Goofiez

In this episode the members from the Bussy Kween Power Trip band describe in detail their ideal monument. This seventh season of Blok by Blok was inspired by conversations with one of Chicago skateboard legends Jesse Neuhaus (@jesse_t_neuhaus.) Wave Function as he calls it, is an ideal monument that you admire from afar, maybe hop, ride or simply sit on it.
Initially these conversations took place in Skateparks around the city in Spring and Summer of 2021. Most recently these dialogues moved to multiple projects from the Chicago Architecture Biennial 2021 (@chicagoarchitecturebiennial.)

This episode is brought to you as part of Night out in the Parks from the Chicago Park District.
Conversations among Bussy Kween Power Trip members Briana, Khalyle and PT.
Produced by Blok by Blok.
Edited by Timothy McNulty.
Original music by Sam from Beat by Beat.

Live Podcast music by:
The Rip Ups
https://ripups.bandcamp.com/releases
Bussy Kween Power Trip https://bussykweenpowertrip.bandcamp.com/

BKPT speaks Monuments at Wave Function

tl;dr - i did some fancy formal grammar and probability theory stuff to make this sometimes chimy-atmospheric sometimes really-acerbic-and-abrasive thing(made of samples and some synthesized materials) and copped the general form of a Bach thing in doing so to prove that i can do maths with music

based on one piece in James Rosenquist's Winter Fence series. piece for suspended nails+hammer, metal pipe, fingernails on piezo-miked nailfile, samples triggered in PureData--all processed w/ PureData sampler, granularizer, pitch shifter, and spectral delay i done gone made. also some stochastic shit for triggering xenharmonic shit and spatialization shit in the greater scheme of triggering shit that's also stochastic in terms of the general type of thing that happens, the scheme greater modeled after Allegro movement of No. 5 in D major, BWV 1050 i swear.

samples:
"Pro Nails" by Kid Sister (Kanye remix)
"Closer" by NIN
Snippet from the needle torture scene in Takashi Miike's "Imprint"
Ms. Snoop talkin about that bulked up nailgun in that one episode of The Wire

1point875nails - To James Rosenquist

Walgreens Drake

A beat I made when I was 16 y/o. Pls tell me whence came the vocal sample, cuz I forgot.

Price Went Up

I'm 25

Physically modelled performance (NotePerformer) 
Orchestral music in 13-limit just intonation
(3.3.3.3/4.3.3.1/bd.timp.harp/strings)

N.B. The very last chord is to be played "as long and accurate as possible", with multiple asynchronous reattacks in the brass and strings (in this version, there is a simple fade out due to the limitations of physical modelling etc.)

PER (2018-20)

When I was about fourteen, I heard HARD for the first time. I was amazed by what I heard. I thought, “holy shit, this is one of the most inventive songs I have ever heard in my life... and it’s made by a GIRL?!?! WOAH, I want to make music as cool as this!” Ever since then, she had a subtle but ever present influence on me as a musician and producer.

When I was about eighteen in college and in one of the worst depressive episodes of my life, SOPHIE had just released “It’s Okay To Cry,” simultaneously coming out to the public. As a very baby trans who was struggling heavily, the song and video were so meaningful to me. I think I listened to that song literally at least five or ten times a day, some days a lot more than that. When I was deciding on a name, I was even seriously considering choosing Sophie. I eventually settled on naming my future dog Sophie, which I still plan on doing.

One of the most creative forces in music and fashion, as well as one of my greatest influences and inspirations as a musician and as a woman, has been fucking taken away from us all before she even turned thirty-five.

It seems hard to be moved by much these days what with how bad things have been, but when I heard the news yesterday, I was devastated. So much so that I briefly considered quitting music. 

I ultimately decided against it, and resolved to work on music harder than ever before; I chose to start by recording covers for a tribute EP. I figured she would have wanted me to keep going anyway.

Inna lillah wa inna ilayhi raaji'uun. 

Rest in power to a true queen of music. All the love and support to her friends and family. We hope to see your soul visit us again in thirty-nine days. 

Or next week. 

Whichever works best for you. 

Hopefully, if I’m lucky enough to get into jannah, you’ll be there to greet me, and I can tell you how much your music means to me as we walk along the floating rivers.

    ⁃    Sydney Léonie Pritchard

Blessed Homecoming, Miss SOPHIE

it's okay to cry (cover demo)

Pour en savoir plus, lisez le communiqué de presse :
- En français : https://www.cnrs.fr/fr/ce-coquillage-fait-resonner-des-sons-vieux-de-18-000-ans 
- En anglais : https://www.cnrs.fr/en/ancient-seashell-resonates-after-18000-years

Interprétation : Jean-Michel Court / Enregistrement : Julien Tardieu
Crédit : © Carole Fritz et al. 2021

A beat I made when I was 16 y/o. Pls tell me whence came the vocal sample, cuz I forgot.

King dom cummies.

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