. An original track.

. Industrial/Experimental Genre

. A solo endeavor

. Includes a soundscape imitating a busy street scene

. Explores urban sounds and atmospheres

. Possible lyrics done in a rhyming, pedantic manner

. Instrumentation will be heavily layered, almost clashing

. An original track.

. Acoustic/lo-fi Genre

. A solo endeavor

. Includes a soundscape imitating a natural outdoor scene

. Explores sounds within nature, away and atmospheres away from urban influence

. Possible lyrics done in a poetic, mantra-like style

. Instrumentation will be slow and orchestral

. Buxton, R.T. et al. (2021b) A synthesis of health benefits of natural sounds and their distribution in national parks, PNAS. Edited by A. Agrawal. Available at: https://www.pnas.org/doi/10.1073/pnas.2013097118 (Accessed: 16 February 2024).

. Song, I. et al. (2023) Effects of nature sounds on the attention and physiological and psychological relaxation, ScienceDirect. Edited by C.K. van den Bosch. Available at: https://www.sciencedirect.com/science/article/pii/S1618866723001589 (Accessed: 16 February 2024).

One of the pioneering bands in the industrial genre is Throbbing Gristle, formed in the United Kingdom in 1976. They combined elements of musique concrète, electronic music, and performance art to create a confrontational and transgressive sound. Throbbing Gristle's influence on the industrial genre is profound, as they laid the groundwork for many of the sonic and thematic elements that would come to define the genre.

In the early 1980s, bands like Cabaret Voltaire, Einstürzende Neubauten, and Test Dept. further explored the industrial aesthetic, incorporating found sounds, metallic percussion, and abrasive electronics into their music. These artists embraced a DIY ethos, using unconventional methods and instruments to create their distinctive soundscapes.

The industrial genre gained wider recognition in the mid-1980s with the emergence of acts like Skinny Puppy, Front 242, and Ministry. These bands brought industrial music to a broader audience, incorporating elements of dance music, punk, and metal into their sound. Ministry's album "The Land of Rape and Honey" (1988) is often cited as a landmark release in the genre, blending aggressive guitar riffs with electronic beats and samples.

Throughout the 1990s and 2000s, industrial music continued to evolve and diversify, with artists exploring new sonic territories and incorporating influences from techno, ambient, and hip-hop. Bands like Nine Inch Nails, KMFDM, and Marilyn Manson achieved mainstream success while pushing the boundaries of the genre.

Today, industrial music remains a vibrant and influential genre, with artists continuing to innovate and experiment with its sonic and thematic elements. From its humble beginnings in underground clubs and DIY studios to its impact on mainstream culture, the industrial genre has left an indelible mark on the landscape of modern music.

In the 1980s, bands like Guided by Voices and Sebadoh began experimenting with lo-fi recording methods, often using four-track cassette recorders and home studios to capture their music. These artists embraced a DIY ethos, recording their songs quickly and spontaneously, often in bedrooms or basements.

The 1990s saw the rise of lo-fi as a recognized genre, with artists like Pavement, Beck, and Daniel Johnston gaining popularity for their lo-fi recordings. Pavement's album "Slanted and Enchanted" (1992) is often cited as a seminal release in the genre, featuring a mix of fuzzy guitars, off-kilter melodies, and abstract lyrics.

As the internet became more widely accessible in the late 1990s and early 2000s, lo-fi music found a new home online, with artists sharing their music through websites, forums, and file-sharing platforms. This democratization of music distribution allowed lo-fi artists to reach a wider audience and connect with fans around the world.

In the 2010s, lo-fi experienced a resurgence in popularity, fueled in part by the rise of streaming platforms like SoundCloud and Bandcamp. Artists like Mac DeMarco, King Krule, and Clairo gained widespread acclaim for their lo-fi recordings, blending elements of indie rock, hip-hop, and electronic music into their sound.

. Tracking myself weekly through and in-person planner to actively monitor my progress and keep on track.

. Engaging in weekly research and practice when it comes to knowing my DAW and being able to produce and compose successfully.

. Improving upon my levels of procrastination and realizing when i am prolonging something. Picking up on these things and using motivational tactics to counteract them.

Consider all the ways in which you have demonstrated the following in your music for this module in relation to TECHNIQUES:

• Knowledge:

• Use of systems:

• Skills:

• Technology:

• Methods:

This Learning Outcome covers all relevant aspects of your work from songwriting & production quality to technical execution and accuracy in terms of audible and visual musical output.

LO3 Performance (S1) Your Recordings

Consider all the ways in which you have identified the following through your music for this module in relation to PERFORMANCE:

• Performance skills:

• Processes:

• Methods:

This Learning Outcome covers all relevant aspects of your tracks from creativity and flair, artistry and originality, to authenticity and expression of audible and visual musical ideas

LO2 Techniques (S2) Your Process

Individually consider all the ways in which you have demonstrated the following in your development diary entries for this module:

• Knowledge:

• Use of systems:

• Skills:

• Technology:

• Methods:

This Learning Outcome covers all relevant aspects of your process from songwriting & production to your technical preparation and execution

LO3 Performance (S2) Your Process

Where have you effectively identified relevant performance skills, processes and methods through your development diary entries for this module?

LO7 Communication (S2) Your Process

Where have you effectively identified relevant communication skills, processes and methods through your Multi-Media Development Diary entries for this module?

. Beeson, Sandy. “What Is Lofi Music? YouTube’s New Favourite Genre • Uppbeat.” The Uppbeat Blog, 14 Oct. 2022, uppbeat.io/blog/what-is-lofi-music/#:~:text=Although%20the%20term%20lofi%20comes [accessed 20th March 2024]

. Buxton, R.T. et al. (2021b) A synthesis of health benefits of natural sounds and their distribution in national parks, PNAS. Edited by A. Agrawal. Available at: https://www.pnas.org/doi/10.1073/pnas.2013097118 (Accessed: 16 February 2024).

. Song, I. et al. (2023) Effects of nature sounds on the attention and physiological and psychological relaxation, ScienceDirect. Edited by C.K. van den Bosch. Available at: https://www.sciencedirect.com/science/article/pii/S1618866723001589 (Accessed: 16 February 2024).

Over the course of the module, I engaged in a rigorous developmental process, experimenting with various musical techniques, production methods, and stylistic elements. Initially, I faced challenges in navigating the complexities of music production, but through perseverance and dedication, I gradually gained confidence and proficiency in my craft. Each week presented new opportunities for growth, as I explored different compositional approaches, refined my sound design skills, and embraced a spirit of experimentation. I took feedback from my peers and through reflection of my own abilities to help inform what i needed to work on next to improve my diary entries and the tracks i was creating. I went through a process of understanding what makes me tick as an artist, what inspires me and how my levels of procrastination are heavily regimenting the quality of work i am producing. It made me realize how fundamental good work practices are such as setting up a productive space to work in and having a clear and collective head space before engaging in my work. It has also helped me realize how i prioritize things, leading me to be more regimented in the way i put certain things first, prioritizing my own work over others that can wait.

The tracks I created in the lo-fi and industrial genres showcase the breadth and versatility of my musical expression. In the lo-fi track, I employed stripped-down instrumentation, warm analog textures, and hazy atmospheres to evoke a sense of intimacy and nostalgia. All elements that imitate the genre while stretching its limitations with elements of experimentation. Conversely, the industrial track exudes aggression and intensity, characterized by distorted synths, pounding rhythms, and dissonant melodies. By exploring these contrasting sonic palettes, I aimed to demonstrate my ability to adapt to diverse stylistic contexts while maintaining a cohesive artistic vision.

My choice of tracks was underpinned by extensive research into the historical context, aesthetic conventions, and sonic characteristics of both the lo-fi and industrial genres. Drawing upon a variety of primary and secondary sources, including interviews with professional practitioners, analysis of recordings, and research of critical literature, I gained valuable insights that informed my creative direction and production choices. I particularly honed in on journal entries and blog-structured interviews (Sandy, 2022) and (Soundtoys, 2014).

As the sole composer and producer of the tracks, I took full ownership of the creative process, from conceptualization to final execution. Drawing upon my musical background and technical expertise, I crafted each track with meticulous attention to detail, carefully sculpting soundscapes that reflected my artistic vision. While I sought feedback from my partner and peers throughout the development process, the finished pieces ultimately bear the imprint of my individual creativity and craftsmanship.

The module provided a rich learning experience, allowing me to deepen my understanding of music production techniques, expand my stylistic repertoire, and develop my creative voice as an artist. Through hands-on experimentation, feedback sessions, and critical reflection, I gained valuable insights into the intricacies of sound design, arrangement, and mixing. Moreover, the module fostered a sense of community and camaraderie among my peers, creating an environment full of growth and mutual support. I worked through hours of Ableton research and followed step by step tutorials on certain elements of mixing and mastering such as EQ's, filtering and loops to help me understand what it takes to create a track that is easy to listen to, nicely layered and not orally mushy or too heavily textured. I also engaged in research regarding the science of sound - something i am very passionate and interested about and want to cater my learning toward - by looking into work (Buxton,2021) and (Song, 2023) that helped me analyse how music traverses its way around different environments to emotionally enhance a persons experience of a space. These things have allowed me to see how far i'd come as an artist whilst recognizing what I had yet to learn and the things i still have yet to grow from. Being my own worst self critic, as i had learnt from the procrastination quiz in week seven, i have come to realize that it will take a lot for me to feel a track is finished so, even in this module, i had to step away from something i felt i could have continued on forever.

In conclusion, the music module has been a transformative journey, allowing me to cultivate my skills and artistic sensibilities while exploring new stylistic territories. Moving forward, I aspire to continue refining my craft, pushing the boundaries of my creativity, and seeking out new opportunities for growth and collaboration. I will work on incorporating more structured self- workshops and practical exercises into future modules, giving myself the tangible tools and resources to support my musical development. I want to be more collaborative with my work and not be afraid to cross-over genres and work when leasing with artists that have entirely different views to myself. Overall this has been a process of huge growth, in which i believe i can still improve upon my procrastination levels by relying on the aspects of my life that motivate me and clinging on to them with more vigour. Additionally, i believe i can still improve on my DAW knowledge as it is an ever expanding field, and reach out to those with more knowledge and expertise than me to receive feedback and mentoring through them. I should also not be afraid to experiment, stretch my limits and play with the elements of music that have been traditionally left to be as they are as that what helps create new sounds and start interesting and constructive conversation. I believe i have come a long way but am an ever growing artist.