Far Side Virtual Downloading Average ratng: 4,5/5 6917 reviews

Far Side Virtual is a studio album by the American electronic musicianJames Ferraro, released on October 25, 2011 by the record labelHippos in Tanks. First conceived as a series of ringtones, the album marked Ferraro's transition from his previous lo-fi recording approach to a sharply produced, electronic aesthetic that deliberately evokes sources such as elevator music, corporate mood music, easy listening, and outdated computer sound design. The album has been interpreted as engaging with themes such as hyperreality, disposable consumer culture, 1990s retrofuturism, advertising, and musical kitsch.

  1. Far Side Virtual Download

Far Side Virtual was met with polarizing but generally positive reviews, with most critics commending its conceptual underpinnings and noting its ambiguous relationship to its subject. It was named album of the year by UK magazine The Wire, a decision which was met with contention from some journalists and readers.[3] The album has since been cited as one of the original releases and catalysts of vaporwave, an Internet-based electronic music microgenre that covers much of the same sonic and conceptual territory.[4][5]

Far Side Virtual
Studio album by
ReleasedOctober 25, 2011
Genre
Length45:29
LabelHippos in Tanks
ProducerJames Ferraro
James Ferraro chronology
Night Dolls with Hairspray
(2010)		Far Side Virtual
(2011)		Condo Pets
(2011)
Singles from Far Side Virtual
  1. 'Adventures in Green Foot Printing'
    Released: October 4, 2011[1]
  2. 'Earth Minutes'
    Released: October 18, 2011[2]

Concept

An icon in the Vaporwave community, Far Side Virtual really does sound like the future. James Ferraro's instrumental introspection on technology and consumer culture can be a bit draining or boring but these sounds are peaceful to say the least.

James Ferraro (pictured in 2012)'s musical style changed to a clearer and more electronic sound for Far Side Virtual, while continuing to explore themes from his previous work.[6][7][8]

Ferraro explained that his original idea had been to release the sixteen compositions on Far Side Virtual as a set of downloadable ringtones,[9] but wanted the songs to have the impact of a complete album;[10] he felt that few would want to purchase the music as a set of ringtones.[9] Ferraro said, 'Hopefully these songs [will be] made available for ringtone[s] and the album will be condensed into ringtone format so the album won't be the centerpiece, it will just dissipate into the infrastructure. The record is just the contained gallery space of these ringtone compositions.'[11] Ferraro said that listeners using the songs from Far Side Virtual as ringtones was the realization of Far Side Virtual as 'a performance art installation'.[12]

Ferraro said, 'When I made Far Side Virtual, I was really into grime. I lived in Leeds for a year and I used to hear to kids listening to instrumentals on their phones, rapping over the top. I love the way that sounds: the texture of super compressed digital beats coming out of a cellphone and just a voice over it. Far Side Virtual was inspired by hearing music like that.'[13]

Composition

The sources of most of the album's sounds were described as 'perversely commonplace' by Zac Corrigan of World Socialist Web Site,[14] and include the Skype log-in sound and synthesized voices interacting with the listener.[15]Far Side Virtual was retrospectively tagged as one of the most influential releases to vaporwave, a genre mostly spread via the Internet and identified by its adoption of dated electronic 'corporate mood music' and ambiguously ironic attitude.[16][17][18] Ferraro created Far Side Virtual with the Apple audio software GarageBand,[9] which brought out the 'cheap digital sound' he desired, and called it a '[r]ubbery plastic symphony for global warming, dedicated to the Great Pacific Garbage Patch'. He said, 'This is ringtone music meant to be experienced on the post-structuralist medium, the smartphone.'[12] Ferraro frequently described it as a musical still life of the 21st century, specifically the year it was released.[11][12][19]

Andy Battaglia compared the feeling of the music to the online virtual worldSecond Life, the city-building gameSimCity, and the work of experimental filmmaker Ryan Trecartin.[20] Adam Harper of Dummy called it a 'pastiche [of] a kind of music you never knew you knew existed: techno-capitalist stock promotional music for the era of the personal computer .. Each track is bristling with the maximalist promise of a world of possibilities waiting behind the screen for your double-click, and evokes a time when we were much less familiar with and cynical about the virtual world technology has brought us into.'[21]Bomb writer Luke Degnan wrote, 'This is what Far Side Virtual does for 45 minutes—it reminds the listener that these sounds were born digitally and will die digitally. This is a digital album for a digital age.'[22]

Critics have compared Far Side Virtual to the works of video artist Ryan Trecartin, cultural theorist Jean Baudrillard, and the virtual world of Second Life.[20][23]

Electronic musician Dan Deacon praised the album for its unaltered, standard MIDI sound.[24] Commenting on the production style, Joseph Stannard of The Wire wrote, 'In contrast to the audio soup of Ferraro's earlier recordings, these tracks have a spacious, architectural feel that recalls Laurie Anderson, Philip Glass and Rush.'[8]

Critics noted that the album abandons the veneer of noise that coats Ferraro's previous releases while retaining—and reimagining—the form and ethos of noise music. Ferraro said 'it's still in the tradition of noise.'[9] According to Bomb magazine writer Luke Degan, the album is unlike the 'reverbed-out, feedback-laden noise music' of Ferraro's earlier music, but instead represents the noise of the 'digital age.'[22] A Fact writer said, 'there's no distortion, no tape-hiss, no obvious underground signifiers.. [but] this new cleanness and clarity to the Ferraro aesthetic hasn't diminished the hallucinatory power of his music.. [the songs] will terrify you to the core even as they evoke the soundtrack of a third-tier Melanie Griffithrom-com or a forgotten Phil Collins B-side.'[16] Another critic said, 'while Ferraro is interested in issues of distance and impermanence, there is no lo-fi fuzz or warm nostalgic haze to temper how flat and ugly the music he's referencing on Far Side Virtual is.'[7]Stereogum described the album as 'nihilistic easy-listening.'[25]

Like Ferraro's previous albums Night Dolls with Hairspray[23] and Last American Hero,[6]Far Side Virtual explores American culture of the present and recent past. A writer from French music blog The Drone described Far Side Virtual as a concept album inspired by the ideas of hyperreality and simulacra from the post-moderncultural theoristJean Baudrillard.[23] Harper wrote, 'Up until Far Side Virtual, many of James Ferraro's albums were impressionistic lo-fi portraits of bygone eras – perhaps on Far Side Virtual he decided to represent the present as is and then let nature take its course, over time, and do the aging for him. Returning to it in ten or twenty years time, we might discover that it was ironically a victim of its own futurist acceleration, and is now about as up-to-date as a ten-year-old carton of milk.'[16]

English music critic Simon Reynolds said that while the album's song titles allude to the 21st century, the album is sonically reminiscent of the 1990s, and that Ferraro shares interest in that time period with contemporaries like Oneohtrix Point Never. Reynolds wrote, 'Far Side Virtual seems to undertake an archaeology of the recent past, conjuring the onset of the internet revolution and 90s optimism about information technology. But that recent past could equally be a case of 'the long present' in so far as the digiculture ideology of convenience/instant access/maximization of options now permeates everyday life and is arguably where faint residues of utopianism persist in an otherwise gloomy and anxious culture.'[26]

Artwork and title

Virtual

The album's front cover displays a pair of iPads displaying abstract designs (with one placed as a head on a tuxedo), laid over a low-resolution image of 6th Avenue in Manhattan as viewed in Google Street View.[20] Explaining the title in an interview, Ferraro said:

Far Side Virtual mainly designates a space in society, or a mode of behaving. All of these things operating in synchronicity: like ringtones, flat-screens, theater, cuisine, fashion, sushi. I don't want to call it 'virtual reality,' so I call it Far Side Virtual. If you really want to understand Far Side, first off, listen to [Claude] Debussy, and secondly, go into a frozen yogurt shop. Afterwards, go into an Apple store and just fool around, hang out in there. Afterwards, go to Starbucks and get a gift card. They have a book there on the history of Starbucks—buy this book and go home. If you do all these things you'll understand what Far Side Virtual is — because people kind of live in it already.[27]

Release

Far Side Virtual was announced in May 2011 as Ferraro's first album on the Hippos in Tanks label.[28] The label first released the digital extended play (EP) Condo Pets, which was intended as a preview of the sound of the forthcoming LP. Karen Ka Ying Chan, writer for Dummy, identified the theme of the two releases as Ferraro's 'fascination of the surreal side of American living'.[6] Amber Bravo of The Fader said Far Side Virtual had been 'billed somewhat as a cultural critique as told through MIDI-synths.'[29]

Ferraro's satirically written announcement for the album read, in part, 'All the proceeds from Far Side Virtual are going towards my facial reconstructive plastic surgery. My new face will be fashioned after CCTV's satellite queen, Princess Diana. And you will be able to see it live in concert on the Far Side Virtual World Tour. Always coca cola.'[28]

The tracks 'Adventures in Green Foot Printing' and 'Earth Minutes' were released as promotional singles in advance of the album.[30]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Metacritic77/100[31]
Review scores
SourceRating
Drowned in Sound7/10[32]
Fact[15]
Pitchfork Media7.6/10[33]
Spin6/10[34]
Tiny Mix Tapes[35]

Far Side Virtual was met with greater critical attention than Ferraro's previous releases. Just over a year after its release, Marc Masters at Pitchfork wrote that Far Side Virtual 'became Ferraro's most discussed and divisive effort, landing on year-end best-of lists as often as it got dismissed as a joke.'[36] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 77, which indicates 'generally favorable reviews', based on seven reviews.[31] Critics tended to agree that Far Side Virtual takes the state of 21st-century consumerism as its subject, but there was no consensus regarding whether Ferraro intended to satirize, criticize or embrace this condition.[37] Brandon Soderberg said that the album's concept 'seemed critic-proof, which was frustrating .. Negative reviews could be dismissed as the listeners simply not getting the joke.'[38]

The Wire published a favorable review by Joseph Stannard, in which he wrote 'If it is an elaborate put-on—and I suspect Ferraro isn't averse to a chuckle at the expense of his audience—Far Side Virtual still feels like the culmination of numerous releases' worth of research and development. .. Whether or not its creator is giggling through a bong smoke haze, Far Side Virtual is a convincing evocation of the digital dreamtime.'[8] Stefan Wharton of Tiny Mix Tapes' took the album as a statement about blurred boundaries between consumers and their technologies, citing the writing of Markus Giesler as a precedent. Wharton said, 'Far Side Virtual succeeds in exciting the collective memory of that generation now so conjoined to its technological appendages.'[35] In Pitchfork's review, Soderberg wrote, 'the songs here are exactly the same as what they're ostensibly parodying, which is bold and maybe even the point. .. You suddenly realize you're listening to 45 minutes of utilitarian music that doesn't really have a purpose. Can something be utopian and dystopian at the same time? Probably. Maybe even always.'[33]

Steve Shaw of Fact called the album 'an intense immersive listening experience that is both deeply comforting and unsettling at the same time' and said 'arguably, it is more a piece of art than a collection of music. .. Compositionally, Far Side Virtual is truly frenetic, nothing safe from Ferraro’s meddling, all elements completely malleable and at the mercy of his eccentric imagination.'[15]Spin gave the album a three-star review, and the staff reviewer wrote that Ferraro 'makes a glowing, glossy album out of everyday digital detritus. If you can wade through the excruciating sitar-synths, bank-lobby melodies, home-fitness techno, and infomercial drum breaks, Ferraro's playfulness blips into view.'[34]

Accolades

Far Side Virtual appeared on several 'best of 2011' lists and features. In Tiny Mix Tapes' end-of-year wrap-up column on nostalgia in pop music, Jonathan Dean wrote, 'You may want to throw Far Side Virtual against a wall upon hearing its relentlessly arch, kitschy blandness, but it manages to successfully turn pop against itself, which, like it or not, is a politically progressive project. Its pure, bold conceptualism stood out in a year that was dominated by the 'febrile sterility' of post-internet microgenres and tail-swallowing postmodernism.'[39] Music critic Jonah Weiner cited Far Side Virtual for his end-of-year article on contemporary protest songs, and called it 'antagonizingly, alienatingly, wondrously bland.'[7]Fact named Hippos in Tanks the best label of the year, listing the signing of Ferraro and subsequent release of Far Side Virtual as one of its finest accomplishments.[40]

Tiny Mix Tapes included the album as its 21st-best album of the year, and summarized the album as 'hyperreal.. frivolous.. eerily familiar and scarily comfortable: pop structures moving one step closer toward the 'synthetic music box' from Huxley's Brave New World.'[41]Fact ranked Far Side Virtual as its sixth-best album of the year, and called it '[t]he finest, most accessible example yet of James Ferraro’s ability to turn the detritus and dreck of US pop/commercial culture into gold – or, at any rate, something stomach-turningly psychedelic, mentally disturbing yet oddly celebratory.'[42]Dummy named the album one of its '12 albums for 2011,' and Ruth Saxelby concluded that Ferraro 'neither celebrates nor critiques the internet's reign but simply observes it with deep fascination. Andy Warhol style, it reflects the ambiguity of consumer culture in the digital age back at us with a Pixar-animated wink.'[43] The album placed at 316 on The Village VoicePazz & Jop poll, with votes from four critics.[44]

Far Side Virtual topped The Wire's top 50 releases of 2011[45]—a choice that proved to be polarizing among readers.[38][46][3][47] Writing to elucidate the 'low mandate' for the album, editor-in-chief Tony Herrington noted that only seven of 60 voters included Far Side Virtual on their lists, and no voters chose it as their personal favorite. Herrington said the choice was 'entirely appropriate in a year in which the abundance of choice brought on by digital technology reached such a tipping point as to make genuine consensus impossible. .. you either swoon over the conceptual audacity of its deadpan appropriation of late capitalist-era corporate mood Muzak, or you think it's the worst record Dave Grusin never made.'[47] Tiny Mix Tapes' Dean wrote that after Far Side Virtual topped The Wire's list, 'discerning music nerds have felt the imperative to step to either side of a line,' and that Herrington's column 'amounted to a retraction.'[3] While praising the magazine for its diverse taste, Seattle Weekly's Eric Grandy jokingly commented that it was 'no surprise' that the 'willfully obscurantist' magazine would top their list with a 'winking Windows '97 soft-rock hellscape'.[48]

Track listing

  1. 'Linden Dollars' – 1:57
  2. 'Global Lunch' – 2:13
  3. 'Dubai Dream Tone' – 1:49
  4. 'Sim' – 2:53
  5. 'Bags & Contrapposto Water Bottle' – 3:25
  6. 'PIXARnia and the Future of Norman Rockwell' – 1:44
  7. 'Palm Trees, Wi-Fi and Dream Sushi' – 2:39
  8. 'Fro Yo and Cellular Bits' – 2:19
  9. 'Google Poeises' – 3:51
  10. 'Starbucks, Dr. Seussism, and While Your Mac Is Sleeping' – 2:25
  11. 'Adventures in Green Foot Printing' – 3:28
  12. 'Dream On' – 3:07
  13. 'Earth Minutes' – 4:17
  14. 'Tomorrow's Baby of the Year' – 1:49
  15. 'Condo Pets' – 3:31
  16. 'Solar Panel Smile' – 4:08

References

  1. ^Battan, Carrie (October 4, 2011). 'Adventures in Green Foot Printing' by James Ferraro review'. Pitchfork. Conde Nast.
  2. ^Fitzmaurice, Larry (October 18, 2011). 'Earth Minutes' by James Ferraro Review'. Pitchfork. Conde Nast.
  3. ^ abcDean, Jonathan, BEBETUNE$ - inhale C-4 $$$$$, Tiny Mix Tapes, retrieved March 10, 2013
  4. ^Seraydarian, Thomas. 'Crossfader's Vaporwave Primer'. Crossfader. Retrieved 8 April 2017.
  5. ^Beauchamp, Scott. 'HOW VAPORWAVE WAS CREATED THEN DESTROYED BY THE INTERNET'. Esquire. Retrieved 8 April 2017.
  6. ^ abcKa Ying Chan, Karen (September 14, 2011), 'James Ferraro - Condo Pets [stream]', Dummy, retrieved March 10, 2013
  7. ^ abcWeiner, Jonah (December 19, 2011), 'Best Music 2011: The year's best and weirdest protest songs', Slate, retrieved March 10, 2013
  8. ^ abcStannard, Joseph (November 2011), 'James Ferraro Far Side Virtual Hippos In Tanks LP', The Wire, no. 333, p. 58
  9. ^ abcd'Interview: James Ferraro And His Music Multiverse', Red Bull Music Academy, March 6, 2012, retrieved March 10, 2013
  10. ^Chan, Julia B. (March 1, 2012), 'Ring up the curtain for James Ferraro', San Francisco Examiner, archived from the original on April 11, 2013, retrieved March 10, 2013
  11. ^ abHoffman, Kelley (October 25, 2011), 'James Ferraro's Versace Dreams', Elle, retrieved March 10, 2013
  12. ^ abcGibb, Rory (December 15, 2012), 'Adventures on the Far Side: An Interview With James Ferraro', The Quietus, retrieved March 10, 2013
  13. ^'James Ferraro: Bodyguard', Dazed & Confused, July 6, 2012, retrieved March 10, 2013
  14. ^Corrigan, Zac (September 4, 2012), 'Music review: Replica from Oneohtrix Point Never and James Ferraro's Far Side Virtual', World Socialist Web Site, retrieved March 10, 2013
  15. ^ abcShaw, Steve (November 11, 2011), 'James Ferraro: Far Side Virtual', Fact, retrieved March 10, 2013
  16. ^ abcHarper, Adam (June 12, 2012), 'Comment: Vaporwave and the pop-art of the virtual plaza', Dummy, retrieved March 10, 2013
  17. ^Gibb, Rory (November 8, 2012), 'The Month's Electronic Music: Through The Looking Glass', The Quietus, retrieved March 10, 2013
  18. ^Lhooq, Michelle (June 24, 2013), 'Is Vaporwave The Next Seapunk?', Vice, retrieved November 27, 2013
  19. ^Hockley-Smith, Sam (December 14, 2011), 'Interview: James Ferraro', The Fader, retrieved March 10, 2013
  20. ^ abcBattaglia, Andy (December 8, 2011), 'James Ferraro and Ryan Trecartin: 21st-century creatures', The National, retrieved March 10, 2013
  21. ^Harper, Adam (September 15, 2011), 'Borne into the 90s [pt.2]', Dummy, retrieved March 10, 2013
  22. ^ abDegnan, Luke (Spring 2012), 'James Ferraro's Far Side Virtual', Bomb, retrieved March 10, 2013
  23. ^ abcLamm, Olivier (March 12, 2012), 'James Ferraro Interview', The Drone (in French), retrieved March 10, 2013
  24. ^'Guest List: Best of 2011', Pitchfork, December 21, 2011, retrieved November 17, 2013
  25. ^Bowe, Miles. 'Band To Watch: Saint Pepsi'. Stereogum. Retrieved 26 June 2016.
  26. ^Reynolds, Simon (December 6, 2011), 'Maximal Nation', Pitchfork, retrieved March 10, 2013
  27. ^Friedlander, Emilie (November 30, 2011), 'Artist Profile: James Ferraro', Altered Zones, archived from the original on April 2, 2013, retrieved March 10, 2013
  28. ^ ab'James Ferraro preps new album for Hippos in Tanks', Fact, May 3, 2011, retrieved March 10, 2013
  29. ^Bravo, Amber (September 13, 2011), 'Stream: James Ferraro, 'Eco-Tot' + 'Text Bubbles'', The Fader, retrieved March 10, 2013
  30. ^Fitzmaurice, Larry (October 18, 2011), 'James Ferraro: 'Earth Minutes'', Pitchfork, archived from the original on October 22, 2011, retrieved March 10, 2013
  31. ^ abFar Side Virtual Reviews, Metacritic, retrieved March 10, 2013
  32. ^Gardner, Noel (November 2, 2011). 'Album Review: James Ferraro – Far Side Virtual'. Drowned in Sound. Silentway. Retrieved January 30, 2015.
  33. ^ abSoderberg, Brandon (November 4, 2011), James Ferraro: Far Side Virtual, Pitchfork Media, retrieved March 10, 2013
  34. ^ ab'James Ferraro, 'Far Side Virtual' (Hippos in Tanks)', Spin, October 25, 2011, retrieved March 10, 2013
  35. ^ abWharton, Stefan, James Ferraro: Far Side Virtual, Tiny Mix Tapes, retrieved March 10, 2013
  36. ^Masters, Marc (November 27, 2012), 'James Ferraro: Sushi', Pitchfork Media, retrieved March 10, 2013
  37. ^Krimper, Michael (January 5, 2012), 'Revisiting the Music of 2011: Dissent, Censorship, and Apocalypse', Hydra Magazine, archived from the original on February 28, 2013, retrieved March 10, 2013
  38. ^ abSoderberg, Brandon (January 13, 2012), 'Bebetune@: Inhale C-4 $$$$$', Pitchfork Media, retrieved March 18, 2013
  39. ^Dean, Jonathan (December 2011), 2011: Dispatches from the Pop Museum, Tiny Mix Tapes, retrieved March 10, 2013
  40. ^'10 Best: Labels of 2011', Fact, November 22, 2011, retrieved March 14, 2013
  41. ^Román, Carlos (December 2011), 2011: Favorite 50 Albums of 2011: 21. James Ferraro Far Side Virtual [Hippos in Tanks], Tiny Mix Tapes, retrieved March 10, 2013
  42. ^'50 best: albums of 2011', Fact, November 30, 2011, retrieved March 10, 2013
  43. ^Saxelby, Ruth (December 16, 2011), '12 albums for 2011 - James Ferraro's 'Far Side Virtual'', Dummy, retrieved March 10, 2013
  44. ^'New York Pazz and Jop Albums', The Village Voice, retrieved March 10, 2013
  45. ^'2011 Rewind Chart: Top 50 Releases of the Year', The Wire, December 2011, retrieved March 10, 2013
  46. ^Ewing, Tom (December 23, 2011), 'Underwhelmed And Overstimulated, Part Eight: What Happened When Skrillex Helped America Discover Rave', The Village Voice, retrieved March 10, 2013
  47. ^ abHerrington, Tony (December 9, 2011), 'Suffering through suffrage: Compiling The Wire's Rewind charts', The Wire, retrieved March 10, 2013
  48. ^Grandy, Eric (December 21, 2011), 'My Top 5 'Best of 2011' Lists: NPR Muzak, Mendacious Consensus, and More', Seattle Weekly, archived from the original on January 9, 2012, retrieved March 10, 2013

External links

  • Far Side Virtual at Discogs (list of releases)
  • Far Side Virtual at Hippos in Tanks, via the Internet Archive
  • Avatar Salad — the abandoned precursor to Far Side Virtual, via the Internet Archive
Human Story 3

Human Story 3 is a studio album by American electronic musician James Ferraro, self-released on June 14, 2016. The album's concept revolves philosophically and structurally on how technology that can be used meaningfully is often used less usefully for commerce and, as a result, how the technology may eventually end up subverting humanness. The record landed at number seven on Tiny Mix Tapes' year-end list of the best albums of 2016.

Hypnagogic pop

Far Side Virtual Download

Hypnagogic pop is pop or psychedelic music that explores elements of cultural memory and nostalgia by drawing on the popular entertainment and recording technology of the past, particularly the 1980s. It is sometimes conflated with 'vaporwave'. The genre developed in the mid to late 2000s as American lo-fi and noise musicians began referencing retro aesthetics remembered from childhood, such as 1980s radio rock, new age, MTV one-hit wonders, and Hollywood synthesizer soundtracks, as well as analog technology and outdated pop culture.The term was coined by journalist David Keenan in an August 2009 issue of The Wire to label the developing trend, which he characterized as 'pop music refracted through the memory of a memory.' It was used interchangeably with 'chillwave' or 'glo-fi' and would gain critical attention in the late 2000s through artists such as Ariel Pink and James Ferraro. Hypnagogic pop has been variously described as a 21st century update of psychedelia, a reappropriation of media-saturated capitalist culture, and an 'American cousin' to the British hauntology scene. The style partly inspired the 2010s Internet-based vaporwave movement, which amplified its experimental tendencies.

Inhale C-4 $$$$$

Inhale C-4 $$$$$ is a mixtape of BEBETUNE$, a hip hop and R&B project of American electronic musician James Ferraro. It was released by Ferraro for free download and streaming on December 14, 2011. Parodying the tropes of contemporary American hip hop music and its culture, Inhale C-4 $$$$$ marks the first time in Ferraro's career that he went for a hip hop style. Reviews of the mixtape from music journalists were mostly positive upon release, and it landed in the top 20 of Tiny Mix Tapes' list of the best releases of 2012.

James Ferraro

James Ferraro (born November 7, 1986) is an American musician, producer, vocalist and contemporary artist, who has been credited as a pioneer of hypnagogic pop and vaporwave, as well as post-Internet art. His works, primarily studio albums, but also including poems and art installations, are known for exploring subjects such as hyperreality and consumer culture.

Ferraro began his career in the early 2000s as a member of the Californian noise duo The Skaters, after which he began recording solo work under his name and a wide variety of aliases. He released projects on labels such as Hippos in Tanks and New Age Tapes. Ferraro received wider recognition when his polarizing 2011 album Far Side Virtual was chosen as Album of the Year by The Wire.

List of 2011 albums

The following is a list of albums that were released during 2011.

For additional information for deaths of musicians see 2011 in music.

Night Dolls with Hairspray

Night Dolls with Hairspray is a studio album by American electronic musician James Ferraro released on October 31, 2010 by the independent record label Olde English Spelling Bee. Described as a 'cycle of bubblegum pop songs,' the album's lo-fi sound draws on sources such as 1980s pop culture tropes, B-movies, and glam punk. It garnered generally favorable reviews from music journalists, and was called a 'weirdo masterpiece of the 21st century' by Impose.

Block rosetta stone host file. Whenever you want to download other language packs by direct link of the Rosetta Stone server you must remove those lines from the hosts file and download the languages packs for the direct link. After the download completes reinsert the lines in the hosts file. Do not open the program without blocking those lines are.

R Plus Seven

R Plus Seven is the sixth studio album by American electronic musician Oneohtrix Point Never (aka Daniel Lopatin). Released on October 1, 2013, it is Lopatin’s first release on UK electronic label Warp. The album's musical palette draws heavily on the synthetic sounds of MIDI instruments, synth presets, and VSTs.

The album received generally positive reviews from critics and was included on year-end lists by publications such as The Wire, Tiny Mix Tapes, XLR8R, Pitchfork and The Quietus. Its release came alongside several collaborations on visual accompaniment with artists such as Jon Rafman, Takeshi Murata, and Nate Boyce.

Suki Girlz

Suki Girlz is a mixtape by producer James Ferraro, self-released under the moniker user703918785 on SoundCloud on July 2, 2014. The concept of the trap mixtape is symbolized through both its sound and its marketing; all of the tracks are low-quality and borrow tropes common in music self-released on sites like SoundCloud, and it was released with the name user703918785, which spoofs the spambots of these services, thus making it symbolically disposable. It garnered favorable opinions from music journalists, landing at number one on a list of the best mixtapes of 2014 by Pretty Much Amazing.

Sushi (album)

Sushi (stylized as SUSHi) is a studio album by the American electronic musician James Ferraro, released on November 7, 2012 by the independent record label Hippos in Tanks. The electronica dance-pop record has a much more mainstream sound than Ferraro's past albums, continuing some of the trap, R&B and hip-hop underpinnings that were a part of Ferraro's two mixtapes Inhale C-4 $$$$$ (2012) and Silica Gel (2012), released under his Bebetune$ and Bodyguard monikers, respectively. Sushi garnered mixed to positive reviews upon its release, a common criticism being its lack of depth or indiciation of a main concept.

The Wire (magazine)

The Wire (often called simply Wire or stylised in all caps) is a British avant-garde music magazine based in Hackney, London. The Wire launched in 1982 as a jazz magazine with an emphasis on avant-garde and free jazz. In the late 1980s and early 1990s, the magazine expanded its scope to include a broad range of musical genres. Since then, The Wire has covered electronica, modern classical, free improvisation, avant-rock, hip hop, nu jazz, traditional musics and beyond. The Wire has been independently owned since 2001, when the six permanent staff members at that time purchased the magazine from its previous owner, Naim Attallah.

Vaporwave

Vaporwave is a microgenre of electronic music and an Internet meme that emerged in the early 2010s. The style is defined by its appropriation of 1980s and 1990s mood music styles such as smooth jazz, elevator music, R&B, and lounge music, typically sampling or manipulating tracks via chopped and screwed techniques and other effects. Its surrounding subculture is sometimes associated with an ambiguous or satirical take on consumer capitalism and pop culture, and tends to be characterized by a nostalgic or surrealist engagement with the popular entertainment, technology and advertising of previous decades. It also incorporates early Internet imagery, late 1990s web design, glitch art, anime, 3D-rendered objects, and cyberpunk tropes in its cover artwork and music videos.

Originating as an ironic variant of chillwave, vaporwave was loosely derived from the experimental tendencies of the mid-2000s hypnagogic pop scene. The style was pioneered by producers such as James Ferraro, Daniel Lopatin, and Ramona Xavier, who each used various pseudonyms. A circle of online producers were particularly inspired by Xavier's Floral Shoppe (2011), which established a blueprint for the genre. The movement subsequently built an audience on sites Last.fm, Reddit and 4chan while a flood of new acts, also operating under online pseudonyms, turned to Bandcamp for distribution. Following the wider exposure of vaporwave in 2012, a wealth of subgenres and offshoots emerged, such as future funk, mallsoft, and hardvapour.

Studio albums
  • Far Side Virtual
  • NYC, Hell 3:00 AM
Extended plays
Mixtapes
Related articles

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