The exhibition follows his 2014 show at MoMA PS1 in New York, where Ferraro explored how ringtones and elevator music have become psychological and architectural components of commerce and daily life.
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Elevator Music Ringtone Free Download
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Please can we have some sanity in the office because these stupid ringtones on mobile phones are driving me nuts! This crazy frog thing is the latest in a long line of irritating tones, and it has got to be the worst so far I reckon.
Once upon a time I found them amusing, but that was before the advent of the polyphonic ringtone. Since sometime around 2002 life in the office has been hell with Beyonce, The Darkness, Black Eyed Peas and all the other crap they're churning out these days. A real nice touch that, take a perfectly useful piece of technology and make it as irritating as hell.
OK, so we can't exactly bring back the old beep beep ringtones, but in my opinion they were a lot less obtrusive than the new polyphonic ones. To make matters worse, you've had these things driving you up the wall during the day at work; you get home for some peace and quiet, only to find you have these bleeding chimes going through you're head!
They're not clever you know! I lie awake at night with this modern day elevator music going through my head. Another thing that really bothers me, is when colleagues go off to lunch or to a meeting and leave their mobile on their desk. You can guarantee it will ring a dozen times before they return, and then stop just as you are about to go pick it up.
And why, please tell me why do people insist on having their phone on the highest volume setting? Surely they can't all be deaf? I still think the idea of having a bucket of water for rogue mobiles is a good idea. Any offending mobile left unattended and left constantly ringing would be deposited in the bucket. Good riddance!
Far Side Virtual is a studio album by American electronic musician James Ferraro, released on October 25, 2011 by Hippos in Tanks. 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 early computer sound design. The album has been interpreted as engaging with themes such as hyperreality, disposable consumer culture, 1990s retrofuturism, advertising, and musical kitsch.
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 British 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,[4] an Internet-based electronic music microgenre that covers much of the same sonic and conceptual territory.[5][6]
Ferraro explained that his original idea had been to release the sixteen compositions on Far Side Virtual as a set of downloadable ringtones,[11] but wanted the songs to have the impact of a complete album.[12] He felt that few would want to purchase the music as a set of ringtones,[11] but 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."[13] Ferraro said that listeners using songs from Far Side Virtual as ringtones was the realization of the album as "a performance art installation".[14]
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."[15]
Ferraro created Far Side Virtual with the Apple audio software GarageBand,[11] 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."[14] Ferraro frequently described it as a musical still life of the 21st century, specifically the year it was released.[13][14][16] Electronic musician Dan Deacon praised the album for its unaltered, standard MIDI sound.[17] The sources of most of the album's found sounds have been described as "perversely commonplace",[18] and include the Skype log-in sound and synthesized voices that appear to mimic interactivity.[19]
The album 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.[20][21][22]
The album's cover artwork displays a pair of iPads displaying abstract designs (with one placed as a head on a tuxedo), superimposed over a low-resolution image of 6th Avenue in Manhattan as viewed in Google Street View.[23] Explaining the title in an interview, Ferraro said:
Far Side Virtual was announced in May 2011 as Ferraro's first album on the Hippos in Tanks label.[25] 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".[8] Amber Bravo of The Fader said that Far Side Virtual had been "billed somewhat as a cultural critique as told through MIDI-synths".[26]
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."[25]
According to Bomb magazine writer Luke Degan, the album is unlike the "reverbed-out, feedback-laden noise" of Ferraro's earlier music, but instead represents the noise of the "digital age".[30] 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 Griffith rom-com or a forgotten Phil Collins B-side."[20] 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."[9] Stereogum described the album as "nihilistic easy-listening."[31]
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."[33]
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."[39] 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.[34] 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.[40] 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."[41]
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."[42] 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."[9] 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.[43] 152ee80cbc
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