Looking back on the last 120 years of experimental music from the idea of noise as a form of viable musical expression to… well, the idea of noise as a form of viable music expression, it is truly fascinating to see how much has changed about our attitudes and approaches to music and yet, in some ways, how little has changed.
From Luigi Russolo‘s manifesto validating human-made noise as art to the most recent efforts of modern-day hyperpop visionaries, the kinds of art we recognize and celebrate has evolved quite spectacularly. I mean, even in the 1960s, some of the noisy production styles and avant garde topics tackled were largely frowned upon and that same music is regarded as some of the most influential music ever not even 20 years later. Sometimes experimentation failed at first, like for the Velvet Underground, and sometimes it spread like wildfire like hyperpop seems to have in recent years. Sometimes, despite extremely talented artists’ local success, they failed to garner recognition in western music and pop culture like the dub deejays of Jamaica or the desert blues pioneers of desert blues in Mali. From these trends, it’s clear that globalization and the online state of the world in recent years affects artists’ success and ability to reach wider audiences as the internet effectively opens up the global market for artists to be more prolific than ever. Still, there is also the factor of western monocultural ideals that, to this day, largely prevent other cultures’ music from making waves and receiving the recognition they deserve in western media. Sure, many of the artists spoken of today have wikipedia articles but really, how many Malian or Jamaican artists can you name (besides Bob Marley)? I couldn’t name many before I did this project.
This inquiry has been the first baby step into really exploring the vast world of music this planet has to offer beyond our narrow western horizon. I admit that I easily could have put more time into discovering experimental music from other cultures, but I also wanted to dig deeper into diverse artists from genres I was already somewhat familiar with. I think this balanced out for a really unique exploratory experience which allowed me to reunite with some artists I hadn’t heard in a long time or discover some that I might never have listened to otherwise.
II. Speculation
With increasing globalization and technology being ever-present in our every day lives, it’s hard to even begin to predict where experimental music could possibly go from here. I mean, realistically we’ll have to wait and see, but I want to speculate nonetheless.
I think hyperpop and industrial hip-hop share some similarities which could project the next decade or so of underground and experimental music, at least in the west. There seems to be a clear trend towards harsh noise and glitchy production with large amounts of compression and extreme distortion. In fact, I would say that music is getting extreme. Sure, you can point to similar extremes of the past (just look at Merzbow from Japan’s japanoise scene – active in the harsh noise scene since the late 70s) but this extremity is reaching the relative mainstream. I suspect pop music will always be there to lean on as a crutch of familiarity, but experimental music is becoming more accessible and popular and with that, I can sense that artists are taking more risks because they have a wider audience who can directly support them in their weirdness. Sonically, it’s impossible to saw what the next big innovation of the late 2020s or 2030s will bring, but I am excited for whatever extreme pop or hip-hop or rock behemoth rears its head.
But I want to be more conscious about listening to music from other countries going forward. I’m not in the minority for largely listening to music from the United States and Europe with a little Canada and Australia in the mix. Even the music I do listen to from non-western countries tend to sound similar or be clearly influenced by western genres. Since I am ultimately out of touch when it comes to the majority of non-western music, it’s impossible for me to speculate on where it might go from here. This inquiry has been a good reminder for me to seek out all kinds of music to broaden my own musical horizon and I hope it’s inspired someone else to seek out some new music too!
III. In Closing
Along the way, I’ve highlighted 24 different artists with a song by each of them. For the sake of convenience and documentation, I’ve compiled a Spotify playlist with each of the songs so they can be accessed and listened to more easily:
Some of the music in this blog so far can be described as minimalist, but that is far from the case for hyperpop. Originating in the UK in the 2010s, the term “hyperpop” supposedly originated in 1988 by writer Don Shewey as he was writing about the Scottish dream pop band, Cocteau Twins noting that 80s England had “nurtured the simultaneous phenomena of hyperpop and antipop”. As a sound, subculture, and official label, however, it began being applied to some music used in SoundCloud‘s nightcore scene before eventually seeping into more mainstream platforms such as Spotify. An analyst for Spotify, Glenn McDonald suggests that hyperpop did not qualify as a microgenre until 2018 making it a relatively new style. Speaking of its style, hyperpop is often exaggerated and eclectic with self-referential lyrics overlaying a typical pop song turned up to the max; instrumentals frequently employ aggressive synth melodies, auto-tuned vocals, and tons of compression and distortion. As a subculture, the movement is often associated with LGBTQ+ online communities with many influential figures being transgender, non-binary, and/or gay. Many of these artists also dabble in similar styles such as glitchcore and digicore. As such a new microgenre, it has plenty of room to grow, but has already uniquely mixed a ton of inspirations to make something entirely new with some even noting the similarities between glitch-style music and Luigi Russolo‘s ‘The Art of Noises‘—no I didn’t plan that.
II. Notable Artists
Some notable musicians who contributed to tishoumaren (desert blues) are outlined in the following section. As in the previous entries, my goal is to focus primarily on underrepresented, diverse musicians who were largely overlooked or marginalized in some way.
Rook is a Canadian based in Toronto, ON. She has been a prolific artist dabbling in all sorts of musical styles from synth-pop with her group Rook&Nomie (composed of Rook and bandmate Neotenomie) to her more aggressive glitchy, noisy, hyperpop band Black Dresses which she formed with Devi McCallion in 2017. Rook and McCallion began collaborating after Rook send a beat to McCallion via Twitter. Their first album ‘Wasteisolation‘ (2018) was recorded entirely through online collaboration. The album received positive coverage from reputable music journals such as Stereogum and The Fader and dealt directly with their experiences as trans women in a world which is very hostile towards them. Following their 2020 album ‘Peaceful as Hell‘, the band announced they had broken up. Despite this, the duo have gone on to release two more studio albums in 2021 and 2022 respectively signifying their triumphant return. Stylistically, they deal in extremes with glitchy, metallic production that sometimes carries soft, serene melodies and other times features bellowing screams and blown out distortion. The song ‘CREEP U‘ (see video below) from their album ‘Peaceful as Hell‘ (2020) is the perfect example showcasing their softer and more aggressive sides within the same song.
Reflection on ‘CREEP U‘ (2020) by Black Dresses:
I love the bass that kicks off the song. I’m really captivated by the lyrics on this one. They’re really easy to make out and tell a compelling story and give insight into the vocalist’s (not sure if it’s Rook or McCallion singing this part honestly) experience. The melody is simple but it’s so catchy. The imagery used right before the first chorus is fantastic “I’m a building that’s condemned with only bugs living inside”. Brilliant. The simplicity of the earworm chorus is brilliant too. I love how it has a few different layers to it – like it starts quiet and by the second round it feels fully fleshed-out. The song structure is interesting. Where you’d normally have the second chorus, they throw in a sort of bridge which is unexpected, but it flows so well. I love the fuzzy synths that litter this section. It feels sparse and desolate but then in bursts back into the euphoric chorus. I love the “popping” synths that come in for the chorus too. Just incredible. I can’t get enough of this song. Just when I thought I’d heard it all, there’s the… second bridge? The super glitchy part. At first it’s just extra fuzzy and distorted, but it gradually descends into a literal paper shredder. This song is just everything. Just before the outro / final chorus, the song all but destroys itself before coming back to a minimal version of the refrain. Man, I need to listen to the rest of their stuff.
Born in 1994, Les grew up in St. Louis, MO and became interested in music as she learned how to play the guitar. She got a degree in acoustic engineering from Columbia College, in Chicago, IL and began releasing music under the alias osno1. In high school she met with Dylan Brady with whom she would go on to collaborate and form her current main outfit, 100 gecs in 2015. Originally, Les and Brady would record their music together in Chicago before relocating to Los Angeles in 2020. Their first EP, ‘100 gecs‘ was released in 2016 and they struggled to find time to record a proper debut album until a few years later. In 2019 they landed a DJ set for the 2019 Minecraft Fire Festival which prompted them to begin working on their frist full-length album. Their studio album debut, ‘1000 gecs‘ was received positively and their early work was said to help define hyperpop in the 2010s. A year later they collaborated with a ton of influential artists such as Charli XCX and Fall Out Boy on the remixed version of their first album: ‘1000 gecs and The Tree of Clues‘ (2020) which boosted their success substantially. They also collaborated with some lesser known artists like Dorain Electra, Kero Kero Bonito, and even Black Dresses which helped those artists gain some popularity too. Finally, in 2023 100 gecs released their second full length album, ‘10,000 gecs‘. This album features a bit more musical variety bringing influences from pop punk, ska, and nu metal, while still maintaining a very hyperpop demeanor. The first single from their new album, ‘mememe’ was actually released over a year prior in late 2021. This song showcases the chaotic range of inspirations they mash together.
Reflection on ‘mememe’ (2021) by 100 gecs:
What a chaotic song that also just happens to be quite the earworm. I mean the vocals, at least for the chorus, are simple and repetitive like a bottom-of-the-barrel pop song, but the way they’re produced is just so weird. By the second repetition of the chorus, however, the overblown distortion and noise is overpowering and it becomes abundantly clear that this is anything but a bottom-of-the-barrel pop song. But the verses take yet another sharp turn into ska-punk territory with the strumming pattern. The vocals, especially on the verses, have a very 2020’s internet vibe to them that I can’t possibly put into words, but it’s somehow so fitting despite the song itself being a literal mish-mash of everything under the sun. I don’t have a ton to say about the lyrics or the rest of the instrumental, but that doesn’t mean it’s not one of my favourite songs of the past few years. It’s hyperpop bliss at its best. Please check out the rest of the album. Hands down my favourite album of 2023 so far.
underscores (April Harper Grey)
Growing up in San Francisco, Grey became interested in writing and recording music at the age of 6. She began releasing music on SoundCloud under the name underscores in 2013 at the age of 13 but much of her early music is no longer available. Finally in 2021 Grey released her first studio album, ‘Fishmonger‘ which garnered the attention of some big names in the electronic and alternative scenes such as Travis Barker of Blink-182, Glaive, and Lido. In 2023, Grey would release her follow-up studio album ‘Wallsocket‘ which was also successful. Having worked somewhat with Dylan Brady from 100 gecs, underscores would go on to open for 100 gecs in 2021. Stylistically, underscores brings together elements of dubstep (citing Skrillex as an early influence), pop punk, and of course hyperpop. The lead single from ‘Wallsocket‘, ‘Cops and robbers’ (see video below) was released in May 2023 and presents a very solid hyerpop track to kick off the album.
Reflection on ‘Cops and robbers‘ (2023) by underscores:
The song sort of opens like a subdued grunge track before erupting into a more recognizable hyperpop song. The lyrics recount the supposed methods the protagonist uses to rob innocent bank patrons. The vocals are very reminiscent of 100 gecs’ in my opinion, but they still manage to do something unique with it. There’s obviously a more alt. rock influence compared to gecs, but the fast-paced, chaotic energy still feels very hyperpop. The middle section where the tempo really drops and the instruments mostly cut out is really interesting. The drums and synths throughout the song are delightfully blown-out and crunchy, as I’ve come to anticipate from hyperpop and I wouldn’t have it any other way. I just love everything about this and can’t wait to hear where underscores goes next! This is another incredible album from 2023 that I’d highly recommend if you like this track!
Our presentation was on the use of BandLab in a music class setting. The idea behind BandLab is using an online digital audio software (DAW) to collaborate with other musicians to create a track from anywhere. There are the basic DAW tools like recording functions, adjustments for the tempo, controls for each track and the master controls. We wanted to use BandLab to demonstrate what could be done with such a tool. As a secondary topic, we wanted to use AI (ChatGPT) to generate lyrics for a song / rap which we would go on to make an entire track around. The main educational relevance here is demonstrating how students can use technology to collaborate creatively even if they are not physically in the same space.
What we came up with was a rap with lyrics generated by ChatGPT about the benefits of AI being used in education. In the spirit of the experiment, we all worked on the track independently to see if it would really work. I recorded several layers of vocals at home: contributing to the chorus, recording the entire second verse, and some additional background vocals. I also made some minor edits to the instrumentals such as adding some effects and cutting out the instrumentals to create a “drop” when they come back in after the third verse. For the music video, I was one of the main “actors” playing a part alongside Nishant and Daniel. We all contributed to the ideas for what to film and how, but I remember having some input regarding the circle formation in the chorus and helping orchestrate the “rain on the windows” shots in the bridge.
This week we finally had our group presentations. The one that stuck out to me the most was Mindmeister.
I can see myself using this going forward as it allows you to really organize thoughts in a way that makes sense to me. I can not only see myself using this program for organizing my own thoughts and ideas, but I think Mindmeister could prove a useful tool for my classes going forward. For instance, as a biology teacher, I can see this being a really useful way of organizing ideas for my students. I could possibly give them a mind map or idea map to help them understand complex topics from cell physiology to taxonomic concepts.
I really like the fact that you can switch between a mind map and a more traditional list / outline depending on your needs. They serve different purposes with the same information. The one thing I’m not completely crazy about is the fact that you can only have up to three mind maps at a time, so if I were to try to use Mindmesiter in my classes as a teacher I would likely have to pay for the full version. In addition, I played around with the tool myself and found it a little clunky in some ways; it can be a little hard to move your topics / bubbles in a way that is aesthetically pleasing and the presentation mode is a little awkward to use as well.
Ultimately, I think it’s a really good tool for general organization with a couple downfalls. I could see myself trying to use it in the future, but I wonder what other kinds of mind map programs are out there and if they feel a bit more natural to work with?
In continuing with thinking about the consequences of the widespread use of AI in education, we talked about how we can ensure ethical uses of AI in the classroom, how to avoid plagiarism in a world with AI at our fingertips, and how we can be prepared to deal with such plagiarism instances going forward. I am mostly going to reflect on how we can minimize the risk of plagiarism in our classrooms while still having a place for AI.
After our class discussion and thinking about it, I’ve come to the realization that there will always be a chance for people to plagiarize as long as they have access to an AI tool, and that will only be more true if you don’t allow people the chance to use it at all. For instance, if asked my students to come up with a short story idea all on their own without the use of AI, odds are some students would try to pass off an AI-generated story as their own. But if I tell them they can use AI to generate ideas but that they would be required to A) cite what part / ideas of the text is AI-generated and B) make significant edits to whatever is AI-generated, then this allows the students to use the tool in a controlled, responsible way while teaching them the potential uses for the tool and the importance of citation.
Here is an example of this using ChatGPT.
I would instruct my students to come up with a story that contains i) a central character, ii) a few details about them, iii) their character’s goal, and iv) something about the setting. If they use ChatGPT to generate some ideas, they must cite their input and the AI’s output:
Me: Please give me an idea for a short story. I want to write a short story about a hermit crab named Bongo who is really good at running but wants to become a Broadway actor. The story should be set in 1960s France and should be about 500 words long. Thank you
ChatGPT: Title: “Bongo’s Encore”
Once upon a time in the quaint coastal town of Cannes, France, there lived a hermit crab named Bongo. While his fellow crustaceans were content with the slow pace of sea life, Bongo harbored dreams that went beyond the waves. He yearned for the bright lights of the stage and the applause of an adoring audience. His heart beat to the rhythm of dreams that echoed from Broadway.
It was the vibrant summer of 1965, and Bongo scuttled across the sandy shores with the agility that set him apart from his shell-dwelling comrades. His life wasn’t just about shells and tides; it was about chasing a destiny that shimmered in the distant lights of fame.
One day, while exploring the beach, Bongo stumbled upon a weathered theater poster. The colorful images of dancers in extravagant costumes ignited a spark within him. The poster announced auditions for a grand production, “The Sea’s Symphony,” and Bongo knew he had to seize this opportunity.
The auditions were set to take place at a legendary theater in the heart of Cannes. Bongo, with determination in his heart, embarked on a journey that would take him beyond the familiar comforts of his sandy abode. He scuttled through the narrow streets, drawing curious looks from the locals as he approached the theater doors.
Inside, the atmosphere was electric with anticipation. Bongo, with his tiny claws and a heart full of dreams, stood before the judges. The esteemed panel included a wise old lobster, a graceful seahorse, and a stern-looking starfish.
Bongo took a deep breath and began to perform. His swift moves were a dance of their own, a ballet of nature’s beauty. The judges were captivated, but skepticism lingered. A hermit crab aspiring to be a Broadway star seemed preposterous.
However, Bongo’s passion was undeniable. He poured his heart into each step, defying the limitations of his shell. The judges, moved by his performance, saw a glimmer of something extraordinary in this little hermit crab.
As the applause erupted, Bongo felt a surge of triumph. His dream was within reach. The judges announced him as a featured performer in “The Sea’s Symphony,” and Bongo’s name echoed through the theater.
Rehearsals were a whirlwind of excitement for Bongo. He adapted to the stage with the same agility that made him a swift runner on the beach. The other sea creatures marveled at his dedication, and soon Bongo became a symbol of pursuing one’s dreams against all odds.
The opening night arrived, and the theater buzzed with anticipation. Bongo, adorned in a tiny, shimmering costume, took center stage. The lights bathed him in a warm glow as he danced, twirled, and leaped across the stage, leaving the audience in awe.
As the final curtain fell, the applause was thunderous. Bongo, the hermit crab from the shores of Cannes, had not only fulfilled his dream but had become a sensation. The once skeptical crowd now celebrated him as the star of the show.
And so, in the summer of 1965, Bongo the hermit crab proved that dreams, no matter how unlikely, could come true. His encore echoed through the annals of the sea, inspiring generations of sea creatures to chase their own dreams, no matter how grand or unusual they may seem.
This is an example of an outline of a story I could get my students to “come up with” using AI, but I would expect them to go on to edit elements of the story to make it their own. AI can therefore be used as a tool for generating ideas, but it is still expected that they re-work the output and make it their own in some way and they must cite what they input into an AI tool and what the output is.
Industrial hip-hop, as the name would imply, is a blending of hip-hop with features of industrial music, both of which were independently becoming more and more prominent in popular culture by the early 90’s. The “golden age” of hip-hop, the late 80’s and early 90’s saw some massively influential rappers and groups like De La Soul, A Tribe Called Quest, and Wu-Tang Clan come to prominence and are still regarded as incredibly important in hip-hop and popular music as a whole 30 years later. Around the same time, industrial rock bands like Ministry, Skinny Puppy, and Nine Inch Nails were making waves in the underground rock scene. It was only a matter of time before the two styles would collide in the coming years. Into the 2010s, industrial hip-hop became more and more prominent to the point where it’s starting to bubble to the surface, but still cannot be considered mainstream.
II. Notable Artists
Some notable musicians who contributed to tishoumaren (desert blues) are outlined in the following section. As in the previous entries, my goal is to focus primarily on underrepresented, diverse musicians who were largely overlooked or marginalized in some way.
Stefan Burnett, known more commonly by his stage name, MC Ride, is currently the leading member of one of the more successful industrial hip-hop groups, Death Grips. He was born and raised in Sacramento, CA. Prior to the relative success they found in 2011 with Death Grips’ debut mixtape ‘Exmillitary’, Burnett performed with another experimental hip-hop group called Fyre under the alias Mxlplx along with his brother who used the name Swank and another Sacramento-based rapper, Young. G. When his brother got married and could no longer continue the group, they disbanded and Burnett pursued a career as a painter in the meantime. In 2010, he adopted the name “Ride” and formed Death Grips with he next door neighbour, Zach Hill who was known for drumming with the band Hella. Shortly after recruiting producer Andy Morin, they released ‘Exmillitary’ in 2011 which was released to widespread acclaim. Since then, Death Grips has released six studio albums and have become well-respected and revered in experimental and underground music circles. Their style sits rather ambiguously in the ballpark of hip-hop, punk rock, electronica, and noise but can generally be summed up as industrial hip-hop. A song of theirs that does a good job of exemplifying this chaotic blend of styles is ‘Anne Bonny’ from their 2013 album ‘Government Plates’ (see video below).
Reflection on ‘Anne Bonny’ (2013) by Death Grips:
This song has an interesting start. I mean where to even begin? It’s surprisingly minimalistic at the beginning with a really simple metronome-like beat, some simple synths, and a vocal line. Less than a minute in the song suddenly gets really gritty with this like razor-sharp, distorted synth-bass thing and a tempo shift, the beat itself sound completely distorted and the vocals become far more aggressive. I can’t begin to understand what MD Ride is rapping about here, but I know enough about Death Grips to understand that most of the lyrics are purposefully dark and violent. I really enjoy the interplay between the two parts of the song how it sounds almost euphoric for the refrains but the verses sound so sinister – it’s really hard to describe how the track makes me feel, but it’s definitely unsettling. Despite this, I love Death Grips. I’d highly recommend any of their albums, but ‘Government Plates’ is their most underrated in my opinion.
theOgm is one of the main two members of Ho99o9 (pronounced “Horror”), an industrial / punk rap duo group formed in 2012 in Newark, NJ. theOGM was raised in Linden, NJ. Prior to their formation, the members were heavily influenced by gasta rappers such as DMX and Bone Thugs-n-Harmony but began attending punk shows in Brooklyn which would influence them further. Ho99o9 is notable for their live sets where they wear all sorts of costumes including bridal gowns and fake nails, frequently changing costumes. They also use studio pre-recordings of guitars to help facilitate the more chaotic, free energy of their performances. Their debut album ‘The United States of Horror’ was released in 2017 which tackles racism and discrimination and other social issues, though the band does not want to be labelled as “political”. An excellent track from their debut album is ‘War is Hell’ (2017; see video below). This track really captures both the experimental, heavier rock elements and the clear hip-hop inspiration they fuse together in their music.
“It was our plan to do this before Trump was even elected. It’s about everything we’ve seen, from women and partying to racism and the way people of colour or gender are being treated. It’s f***ing in your face and real, and what we wake up to every day.”
– Eaddy, Ho99o9 (2017)
Reflection on ‘War is Hell’ (2017) by Ho99o9:
This song is fairly aggressive right out the gate. The vocals here are a bit more reminiscent of 90s industrial rock, like Trent Reznor of Nine Inch Nails. The distorted synth base underlying the track is minimalistic but unsettling and the sharp percussion sounds like a trash can getting the crap beaten out of it. There’s so much noise here but I love it. The way the vocals get pitch shifted down at one point really add to the aggression and sense of impending doom of the track as a whole. As with the Death Grips, I can’t claim to understand the majority of the lyrics, but I can gather that it’s a commentary on the state of things in the USA and against war in general. I did also watch the music video on YouTube, but it is a bit gruesome and violent and I figured it best not to post it here. Go watch it if you’re interested but view digression advised as there’s some heavy imagery.
Born in Oakland, CA to a Jewish mother and an African-American father in 1982, Diggs got his first name from the Jewish pronunciation of David and his father liked how the two E’s looked. His parents’ ethnicities have contributed to Diggs’ own self-identity; he identified with his mother’s Jewish heritage and his father’s background as well, never seeing the two as separate. Diggs graduated from Brown University in 2004 with a bachelor’s degree in theatre arts. Post-graduation, he worked as a substitute teacher. In 2010, he joined William Hutson and Jonathan Snipes in their hip-hop group clipping. which they had formed the year prior. Diggs took the role of vocalist and writer. In 2013 they released their debut mixtape ‘midcity‘ with some success. In 2014, after signing with Sub Pop, they released their first album ‘CLPPNG‘. Meanwhile, Diggs remained involved with musical theatre: in 2012, he was asked by Lin-Manuel Miranda to read and hear early versions of Hamilton. Impressed by Miranda’s vision and passion for the project, Diggs went on to portray Thomas Jefferson and Marquis de Lafayette off Broadway in 2015. clipping. would go on to find moderate success throughout the 2010s and adopted some abrasive, industrial tendencies along the way. Their track ‘Story 7’ from their 2019 album ‘There Existed an Addiction to Blood‘ does a good way of showcasing both Diggs’ sharp lyricism and the group’s overall uneasy sound.
Reflection on ‘Story 7’ (2019) by clipping.:
I think this is the closest we’ve come to traditional hip-hop in this blog post and even then this is not your grandma’s hip-hop. It starts out minimalistic with just Diggs’ vocals and a really simple beat. Even when the track really gets going, not much instrumentation is added, but the beat / percussion gets a bit more complex. The percussion is, again, sharp and noisy. Diggs’ flow is really impressive. There are parts where he’s rapping quite quickly and the refrains feature a more melodic, almost singing flow. It’s hard to tell exactly what the lyrics are trying to convey, especially in the parts where Diggs is rapping really fast, but I just love the noisy production on this track. It manages to create a really oppressive atmosphere with little more than a voice and a simple beat. I wouldn’t even call Diggs’ vocals “scary”, it’s really just the percussion that achieves this, but somehow the vocals really compliment it. I really want to check out more of clipping.’s stuff! They’re on my list to dive into.
I have a lot of different feelings when it comes to artificial intelligence (AI) in general. On one hand, how cool is is that we’ve been able to create increasingly more complex intelligent computers? On the other hand, how scary is it that we’ve been able to create increasingly more complex intelligent computers?
I think, on a personal level, I think AI to be a bit of an existential nightmare, but when it comes to education, things are much more nuanced. I can absolutely see the challenges that the increasing availability of AI will inevitably bring to education: inability to distinguish original work from AI-generated work, autonomy of AI as a creator, ethical concerns, and the impossibility to “policing” such pervasive and well-camouflaged technology. While many educators are trying to fight back against AI, I don’t think that’s really worth it. I mean, AI is already unleashed upon the world – Pandora’s box has been opened, so to speak. I don’t think it’s really possible to keep AI out of education at this point and so the logical thing to do is adapt.
Technologies like ChatGPT are ultimately really neat and powerful tools that, if used correctly, could actually be used to an educational advantage. Now, I’m very far from an expert on the ins and outs of AI chat interphases, nor am I fully aware of the implications or dangers it could pose, but I am ultimately in favour of finding ways to use it for good. For example, helping students brainstorm ideas and then editing / re-writing them could be helpful in some instances. Or even just in helping students understand complex concepts or ideas – AI can take a wall of text or an impenetrable idea and really break it down for any audience. Allow me to demonstrate:
Here is a question I asked ChatGPT (note: all writing in red is generated by ChatGPT):
Me:
“Can you please explain black-body radiation in simple terms? I do not have any experience with physics.”
ChatGPT:
“Certainly! Imagine you have an object that can absorb all the light that falls on it, and it also emits light. This object is what scientists call a “black body.”
Now, when you heat up this black body, something interesting happens. As it gets hotter, it starts to glow. The color of the glow changes as the temperature increases. At lower temperatures, it might glow red, then as it gets hotter, it turns orange, yellow, white, and eventually blue if it’s extremely hot.
Black-body radiation is the electromagnetic radiation (including visible light) that is emitted by a black body when it’s heated. This phenomenon is essential in understanding how objects emit light based on their temperature. The higher the temperature, the shorter the wavelength of the emitted light.
This relationship is described by Planck’s law, named after physicist Max Planck, who first formulated it. Planck’s law helps explain the spectrum of light emitted by a black body at different temperatures.
In everyday terms, you can think of black-body radiation as the reason why a metal rod, for example, changes color as you heat it on a stove. It starts from red and gradually becomes brighter and changes to different colors as it gets hotter.”
While I had a vague idea of what black-body radiation is from a previous physics class, I admit, I feel like ChatGPT’s explanation of it was pretty comprehensive and accessible to the average person with or without any knowledge of physics.
Tishoumaren, known internationally as desert blues or Saharan rock, is a genre that comes from the Sahara region of North and West Africa. Sometimes it is referred to simply as “guitar music”. The music finds its roots in the cultural expression of the Tuareg people of the region of Northwest Africa which would become modern day Mali, Algeria, Niger, Libya, Burkina Faso, and Chad amid the sociopolitical tension of post-colonial Africa. Following extreme drought in 1973 which negatively impacted the Tamasheq-speaking traditional nomadic pastoral lifestyle, many had to reconsider their livelihoods. This resulted in the term “ishumar”, a term derived from the French word “chômeur“, which means “unemployed” being used to refer to young Tamasheq. Many members of this younger generation of Tamasheq would go on to experiment with guitar-based music—first acoustic, then eventually electric.
In Tin Essako in early 2001 Manny Ansar, the manager of the Tuarged band Tinariwen co-organized the first ever annual Festival au Désert (Festival in the Desert) which showcased mainly Tuareg music but also brought in musicians from around the world. The festival was held annually between 2001 and 2012 when, Islamic militants invaded Timbuktu where the festival was being held by 2010. Since 2012 the festival has not been held due to security concerns.
II. Notable Artists
Some notable musicians who contributed to tishoumaren (desert blues) are outlined in the following section. As in the previous entries, my goal is to focus primarily on underrepresented, diverse musicians who were largely overlooked—or still are largely overlooked in western culture.
Touré, often cited as a pioneer of desert blues, is a singer and multi-instrumentalism born to a family belonging to the Songhai community in the village of Kanau, Mali before his family moved to the village of Naifunké while he was still an infant. His father died in 1960 while serving in the French army. He was the tenth son born to his mother, the only one who survived past infancy. His nickname, “Farka”, which means “donkey”, was given to him by his parents as the donkey is revered for its stubbornness and tenacity. In Malian culture, musical performance was for members of a lower castle called the “griot” and since he was from the “noble” castle, Touré was forbidden from playing music. Despite this, he built a monochord in secret out of a tin can to play with his friends. Touré’s breakthrough into the music industry was his job as a sound engineer at Radio Mali in Bamako, the only recording studio in Mali. After sending tapes to several French record labels, he was able to release a series of self-titled albums in the late 70s and early 80s. After a long, successful career, Touré passed away in 2006 from bone cancer. He is notable not only in African music, but also managed to find international success. Musically, Touré masterfully blended Malian music with African American blues. An excellent example of Touré’s musicianship comes in the form of ‘Savane’ from his very last album of the same name (2006; see video below).
“Let me make one thing clear. I’m the donkey that nobody climbs on”
– Ali Farka Touré (n.d.) [3]
Reflection on ‘Savane‘ by Ali Farka Touré (2006):
The simplicity of the sound yet the complexity of the guitar playing in the opening seconds captured my attention immediately. Once a few extra layers of guitar come in, I’m even more sold than I was initially. He managed to create a sense of tension with a hint of cheekiness. His voice comes in and I just love what I hear. He’s singing in French but I can’t quite make out the lyrical content. His lyrics are sparse but effective. They start soft, but build a bit in volume and emotion throughout the song. I adore the instrumental breaks. I love how on one hand the track is fairly minimalistic, only really incorporating guitar with some vocals here and there. I absolutely adore what I’m hearing and am excited to listen to more from Touré!
Born around 1960 in the commune of Gargando in Mali, Oumar—also know by her nickname, Disco—is one of the key members of the Tuareg music group, Tartit. She lived a nomadic life in her youth and had a passion for music from a young age. She would often sit by the fire singing while playing the anzad—a traditional Tuareg fiddle. Amid the Tuareg rebellion against the Malian and Nigerian states in the early to mid-1990s, Oumar took refuge in a refugee camp in Burkina Faso. After traveling to Italy a couple times in that time, she founded the Tartit’n’Chetma (“The Union of Sisters”) in 1995 with the aim of economic reintegration and education for children. The same year, she was encouraged by Brigitte Caquet, director Voix des Femmes, a festical in Liège, Belgium to form a musical group and play in Europe. Realizing that a career in music might give her a platform upon which to raise awareness for the living conditions of exiled families, she went on to form Tartit which means “union” in Tamacheck. In 2003, Tartit would go on to perform in the Festival au Désert. By this time, Tartit had cemented themselves as an important desert blues group. Their 2006 song ‘Ansari’ (see video below) does a wonderful job of displaying their undeniable talent.
Reflection on ‘Ansari‘ by Tartit (2006):
Within like 3 seconds I found myself bobbing along to the smooth beat. The percussion is especially irresistible. The vocals are also absolutely serene! I almost appreciate the fact that I don’t understand anything that’s being said I cause I can really get lost in those delicious guitar licks, those thick drums, and the angelic chorus of women singing. I can kind of picture myself listening to the band play this around a giant bonfire for some reason. It’s the kind of song that just takes me out of where I am and makes me forget about the world for a few minutes and that’s quite the feat. It’s almost hard to really focus my thoughts cause I just get so caught up in nodding along – makes me want to dance and I’m a terrible dancer! It’s just so good! I actually went ahead and listened to the whole album and it’s just fantastic the whole way through. Highly recommend!
Alhabib was born in the village of Tessalit, Mali around 1960. From a young age he was passionate about music: when he was young, he played the flute and even made his first guitar out of a can and some strings. When Alhabib was only a few years old, his father was executed by the Malian army when he was accused of being in contact with the Tuareg rebellion (1962-1964). Due to extreme drought and massacres of civilians at the hand of the Malian army, he fled for Algeria with his grandmother at the age of four. Throughout his early adulthood, Alhabib worked several trade jobs but continued playing guitar influenced by the likes of Elvis Presley, James Brown, and Boney M.. He began hosting concerts with several friends who would go on to form the musical group Tinariwen, meaning “the building of countries / lands” in 1982. They would go on to be influential in the Tuareg rebellion of the 1990s while aiming to spread messages of hope and resistance to fellow Tuaregs. Tinariwen is considered to be a very important group in the music world of desert blues, and their song ‘Cler Achel’ (see video below) from their album ‘Aman Iman‘ (201makes it clear why they are seen as so influential.
Reflection on ‘Cler Achel‘ by Tinariwen (2007):
Like the previous track, I can’t help but move and nod along to this one. The one thing I am noticing that stands out is the inclusion of electric guitar with a little extra distortion and drive compared to the previous two tracks. This one is a bit more upbeat and energized which makes me feel like I’m on an epic journey, but far from alone; the chorus of voices that accompany Alhabib just boosts the energy to the next level making it really feel much bigger. Like the previous song, I haven’t a clue what the lyrics are about, but I love that I can just focus on the driving beat and those sexy guitar riffs. It’s just… groovy. That’s the best way I can describe it. I’ll definitely have to check out more of Tinariwen’s work because this is just so catchy and fun!
While much of the western music world was preoccupied by the insecure projections of a skewed idea of masculinity in hair metal[1] and the increasingly ubiquitous use of electronics in dance and pop music[2] throughout the 1980s, a tiny fire was being kindled in in UK; a subversive new sound of indie rock bringing together elements of noise music, post-punk, garage rock, and neo-psychedelia was being forged by innovative young artists[3]. While the influence of many bands from decades gone by had paved the way for this new generation of experimentation, it is commonly thought that the English duo, A. R. Kane (comprised of Alex Ayulil, who is of Nigerian descent, and Rudy Tambala, whose mother was Malawian) were the earliest pioneers of this new, as of yet unnamed sound with their first EP, ‘Lollita‘ (1987)[4]. In the early 90s, in a concert review by Sounds, the author noted how Russell Yates of the band Moose would mostly stare at his feet (he was looking at lyrics which he had taped to the stage) and used the term “shoegazer” or “shoegazing”[5]. From there, the rest was history: bands from this scene would reclaim this originally pejorative title—shoegaze music was born[3].
Shoegaze, both in terms of demographics and sound, is a very diverse sub-genre. It is generally characterized by employing a “wall of sound” approach: high distortion, layered instrumentation, and loads of guitar pedals and effects. But this description fails to capture the often melancholy, dreamy, and almost withdrawn nature of some bands’ music[3]. Another noteworthy observation of the scene is that it was relatively equal regarding gender representation: many of the biggest bands in the scene were either female-led or had a near equal number of prominent female members (see My Bloody Valentine, Lush, and Cranes)[6]. The height of Shoegaze’s closest attempt at mainstream recognition came in the form of the radical and genre-defining album ‘Loveless‘ (1991) by My Bloody Valentine[7]. The fire had really started to spread quickly in the underground music scene of the UK by this point—in fact, some ashes started to spread the flames across the pond and even a few American bands were starting to experiment with this new sound (see Drop Nineteens, Swirlies, and Medicine)[8].
Sadly, the wildfire of the shoegaze scene was promptly stamped out by the resounding success of grunge in the early 90s (see Nirvana, Pearl Jam, and Alice in Chains). What little was left of the shoegaze scene by the mid-90s was thoroughly bulldozed by the emergence of britpop in the UK (Oasis, Pulp, and Suede)[8]. While some bands able to adapt to the shift in musical landscape and add a more grunge flair to their sound (see Catherine Wheel, Hum, and Swervedriver)[9] or find a more brit pop-oriented sound (see Ride, Lush, and The Verve)[10], many would end up retiring. Fortunately, throughout the 2000s and 2010s, a new wave of shoegaze artists have emerged (termed “Nu gaze“)[11] and many genre-defining bands have ever reunited (see My Bloody Valentine, Slowdive, Ride, and The Jesus and Mary Chain). The original shoegaze scene remains an isolated phenomenon that was unfortunately overshadowed by more mainstream forms of music in the 90s, but those embers started by the likes of A.R. Kane have re-kindled the scene in a new generation of artists.
“[Cocteau Twins] used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that! We could express ourselves like that!’ moment.”
– Rudy Tambala of A. R. Kane, interview with the Guardian (2012)[4]
II. Notable Artists
Some notable musicians who contributed to shoegaze are outlined in the following section. As in the previous entries, my goal is to focus primarily on underrepresented, diverse musicians who were largely overlooked.
In 1986, Patrick Fitzgerald started a band with his two college friends, Julian Swales and Dan Goodwin. The band name they settled on was Kitchens of Distinction—taken a local kitchen store where they lived at the time in Tooting, South London. Fitzgerald took on the role of bassist, vocalist, and primary lyricist for the band[12]. While most contemporary shoegaze bands embraced the wall-of-sound production style which tended to obscure the vocals, Kitchens of Distinction tended to feature more prominent, clear vocals; many of Fitzgerald’s lyrics talked openly about his experience as a gay man[13]. While his lyrics might be seen as completely harmless by today’s standards, in the late 80s and early 90s it was brave of him to so casually and openly sing about his experiences gay dating, confronting homophobia, and loving another man. Many other gay artists from the same time opted to code their lyrics to obscure their true meanings, but Fitzgerald’s lyrics were hardly coded at all[13]. While it was released to lukewarm critical perception, their sophomore album ‘Strange Free World‘ (1991) has cemented itself as a fan-favourite and a staple in the shoegaze community[12]. What little success Kitchens of Distinction found in the early 90s tended to come from songs that were less obviously gay, but I think the song ‘Drive That Fast‘ (see video below) from ‘Strange Free World‘ was an exception—one of their more successful songs that features some fairly obvious gay lyricism.
Reflection on ‘Drive That Fast‘ (1991) by Kitchens of Distinction:
I love the smooth baseline that kicks off the song which is then immediately followed by a really fun main guitar riff. The intro barely seems to start before Fitzpatrick’s vocals come in. His voice feels unwavering yet withdrawn. I love the echo and reverb effects on the guitars. The effects and sound palette of this song are super intriguing and ethereal. I love the driving beat which really keeps the wall of sound going. It’s hard to tell exactly what the lyrics are about, honestly. I was reading up on this track while I was researching for the rest of the blog and heard that, while this song is likely about the excitement of the first time having sex with a man, its fairly coded, which is perhaps why it went on to be one of their hits. I’m really curious to check out Kitchens of Distinctions other material but sadly much of it is not on Spotify or other streaming platforms. However, I’d highly recommend the rest of this album – it’s really amazing and I wish more people know of them!
Besides Alex Ayulil and Rudy Tambala of A.R. Kane, identical twin brothers Daniel and Danny Chavis of The Veldt mark another clear example of black artists that were instrumental in the development of shoegaze and dream pop as we know it today[14]. Forming in 1986 in Raleigh, North Carolina, the Chavis brothers named their band the Veldt after a Ray Bradbury sci-fi novel of the same name[15]. In 1989, they signed with Capitol Records and toured the U.S., opening for legendary acts such as The Jesus and Mary Chain and Cocteau Twins—two bands who greatly influence shoegaze in the mid to late 80s. In fact, Robin Guthrie of Cocteau Twins produced early recordings by the Veldt which unfortunately was shelved for several years due to Capitol Records executives not seeing the Chavis brothers’ vision for their music. Fortunately, these songs were released in 1992 on their debut EP ‘Marigolds‘[16]. The real claim to fame for the Veldt, however, is their landmark debut studio LP ‘Afrodesiac‘ (1994) which masterfully blends the promising new experimentalism of shoegaze and dream pop with relatively well-establish American genres like alternative soul[14]. The song ‘Soul In A Jar‘ (see video below) from ‘Afrodesiac‘ perfectly captures the reverb and distortion drenched layers of guitar and the soul-influenced vocals that helped them fit in with their shoegaze contemporaries while simultaneously standing out from the crowd[14].
Reflection on ‘Soul in a Jar‘ (1994) by the Veldt:
I love the engine-like revving that kicks off the song. The drums that lead into the main song sound akin to the drums I was hearing in some of the dub reggae honestly! I can really hear the alternative soul mixing with the distorted, reverb-drenched shoegaze-y guitars and it’s such a unique and awesome combination! Man, I love the beat and the tone of the guitars! Again, I’m just carried away by the dance beat and soaring guitars that I just can’t help but tune out the word’s being sung but I absolutely love the vocals (not sure which Chavis brother is on lead vocals honestly). This is really a prophetic piece of alt. rock that was way ahead of its time. I love the kind of stripped-back outro with the single layer of electric guitar and the beat. All around, a really neat song. I definitely need to check out the Veldt’s other work soon.
Born in Chelsea, London to a Japanese mother, former actress Yasuko Nagazumi, and a Hungarian father, Ivan Berenyi, Miki Berenyi served an integral role the greater shoegaze scene[17]. From 1987 to 1996 she, along with college friends Emma Anderson and Chris Acland and a couple others, performed as the legendary feminist shoegaze band Lush. When their original vocalist, Meriel Barham left the band in 1988 (and would go on to join Pale Saints in 1990), Berenyi stepped in as co-lead vocalist and guitarist—a role which ultimately overlapped considerably with Anderson’s[18]. From the band’s debut mini-album ‘Scar‘ (1989) to their final album, ‘Lovelife‘ (1996), much of Lush’s lyrics—written by both Berenyi and Anderson—were overtly feminist often calling out toxic or sexist actions and words by men. This is pretty apparent when listening to some of their lyrics, but according in a 1992 interview with the Observer‘s Simon Reynolds, Anderson said: “People suggest we don’t say anything with our music, that we’re apolitical, but some of the subjects we deal with are really quite disturbing. Because we’re not shouting and screaming, people don’t register that“[19]. This is a perfect illustration of the tendency of many shoegaze acts to riot discreetly. One of the best examples of understated dreamy shoegaze with poignant feminist lyrics is the opening track, ‘Light From a Dead Star‘ (see video below) from their 1994 album, ‘Split‘.
“People suggest we don’t say anything with our music, that we’re apolitical, but some of the subjects we deal with are really quite disturbing. Because we’re not shouting and screaming, people don’t register that”
– Emma Anderson of Lush, interview with the Observer (1992)[19]
Reflection on ‘Blackout‘ (1994) by Lush:
The otherworldly ambience and orchestral strings in the opening really set a mysterious and atmospheric tone for the whole sone. You know you’re in for a treat when the music box sound starts twinkling away. Oh man, Berenyi’s vocals here take front and center when they come in. First off, the lyrics here are genuinely gripping, which is something I couldn’t say as much about the previous two songs. It’s clear that Berenyi is singing about a man who is taking advantage of women left and right and she is lamenting this and calling out his terrible actions. I love the build that this song takes from the minimalism of the music box and vocals to the wall of guitars and harmonies that round our the latter half of the song. The sound palette used in this song really suits the imagery and title, giving the impression of twinkling starlight. In typical shoegaze the vocals get a little burried in the mix so it’s hard to make out some of the lyrics, but the tone and intent is still very apparent and palpable all throughout. The track is relatively short and doesn’t overstay it’s welcome, although I wish it were just a tad longer. Either way, it does provide an excellent, melancholic introduction to a great album (I’d recommend checking out the rest of the album. It’s a good one).
Unfortunately I had to miss class this week, so I as not part of the discussion. However, I have done some personal reflection on the idea of gamification and, as both a lover of learning games (video, board, card…), I’m in love with this approach to learning. While I don’t know many specific resources or platforms to use in a “gamified”classroom, but I am very interested in the idea.
There’s just something about the idea of having a classroom – a naturally fun learning environment – and combining it with a fun-oriented rule-set like a game. I mean you could do so much with that! There are so many different kinds of games you could emulate in the classroom: card games, dice-based probabilities, more competitive styles. I could see it being used in pretty much any class too! You could develop language-oriented gamifications, ones that promote an understanding of chemical, biological, and physical processes, or even math-based games. Heck, I can even see a use for math or computer science skills (applied logic, algorithms, and functions) being used to have students designed gamifications of their own.
As far as I’m concerned regarding gamification in education, it’s such an excited idea with potential limited only by the teacher’s creativity. It’s versatile, engaging, and flexible. The future of gamification in education sounds bright to me.