Instrumentals Defstreet. Sample This:beat Tape. Industry Beats Too Mainstream beat Tape. Insomnia [beat Tape]. Vol 2 Carlin Beat Tape Drillegal Instrumental [Beat Tape]. Starkiller - Wormhole Edit Syrenn - Amnesia Syrenn - Noises Everywhere A few months back I mentioned my plans for releasing an all-independent, all-instrumental compilation similar to The Tape Deck.
That oft-delayed project has finally arrived: The Beat Tape, Volume 1. Featuring 20 producers and 40 tracks, The Beat Tape aims to shed some light on some of the great beatsmiths of the digital age.
Best Laptops of The Best 5G Phone for You. Best TVs of Sign In. Become a Member. Remember Me. Not a member? Need further assistance? The key to success is to set yourself boundaries… Length of the Beat Tape The best thing you can do at the beginning is set a total duration of the beat tape in advance.
Length of the Beats Just like the overall length of the tape, you should consider the length of each beat. Structure it like a DJ Set Ideally you want to be able to perform the set live, so plan accordingly. Does it fit the theme? Does it have the right energy? Related Articles. Quickly Quickly Type Beat. Sometimes very minimal and electronic, but also releases using field recordings and more conceptual work.
On 'Squared' we have both. The information says this piece is something that Hauswolff has been playing since , but over the years changed drastically, according to the composer.
It's a piece for sine waves from the lower end of the sound region being played continuously, and only if you listen closely you will notice subtle changes and additions of sounds in the middle region; these could be related electronic sounds or maybe some other sparkling electronic current, or maybe even a field recording; it is not something that is altogether very clear.
At thirty-one minutes the piece evolves at a rather slow pace, but it sounds really intense and I enjoyed it a lot. The other piece is 'Cementerio Del Norte', using emission spectroscopy recordings of soil of the German cemetery in Montevideo, Uruguay.
While this is also minimal in approach, it doesn't have the austerity of the first piece: right from the start there is a lot more sonic detail and while none of the actual soil is recognized around here, it has a grainy, sandy feel to it.
Almost like some low-resolution sampling music. It slowly drifts apart in two, almost separate channels, towards the end of it. At close to sixteen minutes I believe I wouldn't have minded all of this to be a bit longer. Both pieces had an excellent mysterious feel to it. Quite a treat: last week we reviewed a brand new release by Asmus Tietchens, and this week there is even a double CD of collaborative works.
Most of his collaborators are quite well known, save perhaps for C. Right, Peinemann, you may ask: now who's that? I also have no idea, really, as up until now he never released anything.
The two discs here were recorded in two different periods. The first disc, called 'Hochallee' the name of the street where Peinemann lived then has recordings the two musicians made together in the period to For Tietchens this was an entirely different environment than the usual surroundings of the Audiplex studios where he always seems to record well, save for a few exceptions. With rather 'low' standards, such as a four-track recorder, six-track mixer and all sorts of apparatus, they recorded thirteen pieces, and at the end they deemed this fit enough for a release which then took another twenty years.
The other disc is called 'Klosterallee' and it's here that in springtime Peinemann recorded basic sound material for Tietchens to re-use, and this he did at the beloved Audiplex studios. By then Peinemann had moved his work into 'extreme digital manipulations' the word of the label. One is right when one says this is an interesting find, displaying us mid 90s Tietchens and mid 00s Tietchens, working in for him slightly different surroundings at least on one disc and with someone with whom we have absolutely no history.
I was corrected following last week's review and told that Tietchens does work with computers since about fifteen years, using GRM tools, but of course on the first disc that is not the case.
These thirteen pieces are rudimentary pieces of electronic music, sometimes blissful feedback, sometimes a dub inspired synth song 'Hochallee 12' , pieces with looped, rhythmic sounds, and in general it seems that the classic Tietchens treatment is never far away in these pieces. Several of these pieces could have been on, say, 'Aus Freude Am Elend', the various albums with Terry Burrows or some others from the early to mid 90s.
That slightly mechanic play with sounds, the entrapment in sound effects reverb plays some role indeed , but also a rolling rhythm reminiscing krautrock, one could muse? The second disc is the Tietchens we know from recent years, and indeed he doesn't refer to himself as a reductionist, because his music doesn't resemble that of Ikeda or Noto; also knowledge picked up last week.
His current music is all about quietness, not for any esoteric reasons, but simply because he wants us to listen more closely, and perhaps concentration is by now a lost art form in this hectic life everyone is supposed to have these days. Here none of the source material is easily recognized, in fact not at all, but it feeds through analogue and, as we have learned since last week, digital means and reduced to a few sounds here and there sometimes held together with a simple, sustaining drone like sound, a residue of what once perhaps a much bigger sound element.
It's interesting to play both of the discs back to back and hear the progress of Tietchens and the way he treats his sounds. I am not sure if that's really the case. However both CD's in this package are, no matter how different they turn out to be, a quite beautiful.
This is a must for every Tietchens fan. The new theme is 'Grenzen', which translates as 'borders', which is probably a very hot theme these days especially in Germany. Borders of place, of time, between people, thoughts, ideas: the list is probably endless.
There are pieces on planes across borders, freedom! The piece by Denise Ritter, containing interviews in German and field recordings, might be a bit lost on the non-German listener. Otherwise the nine other pieces are fine studies in musique concrete, electronic music and electro-acoustic music.
Each within it's own variation and all pieces equally good, nothing leaps out in a positive or negative way. By Keenan Higgins. Although Logic seemingly retired from rap earlier this summer with the release of his final album "No Pressure," it looks like he's still tapping into his producer side after dropping off a new beat tape titled "TwitchTape Vol.
By Noah C. Logic keeps the hustle going. By Aron A.When you found the 16 beats that make it onto the tape, you have to get them out of your software and into song format. Bounce out the beats and name them as: BeatName 88bpm Dm. The bpm is important to keep the beat tape moving organically and not jump .