• 探访2400年前郑国车马坑:出土最大“房车”(图) 2019-06-25
  • 央视4频道每天下午播放。 2019-06-17
  • 社会主义社会按劳分配是建立在公有制和私有制并存基础上的,共产主义社会按需分配是建立在公有制基础上的,所有制基础不同,其分配形式也就不同。所谓“共产主义... 2019-06-17
  • 手绘墙走红,不妨给艺术多些空间 2019-06-15
  • 房奴!房奴!亚历山大幸福吗? 2019-06-15
  • 【周展安】重新认识《在延安文艺座谈会上的讲话》的现实意义 2019-06-15
  • 这家央企的员工为何这么拼? 2019-06-15
  • 抉择!欧文若长留绿军会损失8100万 恐会被安吉交易 2019-06-13
  • 河北衡水:北方强对流扎堆  南方降雨频繁——遭遇冰雹  车窗被砸农作物受损 2019-06-04
  • 富士康员工公开信火了 租不起房的时代这么快就来了 ——凤凰网房产济南 2019-06-03
  • 看改革开放40年:交通篇——从双腿丈量到抬脚上车 2019-06-02
  • 推进农村贫困人口白内障免费治疗 2019-06-01
  • 你所说的时候正是四两酒半仙处于姑娘的时候。四两酒半仙说,她俩当年一人一餐饭就要吃一斤半米,你说这亩产够四两酒半仙一年吃吗??[微笑] 2019-06-01
  • 新能源汽车纳入蚌埠市级政府集中采购目录 2019-05-26
  • 没有比较,怎知好坏。比较会是停留在30年前吗? 2019-05-22
  • Music

    天津快乐十分前三组走势图: The French Producer Channeling Myspace-Era Blog House

    辽宁快乐12前三直选跨度走势图 www.xqkq.net The news that MySpace had lost over 50 million songs last month in a botched server transfer was a veritable Burning of the Library at Alexandria for a digital era — a virtual archive spanning 12 years now lost to the wind. It's an unexpected tragedy that can't help but make us wistful for the days before algorithmically generated playlists hand-delivered new music right to your earbuds. Like our ancestors before us, who dug through dusty crate after crate of vinyl, there too once was a time where you had to scour page after page, dodging malware and pop-ups, to find fresh auditory blood. From this a new mp3-based ecosystem emerged, complete with its own set of aesthetics and a Wild West-like landscape of blogs vying to be the next tastemaker.

    French producer Nicolas Petitfrère, better known as N?mak, feels particularly nostalgic for this era. Having rose to prominence as a part of the French future-bass quartet, Point Point, it may seem odd that the now PC Music-signed artist, who has written for the likes of Charli XCX, and built his reputation as a cutting-edge future-facing electronic artist would want to look to the past for inspiration. However, through cleaning out his hard drive, Petitfrère rediscovered his DNA as an artist.

    Nomak's new mixtape, _128 kbit / s_My_Love, is essentially the artist's love letter to that era. Culled together from rediscovered demos, Petitfrère reinterprets the "lo-fi" sound for a generation raised on the internet by swapping out vintage synthesizers in favor of low quality file formats and trading in the warm hum of vinyl for digital artifacts. This subtle touch is something only keen-eared audiophiles would likely catch, but it's that exact attention to authenticity that ultimately brings the record together.

    The mixtape's centerpiece, "_--___-TRAFFIC JAM-___--_-," is perhaps the perfect microcosm for what N?mak looks to sonically achieve. A glitchy Four Tet-style techno roller, the track's metallic murmured vocals seem to stretch out ad infinitum until you're lost in its weird hypnotic loop. This exact blend of organic sounds wrapped in a thick coat of artificiality ends up being a poignant metaphor for the underlying humanity at the heart of our digital existences.

    PAPER caught up with N?mak to talk about the downfall of MySpace, the importance of blog house, and what the future holds for him ahead of the premiere of his new music video for "-_--__-TRAFFIC JAM-__--_-."

    What initially drew you to the era of mp3 blogs as the aesthetic lynchpin for the project?

    At the end of the 2000, I Ieft my hometown and moved to Paris. I didn't really have a lot to show for myself except for an art degree, no money, and a lot of enthusiasm. Moving to a big city had a pretty big effect on me because it was really the first time in my life I saw what music culture was in person or even what the music industry looked like. At that time, everything was really "Paris-centric" in France, I mean there was a scene in Lyon and a couple other cities but Paris was the only place that would make artists breakout outside of France. "Internet as a career launcher" wasn't really a thing yet, everybody was mostly talking about music on blogs, MySpace, and music forums. For me, MySpace was pretty much the big thing when it was time to dig for some new tunes, so literally everything that you would stream at that time would be very poorly compressed music with very harsh high frequencies, rumbly basses, uneven gain reduction due to the poor internet connection. It's funny how that affected the way people not only consumed music but also created music; very mid-range, with growling distorted basses, very brutal sample cuts and over-compressed drums. Modern songs that use 808 drums would be quite unpleasant to listen to in those conditions. So, using that aesthetic felt kinda logical to me.

    How did that end up translating over into the production for the mixtape?

    In the past, a lot of underground movements have used analog gear/samples to give a low-fi effect to their sound, from early hip hop or filtered french house from the '90s to more recently in indie rock. We're deeply attracted to the sound of analog devices simply because we all grew up with songs that were using that technology. It's comforting and familiar, when I play a Bibio song, I know that it hasn't been produced in the '70s but the sonic aspects are tricking my brain into believing it, and it makes me to feel nostalgic about a song that I just found out about a minute ago. That is crazy when you think about it.

    "Nostalgia is a really powerful tool cause it creates instant emotional connection between you and the piece you're listening to."

    I questioned myself about what would be the future of low-fi? Degrading the sound in a similar way that tape distortion was degrading the quality of the songs back in the day. It became quite obvious to me that I had to use the digital artifacts introduced via early samplers and shitty internet, reducing the bandwidth of my sounds introducing glitches and encoding errors. The next fun thing to think about then, is future nostalgia right? Something with auto-tune on, or a song fully clipped with a extremely reduced dynamic range will probably feel nostalgic in the future.

    What blogs did you frequent? What rare mp3s do you still hold on to?

    I do miss //boardsofelectronica.blogspot.com and //rcrdlbl.com a lot to this day, but mostly I simply moved on from blogs cause shortly after the 2010s they became quite irrelevant, as streaming became more normal and artists were directly able to upload and manage their own music. I still hold on to most of the mp3's I've been sent from back in the day. Some songs or even loops from artists that will never get released. It's funny to think that some of them became world famous and I still have their demos somewhere, lost in my hard-drive.

    How important would you say blog house was for Paris?

    It was important, good blogs were the trustworthy source. Any post would build a hype around artists, it would even sometimes help define a genre (blog house, french touch 2.0) It also helped with the rise of many indie labels such as Institubes, Kitsune and even Ed Banger.

    The first wave of french touch originated from the clubs, but the second one (2007/2008) definitely emerged from the blogs/MySpace culture. A lot of my DJ friends were living on minimum wage and couldn't really afford to buy all the music they wanted to play in their sets so everybody would just gets mp3s and trade. It's really common now to discover an artist you like and to find out he's playing in your city in a couple of weeks, but in 2008/2009 it was something never seen before. Sometimes a couple of really big DJs would play in Paris the same night, and you would have to decide which one was worthy of your night! Thinking about it now, we were super spoiled. I feel like the blog culture never really ended, but shifted, people still need "references" in music, nobody can possibly listen to all the good stuff released every day, any kid with a laptop or sometimes even a phone can end up on a top selling record.

    What were your thoughts on the recent news that MySpace had lost 12 year's worth of music?

    Devastated at first, cause lots of songs I posted back then are now lost on the internet. My old PC hard drive crashed and MySpace had the only remaining traces of my old work, but fortunately, a big part of my work is now in different places so, hopefully, I don't have to face that ever again.

    Shifting focus, how did _128 kbit / s_My_Love all come together?

    I used cloud systems for years and I tend to work on a lot of things, so when I'm done with a project or a demo I just un-sync it from my computer and it stays in the cloud, sometimes for years. I remember one day looking for a specific track that I made, not remembering the name of it and scrolling through all my folders and then finally finding it in the middle of a hundred unfinished ideas. It was a little bit like discovering a hidden treasure that your past self buried. Afterwards, I spent a couple of months transforming them from demos to finalized songs

    You play a lot with voice and found sound, what draws you to that?

    I think that's a common thing in a lot of genres I'm influenced by, especially on this tape. From UK garage, House to post-Dubstep or even footwork the use of vocal chops is a very big thing. I think it can easily humanize something that would sound pretty cold and mechanical otherwise. Vocals are a fascinating thing, we evolved to be sensitive to the human voice range (2/5khz ) so when a vocal pops up in the middle of a track, it's instantly attention grabbing just like a baby crying on a plane.

    What was the idea behind the video? It reminds me of the video for the Chemical Brothers' "Star Guitar" in a way, not an overt reference but it does really match the aesthetic of that era…

    The whole mixtape was a really spontaneous idea, I didn't overthink it, I just wanted the video process to be the same. I really wanted to capture a certain mood, something that was really connected to Paris and the night life, so we just drove through the 9th and 18th districts of Paris and shot everything in one hour.It really had to be captured in a small time frame and edited on the fly to match with the mood of "-_--__-TRAFFIC JAM-__--_-." Something too elaborate would have completely missed the point.

    What's next for N?mak?

    A lot, I'm going to keep using and releasing under both profiles N?mak and ?. I work a lot more with the human voice in my project ? but I didn't want to use my voice much for _128 kbit / s_My_Love, I want these two entities to be very distinct from each other; N?mak being more "electronic" in a traditional sense.

    I basically spent 2018 silent and worked on a lot of stuff. A.G Cook and I worked on some things together in 2018. I have an EP and an album in the making in collaboration with an artist and friend of mine. Plus I'm working on a lot of different collaborations within different projects at the moment. This is the first time in my life where I have had the time, and opportunity, to mature my sound. I'm planning to release more music and more frequently in 2019/2020.

    Photography: Fanny Cortade and Florent Petitfrere

    Subscribe to Get More

    You May Also Like
  • 探访2400年前郑国车马坑:出土最大“房车”(图) 2019-06-25
  • 央视4频道每天下午播放。 2019-06-17
  • 社会主义社会按劳分配是建立在公有制和私有制并存基础上的,共产主义社会按需分配是建立在公有制基础上的,所有制基础不同,其分配形式也就不同。所谓“共产主义... 2019-06-17
  • 手绘墙走红,不妨给艺术多些空间 2019-06-15
  • 房奴!房奴!亚历山大幸福吗? 2019-06-15
  • 【周展安】重新认识《在延安文艺座谈会上的讲话》的现实意义 2019-06-15
  • 这家央企的员工为何这么拼? 2019-06-15
  • 抉择!欧文若长留绿军会损失8100万 恐会被安吉交易 2019-06-13
  • 河北衡水:北方强对流扎堆  南方降雨频繁——遭遇冰雹  车窗被砸农作物受损 2019-06-04
  • 富士康员工公开信火了 租不起房的时代这么快就来了 ——凤凰网房产济南 2019-06-03
  • 看改革开放40年:交通篇——从双腿丈量到抬脚上车 2019-06-02
  • 推进农村贫困人口白内障免费治疗 2019-06-01
  • 你所说的时候正是四两酒半仙处于姑娘的时候。四两酒半仙说,她俩当年一人一餐饭就要吃一斤半米,你说这亩产够四两酒半仙一年吃吗??[微笑] 2019-06-01
  • 新能源汽车纳入蚌埠市级政府集中采购目录 2019-05-26
  • 没有比较,怎知好坏。比较会是停留在30年前吗? 2019-05-22
  • 11选5准确定一胆公式 云南十一选五技巧规则 白小姐一码中特 云南11选5彩票控 北京赛车pk10最准计划 悠哉棋牌游戏 斯诺克国际锦标赛2019赛程 竟彩足球即时比分 15选5开桨结果官方同步 浙江体彩泳坛夺金 pc蛋蛋加拿大预测开奖 喜来登娱乐城优惠活动 2019白小姐急旋风救世报图 重庆幸运农场封盘时间 新时时彩技巧经验