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I’ve always been interested but as a child I couldn’t afford it So when the wife wanted one I happily said yes Does anyone know a good teacher for adults? Can anyone recommend one willing to come over to the west ? Any tips about lessons or digital pianos in general? I bought a Kawai kdp110 for her 🙂

I listen to a lot of podcasts. Significantly more than I listen to music, actually. Many years ago, after some brief research/listening to someones opinion about it (on a podcast), I made the decision to set the playback speed at 1.2x. It's been that way ever since. Now, there's a fair amount of debate over the "correct" speed to listen to podcasts. Some will die on the 1.2x hill (myself included). Others may even take it further to 1.5x or even 2x, controversial as that may be. 1.2x feels comfortable for me. Quickened enough to help get through more, but not quick enough that it sounds rushed and there's even a detectable pitch difference. My current queue of episodes is in excess of 20, so I certainly have incentive to get through more more quickly. It is, obviously, a matter of preference. But I do think medium and form matters. The podcasts I mainly listen to are largely conversational in nature, so going a little bit more quickly doesn't hurt the actual form and substance of it (I think). It's ultimately a matter of information consumption, and if you can do it at a more rapid pace, why not? It's akin to reading - if you can read an article 1.2x faster then someone else and still get all the same information, that seems perfectly reasonable to do. But I certainly don't think the same is true for TV or movies, and especially not for music. For such mediums that have been specifically crafted to a particular tempo, well, tempo matters. Tempo is integral to the product. And I do think that especially for visual mediums, speeding things up feels more noticeable than just on audio. And then there's the curious realm of Youtube, where speed adjustments was introduced in 2010, but more granular control was introduced only in 2024 (which to me is shockingly late). And even though I do consume a fair amount of informational content on Youtube (chat shows, interviews, TV episode breakdowns etc), I seldom speed things up. Why? I don't even know. Perhaps its entirely habitual. Having spent to much of my podcast-listening-life at 1.2x, that has become the norm for me. Even hearing any of those people in other contexts at just 1x feels odd - i'm so used to a particular cadence. And perhaps the opposite is true - I've become so used to 1x on Youtube that anything different rubs up against my innate sense of pattern recognition. But I also think its because on Youtube, there's a greater variety in terms of the types of content available. Sports highlights? I would never speed them up. A 40 minute Actors on Actors conversation? 1.2x would do just fine. But having to regularly adjust according to what I'm watching? I think that's where I subconsciously draw the line. Call me lazy, but i much rather set-and-forget. The defaults are the defaults - it's just that for podcasts, my default is now 1.2x. Anyway, what else in life would be good to 1.2x? Boring work meetings, now that's a definite 1.5x.

started this thread so that music enthusiasts can post their concert details and experiences here... coming up is Corrinne May's open concert this coming Sat evening, MBS open plaza at 9.15pm, admission is complimentary! https://www.instagram.com/p/BcaBg3Cl4Nx/ also, Mayday concert next weekend!!! anyone going???

MTV is (basically) dead - in Europe, at least. Parent company Paramount Skydance will pull the plug on the music channels in Europe at the end of this year (apparently the channels will continue to air in the US, but that future is likely also shaky). It seems that the only programming that will continue is reality TV shows. Whatever the eventual fate of the MTV brand as a whole, this feels inevitable and a long time coming - and also an end of an era. With the changing media landscape and the rise of social media, the age of the music video always felt like it had an inevitable expiration date. But looking back now, oh what at time it was: Where iconic songs were made more iconic by the music video that accompanied. Michael Jackson's Thriller - filmed in a manner that felt entirely theatrical - birthed the iconic red outfit and even more iconic dance. It was also an almost-14min video for a 6min song. November Rain was one of the most expensive music videos ever made, and it shows. And I'd argue the 90s-early 00s were the heydays of music videos. From Britney's iconic schoolgirl/red latex suit looks to the Backstreet Boys' era-defining white outfits (it even birthed a parody blink-182 music video), from the manic intensity of Smells Like Teen Spirit and Sabotage to the dripping sexuality of just about every hip-hop song, these visual images are integral to my musical upbringing. With changing consumption patterns driven in no small part by the rise of music streaming, MTV was always going to eventually fade into history. The notion of 24-hour music programming on TV in 2025 seems almost impossible to imagine. And in this time where you could conceivably make an entire music video with AI (or the proliferation of lyric videos on Youtube), the pivot away from this business model is a no-brainer. I do want to highlight one band for almost didactically committing to the music video, even in 2025: OK Go. This feels like a great time to recall the band's iconic break-out music video: Omg look at that old-school 4:3 aspect ratio This was ICONIC. They even somehow managed to do this live. The band released this video just 6 months ago. In 2025. Madness: The commitment to the oner is incredible. This is performative art at its finest. Anyway, the slow death of MTV and the music video makes me wistful and sad. I shall find solace in the fact that all these iconic videos of my childhood will continue to live on - in karaoke.

Like this song, my new fav, nice! Enjoy the video & have a fun weekend! TGIF ;) http://youtu.be/YqeW9_5kURI

The good folk of MCF may have found themselves subject to my yapping about music. In this post, allow me to briefly expand on audiophilia, which I consider an equally important aspect of music appreciation. I feel that humans ultimately want experiences that provide them with the satisfaction and novelty of being alive - eating good food, proficiency in their craft, or more relevantly here on MCF putting a car through its paces on the track. Audio gear, I like to think, goes hand in hand with the music itself to provide listeners with auditory nirvana. A BRIEF HISTORY Audiophilia was and still is a rather niche hobby. Audio quality is highly subjective given the lack of consensus on what sounds good, so marketers have to convince consumers to buy even mainstream gear with other appeals like status (primarily the result of brand endorsements) and the number of features (active noise cancellation, Bluetooth connection, etc.). In addition, the hobby has always been seen as one for the rich, an understandable sentiment given the proliferation of snake oil that sees the foolish buying cables costing thousands that claim to improve the sound of their home systems. But what about personal audio (i.e. headphones and earphones)? While there are still pieces of gear with frankly ridiculous (with a few exceptions) price tags lurking in audio stores, in recent years, there has been a consumer-friendly trend. Good sound can now be had for as low as SGD$30 (often less during sales). This is in large part due to the rise of Chinese manufacturers who disrupted an industry long dominated by Western and Japanese brands, first with affordable yet decent-sounding products, and in recent times employing cutting-edge components that can sometimes come across as self-indulgent. The likes of Moondrop and Truthear produce some of the most popular budget products, while others like HiFiMan and I\O Audio represent Chi-Fi as worthy contenders to established brands like Sennheiser and Sony. For an idea of the Chinese market’s scale, here’s a video from renowned audiophile Crinacle, whose claim to fame is creating the world’s largest database of IEM measurements. Is there a catch? Of course - you still get what you pay for. While much of the sound from a piece of gear can be achieved with promising new technology and in recent times software, the laws of physics do not always allow these to match up to critically-acclaimed gear that make extensive use of R&D to achieve their sound, not to mention higher-quality parts for the overall build implemented in an almost-artisan manner. However, like other consumerist hobbies (watches, mechanical keyboards, fountain pens, and to some extent cars), price tags don’t always correlate with better value. Diminishing returns hit hard at a certain price point, but what that price point is depends on the person. MY STORY As detailed in a duology of posts, I fell in love with music slightly late as a kid. Consumer technology was already a major interest of mine, and when these intertwined I was naturally going to look for audio gear to experience music in the best way possible. Unfortunately in 2013, I fell into the consumer trap of buying the Street by 50 On-Ear headphones, mostly because I wanted to be different from the Beats and Audio-Technica ATH-M50x owners (and being unwilling to pay for either). For the rest of my teenage years, I got hold of a smattering of gear (as broke teenagers are wont to do), with the most notable being: A Beyerdynamic Custom One Pro (the longest-surviving piece in my collection) from Jaben Singapore when they offered them in a combo with a cheaper on-ear pair (a DTX 501p) for SGD$199 in 2017 JBL TLX 60 speakers and Luxman L-80 amplifier from my maternal grandfather in 2015 (he and his brother-in-law, my granduncle, are audiophiles of the speaker variety) which now sit in the living room Ultimate Ears triple.fi 10 in-ear monitors (IEMs), a Christmas gift my father received from a colleague in 2015 that I “stole” and turned into my daily driver for a couple of years (until I broke the left earpiece in 2021 when I pulled too hard trying to disconnect the cable) As I took the UE triple.fi 10 out for this post, I found the black plastic all cracked up. Note the hole where the 2-pin connector would be. Heartbroken I was, I considered re-shelling the triple.fis. Reshelling is the process of transferring the inner components of an IEM, both drivers and circuitry, into a new shell. This is often done to turn universal-fit IEMs (which are designed to fit the majority of users) into custom IEMs (where the shape of the shell is based on moulds of a specific user’s ears), and since I was already curious about CIEMs, I figured it would be a win-win situation. However, a certain IEM released right around this time. I decided to give it a try at SAM Audio (when they were still at Sim Lim Square), and left satisfied. DEEP DIVING Around the final third of 2023, my parents embarked on a cruise around the world, while my brother was serving National Service and thus often in camp. I was taking music composition modules during that semester of my part-time studies, so I took the liberty of buying myself music equipment, in particular the Sony MDR-MV1, to help with recording both my school work and my personal projects. The MDR-MV1 is the Japanese brand’s first pair of open-back headphones in over a decade. I had been eyeing a pair of open-backs for a while to complement the closed-back Custom One Pros (henceforth the COP) due to their inherently superior audio reproduction, and after a two-hour session at local audio cafe Zeppelin & Co. comparing the MV1 with classics like the Sennheiser HD600 and spiritual successors like the Beyerdynamic DT 900 Pro X, I made my choice. The next year, I got my first-ever bonus, and while I was thinking what to get with a small portion (after CPF, “filial piety tax” and 50% of the total as savings), Dad asked if we wanted to do a makeover of the study room, where our family of four would eventually work and play in (though my brother and I had “taken over” the room years ago when we got a shared gaming PC). I decided to get a pair of studio monitors to provide myself with another reference for mixing audio (both for video work and music production) even if I didn’t have the room treatment in place to get the best sound out of them. I had an audition list, but after listening to the first pair, the Kali Audio LP-6 v2 at Sinamex on a Saturday morning, I placed an order. The impulse turned out to be instinct, as I would find myself underwhelmed by the other options I heard later at Luther Music (Yamaha HS5, JBL 305P Mk II, Adam Audio T5V) despite all of them being well-established gear among musicians and audio engineers the world over. My parents were shocked at the size of the LP-6s when they arrived at our doorstep (16" MacBook Pro for scale). But big speakers = big sound, literally. THE JOURNEY COMES TO A HALT Once I got the LP-6s, I realised I had a slight excess of audio gear. With the studio monitors making up most of my home listening time, I was mostly using the MV1s when I did not want to disturb my family, needed to check audio in detail for videos and music, or making online calls. It was more complicated at work. Early into my career at Sgcarmart, I was exclusively using the Arias, but found over time that my ear canals were getting irritated, forcing me to work without audio monitoring increasing frequently. Soon after I got the MV1s, I brought the COP to work to reduce my time with IEMs, but my 11.11 impulse purchase of the Truthear Hexa (also from SAM Audio when they still had exclusive distribution rights) in 2023 meant I now had two IEMs to work with. In the end, I decided to make the Hexas my main pair, while the Arias would be primarily used for outdoor shoots as its bubbling paint (which I shaved down eventually) meant they were more suitable sacrifices in unforseen circumstances. A side-by-side view of the Moondrop Aria, one before and the other given a rough shave down with some sandpaper. ENDGAME In consumerist hobbies like audiophilia, are there even stopping points? In the past few years since I dove into this rabbit hole, I’ve tried quite a number of gear, and found that endgame is a state of mind. Now that I’ve covered my bases (speakers, headphones, IEMs), I treat audiophilia as a hobby where I try gear I have yet to listen to, but abstain from buying them until something in my collection needs replacing. Speaking of which, I forgot to mention I’ve had the Sony WF-1000XM3 as my on-the-go solution for about four years now, and they are starting to die on me (I get the “Low battery, please charge the headset” notification with every use, where it used to be almost weekly). What should I get next… ~ Wei Feng Images from: Myself

It’s likely a common sight in every office you set foot in: Workers with their heads buried in their desktops/laptops, earbuds dutifully plugged in (or headphones chucked on). Having a tune to go into battle alongside you against anything that happens at work seems to be as essential as having a caffeinated drink perched on the table, it seems. Thus also arises the question, however: Does a symphony of melodies really serve as the secret ingredient to unlocking peak productivity? The debate surrounding the impact of music on work performance is as old as time, with opinions varying from staunch advocates to fervent detractors. While exploring the complex relationship between auditory stimulation and cognitive function, it’s worth digging deeper to ask: Can the right soundtrack transform your work experience, or does it merely serve as a pleasant distraction? Listening classical music apparently aids in boosting memory retention and information recall The Benefits of Listening to Music for Mental Stimulation and Productivity Enhanced cognitive function At this point, there is perhaps no longer any need to question the varied wonders of music – and so it should come as no surprise too that the signs pointing to playing music at work are largely positive. For starters, listening to music at work can significantly enhance cognitive function by stimulating various brain regions involved in processing sound and memory. Of course, a lot hinges on what you choose to listen; music with a more complex structure, like classical music, can aid in boosting memory retention and information recall. This is due to the engagement of neural circuits that enhance cognitive capabilities such as attention and focus, crucial for maintaining a productive work life. Emotional regulation and stress reduction But it’s not just on the cognitive front that music can help; it also plays a pivotal role in emotional regulation, which is essential for maintaining productivity. By triggering the release of dopamine, music can effectively reduce stress and anxiety levels, creating a more conducive environment for work. This is especially beneficial in high-pressure work environments (like those often found on our sunny island), where the soothing effects of music can foster a calmer and more focused mindset. Increased motivation and morale That brings us to yet another major benefit: The right type of music can spur motivation and energy, helping tackle monotonous or daunting tasks with greater enthusiasm. Of course, it helps if you and your deskie share similar inclinations: Music can spark connections and conversations among colleagues. As a result, actively incorporating music into your work life could not only boost individual productivity, but even foster a more vibrant and cohesive workplace environment. It's all about creating a more positive experience for yourself at work! Integrating music into our work routines Emotional engagement with music Harnessing emotional engagement through music can be an effective strategy to enhance productivity and maintain a healthy work life. Apparently, we’ve been recommended to opt for tracks that evoke positive emotions to elevate job satisfaction and performance. Especially for remote work settings, this emotional use of music could also help create a motivating environment. A caveat: Choosing the right music Having said that, choosing the right sort of music is key. As mentioned earlier, for tasks demanding deep concentration and mental focus, such as problem-solving or learning, instrumental or classical music is ideal. This allows your mind to engage without distractions while keeping cognitive pathways open for complex task execution. Conversely, pop music with lyrics is more suited for routine or physical tasks, acting as a stimulant that increases energy and reduces monotony, thus encouraging work flow in your remote work life as suggested by Forbes. It’s on this note too that a caveat must be laid out. The bread and butter of our Editorial team, for instance, is writing - and heavy listening to music with comprehensible lyrics could actually be detrimental for such forms of work. I’ll include this excerpt from The Straits Times, which concisely sums things up: "Because of connections between music and language in the brain, trying to read and write at the same time as listening to complex music – especially music with lyrics – can be particularly difficult." Ultimately, it’s helpful to experiment with different types of music to discover what best supports our productivity and morale at work. Reputation is full of great lyrics and hard-hitting bops - but if you're trying to get an article out on a tight timeline, you might wanna save Dancing with Our Hands Tied for break time instead Implementing Music Breaks Separately, music breaks can be a powerful tool in maintaining mental balance. Taking short breaks to listen to your favourite tracks can rejuvenate your mind, thereby boosting overall productivity. Whether through scheduled intervals or as needed, integrating these breaks can refresh your energy levels, making it easier to tackle tasks with renewed vigour. I’ll end off with an instrumental track that has captivated me in recent times (this was inspired by this fun read from WIRED that I came across recently and really enjoyed.) Happy bopping along at work everyone. (All images from Unsplash)

Even the most exciting journey can be boosted by BMW's tech. And we're not just talking about that engaging drive! Singapore is a lovely city to drive in: The views are great, and the road network is a product of careful and extensive planning. But what if you're still looking to give those weekend drives a little extra boost? That's exactly what BMW is now offering its drivers with its Connected Package Professional Packages. Join us in this second of a series of three articles as we explore how the firm is enhancing safety, convenience, and even the entertainment offerings with its connected technology, so you’re free to chase that next adventure! Always in touch, no matter where you go Chasing a new outdoor hobby or visiting a new trending cafe in a faraway location? With BMW's Connected Package Professional*, you’ll never again have to fear unfamiliar roads. The Map Update feature from BMW will get you to your destination quickly and reliably with its intuitive layout and easy-to-understand instructions. And getting this map updated is also easy. Simply download the most up-to-date map from the ConnectedDrive Store and into your BMW via a USB stick. or better yet simply wait for your infotainment system to receive the latest map via an automatic over-the-air update. Keeping you safe, should conditions change But it's not just unfamiliar roads you're protected from. With BMW Maps' ability to offer real time traffic information along your selected route, you'll also always be informed if there's any congestion or potential delays on your journey ahead. Use this information to plan alternative routes or inform friends and colleagues that you'll be delayed, way ahead of any scheduled gathering. Drive one of BMW's electric vehicles? Keeping your vehicle topped up has never been easier, thanks to BMW Connected Charging*. BMW Connected Charging puts information of the available chargers near to you right at your fingertips via the car's infotainment system, so you never need to calculate the remaining range available from your vehicle. And if you’re eyeing longer journeys still, BMW Connected Charging can even fetch you information on nearby points of interest or restaurants, so you can always stay refreshed, and travel with confidence! Uniquely yours, for any road And when you're once again ready to go, your BMW stands ready to entertain along every drive. Thanks to Apple CarPlay and Android Auto integration, you'll never be left out of contact from friends and family. And with BMW Connected Music*, you'll also be able to accompany every drive with some of your favourite tunes. Stream up to 30 million songs from BMW’s music partners Deezer or Napster, or listen to your favourite tracks from Spotify, all via the SIM card installed in your vehicle. But of course, that's not the only entertainment you’re after. With every BMW you'll be able to configure your car so it's just right for the road conditions ahead. Facing long stretches of highway? Why not opt for one of your car's more calming driving modes for a serene driving experience, or make the switch over to 'Sport' once more twisty roads beckon? And then there's also 'Expressive' to consider, perfect for when you're cruising around town with friends and want to belt out to your favourite tunes! Want to learn more about the connected features of your BMW? Look out for the next episode of this series come 2 September 2025! Looking to give your next drive a little boost? If you're after a boosted driving experience, look out for services (all prices inclusive of GST) including: Prices are as follows (all inclusive of GST): i. Connected Package Professional starting from $150 All the eligible digital services for your BMW are available on the BMW ConnectedDrive Store. Simply select your preferred services and complete the purchase online with the discount code "SGCM10CP" to enjoy the exclusive 10% discount for BMW Connected Package Professional and the services will be automatically installed on your vehicle's onboard computer (Discount is valid until 31 October 2025). *BMW Digital services are subject to availability and compatibility with the BMW vehicle. More information on BMW's ConnectedDrive upgrades is available here. Catch some of the benefits of BMW's Connected Package Professional Packages here:

New Age music , Old age music ... hope all music lovers will share the piece you like . let me start of with one of the grandpa kekeke https://www.youtube.com/watch?v=eCCan3TFPoc

You know when you go to a mamak shop or Good Price and see those brightly coloured plastic toy 'instruments' that you would buy for kids to bang away on? Well, someone (Japanese, of course) had the idea to basically turn that into an actual musical instrument. I present you: The Otamatone. The Otamatone originated in Japan in 1998, thanks to the creative minds at CUBE Works and Maywa Denki. This playful music instrument boasts a quirky, note-inspired design that has captured the imagination of many. But it wasn't until its official release in 2009 that it became one of Japan's best-selling musical toys. The instrument's popularity skyrocketed due to its simplicity and unique sound, making it a favourite among both musicians and enthusiasts worldwide. What perhaps most stands out is the way it blends ingenuity and playfulness. The instrument looks like a whimsical eighth note with a face that "sings" through a silicone mouth. Its invention aimed to democratise music-making, turning aesthetics into sound. It combines the absurdity of a cartoonish tadpole with the ability to produce delightful electronic tones. When else can you say that a musical instrument has two eyes on it. But perhaps the best thing about the otamatone is watching people play covers on it - covering iconic songs with remarkably absurd and hilarious results: If that didn't make you chuckle a little, I would be slightly worried about your joyless existence. And as always, stay weird, Japan.

Alright, I've stumbled upon the ultimate cure for your existential woes - Rock and roll. That's right, this sonic elixir is the balm your weary spirit's been craving. Forget yoga or meditation; all you need is a killer guitar riff and a thumping bassline to transport you to nirvana. It's time to turn that frown upside down and crank up the volume! The Term "Rock and Roll" Ever wondered where the saucy phrase "Rock and roll" came from? Well, back in the 17th century, salty sea dogs used "Rocking and rolling" to describe their ships' motion. Fast forward to the Roaring Twenties, and suddenly it's all about dancing and ahem horizontal tango. Talk about a cheeky evolution! Something like this, only a bit less predictable... DJ Alan's Rockin' Revolution Enter the 1950s, when disc jockey Alan Freed decided to shake things up. He hijacked the term to describe the rebellious offspring of rhythm and blues and country music. Suddenly, "Rock and roll" wasn't just about ships and sheets anymore - it was a full-blown musical revolution! Breaking Barriers, One Beat at a Time Freed's use of "Rock and roll" wasn't just clever wordplay. It was a sonic sledgehammer, smashing racial barriers by introducing African American artists to mixed audiences. Who knew a simple phrase could pack such a punch? From maritime lingo to musical lingua franca, "Rock and roll" has had quite the journey. Next time you're jamming out, remember: You're not just listening to music that can soothe your soul and relax your mind - you're part of a centuries-old legacy of Rocking and rolling! What Does It Mean If Something Is Rock and Roll? Let's dive into the wild world of Rock and roll music! If you've ever wondered what makes something truly "Rock and roll", buckle up, because Rock and roll is not just music, it’s a way of life. Imagine strutting down the street, leather jacket on, hair styled into a magnificent mane that'd make a lion jealous. That, my friends, is the essence of Rock and roll. It's not just about the tunes; it's an attitude, a rebellion against the mundane. According to Rock historians, Rock and roll emerged as a cheeky middle finger to societal norms, blending African American blues with white country twang to create a sonic cocktail that'll knock your socks off. Breaking Boundaries and Melting Faces Rock and roll isn't just about making noise; it's about making a statement. It's the musical equivalent of shouting "I am who I am, and I don't give a hoot what you think!" from the rooftops. It's credited with helping to break down racial barriers, proving that music truly is the universal language. So next time you're feeling down, crank up that guitar-driven anthem and let it relax your mind. After all, Rock and roll isn't just music; it's therapy for your weary soul! What Does 🤟 Mean in Rock and Roll? Ah, the infamous 'devil horns' - that cheeky little hand gesture that's as quintessential to Rock and roll music as leather trousers and questionable hairstyles. But what's the deal with this peculiar digit dance? The Devilish Origins According to the annals of Rock history, we can thank the legendary Ronnie James Dio for popularising this iconic symbol. Legend has it, Dio nicked it from his Italian granny, who used it to ward off the 'Evil Eye'. Talk about a family heirloom! Imagine having this guy as your neighbour... More Than Just Horns But this gesture isn't just about looking cool at concerts (though it certainly helps). It's a universal symbol of Rock enthusiasm, rebellion, and a hearty "let's Rock this joint!" all rolled into one neat little package. It's like a secret handshake for the musically inclined, saying "Hey, I dig your tunes, and I'm here to soothe my soul with some good ol' Rock and roll." So next time you're at a gig, throw those horns up high and let the music relax your mind. After all, what better way to show your love for Rock and roll than with a gesture that's stood the test of time? Conclusion So yes, Rock and roll isn't just noise pollution for the neighbours - it's a bloody miracle cure for your weary soul. Next time life's got you down, crank up the volume and let those gnarly guitar riffs work their magic. Who needs meditation when you've got Mick Jagger's swagger? Why bother with yoga when you can air guitar your troubles away? Rock and roll is the ultimate middle finger to mundanity, a raucous rebellion against the ordinary. So go on, embrace your inner Rockstar and let the music set you free. Your soul will thank you, even if your eardrums won't. Images from Unsplash

Note: If you’ve stumbled onto this post without any context, do read Pt. 1 here first! It is said that the average person’s music taste starts to solidify early on in their adult lives, and by their early 30s they will begin to say things like “Music was better in my day”, “>insert your favourite artist or genre< is not real music”, something to that effect. Of course, I am speaking generally. With four more years to go till I hit 30, I’d like to think I try to expand my tastes on the regular. Thus, I’ve decided to look at some of the music I’ve been listening to in my 20s, both artists and genres. PORTER ROBINSON I first came across this American electronic musician through YouTube’s recommendation of the music video for Lionhearted off his 2014 album Worlds around the time it was released. I remember not liking it much on first listen, because I was an edgy teen who thought that listening to big room meant I was cooler than kids listening to anything pop-adjacent (I wonder how different my impression would have been had I been exposed to his earliest works first). The YouTube algorithm (bless whatever sorcery it runs on) continued to supply me with songs like Sad Machine and Divinity, and soon I came to like Worlds. In 2015, I decided to buy my first (and only) vinyl after finishing my GCE O Levels, and my choices were between Worlds, Zedd’s True Colors and my eventual choice, Stories by Avicii. For the rest of the 2010s, Robinson released sporadically as he grappled with expectations of a follow-up to Worlds, which left quite an impression on the genre. 2016’s Shelter, a collaboration with French electronic musician and good friend Madeon, became one of his most beloved songs, and his side project Virtual Self picked up a Grammy nomination for the song Ghost Voices off the self-titled 2017 EP (which inspired a then-pop-leaning Calvin Harris to go back to electronic music). Then in 2020, the first song off Robinson’s long-awaited second album Nurture dropped. I couldn’t articulate it at the time, but I could feel that Get Your Wish was the start of something different. It felt hopeful, a much-needed sentiment right as COVID-19 started to wreak havoc on the world. The singles that followed for the rest of the pandemic, the shows that were live streamed, and of course the album itself further solidified Robinson’s influence on electronic music. I am glad to say that this was when he turned from merely a musician whose work I liked to a musical hero, and that he’s the first musician I’ve watched live more than once. Try these: Language, Everything Goes On, Mona Lisa (feat. Frost Children) VOCALOID I can’t remember exactly how I was introduced to this iconic Hatsune Miku song in 2012. I just know that while it wasn’t life-changing like that Justin Bieber song, it unwittingly stayed in my life. I went in and out of the Vocaloid subculture over the years, and only a couple of years ago did I finally dive deep into the rabbit hole without resurfacing. Someone who has never heard of Vocaloids may be introduced to them as “AI singers”, but that’s quite reductionist. Sure, newer versions feature the use of AI to further enhance the expressiveness of a vocal performance, but Vocaloid is the most well-known vocal synthesis software that draws upon voice banks, collections of audio samples recorded by actual people, to create melodic sounds that give off the impression of singing or even rapping. Any music that makes use of such software in the production process falls under Vocaloid music, even if the software isn’t Vocaloid itself. One might ask if there is any point using Vocaloids when you could just have an actual human sing. Beyond the consideration that is cost for beginners (paying a human singer per session vs a one-time payment for a version of Vocaloid that can theoretically be used forever), some Vocaloid producers (some of whom have gone on to work with or become major Japanese acts) and fans feel that it is this inherent difference that makes the music unique. With the voice synthesisers being the common thread, anyone can make any genre of music using these voices, from J-rock and metal to electro swing and whatever this is. But what about the artistry? Finding a good vocal melody and tuning the voices to either sound realistic or otherwise are things that require human effort. The only difference is that the voice simply becomes an instrument (not unlike in the way that Kanye West has done in much of his work, but digitally) that still requires skill to play. Having dabbled a little with rival software SynthV myself, I would even argue that it can be a pain to get the synth to “sing” when I could just sing myself. And we haven’t even talked about the rest of the composition, let alone mixing and mastering. Current listens: Sheeno Mirin, Nightcord at 25:00, higma BRAKENCE When I first listened to Intellectual Greed through my Spotify Discover Weekly playlist, I had no inkling that another album could join Porter Robinson’s Nurture as my favourite. I’ve talked about how hypochondriac, brakence’s sophomore full-length effort, could’ve been my MCF username, but what exactly about it makes it so special in my heart? It’s probably a mix of two things. One, the high level of skill in the production. Often lumped together with hyperpop artists (who I expand on below), brakence makes use of sound design like a surrealist painter, taking everything from his baritone voice to stock samples and injecting them into a “hyper-real” blend of pop, rock and electronic music. The other aspect would be the lyrics. While some have deemed brakence’s writing juvenile and self-indulgent at best, others like myself see a beautifully-crafted introspection of a young person struggling with the cognizance of being famous and the issues that come with it, like ego and addiction, and expressing it in such a manner that you can’t help but applaud brakence’s earnesty, if nothing else. These elements have been consistent since his debut EP hypnagogia, and the development he’s had up till now makes me excited for what’s to come. Try these: 5G, A La Carte (together with Quadeca), sauceintherough HYPERPOP “Isn’t pop already hyper as it is, singing about being young, wild and free as teens do?” one might say. Perhaps, but hyperpop takes this to the extreme. The core tenets of pop music like catchy choruses and drawing from other genres are present, but hyperpop is not afraid to offend through its extensive use of digital audio manipulation, disregarding the need to create “safe” listens catered to the masses. From A. G. Cook (whose record label PC Music arguably gave birth to the microgenre) to Charli XCX (who worked with Cook to produce her Grammy-winning 2024 album Brat), hyperpop could be considered less of a genre and more of a movement that captures the zeitgeist of a generation more aware of the diversity of the world around them and embracing it through music. Current listens: ericdoa, Jaron, underscores FRED AGAIN… The British producer might have aristocratic blood flowing in his veins and had opportunities many can only dream of, but his musical prowess speaks for itself. I started getting into his discography early in 2023 after seeing his name around electronic music circles. Listening to his Actual Life album trilogy and watching his Boiler Room and Tiny Desk sets made me understand his meteoric rise that culminated in closing Coachella 2023 with industry legends Skrillex and Four Tet (courtesy of Frank Ocean). Try these: Billie (Loving Arms), stayinit (with Lil Yatchy), Me (Heavy) FUTURE GARAGE While UK garage infiltrated pop music (in all languages no less) and took over the world hit by hit, I was spellbound by something slightly different. Specifically, Kelly (end of a nightmare) by Fred again… off Actual Life 3. Compared to the popular songs off the same record, it was more melancholic, even contemplative despite maintaining the level of energy dance music is supposed to have. Soon after, I started listening to the seminal future garage album, Untrue by UK producer Burial. While it has also been classified as a dubstep album, it’s obvious regardless that Burial came up with a unique sound that has received accolades and inspired future (heh) producers and even musicians outside of electronic music. Current listens: Burial, Bucky, Vacant CVLTE This is going to be a trend with my discoveries - while scrolling down some YouTube video’s comment section one day, the Sapporo band’s music video for Falling Apart appeared on the related videos sidebar. I liked it and the rest of the 616 EP, but I never imagined that their debut album praystation 2 would hit all the musical spots I didn’t even know I had at the time. Mixing rock with electronic elements is hardly a novel concept, but CVLTE has a unique blend that could, in some ways, be considered trailblazing. It’s no wonder they’ve found themselves signed to a Sony Music label, played at NEX_FEST 2023 organised by British band Bring Me The Horizon (who have long drawn upon electronic influences) and released a song to close off the second season of Shangri-La Frontier. Try these: happy. (feat. shaka bose 釈迦坊主), me, myself & I., kuromi. (feat. 4s4ki, sacha online) J-POP While I stated in Pt. 1 that I’ve had exposure to Japanese music from a young age, those were almost entirely theme songs for various media. Even when I became a weeb and got exposed to such music, I hadn’t really taken the time to explore more Japanese pop until the past couple of years. Those years however coincided with the COVID-19 pandemic, a time when Japanese media like anime and VTubers were exploding in global popularity, further complicating the J-pop landscape. Today, a diverse range of artists have found Japanese and foreign audiences, from idol groups and rock bands to self-produced artists and even virtual personalities. Just the kind of diversity I seek in my music library. Current listens: Suisei Hoshimachi, Fujii Kaze, tuki. MIYACHI I can’t quite remember how I was introduced to this Japanese-American rapper, but his unique flow (a product of growing up in New York and visiting Japan yearly) and his comedic chops through his unhinged street interview YouTube channel have made him one of my favourite hip-hop artists. Try these: Mainichi, Messin’ (feat. Jay Park & Bryce Hase), Crazy Outside (with Thelma Aoyama) ATMOSPHERIC DRUM AND BASS This electronic sub-genre has many names, but is best known as 2020s breakcore due to the use of the term to describe the revival of a late-90s sound. While both sounds may share the defining trait of breakbeats, the other aspects could not be more different. Take a classic breakcore song like Szerencsétlen by Canadian musician Venetian Snares. Now compare it to something like Kawaii Razor Blades by controversial producer Sewerslvt (if the name didn’t already give that away), now known as Cynthoni. The sonic difference, among other things, has led to a debate on whether this sub-genre should be considered as “real” breakcore, or if it should be categorised as something else, like “atmospheric drum and bass”, which I will use to refer to this particular sound. I personally was exposed to atmospheric drum and bass first, and found myself appreciating the juxtaposition of the frantic drumwork with the droning synth basslines and fluttery synth pads washed in reverb, almost as if there was some force fighting to surface from the waves threatening to drown it - a sonic representation of life methinks. Current listens: Cynthoni, Blksmiith, Dusqk VALLEY This Canadian band first appeared on my YouTube feed with a live studio performance of Good, but not together. Despite generally finding indie pop homogenous and thus boring, I liked it enough to check out their discography, and soon found myself putting various songs of theirs on loop, particularly their latest album Water the Flowers, Pray for a Garden. As it happens, the now-three-piece act will be playing at Capitol Theatre on 13 June 2025. Time for me to get the concert prep going. Try these: Paper Cup (Sorry For Myself), Bass Player’s Brother, Park Bench SHOEGAZE While I wouldn’t say I’ve never heard shoegaze music, it is a sub-genre I’ve only gotten into very recently. Perhaps it’s the mixing that bothers me on quite a number of records, with how lacking drums can sound, but the guitars being drenched in reverb remind me of atmospheric drum and bass in how they transport me to a different, ethereal headspace. Current listens: Parannoul, Kinoko Teikoku, motifs FIN. And that’s the list! Thank you for reading through all this yapping. Reflecting on my musical journey was an interesting process, seeing how some early inspirations fell to the wayside while artists I did not take to at first became my favourites. I was also surprised by the realisation that I discovered music I would otherwise have never heard through social media platforms, despite not being a fan of people doing so via TikTok. Finally, I also wonder how if I had not heard that song that day, I might have become a completely different person. Perhaps I might still have continued writing and making videos as means of self-expression, but I am certain my life would be much less vibrant without music. P.S. I love getting recommendations as well, so do comment down below what I should listen to next! ~ Wei Feng Cover image: Photo by Hanny Naibaho on Unsplash

Some of my colleagues will know that I make electronic music outside of work and school. A stark contrast from the impression I give off (several people throughout my teenage years told me I seemed more like a classical guy). Truth be told, I wasn’t always into music. Growing up in an average Singaporean Chinese household, my main sources were either the sporadic exposure to radio stations, or more frequently the theme songs of whatever was playing on KidsCentral/Okto (RIP free-to-air kids channels). I still remember and occasionally listen to songs from that period, but for some reason none really compelled me to listen to music more back then. Perhaps it was the fact that I only got to access the Internet at home around 2009, when I was in Primary 4, so I never thought I could try looking those songs up. In addition, my brother and I apparently refused our mum’s offer to take piano lessons as kids, so there was no interest built up to begin with. THEN IN 2010, MY LIFE CHANGED. I vaguely remember heading to the school hall with my class for some PE lesson - only this time instead of playing sports, we were doing some kind of dance routine. I don’t quite remember now. But what I do remember is that as my class was forming up in two rows to head back to class, a music video came up on the projector screen. The girls squealed, the boys groaned. I couldn’t look away even as we walked out of the hall, my mind enchanted by the chorus going: “Baby, baby, baby, oh”. Some older folks might already have traumatic memories returning. A major discovery as I was researching - this was composed in E flat Major, a key signature that I've made some of my favourite compositions in recent years in. Yes, absurd as it sounds, Justin Bieber changed my life. Literally. For the rest of my primary school life, I got so obsessed that not only did I get CDs of both his debut album (which includes Baby) and his Christmas album, my maternal aunts even got me his biography (which, like most of my books, now collects dust amidst my bookshelves). Thou shall bow before my credentials! As I started getting access to the Internet during this period, I was exposed to a whole new world that was music. In addition, two events would mark my ventures into genres outside of pop. In 2006, hip-hop producer Dr. Dre and record label executive Jimmy Iovine founded the audio company Beats Electronics (Beats by Dre in common parlance). I came to know of the brand as it started seeing use in devices like HTC smartphones, and of course seeing ads for the audio gear. Upon hearing that the company was founded by a hip-hop musician, I went to satisfy my curiosity on YouTube, and I left as a fan. During the late 2000’s and early 2010’s, electronic dance music was rising in popularity, to the point that it was dominating the radio waves. If you weren’t hearing songs from the likes of Avicii and Swedish House Mafia, you heard pop songs with electronic influences, occasionally provided by producers like David Guetta and Zedd. I stumbled upon this wave and have kept my finger on its pulse since. By this point in 2013, I had discovered GarageBand on my school-mandated MacBook, and had been messing around for a while. All it took was one song on Hot FM 91.3 (now One FM 91.3) to get me taking music production seriously. Part of my (delusional) long-term goals as a 15-year-old was to move to the Netherlands so that I could work with Dutch DJ/producers like Hardwell given the prevalence of electronic dance music. I’m not sure why this was the song that did the trick, but by early 2014 I had put in enough work to decide that I wanted to make music for a living. This would be far from the end of my musical journey, of course. TIME SKIP - IT IS 2016. Entering a new phase of schooling is anything but boring - meeting new people, getting used to the whims of different lecturers, and for many students, choosing a CCA. I already knew that I wanted to join my polytechnic’s Song Composing Club. Some people asked, and I had to explain, that while there was a DJing club that was pretty established, I felt that learning composition would be more beneficial if I was to stay on the path to making music for a living, especially if I could also try my hand at other genres. I wasn’t ready for what came though. With any first sessions in a school setting, there are ice breaking activities. But in the case of this club at the time, it ended off with members grouping up to cover a song of their choice. I happened to be in a group with members who were in bands. Naturally, we covered Metallica’s For Whom the Bell Tolls. Not having any experience playing instruments, I was relegated to sharing the mic with two other members. That could have made me go over to the DJ club, but I guess young, obstinate me was so hung up on wanting to get better at music composition that I stayed. As part of Ngee Ann Polytechnic’s Arts Fiesta, the club holds annual shows featuring performers from the club. This was from NP Amplify Showcase 2017, where I took photos of the bands playing for a news writing assignment. The lineup that year was made up mostly of existing bands with followings, like Fader and Hollow Threat (pictured here). With performances being a core part of the club (and composition lessons ironically not as much), I got exposed to a lot more rock and metal than I’d ever heard before (though pop performances were equally abundant), and while they’re still not my absolute favourite genres today, I now listen to and draw inspiration from bands as diverse as Starset, No Party For Cao Dong and Unlucky Morpheus. At this juncture, I should also bring up the fact that the media plays a big role in how we listen to music, and in a sense I was no different. THE BUTTERFLY EFFECT IN ACTION The life-size RX-78-2 statue outside DiverCity in Odaiba, Tokyo during my last visit to Japan. It has since been taken down and replaced with the Unicorn Gundam. A 2016 trip to Japan resurrected my interest in Japanese media (I finished the 50 episodes and 1 movie that make up Mobile Suit Gundam 00 during the 13-day trip). Coupled with getting into video games like the Final Fantasy and Persona franchises, by Q1 2018, I had gone full weeb. Just like the anime and tokusatsu series from my childhood, the music from these media was at the very least memorable, if not magical. With every series cleared from my ever-expanding backlog, new songs were added to my music library. Naturally, I started spending less time listening to the artists of my early teenage years. But as with many things in life, I eventually found myself diving into more rabbit holes. ~ Wei Feng Images: Myself

I'm not a fan of Christmas. Let's first set aside the unclear and potentially contentious origins of this particular 'holiday', and my general apathy towards religiosity. (Christians celebrate it as the day of Jesus' birth, though some evidence suggests his actual birth was in the spring. Some historians also note that the Christian traditions of Christmas can be traced back to Pagan roots and the Saturnalia festival, and the chosen 25 December date was an attempt by church leaders to appropriate the pagan festival and increase religious popularity among non-Christians). I don't particular like the whole shtick of Christmas - it's hard to un-see the marketing tool that is the festive season, or the hyper-consumption generated by the tradition of gift-giving. I don't particular care for the lighting displays, nor do I care for Santa Claus (he isn't real, ya). But what I really don't like is the music. The endless jingles in every shopping mall, the uncountable Christmas albums from bands you may have forgotten about, Mariah Carey. The thing that perhaps grates at me the most is the general unoriginality of it all. Hundreds upon hundreds of covers just to essentially end up with the same song. It just feels so repetitive and stale. I don't dislike covers. In fact, I love them, but also only when they are interesting and do something different to the original song. Pop Goes Punk? Love. I recently discovered a Youtube channel that I am now slightly obsessed with - Sparrow Sleeps. "We create lullaby renditions of your favorite songs." says their description. I was directed to this channel from an Instagram story by Anberlin, mainly because of the punny title on one of my all-time favourite albums, Never Take Friendship Personal - Never Take Toddlers Personal is absolutely hilarious on so many levels. A lot of the bands covered by Sparrow Sleeps are exactly in my music wheelhouse - a lot of pop punk, emo, punk rock, all the usual Warped Tour staples. And the resulting lullabies are a treat. Familiar enough to be recognisable, yet so different in tone and timbre. (I will conveniently ignore the Taylor Swift and Post Malone covers.) And the album names are just *chefs kiss*. Three Cheers For Sweet Dreams (MCR), QUIET! (Paramore), The Bed Album (Weezer), The Is Nothing Left to Snooze (Foo Fighters). Man, these people have a proper sense of humour. Do these work as lullabies? I'm not sure. Maybe? I might experiment with a few over the next few nights of sleep. But the whole endeavour, and specific and particular as it is, makes me smile. They found their brand and are sticking with it, even with some videos only have a few hundred views (they really should have a lot more!!). And the covers are just really good - somehow, these normally loud songs also work well when stripped down to strings, piano and a xylophone. I am a fan, and I can't believe I haven't found about them earlier. Discovering such music makes me happy (to a slightly delirious extent, perhaps). It feels fresh and creative, it feels fun and different, and perhaps most importantly it feels unexpected and surprising. Everything that Christmas is not. So this Christmas, I know which jingles I will be listening to.

“WHAT’S A GOOD USERNAME?!” Such was the source of my agony as I was handed a pair of figurative keys to MyAutoBlog. I’d asked the colleague from IT who was helping me set up this account if I really had to make an account with my work email, hoping I could use the username that came with my personal MCF account instead. “yes”, in lowercase no less, was what I got. Oh well. After a good 10 minutes (I think), I decided on this username (a reference I hope someone gets), juvenile and edgy as it may seem. I’m not content with my choice though. As I looked over at my Spotify immediately after I logged in to this account, I saw a username idea I liked more (“hypochondriac” - the title of one of my favourite albums which I hold dear), and as I begin writing this post another has surfaced in my mind (“textonlyyapper” - see the length of this post versus my bumbling self in person down below). It occurs to me I never formally introduced myself. Hello everyone, I’m Wei Feng. I started out in Sgcarmart doing video work, but I’ve always wanted to try my hand at writing professionally at some point in my life, having grown up reading various traditional publications like the usual broadsheets and magazines. A blast from the past, even for me (born in 1999). I had aspirations of becoming a tech journalist in primary school due to the now-defunct Digital Life weekly supplement bundled with The Straits Times on Wednesdays, and tech magazines like the-also-now-defunct Stuff Singapore and HardwareMAG (HWM, whose parent group HardwareZone should be a familiar online presence). Unfortunately, my journalism modules in polytechnic scared me off the job for a while. Also, I presumed it would be hard to get into the tech side without either knowing the right people (sigh) or making the rounds in boring departments first (Finance? Ew.). Bummer of a self-intro aside, I also started learning video editing and music production in secondary school, though it’s obvious which prevailed as a career. Nevertheless, the act of creation in various mediums has been a recurring desire in my life, and thus on top of my current job scope, part-time university and hobbies, I asked my superiors on multiple occasions for the opportunity to write. Hopefully, this not only scratches my itch to write, but also does my career trajectory some good. THE PERPETUAL CONTENT CREATION MACHINE With every piece of work, I strive to leave a positive impact. By positive, I don’t necessarily mean a favourable or pleasant impression, but primarily a sense of authenticity and intention. If my intention in creating something, struggles and all, gets across to its recipient and inspires them to make their own thing - that’s the sort of legacy I want to have. While there’s not much in the way of authenticity when it comes to the business of product reviews, I can at least forge my identity as a creator by using each video (or any creative work really) as an opportunity to try untested ideas, refine existing skill sets and occasionally stumble upon magic. It’s this sense of intention perhaps that may have helped me convert from being an intern to a full-time video editor here, and what made choosing this username so difficult. Lately, however, I feel like I’ve had to compromise on this ideal. I've sometimes struggled to find meaning in my work in recent months. As the work piles up, money comes flowing in (a little into my pockets of course), but out goes the time to explore new possibilities that could elevate the work further, and time to reflect on the results before moving on to the next project. Statistically speaking I’m doing fine (as my direct manager JayJay has told me a couple of times), but I cannot claim to feel the same way, not when existential dread fills my body lamenting my inability to strive for greater things. To be clear, Greek philosophy was not where I drew my username from. I am not cultured in that way. Perhaps that’s why my mind wandered to my username. “Ataraxia” is a term commonly found in Ancient Greek philosophies like Epicureanism and Stoicism that can be translated as “tranquillity”. A “hollow ataraxia” therefore could be construed as a false or meaningless peace, an apt description for my current predicament. One that leads to all sorts of thoughts surfacing. DOES ANY OF THIS MATTER? Plenty of literature out there grapple with ways of finding purpose or meaning in our lives, and I’d say I found mine back when I messed around with iMovie and GarageBand in secondary school. Life ever since has been a struggle to reconcile my ideals of creating what I want for a living with the reality that creative work isn’t viewed as having intrinsic value unless it provides some material value. In this age, it is content to be consumed in a moment and forgotten once the value has been delivered. I hate the use of that word. The idea that creative work gets diminished in such a merciless manner leaves me wondering what went wrong. Putting my frail state of mind aside, could you bear to say that the creators whose works inspire you are just making content? All your musical heroes and idols, the YouTubers who showed you all sorts of things, or the authors who shaped your worldviews? Or am I just deluded for wanting to pass on all these blessings I’ve received in kind? There are no answers for those. Best I can do is settle for now, in this endeavour to die or create. ~ Wei Feng Cover image: Album art for "hypochondriac" by brakence via Rate Your Music Images from: Pastamania (Singapore) via Facebook, The True Aesthete

The Youtube algorithm is annoying. Click on a few videos from the same broad ‘topic’, and suddenly your entire Youtube home page is filled with similar videos elbowing out all your usual ones. It then takes quite a while before your ‘normal’ recommendations start appearing again. So, the latest Youtube rabbit hole I’ve recently tumbled down into is a very particular and specific one - orchestral ‘club’ music. It’s basically music you’d associate with clubbing - usually EDM but not limited just that, but performed by orchestras instead of the typical DJ. The correct answer is always.. Darude Sandstorm I enjoy classical music, especially orchestral music, though I certainly don’t listen to it on a regular basis. But I do enjoy a good orchestral concert (the most recent Distant Worlds was glorious!). And yes, while I won’t say that I’m a massive fan of EDM or dance music in general, I think there is a part of me that finds that kind of music… familiar. After all, it’s music that I was regularly exposed to in my younger, partying days. It’s far from my go-to genre of music on a day-to-day basis, but it can be occasionally invigorating. I do enjoy it, time to time. What I find particular intriguing and interesting is the intersection of the two. On one hand, you have orchestral music, which is often thought of as very bourgeois, atas, high-culture, etc. It’s also exactly the kind of music that most people would associate with being quite high-brow, perhaps even a little stuffy – orchestral performances would stereotypically involve people in tuxedos and evening gowns sipping champagne. On the other hand, you have dance music. Nothing against it personally, but I think there’s definitely a perception among many people that its ‘clubbing’ music (and the perceived debauchery that can be associated with it), which can be construed as ‘less-classy’. Instead of tuxedos and champagne, it’s maybe more crop tops and tequila shots. You could certainly make the case that on a so-called ‘musical spectrum’, these two genres would exist on either far end of it (though I would not for a moment propose that any ‘spectrum’ would exist in a simple, linear form). You typically won’t expect fans of one to like the other. And it’s fascinating when seemingly opposing worlds collide. Part of why it is so intriguing to me is the basic assumption that they “could not”. How could these seemingly disparate things intersect, let alone flourish? And this doesn’t solely apply to music. In all instances, I am fascinated when people manage to make the “unworkable” work. Hamilton: A marvellous intersection between cutting political commentary, hip-hop beats and rap, and the musical theatre stage. Chess Boxing: People alternate between sophisticated strategy and punching each other in the face. Even TV: When a serious drama suddenly decides to do a whole episode as a musical. Beyond anything, you must admire the ambition that goes into these endeavours; daring to not just think outside the box, but break it, even. Such experimentation may not always yield success, but when they do, the results tend to be impressive. But back to classical EDM. Proof of concept that orchestral EDM is awesome: It's even now featured at what is arguably the biggest dance festival in the world I particularly like how many of these acts now perform at events/festival within the same lineup as ‘normal’ DJs, playing to the same party-loving crowds. I do think it speaks to the universality of music, and also underscores the fact that music, at its very core, is constructed using a pretty standard ingredients list. To be fully technical, it’s really just notes and frequencies, right? So, regardless whether it’s a trumpet, oboe, cello, or synth, these are all flavours developed using the same fundamental ingredients. And in the specific case of EDM, a lot of it tends to be constructed using digital versions of real instruments. In the case of these symphonic interpretations, you could even see it as the orchestra taking the tracks back to their original roots – played using instruments rather than a KORG MIDI pad. Look past the technical aspects, however, and I think the other aspect that I enjoy the most is the ability to bridge these two seemingly unbridgeable worlds. Just as you see the crowds lapping up EDM classics, so too are the musicians in the orchestra bopping their heads and playing with massive grin on their faces. And of course, the conductor absolutely having the time of her life (it’s a fun contrast against a more ‘typical’ depiction of a conductor, such as in the movie Tar). It’s fun precisely because it embraces the fact that its different and unusual. And yes, maybe it says something about me also that unusual things especially appeal to me. And even in a traditionally 'classy' place like Royal Albert Hall, this same cross-genre of music has gained traction Music, like many (arguably most) other things, exists across a wide-spanning spectrum, and people can often be too ready to pigeonhole themselves and each other some way or another. It is perhaps in these daring crossovers that we can all better appreciate the commonality of all the things we enjoy, and to embrace the fact that our lived experiences, while certainly different, don’t have to remain distinctly apart. Now, time to find a new Youtube rabbit hole. Drunk History might be next. ~ Desmond Images from Unsplash

there would probably be inspectors at discos with a rhythm timer. 😁 Chechnya bans dance music that is either too fast or too slow The Russian republic of Chechnya has banned dance music it deems either too fast or too slow, in an attempt to quash a “polluting” western influence on the conservative majority-Muslim region. Musa Dadayev, the culture minister, said “all musical, vocal and choreographic works should correspond to a tempo of 80-116 beats per minute” to make music “conform to the Chechen mentality and sense of rhythm”, according to the Russian news agency Tass. “Borrowing musical culture from other peoples is inadmissible,” Dadayev said. “We must bring to the people and to the future of our children the cultural heritage of the Chechen people. This includes the entire spectrum of moral and ethical standards of life for Chechens.” According to reports in Russian media, Dadayev set artists in the region a deadline of 1 June to rewrite any music that does not conform to the rule. The law in effect criminalises most modern dance music genres that are typically played in clubs around the world, such as house, techno, dubstep or drum’n’bass. Some hip-hop and rap, which is typically played at speeds between 60 and 140 beats per minute, would in theory still qualify for the traditional Chechen “sense of rhythm” that the regime of the authoritarian leader, Ramzan Kadyrov, wants to preserve. Traditional Chechen music includes khalkaran yish – instrumental songs used to accompany dances, processions and horse races – and heroic epic ballads known as illi yish. They can be accompanied by the dechig-pondar, a three-stringed instrument similar to the Russian balalaika. Chechnya, in the North Caucasus region of eastern Europe, has in recent years been repeatedly criticised by human rights organisations for its violent persecution of sexual minorities. The Chechen government has denied such allegations, claiming there were no homosexual people in Chechnya, and those who did exist would be rooted out by their own families.

On 4 March 2024, Sum 41 performed in Singapore for the last time, on what is their final (and farewell) tour. It wasn’t supposed to be. They were slated to perform last year, in fact, but had to cancel due to a family emergency. When that news broke, I was heartbroken. But finally, I got a chance to see them. For the very first and very last time. It was… a lot. Underclass Hero Deep down, I am an emo 90s kid. Jimmy Eat World, Anberlin, Lifehouse, My Chemical Romance, Evanescence, Blink-182, Paramore, Good Charlotte, Taking Back Sunday, Placebo, Saosin, these were many of the bands that soundtracked my childhood and early teenage years. I’ve been lucky enough to be able to see many of them live. And now, Sum 41. And while my Spotify playlist typically comprises music from that late-90s/early-00s era, I don’t actually use Spotify that much. I mostly listen to podcasts, as well as vinyl. Which is to say that I don’t listen to Sum 41 on any kind of regular basis. As a result, this concert was all the more surprising, and all the more special. It was remarkable to hear many of these songs of my childhood (some I’ve perhaps not heard in years), rocking out hard amidst a throng of other (clearly not very young) fervent fans. And if you know anything about Sum 41’s music, its… angsty, to say the least. That rebellious attitude is one that resonates loudly and proudly within the Star Theatre. And it was an emotional rollercoaster. I screamed, laughed, rocked out, even cried. With Me Trying to make sense of it is difficult. Why? It’s not simple sentimentality. It’s not even that it was a highly fun or enjoyable show (though I thoroughly enjoyed myself). There are some concerts and artists where the joy emanates from the musical complexity, or perhaps the performative theatricality. There are shows that uplifts you, inspires you, and captivates your imagination. This wasn’t that. It was something much more raw, and much more personal. The music taps into darker emotions – anger, loss, sadness, frustration, loneliness, grief, regret – and the collective totality of these songs resonate with a very particular part of my brain. It evokes feelings and memories from a particular period of life that will always have a rawness to them. Amidst the raucous music and heavy riffs, there are moments of introspection. As the music fleetingly transports me back to my 15-year old head space, dark with feelings of angst and otherness, difficult questions worm their way to the fore: “Is this who I am? Is this all I ever was? Is this who I’ll always be?” “Have I changed? Have I grown?” Music offers catharsis. Hearing it loud and live, amongst friends and strangers who are all having their own emotional reactions to it, it is all amplified and brought into even starker relief. And I think precisely because I don’t listen to Sum 41 regularly, hearing songs that I haven’t properly listened to in years, some I have perhaps even slightly forgotten, it opens a dormant volcano of emotional memories. There is an immediate reckoning to be had – with who you were back then, and who you are right now. And some answers can be found, incomplete as they may be. The struggle for self-determination never fully ceases, but there is a sense that now, decades on, we have at least a better grasp of it. And in that moment, as the closing notes of So Long Goodbye ring out, it all feels… okay. Of course, it’s made all the more intense by the fact that this is their farewell show. This is the last time – adding an additional layer of wistful loss to the already overwhelming slate of emotions. Walking Disaster I don’t claim to be the biggest Sum 41 fan. Instead, their music is integral to a complex sonic tapestry that tightly cocoons those teenage feelings and emotions. And it is precisely that inseparable connection between music and memory that makes moments like these so powerful. With voices breaking, eyes watering, ears ringing, the live experience delivers overwhelming moments of catharsis. Joy and sorrow, elation and angst, the spectrum of emotional feedback pouring out as Deryck Whibley sings and screams his way through their greatest hits. To some people, it might just be a concert by an angsty, emo band that’s perhaps lost some of their relevance today. But for the people there, and certainly for me, it was a glorious yet emotionally complex moment – two decades on from my most formative years, the music still reveals and resonates, equal parts reflection and affirmation. This will be the last time, Sum 41’s great big farewell. It was everything I wanted, and everything I did not know I needed. ~ Desmond

🎵 Listening to this playlist while reading will give you a fuller experience of this post Frankly, I was never a Coldplay fan. When the band announced their Music of the Spheres world tour in Singapore, I remembered going "Oh". But clearly, my loved ones were thrilled. Just by reading, you can probably tell how starkly different our reactions were to the same event. Nonetheless, I was happy to join the party to see for myself what brilliant performers Coldplay are, as I've heard. We camped for the tickets and failed to secure a n y for all of the three nights (hurhur). We were disappointed; I was disappointed. Coldplay, for sure, heard our disappointment because not too long after, they added another three dates to our tour stop. We rejoiced, we fought against the bots, and we got them. I was excited, but at that point, I was certain much of it was sheer excitement from securing a spot at the show. Boy, was I wrong. Six months later, I'm a convert. I remember that heady feeling of being uplifted from their anthemic tunes, the fuzzy burst of warmth when Yellow and Fix You came on. I remember jumping to Viva La Vida and tearing up at Everglow – a song whose lyrics I've come to truly appreciate as I got older. But this isn't going to be a review of their performances because I'm positive the web must already be inundated with tons and tons of them. The show was out of this world, yet something else also took centre stage for me. Music is an even more universal language than we think When everyone was bobbing to Coldplay's music, one dedicated section was, too. Unlike many other concerts I've attended locally, theirs had a "Sign Language Area" carved out specially for the deaf and hard-of-hearing fans. There, sign language interpreters danced hard to the rhythms of the setlist, to offer as contextually accurate and as vivid visual interpretations of the lyrics as possible. Apparently, the interpreters did their homework beforehand: Every gesture was matched to the meaning of each song, and researched to a tee (cries). That wasn't all, though. What overwhelmed me with goosebumps was how fans with special needs could soak in the full experience, thanks to Subpac vests prepared by Coldplay. How these vests work is by sending vibrations that pulse right through the bones to the inner ear of those wearing it. That way, the user can feel the beat of the music just from wearing the vest. It's this very consideration for understanding how people with hearing impairment are able to enjoy music that impresses me. And this heart for making music accessible to all, the essence of inclusivity in its truest form. People have praised Coldplay for "setting game-changing standards" for the local deaf community. But to me, what Coldplay has done is life-changing. Go to a concert and power the performances Again, this was something that threw me off my feet. Maybe I haven't been around enough but it doesn't seem very often that artistes stick to their ideals so much so that their performances are fuelled by these convictions. In the band's words, they were willing to pause touring until they could find more sustainable ways to do it. That's some hardcore pledge. If, like me, you were at one of Coldplay's recent concert tour stops, you would have seen or even experienced for yourself the kinetic dance floors (jump pads) and energy-storing bikes. Show-goers could dance, jump, paddle and basically move around as much as they liked to generate energy captured in batteries that run elements of the concert. It was fun and honestly a very, very clever idea. It didn’t feel one bit out of place yet maximised the show experience for fans. Here, Coldplay brings the concept of sustainability to their everyday life, as well as ours. The band that knows what it's doing From breathing inclusivity to infusing their performances with sustainable efforts, Coldplay knew what they were doing. They did it well, did it zestfully, and in a style that's uniquely theirs. Call them opportunists but I'm a fan of well thought-out executions and above all, a dedication to doing well at what they love and believe in. – Denise Media from: Coldplay, Spotify, 8dayssg

Joey Fatone and AJ McLean just announced a 2024 tour. For many people, those names may mean nothing. But for those who know (yes Millennials, I’m talking to you), this is BIG NEWS. Perhaps a little more context: Joey Fatone was (is?) one member of *NSYNC, while AJ McLean was (is?) from the Backstreet Boys. Ahh, should sound a lot more familiar now. Quit playing games Before there was BTS and Seventeen (no clue myself, but my colleagues assure me they exist and are really popular), before even One Direction or Jonas Brothers, there was, of course, what I would consider the Golden Era of boy bands - the 90s to early 00s. I would say that, of course. I am a product of the 90s. Quite literally - born in 1990, and growing up exactly to this sort of music on the radio. The Jackson 5 was probably the first widely recognised and loved boy band that combined singing, dancing and magical harmonies Of course, boy bands did not start with the Backstreet Boys nor *NSYNC. Not even 80s icons like Boyz II Men or New Kids on The Block. Wind the clock way back, and the history of boy bands (defined as a group of well, boys, that sing and dance) date back to the early 1800s and African-American barbershop quartets. However, it was probably only into the 1960s that boy bands (or at least one) entered the general popular (and international) consciousness. The Jackson 5, a band of brothers headlined by a little kid called Michael (you might have heard of him). Don't wanna lose you now But, this isn't a history lesson. I (desperately) want to talk about the 90s - my era. It might have been the height of boy band-mania, and also when the entire notion and concept of a boy band was most concretised. With curated and coordinated outfits, highly produced and polished pop music (in contrast to the R&B leanings of earlier acts), elaborate dance moves, and a general pretty-boy aesthetic precisely engineered to appeal to screaming pre-teens, boy bands dominated the 90s and early 00s. There is undoubtedly a kitsch-ness to it, but I believe that is its inherent appeal - sincere in their simplicity, unyielding in their unoriginality, and united in their ubiquity. Growing up in the 90s and 00s, it was hard to avoid them - perhaps also owing to the sheer number of boy bands then. They were all over the radio, we all bought the CDs at the Heeren HMV, even the music videos were all over MTV (remember MTV??). In many ways, these groups were larger than life. Denim on denim on denim. Could there be a more iconic image of the 90s? And they leant fully into it. I am not sartorially opposed to all-white suits or even a full denim get up (both iconic to this day), but let's be honest, even for the bravest fashionistas among us, that's a choice. And personally, I find all of it quite charming - there's a tragic earnestness to the pop music zeitgeist of the 90s that's at once both hilarious and heart-warming. And even till today, I am unashamed and unwavering in my love for these bands, no strings attached. Thinking of you Why then, does such music still resonate in 2024? Nostalgia is definitely part of it. I went for the Backstreet Boys concert in 2019 and it is still one of the best nights of my life. Nostalgia is a powerful emotion that taps into deep seated memories - even as my music tastes have grown, expanded and evolved (though some may argue otherwise, including my Spotify wrapped), these songs are deeply ingrained in my musical consciousness. If Taylor Swift can get wildly excited about *NSYNC reuniting in 2023, then I sure as hell can too... But it's also the music. Yes, the music was mostly quite cookie cutter and somewhat generic (one Max Martin did write most of it), but the simple and memorable melodies, the catchy and often cheesy lyrics, and sing-along refrains and the inevitable up-key final chorus - it is pure, unadulterated, nostalgia-laced delight. You may not have heard the song in ages, but when it comes on the radio (sometimes on Gold 90 FM, my god I'm getting old), you know all the words, and you SING IT. And I do also think that the appeal is precisely because it harkens back to a simpler time and evokes feelings from a "better" time. As we grow older and more cynical, chiselled down by the day-to-day grind of work life and all the perils of adulthood, there is no doubt a desire for that return to child-like innocence (there may even be a psychoanalytical element to this, but that's a rabbit hole I certainly do not want to go down). These songs and these bands evoke feelings of simplicity and naivety. Even if there is an element of rosy retrospection, where we remember history in a more positive light, I don't think that's a bad thing at all. It allows moments of sentimental reprieve, incomplete as they may be, allowing you to bask in a corny yet warm fuzzy feeling. The lyrics don't actually make much sense, but its a defining song from a defining boy band that makes EVERYONE sing along It was a simpler time, even musically. As songs get more complicated and even boy bands more elaborate (Seventeen has 13 members, which is 1. way too many and 2. eponymously confusing), there is something pleasingly simple and comforting about 5 boys singing 5 broadly familiar songs about the same damn thing (it's always l-o-v-e, isn't it). Drowning (in sentimentality) Admittedly, there is something a little bit tragic or cynical about these 20-year old boy bands still touring in 2024 singing songs from the 90s. Does it feel like them milking past fame? Yes. Is it music that is probably no longer relevant or popular these days? Yes. In a world like this, is it just a little bit cringey? Sure. Would I still go? Every. Single. Time. Music means many different things to different people. Our taste in music is rarely singular - I predominantly listen to rock, but there are days that I just want to listen to classical music, R&B, or maybe a bit of slow blues. A WhatsApp (yes, we're not young enough to use Telegram) conversation only Millennials can have, or will understand... But 90s/00s boy bands will always have a special place in my heart, a feeling I think (or perhaps more accurately hope) other Millennials will understand. Even if they may now be Backstreet Uncles, the music of that era is uniquely the one that tugs at my tragically nostalgic heart strings. So I say a little prayer (wrong band reference, I know) that the Joey/AJ tour somehow some way makes its way to Singapore. I'll be there, this I promise you. ~ Desmond

Funny music videos parodies : Bohemian Rhapsody : Star Wars Edition https://www.youtube.com/watch?v=oi7KPDi_yQI Frozen : Star Wars Edition https://www.youtube.com/watch?v=0eJeCM60awo

With many zoom and team meetings going on nowadays, am looking to get a portable speaker for conferencing needs. I am currently using headphone and earbuds but it can get really uncomfortable after prolong usage. I have little experience with such speakers (I do use my colleague Jabra Speak occasionally) so don't know where to begin with. Chanced upon the Harman Kardon Traveler and JBL Flip 4 over the weekend at Courts, both (at $149) allows wireless phone conferencing and playing of music for up to 12 hours I was told. For the 2 I mentioned, I find the JBL have too much of bass which may not be good for conference but music sound nice overall. HK set seems clearer in comparison but lack slightly in music quality (sounds a little hollow). Anyone has any experience with these 2 speakers, or other model to recommend? My budget is up to $200 but of course the cheaper the better. Not looking for hifi sound but something better than those sub $100 portable speaker. TIA. 😊

Wonder anyone interested in Malay mat rock bands of the late 80s to late 90s? I am Chinese but I am a rock fan so their sound and guitar riff and style suits me just fine. I dig all kinds of rock music from Canto (Beyond), Hokkien, Jap (X-Japan), English, Chinese (黑豹,唐朝) etc. As one grow old, prefer their rock ballads over their fast numbers. For malay mat rock I have a great collection of all the bands ballads. Just to name a few. Ababil, Aces, Ad-Hoc, Alfa, Amija, Amuk, Analisa, Arena, Ariwatan, Arowana, Arrow, Aryan, AXL, Axthara, B&W, Baba, Babylon, Bahtera, Belantara, Blackrose, Bloodshed, Bozz, Brainwash, Bumiputra Rockers, Burnmarks, Candy, Capricon, Chapters, Citra, Classmate, Crash, CRK, Crossfire, Crosstown, Damasutra, Data, De-Javu, Desire, Dinamik, Doubleline, Dreams, East, Ekamatra, Ella & Boys, Erat, Espiranza, Etika, Evolusi, Exist, Eye, Fahrenheit, Fair, Fancy, Fantasia, Febians, Final List, Fly N Colors, Fotograf, Frequency, FRU, G.E.T, Gamma, Garuda, Gates, Gerhana, Gerimis, Gersang, Gravity, Guys, Handy Black, Hatty, Headwind, Heat, Helter Skelter, Hevea, Hidayu, Hijrah, Iklim, Ikrar, Illusi, Iris, Jasad Liar, Jati, Jaybon, Jed, Jelmol, Jessica, Jitu, Junction, Justice, Kalahari, Kasawari, Kejora, Kemala, Keno, Khalifah, Krabat, Kriket, Kris, Kulit, Laksamana, Last Minute, Lefthanded, Legacy, Legenda, Lela, Lemon-T, Leo, Leon, Lestari, Lipan Bara, Lovehunters, Loving Born, Masa, May, Medicine, Meditasi, Mega, Menara, Mercury, Metafora, Metallian, Missi, Misteri, Mutiara, Odyssey, Okay, Okid, Olan, Ozon, Panji, Pearl, Penyengat, Positif, Prima, Primadona, Printis, Projek, Putra, Qiara, Rajawali, Rass, Revolusi, Rio, Riyadh, Rockers, Rusty Blade, S.O 27, Sabsar, Saga, Samudera, Satria, Scan, Scoin, Scream, Screen, Search, Sejati, Selsius, Senario, Sensasi, Sera, Serasi, Sherox, Shima & Boys, Skala, Slam, Slash, Sofea, Sons of Adam, Spin, Spoon, Spring, Status, Stings, Storm, StraTG, Strangers, Stripe, Struggle, Success, Sup, Susila, Sweat, Sweet Charity, Sweet Child, Swing, Syuhada, Taufan, Teja, Terra Rossa, The Rocks, The Unwanted, Trimmer, Tropika, U-Topia, UG14, Ukays, Umbrella, Unique, Urgent, Vagrant, Versi, Victim, Viking, Villosa, Visa, Viva, Voice, Warisan, Ways, Wee Wit, Wicitra, Wild Age, Wings, Wizards, WOW, XPDC, Yantzen, Yess, Zabarjad, Zodiak. Mostly Msian bands but there are a few Spore bands too. Most are 1-2 album bands so few ballad songs for me to collect. At the height of mat rock, one album can have 5-6 ballads! Thanks to youtube creation, kind souls upload their band music for me to slowly collect be it Malay, Canto, Hokkien, Jap, English, Chinese. This will be one of my retiring coming hobbies after leaving the rat race of corporate world in a few more years time !

For all rock music fans : Slash (rock guitarist) playing in Sunway Lagoon, Malaysia on 14 February 2015. This concert will feature rocker Myles Kennedy who some say sing better than All Rose. Details : http://galaxy.com.my/index.php?view=event&ref=194&lang=en The difficulty will be on how to convince the wife/gf to let you go on Valentine's Day.

So we have reached the time where most of us need to stay indoors.. Many of us have access to streaming facilities, so what are you watching or listening to? Do you have a Covid playlist? If you're in UK, these two are quite apt. The UK landscape of empty streets is quite eerie.. 28 days later? 28 weeks later is quite apt for UK.. For USA: I am Legend Omega man: And those related to virus spread: The CLOSEST to the truth Contagion: Outbreak: Amazing how they can generate a plasma vaccine sample in an hour...