New radical and electronic music

Festival Riot

Low Entropy · Festival Riot (Defcon One Edit) - #gabber #rave #wild

Low Entropy's producer diary: there are no rules for a producer

it's weirdly fascinating, when i go through the internet these days, there are countless of tutorials and instructions like: how to produce a techno bassdrum in the "right way", how to set EQ right, how loud the bass should be, how "mastering" should be done. what kind of workflow one definitely needs to use. how to get a synth sound in the "right" way. what kind of chord progressions one should use when doing melodies... well, i could go on forever with these examples.

When the truth is: there are no rules. there are no rules whatsoever for producing. you can do what you want. feel free to do whatever you like when it comes to art.
there is not one single "correct" way how a bassdrum should sound, or how vocals should sound, or whatever.

it all depends on the specific song or track, on the producer, on the occasion, maybe even on the time of day...
one could argue that "good" and "bad" music are entirely subjective terms...
but even beyond that:

a good track does not become "good" merely because a producer used the "right" mastering technique or harmonic progression.
and a track does not become bad because someone somewhere somehow used a technique that is completely different to what everyone else is doing.
even if a "master producer" would never ever use *your* technique, that does not mean your track would be bad because of this.

there are countless, millions, infinite ways to create, design, shape, invent, evolve, metamorph, good, killer, amazing, marvelous songs.
and there is not "one way only" to arrive at gold.

let me give a few practical examples:

do you know how rock music, metal, punk came around?
the method of "distortion" was known to sound engineers and technicians for decades before the advent of harder guitar music.
but it was seen as a technical error, a failure in production, abhorrent, annoying sound. they spent a huge amount of braincells and energy to make sure that distortion never crept up in any recording or production session.

but then some hippies in the 60s literally blew their amps (and some also their minds, i suppose), started to actually distort their guitars during production... and well, no sound engineer would still consider "distortion" to be a general failure in production.

or another example.
there is a massive amount of tutorials around, that try to tell others how to create a good, dance, techno bassdrum. with lots of focus on bass power, punch, sub bass frequencies.
the idea that is communicated there is that you "fail" if your dance track does not have a bass packing drum set.

but i mean, look at disco or new wave dance music, from the 70s, 80s. best try to get an actual record from that era, not a "remastered" re issue.
and you will see (or hear) that these disco beats often have very feeble sound, they are buried in the mix, lack bass, are unsteady... they run against modern standards of dance production, and most producers these days would never create a beat like this again.
yet... millions of people danced to the tracks. night after night, year after year.

so these tracks can't be that bad... right?

so, never let anyone tell you that your production methods, technique, skills, would be amateurish, lofi, diminished, false, wrong, absent.

feel free to produce the music (and art) that you want to do, in the way you want to do.

low entropy's non-daily producer diary

I'll continue my producer diary. I'll write a series of short entries, that do not go into very complex details over my whole productions, but give an overview of a specific track

this time it is about:

Hell Is Only A Word (Believe It Or Not)



https://lowentropy.bandcamp.com/track/hell-is-only-a-word-believe-it-or-not

This one was released on the "Armageddon" compilation by United Gabba Alliance Records. Back in 2019.
I think the label is defunct by now.
I later re-released as a self-release on the "Just Another Speedcore Shock" compilation.

When I wrote this track, I was a bit at a creative slump. I had more or less abandoned the Slowcore sound I "started" in 2017, was back to doing Doomcore again... but it did not feel as energetic anymore.
Most of my tracks were quite melancholic, and meandered with long, complex, glockenspiel or chime-like melodies. A bit like "depressive doomcore" if you will.
Because I felt I hit a wall, I went back to speedcore. A style I only sparsely did after... 2003 actually!
So it was quite the return, if you want.

My "speedcore" had mutated in the meantime, though. No longer the "full on to your head" noizecore I did in the 90s.
Which can be seen in this track.
It's overloaded with samples and sounds, speeds and drums change many times.
Plus there are influences and throwbacks to many other genres. Notably hardtrance, gabber, even a bit of goth and... doomcore once more!

Techno music for Meditative States - Part 2

Why should music for meditation need to be ambient, "world" music, or the sound of raindrops falling?
Of course there is nothing wrong with that.
But here is something different. Dark Ambient, Techno, Doomcore, psychedelic, electronic, danceable sounds.

A follow-up to last year's release.
The album comes with a sonic meditation instruction manual.

And here it is:

1.

During meditation, the body becomes very still, all energy gets pulled inward, towards the mind, our mental images.
This can be very beneficial.

But what about the opposite effect?
With the help of music and sound, I began exploring a method that allows the body to flush energy out of its system and the mind.
This helps release an overload of energy, or even traumatic, harmful energy.

And beyond that, it helps to clear and restart the mind.
The focus gets pulled away from the mind, and the mind, not the body, becomes still and starts to rest, this time.

2.

The methods work by listening to music and sound, and moving the body in an intuitive, instinctive, maybe even "subconscious" way.
The mind takes a step back, shuts down for a while, and the body sets to "automatic pilot" - it starts to steer itself.

Certain forms of music are better suited than others for this. It should be hypnotic, repetitive, entrancing.

I have begun developing certain techniques and "rules" for a type of music that is specifically designed for this purpose.

And then, when the music is playing, the next step comes easily:

Just move your body in an emotional, intuitive response.

After a while, the abovementioned "body trance" will get into effect.

I think this concept and technique could be extremely beneficial and helpful.

Apart from the other benefits, it allows a person to deal with energies that might feel extreme, dangerous, hurting, devastating... and that might be dangerous if they were channeled from the body into the mind.

But this way, the energies get channeled out of the body, and the mind is outside of danger.

I will try to do further research on this subject, and refine the method even more

Doomcore Records 232

https://doomcorerecords.bandcamp.com/album/techno-music-for-meditative-states-part-2

The Nucleus Project: June

Time turns, the year turns, and so does project nucleus.
This is the entry for Juno.
While the entry for May was close to one hour, this one is close to 30 seconds.

And that's just the way the cookie crumbles, fellas!

https://lowentropy.bandcamp.com/album/fast-love-the-nucleus-project-june

live production jam