Mindelixir Presents Music for Funerals and Banks
August 30
exclusive to Beatport for 4 weeks, then 40+ major digi-retailers
including Addictech.com, junodownload, iTunes and Amazon.com
only on Abstract Logic Recordings

A musical journey from amen breakbeats to violins, future garage to
folk hop, this album challenges classification. A love of bass and
electronics along with a vision of a strange future holds this concept
piece together. Its a recompilalbum* chock full of North America’s
finest cutting edge electronic musicians. Sit back, relax and enjoy a
musical journey unlike anything you’ve ever heard before. There’s even
a storyline written by novelist Thomas Benton. This is no ordinary
release, it’s an alternate reality.

* recompilalbum = remix album + concept album + concept compilation

‎"Attack the enemies of intelligence and imagination in art, whether
or not those enemies are protected by financial power or social
prestige"
-Dr. Albert C Barnes

tracklist
1. Two Fresh – Breakin Shorty (Mindelixir Remix)
2. Mindelixir – Dubfunk
3. Stereotonin – Tonin
4. Mindelixir – Zombinator (T8rtot Remix)
5. Axiom Crux – Slippers
6. Spooky Jones – Flooded
7. Mindelixir – Mignon (Splatinum Remix)
8. Mindelixir – Doomsday Ticket
9. Panther God – Mandrake
10. Mindelixir – Reptilian Chemtrails (Dan Wall Remix)
11. Mindelixir – Mignon (Leo 123 Remix)
12. Mindelixir – Higher (Peripheral and Moving Temple Remix)
13. Mindelixir – Subgrinder
14. Sub Shanti – Uncharted
15. Deformati – Careful Demons
16. Ghetto Sexuual – Planetary Two Step
17. Wobblefish – Blue Moon
18. Mindelixir – Higher (Dan Wall Remix)
19. Mindelixir – Jacob’s House
20. Charlie P – What Do They Want
21. Mindelixir – Higher (Mochipet Remix)

I caught this article over the weekend via NPR.  This graph represents overall loudness in some of the most popular songs in the past 30 years.  Download a high-res PDF version.  It made me think of commercials on television.  Like when you’re reaching for the remote to turn down the TV during the commercial break because the volume gets ramped up.  They do that so you have to pay attention.  It’s a crude tactic, but I’m sure there are market studies and focus groups that prove a simple equation: If it’s louder, I’m more likely to hear it.  It seems like this is getting applied to records now, which in my humble opinion is making the music worse.

Think of Pink Floyd’s Dark Side of the Moon.  That album was on the charts for like 750 weeks.  Nobody will say that it isn’t one of the best records of all time.  There are huge volume dynamics in that record, which is one of the album’s aspects that makes it so hypnotic.  One example of this is the heartbeat.  Would it have been as good if the heartbeat were compressed all the way to the top?  Maybe I’m not articulating this argument well enough.  Here’s a video I found that pretty much explains it in plain english:

OK, we hear it.  If you care enough about the art you are creating, don’t put out an album that peaks all the time.  Otherwise, you might as well be a Budweiser commercial.

.sonmi suite