we are just trying to look at the dynamic in the lo-fi music
 
we are just trying to look at the dynamic in the music
 

we are just trying to look at the dynamic in the music

we are just trying to look at the dynamic in the music

we are just trying to look at the dynamic in the music

we are just trying to look at the dynamic in the music

we are just trying to look at the dynamic in the music
we are just trying to look at the dynamic in the music

we are just trying to look at the dynamic in the music

pablo diskko lo-fi house raw music outsider




welofi lo-fi house raw house russian


lo-fi house raw music russia deep outsider



fouk lo-fi house welofi raw house music

Lo-fi house (also referred to as outsider house) is a genre of electronic music combining elements of house music, techno and noise. The music is often rough-sounding and “lo-fi”, in contrast to the “polished cleanliness” of other contemporary electronic music genres. The term “outsider dance” was first coined in 2012 by DJ Ben UFO and music journalist Scott Wilson, referring to different producers and record labels “operating at the fringes of the fringes” such as Laurel Halo and labels including L.I.E.S., Opal Tapes, Future Times, 1080p, and Lobster Theremin. Outsider house is also closely related to technoise, a fusion of techno and noise music Lo-fi (originally typeset as low-fi [from the term “low fidelity”] and alternately called DIY [from “do it yourself”]) is an aesthetic of recorded music in which the sound quality is lower than the usual contemporary standards, or which highlights imperfections of the recording for artistic effect. These standards have evolved throughout history, meaning that some older examples of lo-fi may not have been originally recognized as such. Lo-fi only began to be recognized as a style of popular music in the 1990s. Harmonic distortion (or “analogue warmth”) is sometimes wrongly suggested as a core feature of lo-fi music. Its aesthetic is actually defined by the inclusion of elements normally viewed as undesirable in professional contexts, such as misplayed notes, environmental interference, or phonographic imperfections (degraded audio signals, tape hiss, and so on).

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