Yes, they look like they need the supervision of an experienced dad 
Happy birthday @Lanfranco
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A love song … to Hawaii-5-O
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The the Otamatone on Spain’s Got Talent. They’ve been around for some 13 years, I just saw one for the first time on aliexpress for $20 and had to hear it. (A lot easier than a Theremin)
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That’s the best otamatone performance I’ve seen. In the interest of a little cross-pollination here’s a pointer to the Daisy forum where litui has transplanted a Daisy Seed into an Otamatone body, making an “Ohtoritone”:
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This is the other good Otomatone video
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Has anyone done a zynth ribbon controller yet…?
Meanwhile . . . .
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Alright, sundance.
But, as a warchild supporter, i feel like this is an appropriate opportunity to :-
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And lastly:
the same band same day but in in black and white:
I was there 
Freak’in good 
It’s really impressive-amazing that ‘capitalism’ can take that song (The (International) Noise Conspiracy - Smash It Up), and use it to sell records-CDs-streams, and then recycle it into content for advertising. You almost have to admire it. Kind of the reverse of ‘capitalists will sell us the rope to hang them’.
yeah that’s why the kids are all right
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Hey ! this is the music from my Chinese restaurant around the corner 
:
24 edo blues. Full album on Bandcamp with a PDF explaining their composition method which includes picking a 12 tone scale from the 24 tone octave in order to play on a normal keyboard.
Traditional western music generally uses an equal temperament 12 note scale which over centuries has become the accepted norm to our ears and brains. I struggle to hear and think in different scales and wonder how we might adapt to such music if each composition uses a different scale. As soon as one’s mind starts to think in one (microtonal) scale, along comes another to confuse. I am willing to be challenged by new or different music but am not sure this old brain (or indeed any brain) has the capacity to enjoy a lot of this stuff. That said, I quite liked this piece.
[Edit] I just listened to a few more tracks from the album and notice that most of the “off normal” notes are twinned with “standard scale” notes giving a discordant grunge. I expected that to be an effect for this one song but seems to be an underlying style which I think could be used less often for more effect.
I’m studying the extensions of the chords (7,9,3,5/9,11#,13) and in this case there are dissonant notes but with the piano sound which is much cleaner than what is heard in this piece, these dissonances are very pleasant when used gracefully. But of course tastes are tastes. 
I did like the grunged up EP timbre and I thought the 24 tone melody was close enough to 12 tone to fit into that familiar zone. I do agree and felt the dissonant departures became a bit too much at times.
I click on this thread and scroll sometimes. What is interesting is, I listened to Marc Maron interview Richard just last week. They get a bit salty about Knopfler. Understandable.
It’s an excellent episode, half and half split between Thompson (he plays a little tune at the end) and Lemmy, which actually works pretty great.
Saw Richard at Bonnaroo 07, was a hell of a festival lineup but the dust. The dust. Other highlights that year were Gillian Welch, Ween, Clutch, and uhh, oh yeah, THE POLICE. If you listen real close, you can hear me throwing Sting my underpants.
(edit: this was in response to a post you did of a Richard Thompson tune in 2021, doesn’t seem to say so anywhere…)
Richard Thompson is a rather special individual.