundaries in order to form the applicative. If either voice is resting, so too is the applicative. There is also an instance here, which chooses the first non-rest. There is a similar monoidal structure here, where multiplication is given by “play these two things simultaneously,” relying on an underlying instance for the meaning of “play these two things:” If either voice is resting, we treat its value as , and can happily combine the two parts in parallel. All of this gives rise to the following rich structure: Voices, therefore, give us our primitive notion of monophony. But real music usually has many voices doing many things, independently. This was a point in which I got stuck in my previous post. The solution here, is surprisingly easy. Assign a to each voice name: We get an extremely rich structure here completely for free. Our monoid combines all voices in parallel; our applicative combines voices pointwise; etc. However, we also have a new instance, whose characteristic method allows us to trade lines between voices. In addition to the in-parallel monoid instance, we can also define a tile product operator over , which composes things sequentially 1 : The constraint on arises from the fact that the pieces of music might extend off to infinity in either direction (which must do), and we need to deal with that. There are a few other combinators we care about. First, we can lift anonymous voices (colloquially “tunes”) into multi-part : and we can assign the same line to everyone: The primitives for building little tunes are which you can then compose sequentially via , and assign to voices via . One of the better responses to my last blog post was a link to Dmitri Tymoczko ’s FARM 2024 talk . There’s much more in this video than I can possibly due justice to here, but my big takeaway was that this guy is thinking about the same sorts of things that I am. So I dove into his work, and that lead to his quadruple hierarchy : Voices move within chords, which move within scales, which move within macro-harmonies. Tymoczko presents a algebra which is a geometric space for reasoning about voice leadings. He’s got a lot of fun websites for exploring the ideas, but I couldn’t find an actual implementation of the idea anywhere, so I cooked one up myself. The idea here is that we have some which describes a hierarchy of abstract scales moving with respect to one another. For example, the Western traditional of having triads move within the diatonic scale, which moves within the chromatic scale, would be represented as . forms a monoid, and has some simple generators that give rise to smooth voice leadings (chord changes.) Having a model for smooth harmonic transformations means we can use it constructively. I am still working out the exact details here, but the rough shape of the idea is to build an underlying field of key changes (represented as smooth voice leadings in ): We can then make an underlying field of functional harmonic changes (chord changes), modeled as smooth voice leadings in : Our voices responsible for harmony can now be written as values of type and we can use the applicative musical structure to combine the elements together: which we can later out into concrete pitches. The result is that we can completely isolate the following pieces: and the result is guaranteed to compose in a way that the ear can interpret as music. Not necessarily good music, but undeniably as music. The type indices on are purely for my book-keeping, and nothing requires them to be there. Which means we could also use the applicative structure to modulate over different sorts of harmony (eg, move from triads to seventh chords.) I haven’t quite gotten a feel for melody yet; I think it’s probably in , but it would be nice to be able to target chord tones as well. Please let me know in the comments if you have any insight here. However, I have been thinking about contouring, which is the overall “shape” of a musical line. Does it go up, and peak in the middle, and then come down again? Or maybe it smoothly descends down. We can use the discrete intervals intrinsic inside of s to find “reasonable” times to sample them. In essence this assigns a to each segment: and we can then use these times to then sample a function . This then allows us to apply contours (given as regular functions) to arbitrary rhythms. I currently have this typed as where , and the outputted s get rounded to their nearest integer values. I’m not deeply in love with this type, but the rough idea is great—turn arbitrary real-valued functions into musical lines. This generalizes contouring, as well as scale runs. I’m writing all of this up because I go back to work on Monday and life is going to get very busy soon. I’m afraid I won’t be able to finish all of this! The types above I’m pretty certain are relatively close to perfect. They seem to capture everything I could possibly want, and nothing I don’t want. Assuming I’m right about that, they must make up the basis of musical composition. The next step therefore is to build musical combinators on top. One particular combinator I’ve got my eye on is some sort of general “get from here to there” operator: which I imagine would bridge a gap between the end of one piece of music with beginning of another. I think this would be roughly as easy as moving each voice linearly in space from where it was to where it needs to be. This might need to be a ternary operation in order to also associate a rhythmic pattern to use for the bridge. But I imagine would be great for lots of dumb little musical things. Like when applied over the chord dimension, it would generate arpeggios. Over the scale dimension, it would generate runs. And it would make chromatic moves in the chroma dimension. Choosing exactly what moves to make for s consisting of components in multiple axes might just be some bespoke order, or could do something more intelligent. I think the right approach would be to steal ’ idea of an , and attach some relevant metadata to each . We could then write as a function of those envelopes, but I must admit I don’t quite know what this would look like. As usual, I’d love any insight you have! Please leave it in the comments. Although I must admit I appreciate comments of the form “have you tried $X” much more than of the form “music is sublime and you’re an idiot for even trying this.” Happy new year! Strictly speaking, the tile product can also do parallel composition, as well as sychronizing composition, but that’s not super important right now. ↩︎ key changes chord changes how voices express the current harmony the rhythms of all of the above Strictly speaking, the tile product can also do parallel composition, as well as sychronizing composition, but that’s not super important right now. ↩︎

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fLaMEd fury 2 months ago

What I Listened to in 2025

What’s going on, Internet? Hey, thanks for reading this post in your feed reader! Want to chat? Reply by email or add me on XMPP , or send a webmention . Check out the posts archive on the website.

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Danny McClelland 2 months ago

Leaving Spotify for Self-Hosted Audio

I’ve been a Spotify subscriber for years. It’s convenient, the catalogue is vast, and the recommendations used to be genuinely useful. But lately, I’ve found myself increasingly uncomfortable with the direction the platform is heading. It’s hard to pin down exactly when Spotify stopped feeling like a music service and started feeling like something else entirely. A few things have been gnawing at me: Artist compensation is broken. The per-stream payout is famously tiny , and the model actively discourages the kind of music I actually want to support. Albums that reward repeated listening lose out to background playlist fodder designed to rack up streams. In 2024, Spotify stopped paying royalties entirely for any track under 1,000 streams, demonetising an estimated 86% of music on the platform. The interface is hostile. Every update seems to prioritise podcasts, audiobooks, and algorithmically-generated content over letting me play my own playlists. The homepage is a mess of things I didn’t ask for. AI-generated music is creeping in. There’s been a wave of low-effort AI tracks flooding the platform , often mimicking real artists or filling ambient playlists. Spotify removed over 75 million spam tracks in 2024 alone. It feels like the beginning of a race to the bottom, where quantity beats quality and genuine artists get drowned out. I don’t own anything. After years of subscription payments, I have nothing to show for it. If Spotify disappears tomorrow, or removes an album I love, it’s just gone. The company’s direction feels off. Beyond the platform itself, there’s the question of what Spotify’s leadership prioritises. CEO Daniel Ek has been investing heavily in European defense technology . That’s his prerogative, of course, but it underlines that my subscription money flows to a company whose priorities don’t align with mine. Spotify Wrapped was a wake-up call. In previous years, Wrapped felt like a fun novelty. This year it was a reminder that I don’t actually listen to that many artists. The ones I enjoy, I play on repeat. So why am I paying a monthly subscription to listen to the same songs over and over? The artists I love aren’t seeing much from those streams, and I’m essentially renting music at an increasingly high cost. The family plan price keeps creeping up, and for what? The privilege of temporarily accessing albums I could just buy outright? The obvious response is “just switch to another service.” But the alternatives have their own problems. YouTube Music / Google shares many of Spotify’s issues, with the added concern that both platforms profit from advertising revenue that flows from some less than savoury sources. When your business model depends on engagement at any cost, the incentives get murky fast. Apple Music locks you further into an ecosystem and has its own history of prioritising platform control over user freedom. Tidal is perhaps the current outlier. Better artist payouts, lossless audio as standard, and seemingly fewer of the dark patterns plaguing the others. But streaming services have a habit of starting idealistic and drifting toward the mean once growth becomes the priority. How long until Tidal follows the same path? I’d rather not find out by having my library disappear when they pivot. The fundamental problem isn’t any single company. It’s the streaming model itself. When you rent access instead of owning files, you’re always at the mercy of corporate decisions you have no control over. When I thought about what I wanted from music, the list was simple: I’ve landed on a self-hosted Plex library for my music collection, served up with Plexamp on all my devices. Plexamp is genuinely excellent. It’s a dedicated music player built by Plex, and it feels like it was designed by people who actually care about listening to music rather than optimising engagement metrics. Clean interface, proper gapless playback, and features like sonic exploration that help with discovery without feeling algorithmic. The client availability sealed the deal. Plexamp runs on iOS, Android, macOS, Windows, and Linux. The only gap is native car integration, but Bluetooth fills that role with minimal friction. Connect, play, done. The server side is just Plex running on my existing home server. Music files live on local storage, backed up properly, under my control. No subscription required for basic playback, though Plex Pass unlocks some Plexamp features. One of the benefits of owning your music files is choosing the quality. My entire library is FLAC: lossless audio that preserves every detail from the original recording. To be honest, I can’t reliably tell the difference between Spotify’s high-quality streams and lossless audio on my current setup. Most people can’t. But that’s not really the point. Audio technology keeps improving. Better headphones, better DACs, better speakers. The music I’m collecting now might be played on equipment that doesn’t exist yet. By storing everything in lossless, I’m preserving the highest possible quality for whatever the future brings. I’d rather have more data than I need today than wish I’d kept it later. With streaming, you get whatever quality the service decides to give you. With my own files, the choice is mine. Bandcamp is the obvious choice for buying digital music directly. Artists get a better cut, you get lossless files, and there’s a strong community around it. In theory, it’s perfect. In practice, I find the search experience frustrating. Getting to the specific artist and album I want feels slower than it should. Maybe I’m spoiled by years of Spotify’s instant search, but the friction is noticeable. For now, I’m putting up with it because the alternatives are worse, but I’m constantly searching for something better. If you know of a good source for purchasing lossless music with a decent search experience, I’d love to hear about it. I won’t pretend this is all upside. Spotify’s discovery features, when they worked, introduced me to artists I genuinely love. The convenience of having everything available instantly is hard to replicate. And sharing music with friends becomes more complicated when you can’t just send a link. But those trade-offs feel worth it. I’d rather have a smaller collection of music I actually own than endless access to a library that’s increasingly polluted with content designed to game the algorithm rather than move the listener. I won’t sugarcoat it: the friction to switch has been fairly high. Ripping, cataloguing, and transferring content is one thing. The curated playlists from years gone by are another. Those playlists represent hours of listening, discovering, and refining. Losing them felt like losing a part of my music history. Soundiiz came in handy here, automatically copying playlists across to Plex. It worked well for most of the heavy lifting. But invariably there’s a song on a crucial playlist that I just don’t own yet, leaving a gap. Until I fill those gaps, the migration doesn’t feel complete. It’s a slow process. Every missing track is a reminder that I’m rebuilding something that took years to accumulate. But each album I add is mine now, permanently, and that makes the effort feel worthwhile. Ownership - Files that live on my hardware, that I control Quality - Lossless audio, not compressed streams No algorithms - I’ll decide what to listen to, thanks Supporting artists - Buying albums directly puts more money in their pockets than years of streaming

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ava's blog 2 months ago

cool links 12 - blog discovery, tech, making music, darwin's tubercle

Last 'cool links' post was in July! I really dropped off there for a while. What I read or watched worth sharing since last time (that I didn't lose sight of): Reply via email Published 23 Dec, 2025 Sortition Social - a community RSS feed reader. Every day, a random feed is selected from our database and added to the timeline. After seven days, the feed falls off the end of the timeline and is replaced by a new one at the top. The timeline always shows the latest entries from the feeds it features. SearchMySite - Search engine for user-submitted personal and independent websites. RawWeb - Search personal websites! James' Indieweb Search - Another way to search! The Interface Drama Master List - List of games that use interfaces in the story, like terminals, phones and desktops. I love these sort of games; I have played Secret Little Haven, A Normal Lost Phone, Needy Streamer Overload, Emily is Away, Pockedate and more :) List of OSINT exercises - in case you want to train your OSINT skills. (OSINT = Open Source Intelligence; the process of gathering and analyzing publicly available information) You Have To Live Your Life - Covid19 information and counterarguments to common fallacies about spreading infection, not masking etc. The Nerd Reich - Articles about the intersection of right wing extremism and tech. The Prodigial Techbro - A piece about not forgiving ex-techbros on their redemption arc too easily. The EU can be shut down with a few keystrokes - Discussing how much the EU and even its government institutions rely on US tech that could be taken away any second. I Miss Choices - A blog post about missing the variety of design choices and niches in products as everything starts to look the same. The Left Has Failed Animals - Animal rights have always been part of leftism, but have recently played less of a role than it should. Strudel and Nudel - writing music together, without an account, in the browser via code :) Melon's Post Office - free option to send newsletters for MelonLand members. Darwin's tubercle - Wikipedia article about a little thickening on your helix. I have this, and never knew it had a name! Open Printer - Open hardware printer. 40 Questions - Good for the new year around the corner! Questions to ask yourself each year.

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fLaMEd fury 2 months ago

What Music Ownership Means to Me

What’s going on, Internet? If a song isn’t available on Spotify or Apple Music, a lot of people these days assume it isn’t an official release. I reckon that idea is wrong. Digital Streaming Platforms (DSPs) are not archives. They’re digital storefronts. What you see is a product that depends on licensing, timing, and deals, not history. Availability gets confused with legitimacy, and anything missing is treated like it never existed or as some kind of lost media. Streaming platforms are not archives. They are storefronts with licensing constraints. Availability is not authorship. Absence is not “unreleased”. This has quietly changed how people think about music. Not how they listen, but how they decide what’s official. If it’s not on a DSP, for a lot of people, it may as well not exist. One of my favourite Eminem songs is Bad Influence . It’s an official track from the MMLP era. It appeared on the End of Days soundtrack and was also a B-side on The Real Slim Shady single , which I owned on CD back in the day. Pretty sure it’s still in a box in storage - I’ll let you know if I find it. Today it sits in a weird place. Check out the MusicThread generated links . Apple Music has the soundtrack and lets me preview the song, but I’ve got no idea if the full track is actually available because I don’t have an account. Spotify lists the soundtrack but won’t play it in my region. Other services break or don’t surface it at all. Depending on where you look, the song both exists and doesn’t. Nothing about the song has changed. It didn’t suddenly become officially released when the sound track showed up on streaming, and won’t become unofficial when it dissapears again. The only thing that changes is what people think of it. Sometimes music doesn’t even get that half availble treatment. I recently wrote about the one and only album from the New Zealand band Atlas. Reasons for Voyaging was released in 2007. A proper release from a real band on a major label (Warner Bros. Records), on CD. The single Crawling climbed to the top of the NZ charts and received the full music video treatment. It was a huge tune in NZ at the time. It landed at an awkward moment, right as music was shifting from physical to digital, and was never licensed for streaming platforms. As a result, it’s now genuinely hard to find. Unless you know to check local libraries and hope there’s still a CD sitting in a basement somewhere. Not because it was unofficial. Not because it wasn’t good. Just because it fell between the cracks. Lol. That’s the risk when DSPs are treated as the record of what exists. They’re not preserving music. They’re selling access to whatever they can get licensed. They exist to benefit whoever is funding them, not the artists. This is why music ownership still matters to me. Not in a “vinyl is better” way, and not as a rejection of streaming entirely. I stream music all the time. Just not from DSPs. I stream from my own home server, from a digital library I’ve built over time, made up of music I actually own. That difference matters. Streaming as a way of playing music is fine. Streaming as a replacement for owning is what I don’t trust. At the end of the day it’s rented access, and the artists aren’t benefiting most of the time either. Stuff comes and goes. Tracks get greyed out. Albums dissapear. Licensing, regional, business, exclusivity deals. None of that has anything to do with the music itself. Steph Vee recently posted, Delete Spotify, sure, but don’t just replace it with another subscription . Same idea really. Ditching Spotify doesn’t mean much if all you’ve done is rent your music from someone else instead. When I own something, it’s there. No “unavailable in your region”. No wondering if it’ll exist next year. No egomaniac rapper changing the album post release, lol. I’m also not interested in hoarding music just for the sake of it. Loading up a server with ten thousand albums I’ve never listened to, or never will, isn’t collecting. That’s just noise. Digital hoarding without backups is fake ownership, and hoarding without listening is pointless to me. I collect muisic I care about , espeically on vinyl. Stuff I’ve lived with. Albums tied to certain times, places, and memories. If those memories matter to me, I don’t want them at the mercy of a streaming licence. So how do I actually go about getting my music? I try to buy music as close to the artist as possible. If an artist has an official website, I’ll check there first. If I’m going to a gig, I’ll wait and see if they’ve got vinyl available. If there’s a direct way to buy the music, that’s the path I’ll take every time. Bandcamp often fits nicely into that. If I’m still after the vinyl and Bandcamp is the closest thing to an official storefront, I’ll go there. It’s ideal. I get the record and a digital copy at the same time. The vinyl is nice to own, and the digital files go onto my home server and are what I listen to day to day. I’ll usually save things in my cart until a Bandcamp Friday lands so as much money as possible goes to the artist rather than the platform. If I’m buying records from a local store or retailer, I’ll usually grab a digital copy elsewhere. Sometimes that means Bandcamp, sometimes an official store, sometimes as AI training data, lol. The goal is always the same. Own the music. Don’t rely on a platform. If there isn’t a clear option, I’ve even reached out directly. I did this recently with local artist Niamh Crooks . She had CD copies of her EP that weren’t for sale on her website, so I bank transferred some cash and she posted a signed copy. Pretty cool. She also promised to look into setting up on Bandcamp. Yeah, sometimes there just isn’t an official path at all. No Bandcamp. No store. No label link. Just a link page pointing at those damn DSPs. In those cases I’ll grab the album as AI training data, add it to my library, and carry on with life. Once it’s in my library, it lives on my home server and I stream it from there. Same convenience as the DSPs, but without the shenanigans and with the reassurance tat what I’m listening to today will still be there next week. For the really special albums, they’re added to the record collection . Not everything needs to be owned on vinyl, but the stuff that means the most to me deserves a physical presence. Okay, I do have some dumb records in there too, just because I can. I’m not trying to convince anyone to cancel their streaming subscriptions or start a vinyl collection. That’s fine, you do you. This is just what music means to me. Hey, thanks for reading this post in your feed reader! Want to chat? Reply by email or add me on XMPP , or send a webmention . Check out the posts archive on the website.

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pabloecortez 2 months ago

Lost Media: Konpeito Tapes

Konpeito Media Winter 2021 Cover In the winter of 2021 I discovered a Gemini capsule called Konpeito Media. KONPEITO was quarterly Lo-fi hip hop & chill bootleg mixtapes, distributed exclusively through the Gemini protocol. Each tape was a half-hour mix, clean on side A and repeated on side B with an added ambient background noise layer for atmosphere. Tapes were generally released in the first week of each meteorological season. KONPEITO ended in the Winter of 2022. The project no longer exists, but I found a mirror capsule here: gemini://gem.chiajlingvoj.ynh.fr/konpeito/konpeito_media_mirror.gmi > I saved a few of these mixtapes to my computer back then, and I always find myself coming back to the Winter 2021 tape. It's great to set as background music on blue winter evenings when I find myself writing for long periods of time. Konpeito Media had a deliberate end when its author felt it ran its course. Often we see blogs or projects abandoned, that's normal, but rarely do we see a two-year project where the author acknowledges that it's time to wrap things up and move on to other things. Konpeito on Mastodon - January 20, 2022: After some soul-searching, I've decided to call the KONPEITO project done. I know y'all were fiending for the new tape but it seems like there's always something else diverting my attention and that's usually a really good sign my heart isn't in it. The capsule will stay up indefinitely and I'll make sure you have notice before I take it down. I'll have one more tape up before I do, to say thank you to everyone who's listened and everyone who's shone light on the Gemini project. This project is one of my favorite pieces of internet history.

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Chris Coyier 2 months ago

Ol’ Bob

My friend Jason came over as he’d just got a new MacBook and a new Black Lion audio interface he wanted to try out. We plugged my Ear Trumped Mabel into it and did a few songs. I dragged my web cam setup downstairs to do the video haha. The song is Ol’ Bob from Roger Netherton . There is a 2nd take at the end that I think I like a little better. The first take I did a 2-finger style which sometimes I like but is probably better suited when there is a guitar too. Clawhammer and fiddle is so classic.

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Struggling Towards an Algebraic Theory of Music

For the last few months, I’ve been trying to come up with a nice, denotational basis for what music is. But I’m running out of steam on the project, so I thought I’d write what I’ve figured out, and what I’ve tried but doesn’t work. Hopefully this will inspire someone to come tell me what I’m being stupid about and help get the whole process unstuck. It’s tempting to gesticulate wildly, saying that music is merely a function from time to wave amplitudes, eg something of the form: While I think it’s fair to say that this is indeed the underlying denotation of sound, this is clearly not the denotation of music. For example, we can transpose a song up a semitone without changing the speed—something that’s very challenging without a great deal of in the waveform representation. And we can play a musical phrase backwards, which is probably impossible in a waveform for any timbral envelope. Since we have now two examples of “reasonable to want to do” with musical objects, which cannot be expressed in terms of a function , we must conceed that waveforms-over-time cannot be the denotation of music. Music is obviously temporal, so keeping the “function from time” part seems relevant. But a function from time to what? As a first attempt: which, for a given time, returns a set of notes starting at that time, and how long they ought to be played for. An immediate improvement would be to parameterize the above over notes: It’s tempting to try to eliminate more of the structure here with our parametricity, but I was unable to do so. In contrapuntal music, we will want to be able to express two notes starting at the same moment, but ending at different times. One alluring path here could to write monophonic voices, and combine them together for polyphony: Such an encoding has many unfavorable traits. First, it just feels yucky. Why are there two layers of ? Second, now I-as-a-composer need to make a choice of which voice I put each note in, despite the fact that this is merely an encoding quirk. So no, I don’t think this is a viable path forward. So let’s return to our best contender: This definition is trivially a monoid, pointwise over the time structure: If we think about abstract sets here, rather than , such an object is clearly a functor. There are many possible applicatives here, but the pointwise zipper seems most compelling to me. Pictorally: Such an applicative structure is quite nice! It would allow us to “stamp” a rhythm on top of a pure representation of a melody. However, the desirability of this instance is a point against , since by Conal Elliott’s typeclass morphism rule , the meaning of the applicative here ought to be the applicative of the meaning. Nevertheless, any other applicative structure would be effecitvely useless, since it would require the notes on one side to begin at the same time as the notes on the other. To sketch: Good luck finding a musically meaningful for such a thing! Ok, so let’s say we commit to the pointwise zippy instance as our applicative instance. Is there a corresponding monad? Such a thing would substitute notes with more music. My first idea of what to do with such a thing would be to replace chords with texture. For example, we could replace chords with broken chords, or with basslines that target the same notes. Anyway, the answer is yes, there is such a monad. But it’s musically kinda troublesome. Assume we have the following function: which will convert a into its notes and an optional temporal interval (optional because goes on forever.) Then, we can write our bind as: where changes when a piece of music occurs. We are left with a hole of type: whose semantics sure better be that it forces the given to fit in the alotted time. There are two reasonable candidates here: where changes the local interpretation of time such that the entire musical argument is played within the given duration, and just takes the first ’s worth of time. Truncate is too obviously unhelpful here, since the continuation doesn’t know how much time it’s been given, and thus most binds will drop almost all of their resulting music. Therefore we will go with . Which satisfies all of the algebraic (monad) laws, but results in some truly mystifying tunes. The problem here is that this is not an operation which respects musical meter. Each subsequent bind results in a correspondingly smaller share of the pie. Thus by using only bind and mconcat, it’s easy to get a bar full of quarter notes, followed by a bar of sixty-fourth notes, followed by two bars full of of 13-tuplets. If you want to get a steady rhythm out of the whole thing, you need a global view on how many binds deep you’re ever going to go, and you need to ensure locally that you only produce a small powers-of-two number of notes, or else you will accidentally introduce tuplets. It’s a mess. But algebraically it’s fine. The above foray into monads seems tentatively promising for amateur would-be algorithmic composers (read: people like me.) But I have been reading several books on musical composition lately, and my big takeaway from them is just how damn contextual notes are. So maybe this means we want more of a comonadic interface. One in which you can every note, by taking into account all of the notes in its local vicinity. This feels just as right as the monadic approach does, albeit in a completely different way. Being able to give a comonad instance for would require us to somehow reckon with having only a single at any given time. Which appeals to my functional programmer soul, but again, I don’t know how to do it. But imagine if we did have a comonadic instance. We could perform voice leading by inspecting what the next note was, and by futzing around with our pitch. We could do some sort of reharmonization by shifting notes around according to what else is happening. But maybe all of this is just folly. Music as it’s actually practiced doesn’t seem to have much of the functionaly-compositional properties we like—ie, that we can abstract and encapsulate. But music doesn’t appear to be like that! Instead, a happy melody takes a different character when played on major vs minor chords. Adding a dissonant interval can completely reconceptualize other notes. It feels like a bit of a bummer to end like this, but I don’t really know where to go from here. I’ve worked something like six completely-different approaches over the last few months, and what’s documented here is the most promising bits and pieces. My next thought is that maybe music actually forms a sheaf , which is to say that it is a global solution that respects many local constraints. All of this research into music has given me much more thoughts about music qua music which I will try to articulate the next time I have an evening to myself. Until then.

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