Paulstretch is available for Linux and Windows on the Hypermammut SourceForge page – and for Mac OS X here: http://music.cornwarning.com/2009/04/29/paul-stretch-extreme-audio-time-stretching-for-os-x-to-download/. Check out the SoundCloud groups Paulstretched and 800% Slower for more background info and a growing list of remixes.

My own effort was a paulstretched Ke$ha which made her sound very hung over… someone get this poor girl a couple of paracetamol and a strong hair of the dog:

http://soundcloud.com/irixx/kesha-tik-tok-morning-after-the-night-before-mix

….this brings us nicely onto a piece of work that IriXx is developing at the moment – ‘in shadow and in light’ – a 4 track composition (parts i & ii have surfaced so far) that shuts your body down, but opens your mind! We were blown away by ‘part ii’ and the sheer amount of texture you get within the track – it delivers on all levels!

Many thanks to Ian Hobbs for the review – who is himself a composer, and if you like enigmatic breaks and beats you should really be checking out the preview of his remix of Huunter’s ‘The Entanglement’ on Soundcloud.
Check out more fresh sounds from up and coming musicians, DJs and remixers at www.beatbeatblog.com or follow on Facebook and Twitter.

http://soundcloud.com/irixx/sets/in-shadows-and-in-light

My dubstep remix is hosted on my soundcloud page:
http://soundcloud.com/irixx/nez-erok-beautiful-irixx-remix – check out more remixes on Nez’s soundcloud.

I’ve also completed the first of a four part work ‘in shadows and in light’:
http://soundcloud.com/irixx/in-shadows-and-in-light-part-i

I’m finding the process of working on a series of pieces really engaging, its been a while since I wrote an extended work. I’m enjoying working with the movement structure in an almost classical Sonata-like fashion, sharing themes among the four movements. The title of the series refers to my personal exploration as a composer of ‘darkness’ and ‘light’ in music, and my need for shadows to complement and focus the ‘lighter’ or gentler ambient sounds towards which I naturally gravitate. Musical chiaroscuro, but perhaps less Italian and more of the dark silhouttes of Northern European portraiture.

Brad Templeton, board member of the Electronic Frontier Foundation, created his own Hitler parody satirising the situation. Due to Youtube’s use of ‘Content ID’ fingerprinting to identify copies of a movie, it was swiftly removed. Templeton then filed a dispute claiming that his video constituted fair use, and soon enough, the clip was restored.

Others have not been as fortunate, but in the meantime, Youtube’s loss is Vimeo’s gain, as Templeton and others begin to move their films to Vimeo. To quote Templeton’s blog:

The fair use exemption to copyright infringement claims was created, in large part, to assure that copyright holders didn’t use copyright law to censor free speech. If you want to criticise content or a content creator — an important free speech right — often the best way to do that will make use of the content in question. But the lawmakers knew you would rarely get permission to use copyrighted works to make fun of them, and wanted to make sure critical views were not stifled.

These were the very reasons that I curated the Madonna Remix Project – as a demonstration against the more extreme measures of the DMCA, EUCD and similar copyright laws, and the destructive introduction of Digital Rights Management technology. Fortunately, as Templeton satirises in his video, DRM appears to have failed in recent years, and even Apple’s iTunes has begun to offer DRM free music as customers are turned away by its curtailment of their ability to play their own legitimate purchases.

Finally, an excellent essay by Benjamin J. Robertson of the University of Colorado – ‘Mashing-up the Past, Critiquing the Present, Wrecking the Future: The Kleptones’ A Night at the Hip-Hopera’ examines the degree to which the record industry is stifling the creation of contemporary art due to the excessive cost of licensed sampling. Robertson asserts:

Cease and desist orders served to artists who mine the archive of cultural objects to remix, mashup, appropriate, or otherwise make use of cultural history for the purpose of engendering new cultural forms, objects, and enunciations, represent attempts to exert control over said archives with regard to production.

Hear hear. Speaking of hearing – the Kleptones “A Night at the Hip-Hopera” and their latest album Uptime/Downtime are well worth a listen. My favourite track has to be ‘Welcome Back’… Guns & Roses vs The Chemical Brothers ftw.

I’ve very much enjoyed listening to their debut album Emergence and decided to create a remix from various tracks, featuring the haunting vocal by Amelia June on the track ‘Broken’.

My remix, ‘Ghosts’, is available on ccMixter at http://ccmixter.org/files/iriXx/26292 or via my SoundCloud page at http://www.soundcloud.com/irixx/ghosts.

“We will not be held responsible for any hearing impediment or damage caused to you by excessive exposure to this sound.” (thanks to acclivity @ freesound.org for the sample!).

As an ongoing investigation into the function and the practice of publicness radioplateaux asked artists to respond to the concept of publicness as art practice. In a broad paper composed in 2006/7 radioplateaux artists describe the practice of publicnes as one that may be “a revolutionary everyday practice”. We claimed that publicness may open ones practice essentially to a multiple of public and private places and spaces. To a street, gallery, or to a region of being.

The inaugural selection of artist’s responses is hosted online in the Public and Private gallery, including my work ‘thioridazine dream’, an exploration of the private realms of the mind; alongside a work by friend and fellow composer Dennis Báthory-Kitsz.

“they promised liberty, they promised freedom, but they themselves are slaves”

My first piece in… too long. Available on sendspace for download – see my Music page.

Awesome. Really worth watching in HD.