Скачать или смотреть Car Wash Session LoFi Music Best Chill Beats

Music For Driving Best Lofi Chill Beats for car wash

Instagram :   / ai.moun  
: @ai.moun
Facebook :   / aimoun2019  
Twitter : @AiWeingken
  / aiweingken  
Displate : https://displate.com/ai1?art=5cbc9386...

Lo-fi (also typeset as lofi or low-fi; short for low fidelity) is a music or production quality in which elements usually regarded as imperfections in the context of a recording or performance are present, sometimes as a deliberate choice. The standards of sound quality (fidelity) and music production have evolved throughout the decades, meaning that some older examples of lo-fi may not have been originally recognized as such. Lo-fi began to be recognized as a style of popular music in the 1990s, when it became alternately referred to as DIY music (from "do it yourself").

Harmonic distortion and "analog warmth" are sometimes confused as core features of lo-fi music. Traditionally, lo-fi has been characterized 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). Pioneering, influential, or otherwise significant artists include the Beach Boys (Smiley Smile and Wild Honey), R. Stevie Moore (often called "the godfather of home recording"), Paul McCartney (McCartney), Todd Rundgren, Jandek, Daniel Johnston, Guided by Voices, Sebadoh, Beck, Pavement, and Ariel Pink.

Although "lo-fi" has been in the cultural lexicon for approximately as long as "high fidelity", WFMU disc jockey William Berger is usually credited with popularizing the term in 1986. At various points since the 1980s, "lo-fi" has been connected with cassette culture, the DIY ethos of punk, primitivism, outsider music, authenticity, slacker/Generation X stereotypes, and cultural nostalgia. The notion of "bedroom" musicians expanded following the rise of modern digital audio workstations, and in the late 2000s, lo-fi aesthetics served as the basis of the chillwave and hypnagogic pop music genres

The rise of modern digital audio workstations dissolved a theoretical technological division between professional and non-professional artists. Many of the prominent lo-fi acts of the 1990s adapted their sound to more professional standards and "bedroom" musicians began looking toward vintage equipment as a way to achieve an authentic lo-fi aesthetic, mirroring a similar trend in the 1990s concerning the revival of 1960s space age pop and analog synthesizers. His most vocal advocate, Ariel Pink, had read Unknown Legends, and later recorded a cover version of one of the tracks included in a CD that came with the book ("Bright Lit Blue Skies"). At the time of his label debut, Pink was viewed as a novelty act, as there were virtually no other contemporary indie artists with a similar retro lo-fi sound.

Previous lo-fi artists generally rejected the influence of 1980s pop radio that informed most of Pink's sound. Afterward, a type of music dubbed "hypnagogic pop" emerged among lo-fi and post-noise musicians who engaged with elements of cultural nostalgia, childhood memory, and outdated recording technology. The label was invented by journalist David Keenan in an August 2009 piece for The Wire, which included Pink among his examples. Pink was frequently referred to as the "godfather" of hypnagogic, chillwave or glo-fi as new acts that were associated with him (aesthetically, personally, geographically, or professionally) attracted notice from critics. According to Pitchfork's Marc Hogan, each of those tags described what was essentially psychedelic music.

In the late 2010s, a form of downtempo music tagged as "lo-fi hip hop" or "chillhop" became popular among YouTube music streamers. Several of these lo-fi YouTube channels attracted millions of followers, notably Lofi Girl.

Several books were published that helped to "canonize" lo-fi acts, usually by comparing them favorably to older musicians. For example, Rolling Stone's Alt-Rock-a-Rama (1995) contained a chapter titled "The Lo-Fi Top 10", which mentioned Hasil Adkins, the Velvet Underground, Half Japanese, Billy Childish, Beat Happening, Royal Trux, Sebadoh, Liz Phair, Guided By Voices, Daniel Johnston, Beck and Pavement.

From the late 1990s to 2000s, "lo-fi" was absorbed into regular indie discourse, where it mostly lost its connotations as an indie rock subcategory evoking "the slacker generation", "looseness", or "self-consciousness". Pitchfork and The Wire became the leading publications on music, while blogs and smaller websites took on the role previously occupied by fanzines.