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Happy to announce that I finally finished a new collection of microtonal electronic music, Harmony Hacker, and you can hear it now:
9 tracks of microtonal bass music, in much the same style of Rhythm and Xen, Golden Hour, MK-SUPERDUPER, Human Astronomy… The download from bandcamp contains PDF liner notes, where I discuss a little about each track and any processes/tunings used.
Spotify/iTunes/YouTube/Soundcloud release forthcoming – for now grab Harmony Hacker from Bandcamp – enjoy the sounds and thanks the support!
Before I start sharing all this amazing stuff I found, please help me out. I’m trying to verify my Spotify Sevish profile, but it requires 250 followers. If everyone could hit the green “follow” button (and tell your friends) I will be able to get verified. This gives me more control over my artist profile, which will be useful because there’s a new Sevish album on the way.
A while ago I realized that a tonne of people are still using Spotify, so I started exploring the platform for myself. Of course, I wanted to see how much microtonal music was on there, because it’s the FUTURE (and past) of music. Would you believe that no playlists for microtonal music show up in the search results?
Well, I took care of that. The new playlist is aptly named Microtonal Music & Xenharmonic Music. I have tried to order new releases at the top, such as Brendan Byrnes’ Neutral Paradise, and King Gizzard & the Lizard Wizard’s 70’s Anatolian rock inspired Flying Microtonal Banana, which both came out this month. But scroll down past that and you’ll hear over 500 songs which will take over 2 days to listen through. A mix of genres of microtonal music were included, though mostly non-traditional musics (otherwise the playlist would easily be dominated by world music).
Marcus Satellite’s From On High is also on the platform, which was exciting for me as I never had the chance until now to hear it in its entirety. For me it already ranks amongst the most well-developed late-90s electronica. On top of that, I found that Stephen James Taylor, David Fiuczynski, MonoNeon all have their work up on the ‘fy. No doubt there is a lot more out there that I wasn’t able to dig up.
I didn’t pay for a premium subscription, because the artists receive extremely little in return. And hearing adverts for obnoxious house music in between Terry Riley tracks is one of the most frustrating experiences. I won’t be using Spotify anymore but if you like to use it then I hope you enjoy the playlist.
It’s time for celebration today, as Brendan Byrnes has just released a follow up to his album Micropangaea. Titled Neutral Paradise, it is every bit the stunning journey that its predecessor was. Brendan continues his exploration of xenharmonic avant-rock while developing his instantly recognisable and intense sound further.
Neutral Paradise features a variety of songs and instrumentals that are inspired by the “hybrid landscapes, cultures, energy, and complicated beauty” of Los Angeles. Most of the pop-friendly tracks come at the beginning of the album, with more exploratory works coming in later.
The gradual shift here from the familiar to the new is genius, as it gives the ear time to adjust. If you are just discovering microtonal/xenharmonic music for the first time, it can be quite an ear-bender. The melodies are novel and have an aesthetic that can feel strange at first. But Brendan makes it work, guiding you along with his vocals and the driving rhythms. It all makes musical sense when you listen to it. So when that more exploratory “Side B” comes in, you are all the more ready for it.
For me, the highlight of this record is the 6th track, Paradise. It’s a super dreamy song backed by steady rock groove, yet still manages to ramp up a few times to this powerful chorus that shimmers and glitters with sweeping synth lines and Brendan’s echoing falsetto. Despite my love for this song in particular, I have a feeling that others will take their own favourites, because there are so many strong songs on the album.
You can get Neutral Paradise now from Brendan Byrnes’ Bandcamp, on a pay-what-you-like basis. It will be available on Spotify, iTunes and the other big music platforms within the next couple of weeks.
What makes me hopeful for the future of microtonal music, is that people like Brendan are popping up with increasing frequency. They know how to write a song that is listener-friendly, a song that makes you feel something when you hear it. They know how to explore xenharmonic territory where few people are treading. They are keen to present their music in the highest quality way possible. And they know how to put all these things together into one package that everyone can enjoy. It’s takes a wide range of skills and a great deal of time to make all this come together, so it’s little surprise that we had to wait 4 years since Brendan’s last solo album.
So the next time somebody says “microtonal music is just out-of-tune, we use 12-equal for a reason, let’s stick to our traditions”, you just point them over to Brendan Byrnes and have their world turned upside down.
It’s been a long while since I uploaded any sounds and I couldn’t resist. This is the ending and fadeout to a tune I’ve been working on.
Just a reminder that I am working on a new album, however slowly…
Increasingly, people in this crazy world are looking for something positive, something uplifting so they can get reprieve from the chaos around them. For some, that comes as an addiction to sharing inspiring quotes on Facebook, while others find peace meditating to mass-produced new-age music.
But we understand that not everybody is in that boat. Some people are actually looking for more DOOM in their lives. This is where Cryptic Ruse’s Wasting & Thirsting comes in.
Wasting & Thirsting is an album of microtonal doom drone metal. It is an atmospheric dark-zone where down-tuned distorted guitar and a ton of processing create the entirety of the music. I could barely tell where one track ends and the next begins as the effect is so hypnotising. Each of the 3 tracks uses a different microtonal tuning system, and yes Cryptic Ruse had a custom guitar made for each tuning.
This music throbs, beats and moans as clusters of sludgy microtones overlap each other. There is no percussion. There are no vocals. Just a droning anti-aum to help you fade away into t h e a b y s s o f d e s p a i r.
Like any good drone, you sorely miss it once it ends. The only solution is to flip over the mp3 and play it again.
Wasting & Thirsting by Cryptic Ruse was released on August 14, 2016. You can download it from their bandcamp.
This April I released MK-SUPERDUPER, a new EP of microtonal electronic music. It’s now been made a free download until June 8th cos it’s my birthday week. So if you didn’t get it yet, give it a listen and a download! It’s quite similar to Rhythm and Xen.
If you bought the new EP already then thanks so much for the support. Now is a good chance to tell your friends so they can enjoy it too. I’m working on new music already, like this work in progress.
Happy listening folks.
Sleep Deprived Cooked Alive is a drum & bass track from my album Rhythm and Xen. It’s written in 14-EDO (a microtonal tuning). It’s definitely one of the more popular tracks, so I’ve decided to release the remix stems for free.
The pack includes audio stems, MIDI parts and tuning files to help you tune your synthesizers to 14-EDO. Refer to your synth’s manual to see if it supports these files. This should be enough to get a good remix going, or just to study my work if you’re learning microtonal music.
If you make anything with these stems then let me know! I would love to check it out.
Sleep Deprived Cooked Alive (stems pack) by Sevish is licensed under a Creative Commons Attribution 4.0 International License.
Based on a work at https://sevish.bandcamp.com/track/sleep-deprived-cooked-alive.
For this month’s #SaveShenmueHD tweetathon I decided to make a remix of the Shenmue I Slot House music using Mega Drive FM synth sounds. Mega Drive / Genesis geek for sure.
Well, I didn’t use an actual Mega Drive, but I did use FMDrive which sounds as perfect as I can tell. It’s easy to fall in love with that Yamaha YM2616 sound.
A few months back I remixed of the Fields of Time music from Chrono Cross, so if you are a Chrono fan you should check that out too:
A lot of people who are familiar with my work will also be familiar with Dolores Catherino’s hugely inspiring music. She uses the Tonal Plexus keyboard controller to make very spacey electronic music with an 106 note per octave scale. (Yes, that’s the very in-tune 53-EDO multiplied by 2, just cos).
Check out her TEDx talk from January this year for her perspective on microtonality. She also has lots of music on her dolomuse YouTube channel. Crucial stuff.