Download A Song To My Computer NEW!

Do I need to hook the Syntakt up to my computer through an audio interface, open up my DAW, and record the song as a single audio track? Or can the Syntakt bounce an MP3 (or something similar) using the Electron Transfer app on my Mac?

Kraftwerk easily earns a second spot on this list with perhaps the most beautiful pop song recorded with analog synthesizers. As a side note, the song is about a lonely guy on a lonely night trying to make a real human connection using his personal computer.

Download A Song To My Computer

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In 1995, Radiohead toured in support of their second album, The Bends (1995). Midway through the tour, Brian Eno commissioned them to contribute a song to The Help Album, a charity compilation organised by War Child; the album was to be recorded over the course of a single day, 4 September 1995, and rush-released that week.[7] Radiohead recorded "Lucky" in five hours with Nigel Godrich, who had engineered The Bends and produced several Radiohead B-sides.[8] Godrich said of the session: "Those things are the most inspiring, when you do stuff really fast and there's nothing to lose. We left feeling fairly euphoric. So after establishing a bit of a rapport work-wise, I was sort of hoping I would be involved with the next album."[9] The singer, Thom Yorke, said "Lucky" shaped the nascent sound and mood of their upcoming record:[8] "'Lucky' was indicative of what we wanted to do. It was like the first mark on the wall."[10]

The critical and commercial success of The Bends gave Radiohead the confidence to self-produce their third album.[8] Their label Parlophone gave them a 100,000 budget for recording equipment.[12][13] The lead guitarist, Jonny Greenwood, said "the only concept that we had for this album was that we wanted to record it away from the city and that we wanted to record it ourselves".[14] According to the guitarist Ed O'Brien, "Everyone said, 'You'll sell six or seven million if you bring out The Bends Pt 2,' and we're like, 'We'll kick against that and do the opposite'."[15] A number of producers were suggested, including major figures such as Scott Litt,[16] but Radiohead were encouraged by their sessions with Godrich.[17] They consulted him for advice on equipment,[18] and prepared for the sessions by buying their own, including a plate reverberator purchased from the songwriter Jona Lewie.[8] Although Godrich had sought to focus on electronic dance music,[19] he outgrew his role as advisor and became the album's co-producer.[18]

In early 1996, Radiohead recorded demos for their third album at Chipping Norton Recording Studios, Oxfordshire.[20] In July, they began rehearsing and recording in their Canned Applause studio, a converted shed near Didcot, Oxfordshire.[21] Even without the deadline that contributed to the stress of The Bends,[22] the band had difficulties, which Selway blamed on their choice to self-produce: "We're jumping from song to song, and when we started to run out of ideas, we'd move on to a new song ... The stupid thing was that we were nearly finished when we'd move on, because so much work had gone into them."[23]

Radiohead decided that Canned Applause was an unsatisfactory recording location, which Yorke attributed to its proximity to the band members' homes, and Jonny Greenwood attributed to its lack of dining and bathroom facilities.[24] The group had nearly completed four songs: "Electioneering", "No Surprises", "Subterranean Homesick Alien" and "The Tourist".[29] They took a break from recording to embark on an American tour in 1996, opening for Alanis Morissette, performing early versions of several new songs.[30]

Radiohead returned to Canned Applause in October for rehearsals,[40] and completed most of OK Computer in further sessions at St. Catherine's Court. By Christmas, they had narrowed the track listing to 14 songs.[41] The strings were recorded at Abbey Road Studios in London in January 1997. The album was mixed over the next two months at various London studios, then mastered by Chris Blair at Abbey Road.[42] Godrich preferred a quick and "hands-off" approach to mixing, and said: "I feel like I get too into it. I start fiddling with things and I fuck it up ... I generally take about half a day to do a mix. If it's any longer than that, you lose it. The hardest thing is trying to stay fresh, to stay objective."[9]

Yorke said that the starting point for the record was the "incredibly dense and terrifying sound" of Bitches Brew, the 1970 avant-garde jazz fusion album by Miles Davis.[43] He described the sound of Bitches Brew to Q: "It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer."[39] Yorke identified "I'll Wear It Proudly" by Elvis Costello, "Fall on Me" by R.E.M., "Dress" by PJ Harvey and "A Day in the Life" by the Beatles as particularly influential on his songwriting.[8] Radiohead drew further inspiration from the recording style of film soundtrack composer Ennio Morricone and the krautrock band Can, musicians Yorke described as "abusing the recording process".[8] Jonny Greenwood described OK Computer as a product of being "in love with all these brilliant records ... trying to recreate them, and missing".[44]

According to Yorke, Radiohead hoped to achieve an "atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on the Beach Boys' Pet Sounds".[43] They extended their instrumentation to include electric piano, Mellotron, strings and glockenspiel. Jonny Greenwood summarised the exploratory approach as "when we've got what we suspect to be an amazing song, but nobody knows what they're gonna play on it".[45] Spin characterised OK Computer as sounding like "a DIY electronica album made with guitars".[46]

The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analysed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing.[nb 1] Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written.[34][56][57] Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring."[58] However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there."[56]

The opening track, "Airbag", is underpinned by a beat built from a seconds-long recording of Selway's drumming. The band sampled the drum track with a sampler and edited it with a Macintosh computer, inspired by the music of DJ Shadow, but admitted to making approximations in emulating Shadow's style due to their programming inexperience.[59][60] The bassline stops and starts unexpectedly, achieving an effect similar to 1970s dub.[61] The original draft of the lyrics for "Airbag" were written inside a copy of William Blake's Songs of Innocence and of Experience that Yorke had also annotated with his own notes; this personal copy was later auctioned off by Yorke in 2016 with proceeds going to Oxfam.[62] The song's references to automobile crashes and reincarnation were inspired by a magazine article titled "An Airbag Saved My Life" and The Tibetan Book of the Dead. Yorke wrote "Airbag" about the illusion of safety offered by modern transit, and "the idea that whenever you go out on the road you could be killed".[53] The BBC wrote about the influence of J. G. Ballard, especially his 1973 novel Crash, on the lyrics.[63] Music journalist Tim Footman noted that the song's technical innovations and lyrical concerns demonstrated the "key paradox" of the album: "The musicians and producer are delighting in the sonic possibilities of modern technology; the singer, meanwhile, is railing against its social, moral, and psychological impact ... It's a contradiction mirrored in the culture clash of the music, with the 'real' guitars negotiating an uneasy stand-off with the hacked-up, processed drums."[64]

Split into four sections with an overall running time of 6:23, "Paranoid Android" is among the band's longest songs. The unconventional structure was inspired by the Beatles' "Happiness Is a Warm Gun" and Queen's "Bohemian Rhapsody", which also eschew a traditional verse-chorus-verse structure.[65] Its musical style was also inspired by the music of the Pixies.[66] The song was written by Yorke after an unpleasant night at a Los Angeles bar, where he saw a woman react violently after someone spilled a drink on her.[53] Its title and lyrics are a reference to Marvin the Paranoid Android from Douglas Adams's The Hitchhiker's Guide to the Galaxy series.[66]

The use of electric keyboards in "Subterranean Homesick Alien" is an example of the band's attempts to emulate the atmosphere of Bitches Brew.[44][67] Its title references the Bob Dylan song "Subterranean Homesick Blues", and the lyrics describe an isolated narrator who fantasises about being abducted by extraterrestrials. The narrator speculates that, upon returning to Earth, his friends would not believe his story and he would remain a misfit.[68] The lyrics were inspired by an assignment from Yorke's time at Abingdon School to write a piece of "Martian poetry", a British literary movement that humorously recontextualises mundane aspects of human life from an alien perspective.[69] 2351a5e196