Spotlight #12: Concrete Tapes, TIIF 2016, Skee Mask, Werner Herzog & more

For this week’s Spotlight I put together a list of recent albums, articles and short videos I find interesting and inspiring. Some of the albums included in the list were also featured on our latest podcast.


This Is It Forever – TIIF 2016 (This Is It Foreverexperimental, alternative, ambient classical, electronica

The label’s end-of-year, pay-what-you-like compilation assembled from TIIF’s releases over the past 12 months, plus 1 exclusive.

Concrete – First Annual Report (concrete tapes) electronica, ambient, electroacoustic

“We’ve been knocking out tapes for a year now (actually a little longer… but let’s call it a year, for the sake of the album title) – so we’re releasing a low-cost label sampler: new tracks by artists we’ve released over the last 12 months, and new tracks by artists we’re going to be releasing in the coming year.” (continue reading)

Skee Mask – Shred (Ilian Tape)  ambient, break beat, electronic, house, techno

“With alluring melodies, rich atmospheres and a superlative way with breakbeats and drum programming, Shred proves that techno can be as much about songwriting as dance floor functionality.” (Resident Advisor)


Werner Herzog on Creativity, Self-Reliance, and How to Make a Living Doing What You Love, by Brain Pickings

“The bad films have taught me most about filmmaking. Seek out the negative definition. Sit in front of a film and ask yourself, “Given the chance, is this how I would do it?” It’s a never-ending educational experience, a way of discovering in which direction you need to take your own work and ideas.” (Continue reading)

Sound Maps in the 21st Century: Where Do We Go From Here?, by Phonomnesis

“Sound maps are boring. Why? I would argue it’s because they’ve become stuck in a rut that began when the idea of ‘sound map’ became synonymous with online, Google API-based or other forms of point-and-click, CD-ROM era interface design. If we want sound maps to become less boring, this needs to stop. But how do we as sound artists (or would-be ‘sound cartographers’) break free of the point-and-click model?

In an attempt to answer this question, I’ll need to first briefly explore what cartography is as a practice, limiting this to a discussion of strictly locative maps for brevity’s sake. I’ll then need to surmise what the possible motivations behind the creation of sound maps might be.” (Continue reading)

10 cheap, quick and easy iPhone apps for making music on the go, by FactMag

“If you own an iPhone, then you have everything you need to make music, anywhere. Scott Wilson picks 10 apps that will have novices and experienced producers producing beats wherever you go.” (Continue reading)