Times New Roman (Palmistry Remix)”

Total Page：16

File Type：pdf, Size：1020Kb

September 23, 2020 For Immediate Release Scintii Releases “Times New Roman (Palmistry Remix)” “Times New Roman” EP out October 2nd on Houndstooth Photo Credit: Shuwei Liu “Talented newcomer Scintii finds her voice in ‘Times New Roman’, playing with sight and sound in the uniquely haunting single and its equally abstract visuals.” - Refinery29 “[‘Times New Roman’] recalls the technopagan vibe of Grimes' best songs.” - PAPER “Ornate strings meet steely electronics on this alluring track.” - NYLON on “Times New Roman” Taiwanese singer and producer Scintii (aka Stella Chung) will release her “Times New Roman” EP on October 2nd via Houndstooth. “Times New Roman”, co-written and produced by PC Music's Danny L Harle, showcases Scintii’s sleek, moody sound and her distinctive gossamer vocals. The EP is anchored by remixes from the cream of current underground club music producers: Loraine James, Osheyack, Mechatok, and Palmistry, whose remix is being shared today. Known for his emotional blend of recognizable and alien pop music, Palmistry (aka Benjy Keating) has worked with the likes of SOPHIE, Cashmere Cat, and most recently Charli XCX on her acclaimed quarantine album how i’m feeling now. Palmistry’s take on “Times New Roman” finds the British producer chasing rushing synths with bubblegum breaks. "Me and Scintii have been friends since London days early noughties so I was gassed to hear her new work and have a small part in it via the remix of her lovely single," says Palmistry. Listen to “Times New Roman (Palmistry Remix)” Scintii’s music is equally influenced by the pop she grew up with in her hometown of Taipei and her time soaking up club music in London where she studied music and performance. As described by DUMMY, “Scintii’s productions chop up and piece together crystalline sounds to fashion ethereal and futuristic sonics.” She released her debut EP “Mica” (Eternal Dragonz) in 2017 and broke through with her follow up, 2018’s “Aerial/Paperbags” EP (SVBKVLT), leading to a remix for acclaimed English group These New Puritans and performances at London’s Southbank Centre and Sonar Hong Kong. Watch “Times New Roman” Video Pre-order "Times New Roman" EP Download hi-res press images and EP cover art Photo Credit: Hailun Ma Houndstooth | Instagram | Twitter | Facebook For more information, contact: Ahmad Asani | Pitch Perfect PR - [email protected], 773-654-1477 .

Copy Link

Recommended publications

The Floozies Free Download [TSIS PREMIERE] Griz Announces All Good Records and Releases New Floozies Single As Free Download
the floozies free download [TSIS PREMIERE] GRiZ Announces All Good Records And Releases New Floozies Single As Free Download. GRiZ who is one of the pioneers of the electro-soul and future funk sounds, along with artists like Pretty Lights and Gramatik, yet has managed to carve his own lane in the genre. The always impressive artist announced his own record label 2 years ago with the release of his most recent album Rebel Era which was put out as a free download as well as being on iTunes. Today, the artist is announcing a new chapter in his career with the closing of Liberated Music and the launch of All Good Records. This label, while still carrying out releases being freely available, is also a step in the direction of a full service record label as opposed to just an avenue for Grant (Griz) to distribute his own work. The label has two signed artists, mid west live funk duo The Floozies and Chicago based soul star and TSIS regular Manic Focus . You can now follow the new All Good Records on Twitter, Instagram, and Facebook, but you should also visit the freshly launched website www.AllGoodRecords.com where you can hear a preview of a new GRiZ song which we can expect to see on his upcoming album Say It Loud that is dropping soon. Also to celebrate the launch, we have the latest single from the newly reformed labels' first release, The Floozies upcoming album Do Your Thing which will be released Jan 27th. We premiered "FNKTRP" and "Fantastic Love" from the group and now have an exclusive first listen of the song "She Ain't Yo Girlfriend" which captures the signature funky Floozies sound, yet is delivered in an extra sensual manner.
[Show full text]
Blssm Paper Artist Statement
!1 of !7 Simon DeBevoise Artist Statement Prof. Maria Sonevytsky 12.12.15 blssm: An Exploration of Cuteness, Consumer Culture and PC Music blssm is an experiment in aesthetics. Tackling a genre of unlimited ambition and excess, I realized quickly that my project could not be a limp imitation of PC Music; the music mandates instead a full-fledged devotion to the “kitsch imagery, catchy hooks, synthetic colours” (Tank Magazine, AG Cook) so central to figures like AG Cook, Hannah Diamond, SOPHIE and GFOTY. I used Hannah Diamond’s “Every Night” as an aural point of reference, reinterpreting the song’s poppy chord progression and setting my tempo to an upbeat 128 bpm. Layering big, shimmering, sawtooth synths over a syncopated kick drum and bass, I created a foundation with which I could engage with the camp and consumerism typically antithetical to the underground music scene yet so integral to the PC Music label. Recreating PC Music’s visual and aural aesthetic, I aim to consider the issues of gender and sexuality at play by framing the genre within discourses on Studio Audio Art, Cyborg Feminism, Japanese Kawaii culture, consumerism, and post-irony. To best introduce the uninformed listener to PC Music (which, importantly, stands for computer music and not politically correct music), I’ve included lyrics from Hannah Diamond’s “Pink and Blue:” We look good in pink and blue You love me, maybe it's true You say, ‘Baby, how are you?’ I’m okay, how about you? DeBevoise !2 of !7 Diamond’s facile rhymes and innocent lyrics craft an image of cuteness and middle-school naivety that play into PC Music’s brand of femininity.
[Show full text]
Music That Laughs 2017
Repositorium für die Medienwissenschaft Adam Harper Music that laughs 2017 https://doi.org/10.25969/mediarep/1817 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Harper, Adam: Music that laughs. In: POP. Kultur und Kritik, Jg. 6 (2017), Nr. 1, S. 60– 65. DOI: https://doi.org/10.25969/mediarep/1817. Erstmalig hier erschienen / Initial publication here: https://nbn-resolving.org/urn:nbn:de:101:1-2020052211120328716628 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
[Show full text]
NEW RELEASE GUIDE October 2 October 9 ORDERS DUE AUGUST 28 ORDERS DUE SEPTEMBER 4
ada–music.com @ada_music NEW RELEASE GUIDE October 2 October 9 ORDERS DUE AUGUST 28 ORDERS DUE SEPTEMBER 4 2020 ISSUE 21 October 2 ORDERS DUE AUGUST 28 ALOE BLACC ALL LOVE EVERYTHING In the years since Aloe Blacc’s last album, The Grammy nominated “Lift Your Spirit”, the global superstar spent time working on an even dearer project: his family. All Love Everything, his upcoming album, is the singer-songwriter’s first collection of material written as a father, a journey that’s expanded Blacc’s already heartfelt artistic palette. “Becoming a father made me want to share those experiences in music,” he says, admitting it’s a challenge to translate such a powerful All Love Everything is a generous addition to the thing into lyrics and melody. But the listeners who have A.I.M. catalog. It fulfills Blacc’s ambition to express the followed Blacc over the course of his career know that richness of familial love on songs like “Glory Days” and his facility with language and sound is deep – if anyone “Family,” while also making room for anthems about was up to the task, it’s him. perseverance and support like “My Way” and “Corner.” Working with producers Jonas Jeberg, Jugglerz, Jon Across three albums, his sound evolved and grew, Levine, and Matt Prime, Blacc has crafted his most finding a pocket that reflects the long and beautiful open-hearted album to date. Generous and warm, history of American soul with timeless, descriptive All Love Everything draws on soul, folk, and songwriting that speaks to the broad range of human contemporary pop, reminding listeners that there’s experience, from platonic love to love for humanity, from no pigeonholing the human experience.
[Show full text]
Articulating the Dancefloor Examining Site, Interaction and Participation in Club Culture Through Interdisciplinary Creative Practice
Articulating the Dancefloor Examining site, interaction and participation in club culture through interdisciplinary creative practice. Barnaby Jack McNeill Adams PhD by Composition University of York Department of Music October 2020 ABSTRACT This folio of creative works is comprised of a set of installations and fixed-media audio works composed between January 2017 and December 2019. The works in the folio take inspiration from a variety of ideas in club cultures and visual arts that are hybridised to form my approach to creative practice. The motivation behind the creative work is to closely examine the similarities between club culture and the visual arts, particularly in relation to notions of site, interaction and participation. The resulting works employ a variety of materials and disciplines in their creation, including techniques from artistic practices and material gathered from participants, collaborators and sources of personal inspiration in music and the visual arts. The submitted work aims to create work that is not for the club, but about the club, through the lens of my own embodied experiences and those of participants in club spaces and club culture. 2 Table of Contents ABSTRACT ...................................................................................................................................................... 2 ACKNOWLEDGEMENTS .................................................................................................................................. 4 DECLARATION ...............................................................................................................................................
[Show full text]
The New Culture Industry Tracing Democratization, Cultural Pluralism, and a New ‘Stillness’ in Modern Music
Savoy 1 The New Culture Industry Tracing democratization, cultural pluralism, and a new ‘stillness’ in modern music Augie Savoy Professor Jennifer Friedlander 9/28/20 Savoy 2 PREFACE In this country, it’s very hard for creative thought to escape capitalism. —Juan Atkins I have the impression that many of the elements that are supposed to provide access to music actually impoverish our relationship with it. —Michel Foucault As a listener, my earliest memory of music is hearing Michael Jackson’s Off the Wall on a portable CD player when I went to pre-school in Norway. Because my family had recently moved there, I had no experience speaking Norwegian and, until I figured it out, my parents thought I could listen to music to pass the time. For better or worse, it did far more than that. It started my love affair with music. On the surface, Off the Wall was straight to the point, ener- getic, and loud. As I replayed it, I realized that I could stick my head into the production and hear all the small details. The drums were rigid and robotic. The bass was relaxed and fluid. Michael Jackson’s voice was elastic, traveling across an entire emotional spectrum from tender to harsh. The production felt like a spectrum of different faces and characters. It was the storytelling and humanness of the record that made it compelling. It turned an uneventful day in pre-school, sur- rounded by kids I couldn’t understand, into a cinematic piece of art. Like Michael Jackson’s legacy, however, my relationship to music has become more complicated as I’ve gotten older.
[Show full text]
The New Hi-Tech Underground | Norient.Com 5 Oct 2021 12:34:44
The New Hi-Tech Underground | norient.com 5 Oct 2021 12:34:44 The New Hi-Tech Underground by Adam Harper In the past decade, culture was longing for the nostalgic and authentic. The new Internet underground celebrates the contrary: hi-tech, artificiality and kitsch. Is it a critique of capitalism or a capitulation to it? Both and neither, says Adam Harper, the philosophical flight attendant of Internet music trends such as bubblegum-bass and vaporwave. From the Norient book Seismographic Sounds (see and order here). https://norient.com/stories/the-new-hi-tech-underground Page 1 of 5 The New Hi-Tech Underground | norient.com 5 Oct 2021 12:34:44 Music that resists the mainstream, or what is sometimes called «countercultural» music, has often been associated with humanity, warmth and the past, in contrast to industrial technologies: its opponent. This music includes popular genres like folk, punk and indie, and typically aims to escape commercial and inauthentic musical intentions through use of older, «retro» styles, techniques and technologies. But that’s changing: a new movement within underground music is reversing that strategy, and in 2015 that means exploring hi-tech digital technology and its consequences. A key difference between old and new technologies is that of surface. Traditionally, the preferred surface sound of countercultural music is «rough», as in the amateur, cracking voice of the folk singer, the sloppiness of indie rock technique, or the hissing, grainy qualities of analogue media. This aesthetic preference, still prevalent today, is known as «lo-fi», (referring to sound quality, being the opposite of «hi-fi»).
[Show full text]
HUMAN EXCESS Aesthetics of Post-Internet Electronic Music
HUMAN EXCESS Aesthetics Of Post-Internet Electronic Music Anders Bach Pedersen IT-University, Copenhagen [email protected] ABSTRACT session in musical commentary.” [1] For Ferraro, a para- doxical aporia appears in the juxtaposition of hyperreal There exists a tenacious dichotomy between the ‘organic’ iterations of aliveness and lifelessness; organicness and and the ‘synthetic’ in electronic music. In spite of imme- the synthetic. It is the feeling of otherness and unity, ma- diate opposing qualities, they instill sensations of each nyness and oneness [4], that gives rise to an aesthetic other in practice: Acoustic sounds are subject to artificial commentary on the political economy of music because mimicry while algorithmic music can present an imitation of the associations the sounds of “neotenous plastics” [1] of human creativity. This presents a post-human aesthetic invoke. This paper discusses how some contemporary that questions if there are echoes of life in the machine. experimental electronic musics post-2010 seem to be This paper investigates how sonic aesthetics in the bor- moving towards the hyperreal – “[…] the generation by derlands between electronic avant-garde, pop and club models of a real without origin or reality” [5] – in both music have changed after 2010. I approach these aesthet- sonic materiality and cultural reference. From the 90’s ics through Brian Massumi’s notions of ‘semblance’ and IDM-moniker name change to Internet Dance Music [6] ‘animateness’ as abstract monikers to assist in the trac- and its offspring known as Electronic Dance Music ing of meta-aesthetic experiences of machine-life, genre, (EDM) turned commodity by the US music industry as a musical structure and the listening to known-unknown re-brand of the rave culture [7] to the recent ‘resurgence’ noise.
[Show full text]
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire.
[Show full text]
This Is More of a Headline Than a Title
City Research Online City, University of London Institutional Repository Citation: Harper, A. (2017). How Internet Music is Frying Your Brain. Popular Music, 36(1), pp. 86-97. doi: 10.1017/S0261143016000696 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16515/ Link to published version: http://dx.doi.org/10.1017/S0261143016000696 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] How Internet Music is Frying Your Brain* Author: Adam Harper Address: Department of Music City, University of London Northampton Square London EC1V 0HB Telephone: +44 (0) 7742 922137 Email: [email protected] How Internet Music is Frying Your Brain1 Abstract This article argues that the production and reception of certain recent electronic musics has resonated with criticisms of the perceived degenerative effects of digital technology on culture and 'humanity' -- such as the lack of attention it promotes or the 'information overload' it causes -- in an at least partially positive way.
[Show full text]
Gender Performances As a Response to Accelerationism Self-Destructive
Gender performances as a response to accelerationism Self-destructive masculinity in the post-internet music of Death Grips Ville Juhani Kenttä Master's thesis English Philology Faculty of Humanities University of Oulu Spring 2019 Table of contents 1 Introduction .................................................................................................................................................. 3 2 Description of the study material ................................................................................................................ 6 3 Theoretical Background .............................................................................................................................. 7 3.1 Post-internet music ................................................................................................................................... 8 3.2 Theory of accelerationism ...................................................................................................................... 14 3.3 Internet subculture discourses................................................................................................................. 18 4 Contextualizing Death Grips ...................................................................................................................... 23 4.1 Death Grips as a post-internet band ........................................................................................................ 23 4.2 Depiction of accelerationism .................................................................................................................
[Show full text]
PFS 265A Performance Studies
24/7/365 Beats to Relax/Study To: A Year of Lonely Listening PFS 265A: Modes of Production W21, Section 001, CRN: 45516 Wednesdays 12:10-3PM Patrick LeMieux, Online [email protected] Working from home, studying from home. Relaxing at home, listening at home. 2020 has been a year of self-isolation. But how does isolation affect our daily practices, from performing and playing to listening and learning? How does isolation impact our experience of time, ticks, clicks, beats? Of days, weeks, months, years? In this remote graduate seminar we will explore the fundamental concepts of digital sound (from amplitude and frequency, to sampling and synthesizing, to the Nyquist Theorem and Fletcher-Munson Curve) while engaging the burgeoning field of sound studies. We will read selections from Jonathan Sterne’s field-defining Sound Studies Reader which includes theoretical precedents like Derrida, Barthes, Kittler, and Fanon; foundational texts like Schafer, Attali, Idhe, and Kahn; and contemporary voices like Gitelman, Mills, Rodgers, and Weheliye who are mixing sound studies with methods from media archaeology, disability studies, feminist theory, and critical race theory. Alongside our readings we will both listen to and perform our own sounds in the form of a weekly radio station featuring the history of electroacoustic music from Schoenberg, Russalo, Varèse, and Schaeffer’s noises; to Stockhausen, Cage, Oliveros, and Reich’s loops; to Moog, Boochla, Doepfer, and Gillet’s synths; to the history of house, techno, jungle, drum and bass...dubstep, nightcore, vaporwave, and hyperpop. Our touchstone while reading and listening will be the contemporary experiments happening from home during the COVID-19 pandemic using tools like Serum and Autotune, services like Splice and Spotify, and venues like Zoom, Twitch, and MineCraft.
[Show full text]

Times New Roman (Palmistry Remix)” ​

Times New Roman (Palmistry Remix)”