Overturn - Kursk

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3. Learning from algorithms and live audience feedback #testingandevaluation

A constant process of testing and evaluation took place throughout this campaign, informing the production and direction of all its elements. As this project requires new, small pieces of content to be regularly shared on Tenzin's social media channels, the live responses from actual audiences have been carefully monitored and evaluated, the new knowledge gained then used to inform ideas that are implemented in the successive content. On top of navigating audience reactions, the campaign also had to consider platform dynamics, algorithms and creative challenges that helped or hindered the success of this outreach plan.

Short videos

The first series of videos, three "remixes" of popular songs by similar artists, where Tenzin recreated the hook of the songs with household items. These were produced and shared on all the social media channels that Tenzin had: Facebook, Twitter, Tik Tok and Instagram. They were then monitored for responses in terms of views, likes and comments on each platform for the following 3 days.

It was clear by the third evaluation that the videos did better on Instagram compared to other platforms. This is likely because Instagram is the most popular social network among Tenzin’s core demographic (Khoros, 2021), and he also already had a considerable fanbase there which helped elevate the videos’ popularity. Additionally, Instagram’s “Reel” feature that actively puts videos in front of new users, helped promote the video, compared to more closed audience spaces on other social platforms that mostly only showed content to people who were only following you. While there was some positive reaction by audiences, it was soon clear that the time and effort required for the videos was too much to receive the response that it did. Each video took at least 6 hours of research, production and editing, incredibly resourcing intensive. The style of the videos, remixing, was also very generic, meaning that anyone else could produce the same type of content, failing to establish the unique proposition that Tenzin can offer compared to other content creators.

It was concluded, therefore, that the campaign should focus on growing Tenzin’s fanbase on Instagram alone, rather than juggling the four different platforms. This decision was influenced not only by the success that Tenzin found on this platform above others but also because of its features that allow more dynamic ways to engage and grow engagement through targeted content and ads, “Reels”, “Explore” functions, etc. Further reading and research also informed that it is more strategic to build brands online by focusing on single platforms rather than several ones all at once to really tailor the content and master the ins and outs of the one platform (Sprout Social, 2021).

To create videos that were more unique to Tenzin, it was decided that the second series of videos would showcase his songwriting capabilities instead of his music producing ones. Popular internet subcultures of veganism, cat memes and house plants were parodied with original song and lyrics. While there received a similar response to the first series, they were far less resource-intensive, taking a lot less time to make, and were more effective in promoting Tenzin’s originality.

A third series where covers of song presented in cinematically captivating fashions were experimented with, encompassing two videos as these too were resource-intensive and not effective at promoting Tenzin as his own artist.

It during this point, I understood from some insight I gathered from experience and information presented by other users, that Instagram favours videos filmed within the Reels feature, helping them get a leg up in its complex algorithm, compared to videos made independently and then uploaded. This meant that to maximise outreach, videos must be filmed and edited within the app. However, due to technical restraints, it was almost impossible to create videos like the ones that had been previously executed. A new format and style needed to be crafted.

Series four of the videos featured Tenzin performing his original songs straight into the app. This allowed the videos to be directly recorded within the Reels feature and get a leg up with the extra algorithm points. There was still the 15-30second time limit though so we had to be very selective with what song and what part of it would be performed and in what context. All three videos started with an introduction to set the scene and bring context to the viewer, followed by the performance of catchy or relevant verse that would resonate with the Instagram audience. These were relatively effective, and even more streamlined than the other three strategies since it was not only quicker and easier to produce but also helped promote Tenzin’s own music and also reached a wider audience having mastered the technical secrets of the platform.

The constant testing and evaluation, therefore, concluded that the videos would be shared on Instagram, more particularly, directly in its Reels feature, and would feature an original composition by Tenzin.

Stories

Although the campaign had initially planned for a lot more and frequent short videos to be published, it slowly became apparent that this would be more challenging than originally thought. The shortfall of this type of content however was made up by regularly posting Stories(images and clips that appear on the profile and feed for 24hours only) - content that shows insight and behind the scenes access to Tenzin and his everyday life. By allowing his fans this kind of access, they were invited into an even more informal and intimate connection with the artist, helping form more personable relationships. Initially, this started as an experiment, sharing two posts a week, but due to a positive response (regular viewership and comments), this was increased to 5 posts a week.

Khoros | Digital care, communities, & social media software. 2021. The 2021 Social Media Demographics Guide. [online] Available at: <https://khoros.com/resources/social-media-demographics-guide> [Accessed 9 May 2021].

Sprout Social. 2021. Building your social media marketing strategy for 2021. [online] Available at: <https://sproutsocial.com/insights/social-media-marketing-strategy/#engaging-content> [Accessed 9 May 2021].

Fluid Label Focus on GENOT CENTRE 14

ICE_EYES: INDIVIDUAL DROPS (2019)

COVER BY H5IO6I54K

Reviewed format: advance WAV download of album as kindly provided by GENOT CENTRE

Welcome to 14th review I’m doing of music released on the GENOT CENTRE label, which is why I adjusted the labelling of this review finally. What I have for you today is the brand new GENOT CENTRE release of INDIVIDUAL DROPS by ICE_EYES, released this year (2019). This is a 10 track album released on limited edition cassette tape and digital download featuring 5 original tracks by the Greek duo ICE_EYES (side A of the tape), accompanied by 5 reworks by an exciting selection of artists in the contemporary underground music scene (side B on the tape). Once again we can find some exciting new sonic manipulation, post-club deconstruction, high quality sound design and thrilling surprising compositional turns in the relatively short original tracks and remixes which are all exciting, imaginative and on point pieces of music with that wild contemporary mark of quality that is the GENOT CENTRE label. This is accompanied by H5IO6I54K excellent fitting artwork which features a blend of organic elements of nature, sci-fi typography and Metal themed logo hand drawn letter manipulations which looks especially gripping on the physical red coloured tape version, which also comes with a neat abstract sculpture shaped out of a recycled piece of PET similar to the organic rock like masses you can find on the artwork on the J-card and digital album cover file. The artwork definitely embodies this release really well, as INDIVIDUAL DROPS’ 5 original pieces and remixes feel at times almost like ���masses” of organic material and synthetics that move, evolve, change shape and ultimately feel like true otherworldly soundscapes that at times almost feel like Club music but always hit you with unexpected sounds, harshness or changes that keeps the music feel very fresh and new. For this review I got sent a great press kit by GENOT CENTRE which features various additional materials, but for now I’ll mention only the main contains of this release which are the music, which I got in WAV format (of which the original tracks are in 24-bit/44.1kHz high resolution audio and the remixes in 16-bit/44.1kHz CD quality audio) and the excellent album artwork which you’ll get as a full J-card with the cassette version and as a square version of the album cover in the download. The artwork varies slightly at these formats, but you will get a good resolution image whichever format you choose.

Now, let’s move to the music on INDIVIDUAL DROPS which is really awesome. This album really is one of my favourite releases I heard and another favourite from the GENOT CENTRE label catalogue in general. As I read in the accompanying text file in my press pack the album’s concept is focused on really fluid organisation of sounds and an approach to making music which is really focused on relationships between rhythm, pitch and the fargoing usage of sound bending granular and other stretching / manipulation based techniques. And this fluid manipulations of sound into pieces that are blending or diffusing the borders between groove, soundscape and sonic structure are ultimately a really great main focus of the GENOT CENTRE label in general, which I’ve discovered after reviewing many of their releases by now and ICE_EYES music in here and the energetic remixes on here are a great example of that right from the start with CYAN GRADIENTS. The piece introduces us to the sound of INDIVIDUAL DROPS with scattering, tumbling percussive rhythms featuring crackles, stuttering kicks, pitch shifted stereo claps, hissy synth stabs and various chopped samples of voices. The music feels like an organic mass that is alive with movement, blending earth and both metallic and plastic materials together to create a kind of ambience that almost feels like Earth as a living creature. It’s moving, changing, taking all human made artificial objects with it, throwing these all around itself as well as absorbing some of these within its clay. Indeed, in terms of style this music can definitely be labeled as Deconstructed Club music and while people will always debate about the validity of such tags I personally like the style as it takes on many shapes like what we have here with music as a living organism of mixed concrete sound and artificial elements. The glitchy atmospheric synths also give this piece a quite brooding background but fear not as the sun is still shining, even in this piece. Afterwards we move onto title track INDIVIDUAL DROPS which feels like a Dub Techno track analysed and reprocessed as a data structure and then exported into a sound file, but again, a living file. Deep synth style hinting at that smooth flowing deepness of Dub Techno scatter around and seem to be resting on wooden planks, drums have been completely repurposed into data-synced high pitched stutters and glitches of sound and squelchy synth effects and alien voices are only remnants of originally human samples. It’s a piece that feels alien, but even at this level of abstract, the stabs are calming and the music feels like hope. Good to point out also is that this album has some impressive thick bass and sub bass in the kicks and low percussion used, so I do recommend you to listen with a good bass on headphone or your sound system to experience that. ARGO follows with a more melodic sound that’s got quite a lot of Bass Music elements, choppy phased synth melodic synth patterns, a funky bass arpeggio and even some continuing rhythms as well. But the music is definitely a lot more mechanical sound full of squeaky drill and bass like granular stretches as well as a thick saturated kick and the rough edges of the pieces combined with the cyborg vocal samples make the music feel more Industrial. I really like how the simple melodies in this piece intercut, glitch, get distorted in such grinding abstract ways that it feels like the music is almost turning inside out, breaking its phase yet still wanting to give us something recognisable to hold onto with its melodies. In the next piece EXOGENOUS blends elements of Bass Music, Plunderphonics and Glitch to create a soundscape groove full of musical details, fragments and quite a lot of high frequency effects which feels like a film soundtrack remade with code firing off elements and bits of both the sound effects and original music of the original film soundtrack at the environment the film takes place in. Like the music both gallops over and aurally describes a calm gorgeous landscape with a blue sky and brightly shining sun but triggered by many randomised captures of areas of film frames. KHOROS is the last piece from the original tracks, feeling like a collage of processes, actions, human sounds and technical sounds the piece harkens back to classic dadaist Sound Collage techniques but brings these into hi-fi digital territory. Like an alarm clock not just going off with a sound or bit of music but throwing out a mass of impressions from a full day’s worth of activities and details thereof reminding us that every day, even when we are just relaxing is filled with sounds, details, movement that shapes the sonic environment we live in. A great final track from the first half of this album release. Then we move on the second half of INDIVIDUAL DROPS, the 5 remixes. In CYAN GRADIENT (RENICK BELL REMIX) RENICK BELL rearranges the elements from the original into a very driving jumpy piece of experimental club music in which he scatters around percussive sounds from the original in Plunderphonics style over a FFT filtered bassy groove that keeps changing overtime. The hiss from the samples is also quite pronounced, making the piece feel like a “melodic” piece of “future Industrial” music in which we’ve long forgotten about the old hissing, steaming, clanging sounds of machinery and digital clean glossy artificial materials emit hyper sound designed noises to identify which actions are taking place. There’s a lot to this remix that harkens back to the organic “living” element of ICE_EYES original but the FFT filter effect and fuzzy edges of the remix to remind us of a certain fragility and that we might actually be listening to a recording of the future, but a very exciting one nonetheless. On INDIVIDUAL DROPS (BENELUX ENERGY REMIX) Wim Dehaen, who’s also one of the GENOT CENTRE label heads puts on his other jacket and brings us an amusing piece of sonic mayhem in this completely plundering remix. As part of the BENELUX ENERGY sound he adds massively compressed Hardstyle kicks, beats and Noise filled synths to the mangled samples from the original piece to create a piece that sounds like Industrial machinery getting impulses to completely rave out. It’s a very noisy and at many points harsh remix, but definitely very fun and the quick progression and short length help to make this a sweet burst of sampledelic energy. Then afterwards things calm down a bit on ARGO (CXLO REMIX) on which CXLO turns the Bass Music vibes from the original into a gorgeous atmospheric Braindance piece in which elements of one of the melodic patterns in the original are looped, filtered and reverberated to create gorgeous resonating glassy pads which are backed by awesome glitchy filtered drums. I love the attention to detail in the sound design and composition of this piece, wherein the elements are constantly changing and evolving into new forms, fluidly shifting between various details of the resonances and texture of the drums. The bassy kick is also utilised wonderfully in here and the metallic layer of drums adds a nice Industrial shine to the piece, very nice. EXOGENOUS ({ARSONIST} REMIX) is quite true to the some of the Deconstructed Club elements that are audible in the original piece, but here the separate elements seem to be triggered by a percussive rhythm, so rather than galloping through a landscape, the landscape seems to be galloping with us. Ambient pads form a warm glow in the remix and quirky synth effects and glitches rain softly down on us creating an experience both quirky and serene. The piece also quite a clean sound to it with the ambience as background and foreground synth and percussion forming to clear layers which add a good sense of depth to the music. KHOROS (GALEN TIPTON REMIX) is the last remix and final track on INDIVIDUAL DROPS ending this album with a fiery banger of a remix. This is probably the most Club oriented piece on this release, remixing the elements from the original into a very catchy driving fast groove with punching kicks, rhythmic stabs of original samples from KHOROS, metallic hi-hats, as well as various other Industrial manipulations from stems of the original piece. It’s a great cross of a contemporary underground Club track, ultra-wide stereo effects and the metallic shine of Industrial into a short and fiery remix. A great closing piece to this album.

INDIVIDUAL DROPS by ICE_EYES definitely shines as one of the strongest releases of this year so far. The impressive sonic landscapes of the original tracks by ICE_EYES are grippingly organic in nature but also invitingly layered with sonic details, surprising evolution within the compositions and a very personal touch to the wonderfully shaped sound design of the music. The remixes rework these pieces in exciting, often groove-based directions and form a great complimentary sonic exploration to the first half and can also invite listeners to go back to the originals to find details in them the remixes lay bare or magnify, thereby also crossing over in terms of sonic imagery. I highly recommend this album to anyone who likes the more sonically rich side of underground Club music, Deconstructed Club, Glitch and also Industrial and Plunderphonics but also anyone looking for a unique listening experience that is both immersive and organic as well as having really strong bassy grooves. Go check this album out.

Limited edition cassette tape and digital version are available to pre-order from the GENOT CENTRE Bandcamp page here: https://genot.bandcamp.com/album/individual-drops

Facebook Account Hacked On Twitter, Insta: Check Info

Facebook Account Hacked Via Third Party Sources On Twitter, Instagram

Twitter did not want to call the site, but the tweets revealed that the posts originated from the tool Khoros to control social media.

Twitter affirmed on Friday that the official Twitter records of web based life mammoth Facebook and its Messenger stage were hacked. A Twitter representative said in a messaged explanation that the records were hacked through an outsider stage. Facebook's Instagram account was likewise hacked through outsider stage, and a photograph of the programmers' gathering was posted. "Hey, we are O u r M I n e. All things considered, even Facebook is hackable yet in any event their security superior to anything Twitter," posted the programmers. The record of Twitter Chief Executive Jack Dorsey was hacked in August, permitting an unapproved individual to send open tweets including racial slurs and revile words to his 4 million supporters before Twitter verified the record. Twitter declined to name the outsider stage, however a screen capture of the tweets show that the posts originated from web based life the executives apparatus Khoros, reports CNET. Khoros is a Web administration utilized by computerized showcasing and PR offices to oversee web based life accounts, and is associated with an online networking account as an outsider application.

"When we became aware of the problem, we bolted the records and worked closely with our Facebook companions to restore them," a Twitter representative included. The programmer bunch OurMine seized in the past Twitter records of in excess of twelve NFL groups in January before the SuperBowl. A similar gathering has likewise undermined Twitter records of Facebook CEO Mark Zuckerberg, Twitter CEO Jack Dorsey, and Google CEO Sundar Pichai. The gathering has been dynamic since 2016 and is accepted to comprise of a few Saudi young people. In an announcement, a Facebook representative stated, "A portion of our corporate social records were quickly hacked however we have verified and reestablished get to."

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Molvi Asadullah Khoro Jo safa aakhri bayan. Must listen but don't laugh. ✓ Ver nice bayan recorded ✓

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