![[Pasted image 20240729010159.png]] <p style="text-align: center;"><i>"The NID Tapes" presents a collection of early Indian electronic music uncovered at the archives of the National Institute of Design in Ahmedabad, 1969-1972. A period of radical visionary experimentation and utopian dreams."</i></p> I listen to music a few hours a day on average, so it’s nice to step out into the stranger side of things every now and then. Not only because these tracks are nice in and of themselves, but because they’ll help you appreciate the tracks you do know. Realize that the music you hear often is the result of experimentation (either directly or through the continuous line of inspiration that your favorite music comes from). Here are a few: **Dance Music 1 (1971) - National Institute of Design, Ahmedabad** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/5VkPG3Ijj7PAfU01wMEC6X?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe>You can almost hear the beginnings of EDM in this, like picking up faint traces of the past using some scientific instrument. It's like exploring a historical artifact. I highly recommend listening to the whole album (is it really an album, I'm tempted to call it an archival recording) on low volume while doing something else. We've become so used to modern music that at some point you hear a segment which feels like it will build up into something else, but of course those things hadn't been invented yet. Listening to this track, I imagine a group of travelers arriving in a new land, making small incursions into a new sonic territory. **Pulsewidth -- Aphex Twin, Selected Ambient Works 1985-1992** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/643gyipSU7dkmrFhJ8UAIm?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> It's fascinating to think about the equipment at NID: Moog synthesizers, reel-to-reel tape recorders, and basic signal generators. These tools required hands-on manipulation, a full rooms worth of equipment (maybe two, plus a storage area), as well as a deep understanding of electronic sound design. Fast forward to the late 80s and early 90s, and you have Aphex Twin, at the time a 15 year old kid in England making *this* in his room. Listen to all the layered textures, all the precise rhythms that were simply not possible with earlier technology. These two tracks are some kind of touch-point in my mind for how incredible the journey of electronic music has been. From the raw sounds of the NID recordings to the refined, immersive experiences that could be crafted just some 20 years later. They say that new tools can push the boundaries of creativity -- this is exactly that. **Existence: Life - Hafer Nazeri** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/2e4KeWR0Ym9CTBrSG08FSc?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> From the Rumi Symphony project. Hafez Nazeri comes from the Kurdish Persian diaspora and blends classical Persian poetry with compositions influenced by both the West and the East. Vocals! **Sligo River Blues - John Fahey** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/5U9mObciLrrnJC0hE84SIu?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> John Fahey is proof that you can do whatever the hell you want on a guitar. The spotify description of him says: "he drew from blues, Native American music, indian ragas, experimental dissonance and pop". Here is him describing his composition "Stomping Tonight on the Pennsylvania/Alabama border: > The opening chords are from the last movement of [Vaughan Williams](https://en.wikipedia.org/wiki/Ralph_Vaughan_Williams "Ralph Vaughan Williams")' Sixth Symphony. It goes from there to a [Skip James](https://en.wikipedia.org/wiki/Skip_James "Skip James") motif. Following that it moves to a [Gregorian chant](https://en.wikipedia.org/wiki/Gregorian_chant "Gregorian chant"), "[Dies Irae](https://en.wikipedia.org/wiki/Dies_irae "Dies irae")". It's the most scary one in the Episcopal hymn books, it's all about the [day of judgment](https://en.wikipedia.org/wiki/Last_Judgment "Last Judgment"). Then it returns to the Vaughan Williams chords, followed by a blues run of undetermined origin, then back to Skip James and so forth. He issued his first album with the money he made working as a gas station attendant in Adelphi, an unincorporated area of Maryland. That album, and the ones following it, created an entirely new genre of blues guitar music. Seeing as he mentioned it, Dies Irae is a good next choice: **Dies Irae -- Giuseppe Verdi** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/3By9jCy6b4dv5XnlhvIWwx?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> You are at La Scala in Milan. It's 1874, and you've come to listen to Verdi's latest Opera. Try to picture how surprising it would have been to hear this. Verdi has essentially layered the entire orchestra, chorus, and soloists all together to create a massive wall of sound. There's a great [clip](https://www.youtube.com/watch?v=QP9IdtYSLE8&ab_channel=LAPhil)from the LA Philharmonic youtube channel where Gustavo Dudamel talks about this piece and how theatrical and intense it is, saying "Normally we think of Verdi as an *opera* composer..." **Musst Musst - Nusrat Fateh Ali Khan** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/3xSz5q0i3aTVD446ucans3?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> Another fusion of east and west, Nusrat Fateh Ali Khan is a legend in Pakistan and is known for being one of the best Qawwali singers. What I find most interesting about this song is how universal it is -- everyone I show this song to just loves it. It was later remixed by Massive Attack and became a club hit in the UK. **The Dead Flag Blues - Godspeed You! Black Emperor** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/0YzMEu5sGNX0JKr9mdBtzd?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> Incredibly moody, almost bizarre flagship song from GY!BE **A Day in the Life - The Beatles** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/0hKRSZhUGEhKU6aNSPBACZ?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> The Beatles at the height of their experimentation with song structure and production. Actually two songs written completely separately, stitched together with a buzzing and chaotic crescendo, and a final record that reverberates for the last 40 seconds. On a long car drive, I remember speculating with a friend that it felt like the story of someone who died, the orchestral bit in the middle is time turning backwards, and restarting at the beginning of his last day. But however you want to interpret it. **Day One - D.I.T.C (Digging in the Crate Crew)** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/3YweKkxj2mqLS0hO4NaxfX?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> Underground rap track from the early 90s, when New York created hip-hop; D.I.T.C stands for Digging in The Crates Crew, they were known for sampling obscure tracks and turning them into something completely new, all with the classic New York ethos on top. **Fantastic Man - William Onyeabor** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/2B6945YOzaZaWncHmywJtO?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> Futuristic brew of Nigerian pop and funk music with synthesizers and drum machines. I've thought for a long time that Nigeria produces the best music in Africa, so continuing with Nigeria, two further additions: **Enjoy Your Life - Oby Onyioha** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/1UKk8v7T2IrpcLEP1KKqZb?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> Pop song from the 80s, off an incredible collection called Doing It In Lagos - Pop, Boogie and Funk in 1980s Nigeria. So incredibly smooth. The section starting at 01:48 onwards in particular. I've been listening to this album for years, happy to see that the top track just crossed 50m+ streams on Spotify: Only You by Steve Monite, which I've been mixing into my sets fairly regularly. It's funny, you don't necessarily expect Nigerian music to be filled with space-age beeping and effects, but the entire album is filled with them. I just love it. **Coffin For Head of State - Fela Kuti** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/0q4fyBmazN8IvpdZW6UiRv?utm_source=generator&theme=0" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> A deeper cut than the typical Fela Kuti recommendations (Water No Get Enemy, Zombie). This one is a little slower than Zombie, which I think is too fast-paced for 12 minutes straight if you aren't used to it. To this day I'm convinced that what prevents this music from being heard more often is just the intimidating length. Fela's songs can be 15-25 minutes each, but if you respect the format and listen at the right time (I like when at the gym), it's actually amazing. Just let it play, do something else in the meantime. The parts you like will make themselves known to you and you'll find yourself grooving to it unexpectedly. The clip posted here via Spotify simply does not do it justice. **Bahar - Bela Fleck and Zakir Hussein** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/4D1ne3QFCBtUU2xFnoTir4?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> This piece is from an album called the Triple Concerto. It features 3 people who are all masters in their specific instrument and genre. Zakir Hussain (tabla, a pair of hand played drums), Béla Fleck (the banjo) and Edgar Meyer (the double bass). Together they blend Indian percussive rhythms, country bluegrass and classical music. Their arrangements were then backed by the Detroit Symphony Orchestra. Unconventional to the extreme. Surprisingly good. **Mayonaka no Door / Stay with Me - Miki Matsubara** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/2BHj31ufdEqVK5CkYDp9mA?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> Perfect example of how the Japanese made pop music their own -- taking all the slick production, the catchy melodies and grooves etc, while still, if it makes sense, *sounding very Japanese*. They weren't just imitating American pop. They were using the language of pop music to express their own thing. City pop is huge now, but I always come back to Miki Matsubara. Sticking with Japan for a second: **Right Here! Right Now! - Shinichiro Yokota** <iframe style="border-radius:12px" src="https://open.spotify.com/embed/track/4n9lVLJfHKtu7ogdcTOUdZ?utm_source=generator" width="100%" height="152" frameBorder="0" allowfullscreen="" allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" loading="lazy"></iframe> This track is not necessarily mind-opening, it's a great song from a standout of Japanese house in the 90s. But consider how this would have been made. In the early 80s, a DJ named Frankie Knuckles began experimenting with new mixing techniques at a club in Chicago. He would blend disco, soul and funk over a steady four-on-the-floor kick drum (usually a Roland TR-808), with hi-hat cymbals occurring off the beat and a strong bassline. He called it "House", after the club he was playing at: The Warehouse. Within 10 years it was a global phenomenon, with each city it spread to adding something in it's own way. When it arrived in New York, it changed to Garage House. Once in the UK, Acid House, and finally to Japan, where Shinichiro Yokota, who would have been a teenager at the time, took all the influences and eventually made this track. I just find that journey super interesting. Music is somehow always in dialogue with the communities that embrace it. If you listen widely enough, and then closely enough, you can actually hear it. The history of music is not just about the music, it's about how all these influences travel around and orbit each other, and eventually what comes through on the other end and ultimately out of your speaker. So I hope I've encouraged you to listen a bit more widely with this selection.