Month: December 2023

For my final blog post, I first thought of writing a piece about what I learned this term, something that can act as a representation of the evolution I undertook as a music student. However, it seems pretty redundant, since my evolution is laid out on the previous nine blog posts I wrote for my intro to music production course. Instead, I though it would be interesting to include the first blog post I wrote at the very beginning, that I never ended up using.

“Summary of my first week at LCC : Jose (the very creative audio programming tutor), the professional DAW Pro Tools, never ending definitions of music production, and the fabulous Rick Rubin.
My first class was creative audio programming and apart from Joses’s (my tutor) album listening party, we mostly just got to know each other. Jose, our tutor, who looked like someone I could’ve bumped into at KitKat, led the conversation by introducing themselves and then, the classed followed suit. One by one, my peers would explain their background in music. After too many niche artists were named, I have to admit that I was relieved when somebody said they enjoyed BTS (even though I’m an avid K-pop hater) and not another underground artist that I’ve never listened to.
On my second day, I left campus wondering if I was still enrolled at LCC or if I had been transferred to MIT. While learning the basics of Pro Tools that day – emphasis on the word “basics” – I felt as though I was back in math class. The programme is very technical and not as intuitive as other DAWs. Nevertheless, it does seem that once I get a good grasp on it, I’ll be able to produce more complex music thanks to the Pro(fessional) Tools integrated in the programme, as the name suggests.
Our last class was way less hands-on than our firsts. We pretty much spent three hours debating on what it meant to be a music producer and how we could define music production. The overall consensus was what that a music/record producer was someone who produced records – pretty straight forward, right? And apparently, Rick Rubin was considered a music producer, even though he would just lay down on a sofa with a microphone in his hand.”

Margaret Chardiet, better known as Pharmakon, is a unique musician who blends industrial noise, ambient and electronic music. In this blog post, we will delve in her creative process.

What sets her tracks apart are the unique techniques she uses while producing. She always has a recording device with her, just in case she stumbles upon an interesting sound. She takes these field recordings and manipulates them with Ableton, like creating a kick drum out of construction work.
Pharmakon is inspired by the raw and industrial sounds that are all around us. She incorporates these sounds into her music to celebrate the flaws of humanity and the chaotic nature of life. She’s not afraid to put those harsh sounds that some people might say don’t belong in music front and center, challenging her listeners.
When she performs live, her main goal is to connect with her audience. She does this by creating an immersive experience that breaks traditional rules, hoping to leave a lasting impression on her listeners. In her music, this experimental artist explores the human condition, drawing inspiration from her own life and the social issues of the time.

Pharmakon Entrevista/Interview September/Septiembre 2015 (2015). YouTube. 15 December. Available at: https://www.youtube.com/watch?v=RCPBnEa3QY0&t=1s (Accessed: 28 November 2023).

(No date) Pharmakon. Available at: https://pharmakon.bandcamp.com/ (Accessed: 01 December 2023).

“Ocean of Sound” by David Toop was first published in 1995. In this influential book, Toop explores the world of ambient music, delving into its cultural, historical and artistic aspects. In the fourth chapter, titled “Burial Rituals,” Topp explores various themes related to noise, myth, music, and culture. It discusses indigenous ceremonies and their connection to noise. The chapter also talks about the relationship between noise and futurism, the impact of war on the musical genre, and the works of Edgard Varese, Claude Lévi-Strauss, and Charlie Parker.

Claude Levi-Strauss connects noise-making instruments to death, decay, and disorder in stories and myths. He studied the ceremonies of indigenous people and how they use noise to express emotions or communicate with ancestors. Levi-Strauss also talks about the contrast between noise and silence and how they are connected.
Edgard Varese was inspired by Levi-Strauss, the physiology of sound, and other studies on the art form. He believed that music should be experienced physically rather than following a set method. He incorporates everyday sounds and sounds from nature into his compositions, breaking away from traditional music norms. Varese’s aim is to create music that reflects the complex human condition.

Charlie Parker, inspired by Varese, went on a journey to discover new sounds and break free from the conventions of traditional jazz. He also wanted to shake up the established musical structures and push the limits of music. The chapter also talks about how the Futurist movement found noise and machines intriguing, and how different societies throughout history valued noise in their own unique ways.

The author’s writing style is really informative and analytical, which totally gave me a better understanding of different concepts and why they matter. And the way they included quotes and references in the chapter made it even more interesting.

In this chapter, we talk about how different ideas and artists in music production are connected. They like to explore new sounds and techniques, just like other experimental musicians. Artists like Aphex Twin and Pharmkaon are examples of this. They mix natural sounds, field recordings, and unusual noises into their music. They play around with these sounds to make interesting textures and vibes that go against the usual ideas of melody and harmony. Like, Pierre Schaeffer and his musique concrète experiments, he would use regular stuff from everyday life and random objects to make these avant-garde “instruments”.

This approach has influenced how music is made nowadays. Producers are always trying out funky sounds to make their tracks stand out and be creative. In general, this chapter really helped me grasp sound and music production better. It delved into the physical, emotional, and experimental sides of ambient music and noise, pushing me to think outside the box and appreciate the impact of unconventional sounds in stirring emotions, breaking boundaries, and crafting unique music.

Toop, D. and Faber, M. (2018) Ocean of sound: Ambient sound and radical listening in the age of Communication. London: Serpent’s Tail.

“Hamburger Lady” by Throbbing Gristle was a controversial industrial piece released in the late 1970s. It showcases the avant-garde nature of the genre and pushes the boundaries of music. Throbbing Gristle are an iconic British industrial music group formed in 1975 by Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson and Chris Carter. “Burger Lady” is one of their most iconic and memorable works, known for its disturbing themes and unconventional music production. The aesthetic of “Burger Lady” is characterized by its industrial sound, a blend of electronic noise, distorted vocals and avant-garde instrumentation. Their musical approach often involves the use of natural sounds, tape manipulation and experimental techniques. “Hamburg Lady” challenges traditional notions of music.
This aesthetic is achieved by creating an unsettling and uncomfortable atmosphere. The song references a medical case written by William S. Burroughs in his book Naked Lunch. The song tells the story of a patient with severe burns, and the lyrics vividly depict the personal physical and emotional trauma. The disturbing imagery and aggressive delivery of the lyrics contribute to the overall unsettling atmosphere of the song.

"Hamburger Lady" was released during a period of social and political change. The late 1970s and early 1980s were marked by economic problems, the punk and post-punk movements, and a general sense of social disillusionment. Throbbing Gristle's music, including "Hamburger Lady", can be seen as a sign of the times. The industrial genre, with its aggressive and rough style, embodied the angst and frustration of the era. The band's use of unconventional sounds and rejection of traditional musical norms set them apart in the music scene of the time. The group also contributed to the development of alternative and experimental music genres.

Throbbing-gristle.com (no date) THROBBING GRISTLE. Available at: https://www.throbbing-gristle.com/ (Accessed: 01 December 2023).

Scanlon, K. (2023) ‘Hamburger Lady’: The scariest song of all time?, Far Out Magazine. Available at: https://faroutmagazine.co.uk/hamburger-lady-the-scariest-song-of-all-time/ (Accessed: 01 December 2023).

In the past, genres like jazz, blues, hip-hop, and African music have often been undervalued or taken credit for by non-black artists. This has created an unfair situation where black artists struggle to get recognition, fair pay, and the same opportunities as white artists. But Nyege Nyege is changing that by embracing diverse sounds and giving artists from all over Africa and the world a chance to shine. Nyege Nyege is an art collective based in Kampala, Uganda. Its founders, Arlen Dilsizian and Derek Debru, have created a cool vibe that combines local music with influences from all over Africa and beyond. The name Nyege Nyege has different meanings in the many languages spoken in Uganda, but in Luganda, it kind of means “the sudden urge to move, shake, or dance”, which is what the group is all about. They even have their own festival and two record labels, Nyege Nyege Tapes and Hakuna Kulala, where they mainly showcase talented black artists. (Main, 2018)
(Bloom, 2023)
The title track of MC Yallah’s 2023 album, “Yallah Beibe,” really captures the spirit and goals of the Hakuna Kuala label. It’s an upbeat song that blends electronic music with traditional African sounds, creating something totally fresh and authentic. It’s got catchy beats, deep basslines, and awesome synths mixed with Afrobeat melodies and infectious chants. The beat of the track is influenced by West African polyrhythms and the chants and vocals give it a real cultural feel. There are also electronic elements like the bassline and synths that make it sound more modern and futuristic, showing the innovative side of the Hakuna Kulala collective. They haven’t just sampled traditional sounds, they’ve blended them with electronic instruments in a way that works really well. Technology played a big role in creating “Yallah Beibe” with the production techniques and digital instruments used. The vocals have been manipulated to give them a gritty texture, similar to the chanting.
Overall, “Yallah Beibe” is a great example of how Hakuna Kulala combines traditional African influences with electronic music, resulting in a unique and authentic sound that celebrates the cultural richness of Africa while embracing contemporary and experimental music.

Yallah, M. (2023) ‘Yallah Beibe’, Yallah Beibe [Spotify]. Uganda, Hakuna Kuala. Available at : https://open.spotify.com/album/74FbvNoV00hE1ZcCohkoP3 (Accessed: 26 November 2023).

Bloom, M. (2023) MC Yallah: Yallah Beibe, Pitchfork. Available at: https://pitchfork.com/reviews/albums/mc-yallah-yallah-beibe/ (Accessed: 06 December 2023).

Main, G. (2018) Nyege Nyege: the Ugandan dance collective reversing colonial culture, The Guardian. Available at: https://amp.theguardian.com/music/2018/mar/29/nyege-nyege-the-ugandan-dance-collective-reversing-colonial-culture (Accessed: 06 December 2023).

Kanye West in one of the most influential and infamous musician of the 21st century. In this blog post, we will delve into his workflow, synthesis and sampling techniques, to try and understand his success and impact in the world of music. As a music producer, he is known for his innovative and fresh approach to hip-hop, influenced by electronic music, funk, and soul.

Kanye’s workflow often starts with a beat he makes with a sampler or a drum machine. He will then add vocals, and melodies.

We will take a look at West’s hit song “Stronger” to further understand his music production process.
(Britton, 2017)
The song began with a drum machine creating a beat and sampled “Harder, Better, Faster, Stronger” by Daft Punk, a famous electronic duo.

Kanye West used various techniques such as chopping and altering the speed of a Daft Punk sample in his song “Stronger.” By breaking the sample into smaller parts and rearranging them, he was able to create a distinctive and original sound. Additionally, changing the speed of the sample affected its pitch and tone, resulting in a futuristic and fitting sound for the song.

In “Stronger,” West employed different synthesis techniques to produce a range of sounds. He utilized subtractive synthesis to create the warm and fuzzy background pads and additive synthesis for the bright and harsh lead synths. Additionally, he incorporated FM synthesis and wavetable synthesis to generate a diverse array of sounds.

To sum up, “Stronger” is a great example of Kanye West’s innovative production style. His use of sampling, synthesis, and his hands-on workflow helped to create a song that was both catchy and groundbreaking.

Britton, L.M. (2017) ‘stronger’ at 10 – how the daft punk-sampling track was the turning point in Kanye West’s career, NME. Available at: https://www.nme.com/blogs/nme-blogs/kanye-west-stronger-10-anniversary-2119541 (Accessed: 06 December 2023).

West, K. (2007) ‘Stronger’, Graduation [Spotify]. United States, UMG. Available at :https://open.spotify.com/album/4SZko61aMnmgvNhfhgTuD3 (Accessed: 26 November 2023).

In this blog post, we will take a look at the technical equipment that marked the history of music production.
The Music Production Controller, better known as MPC, was first introduced in the 80s by Akai. It was mostly used by musicians who made hip-hop and electronic music. The ability of the MPC to use samples and transform them, revolutionised the way we make drums, synths, and other percussive sounds. Moreover, the controller was very intuitive and hands-on, which enabled artists to express themselves more easily and creatively.

The first Digital Audio Workstation (DAW), clearly was an indicator of the transition from anolog to digital recording. Soundstream is considered to be the first DAW. It came out in 1977 as the first digital recorder, and since then, a multitude of different DAWs, such as Logic, Ableton, and Pro Tools, were developed in the aim to facilitate the workflow of musicians.

The Fairlight CMI, is another equipment that revolutionised music production. Another digital equipment, it was synthesizer and also a sampler, musicians used it to manipulate sound, which was deemed utopic when it came out in the late 70s.

(Leete, 2023)
To sum up, the evolution of technology and the transition from analog to digital, deeply impacted the nature of music. From MPCs, DAWs, to the iconic CMI, these technological equipment facilitated the workflow of musicians, giving them more precision and liberty over their work.

Leete, N. (2023) Fairlight CMI [retrozone]. Available at: https://www.soundonsound.com/reviews/fairlight-cmi-retrozone (Accessed: 05 December 2023).

Zardini Lacedelli, S. (2021) The Fairlight CMI: The secret composer of the music you love, National Science and Media Museum blog. Available at: https://blog.scienceandmediamuseum.org.uk/fairlight-cmi-playlist/ (Accessed: 05 December 2023).

Cortez, M. (2022) What is a Digital Audio Workstation (DAW)?, Recording Connection. Available at: https://recordingconnection.com/reference-library/what-are-digital-audio-workstations-daw/#:~:text=Soundstream%2C%20which%20developed%20the%20first,all%20was%20the%20easy%20part. (Accessed: 05 December 2023).

Marc, M. (2021) The historical timeline of the akai mpc, Millennial Mind Sync. Available at: https://www.millennialmind.co/the-historical-timeline-of-the-akai-mpc/ (Accessed: 05 December 2023). *

“Think” is a classic released in 1968 by the queen of soul, Aretha Franklin. In this post, I will look into the song’s instrumentation & arrangement, to hopefully understand how it become to be one of the most iconic and timeless songs of the 20th century.

The instrumentation of “Think” is designed to create a dynamic and energetic sound that complements the song’s message of independence and empowerment. Additionally, the catchy and danceable groove adds to its appeal.

The standout feature of the song is Aretha Franklin’s impressive vocals, which captivate listeners and convey an empowering message. The gospel-inspired background vocals add to the song’s appeal and reflect Franklin’s roots in gospel music. The call-and-response style of the background vocals creates a sense of community. The brass section, consisting of trumpets, saxophones, and trombones, is crucial to the arrangement and complements Franklin’s vocals, adding to the celebratory and empowering message. The drums, bassline, piano, and electric guitar create a groovy and playful atmosphere, encouraging listeners to dance. Each instrument adds its own rhythmic embellishments, contributing to the song’s improvisational yet effortless feel.

The arrangement of “Think” is meticulously designed to make each element have a strong effect. The song starts with a catchy piano riff that sets the mood. Franklin’s powerful vocals instantly grab the listener’s attention. The arrangement gradually becomes more intense with each section, culminating in a powerful chorus.

Overall, “Think” effectively conveys a strong message through its music and arrangement. Each instrument is given a chance to stand out, contributing to the song’s lasting relevance and ability to inspire multiple generations.

Franklin, A. (1968) ‘Think’, Aretha Now [Spotify]. United States, Warner Music. Available at : https://open.spotify.com/track/4yQw7FR9lcvL6RHtegbJBh (Accessed: 26 November 2023).

Hamilton, J. (2018) Aretha Franklin was the defining voice of the 20th century, Slate Magazine. Available at: https://slate.com/culture/2018/08/aretha-franklin-dead-the-singer-was-the-defining-voice-of-the-20th-century.html (Accessed: 01 December 2023).

For this blog entry, I was asked to pick a song and talk about its structure/form. “212” by Azealia Banks is her debut single that came out in 2012. The song can be categorised under the dance/electronic and hiphop/rap genres. It follows an interesting but familiar structure, since Banks puts a twist on the typical song format : intro, verse 1, pre-chorus, chorus, verse 2, pre-chorus, chorus, bridge, chorus, outro.
(Stern, 2017)
The song starts with an intro, with the drum loop that flows all throughout the song. Then we have the first verse, as she starts to rap. There is a sort of pre-chorus as the last line of the verse is repeated over and over again, which eventually brings us to the chorus (hook A). The song transitions into the bridge, where Azealia sings for the first time. It builds up and then drops into a new chorus (hook B). It then transitions into the old chorus again (hook A), and finally transitions back to the 2nd chorus (hook B).

To sum up, according to my analysis, 212 follows this song structure : intro, verse 1, pre-chorus, chorus A, bridge, chorus B, chorus A, chorus B.

Banks, A. (2014) ‘212’, Broke with Expensive Taste [Spotify]. United States, Prospect Park. Available at : https://open.spotify.com/track/6no1mklq4BJBg7KJ6Dly7N (Accessed: 26 November 2023).

Stern, M. (2017) Azealia Banks opens up about her journey from stripping to rap stardom, The Daily Beast. Available at: https://www.thedailybeast.com/azealia-banks-opens-up-about-her-journey-from-stripping-to-rap-stardom (Accessed: 01 December 2023).

For my first blog post, we will delve into the nature of music production and what the role of music producer entails. This may sound redundant since music production seems quite simple to define, but as will see, there are different approaches to producing music. 

Generally music production can be divided into the different tasks and steps one must take to create a record, such as songwriting, composing, arranging, mixing and mastering. The music producers will be involved in this process to bring to life an idea to the final version of the track.

Some producers, better know as “beatmakers” will primarily focus on the rhythm and instrumentation of the track, and might not be involved in the songwriting or in the mix and mastering stages. Some of these so-called “beatmakers”, might release tracks to be used as a foundation for other musicians to use as they please. 

While in other instances, some musicians might be credited as a producer, because they added new elements or rearranged some parts, in the goal of enhancing the sonic experience of the record.
Rick Rubin’s approach as a producer is quite controversial, since he knows very little about music theory and the technical aspects of music production. Nevertheless, he’s been celebrated as an incredible artist and mentor, since his involvement and the organic environment he creates, usually helps artists express themselves authentically, resulting in boundary-pushing and timeless music.

All in all, the nature of a music producer is quite ambiguous. It seems as though a music producer is someone that is involved, in one way or another, in the creation of a record, from the initial idea to the final product.