It's only funny if you're in the audience...

I am trying to automate, or at least streamline, the various production aspects of my weekly show.

e.g.



One of the silly things I had to do every week that would take at least 15 or 20 minutes was to extract the names of the various tracks from the playlist by hand after I chose and ordered the music to play that week (or just retype it if I couldn't get my cursor into the 2 pixel wide target to actually do a copy from the YouTube UI, ugh). I also did two versions of the song list: a bulleted version to put in the playlist and video descriptions, and a version with the runtimes for my script. Again, all the reformatting and stuff was a chore. After a fairly major learning curve, I was able to figure out the API, then automate the API query using curl, and then script as much of the stuff as I could to save me typing and frustration. I do open up the titles I extract from the various videos in the playlist automatically in emacs as part of the script because there is no standard formatting at all for them (it's a freeform text field and no two are alike it seems) – I do whatever editing I want to the song titles and add additional information I like to include (like if it's a cover or live, and where and when if so). When I save the file and close emacs the remainder of the script puts it all in the exact final format I want. Still some manual intervention, but much less fiddly work than I used to have to do.

Step 1: You need a Google account
Step 2: Create a project in the Google Developers Console
Step 3: Obtain an API key (it's free... supposedly allows up to 10,000 accesses per day without having to pay)
Step 4: You then need to enable the YouTube v3 API for you "application" (project)... this was a bit wonky for me. I think I just tried it without enabling the API and it gave me an error message with a link that let me do it easily
Step 5: Fart around with the URLs to do different things and look at the docs

It's all here: https://developers.google.com/youtube/v3/getting-started

Step 6: Modify the script below if you just want to query playlists on YouTube by putting in your API key in place of the [API KEY] text below. If you want to do something different, hopefully this gives you some ideas on how to best tackle your particular needs.

The script takes one parameter, the ID string of the playlist (e.g. for the playlist above, it's "PLcbc6Su4uUe8VDB5P6x1TY7AR2XK2RIkj"... you can get it by clicking on the title of the playlist at the upper right and then copying it from the URL after the "list=" prefix). It leaves two files: the playlist with the runtimes included at the start of the line, and the playlist just bulleted. The sed hexadecimal nonsense is because I wanted to use UTF-8 characters and the Linux utilities barf on them (in particular, the en dash [E2 80 93] and the bullet character [E2 80 A2]). The Google API queries return JSON data, but I just directly snarf what I need and remove the JSON tags and formatting... I am using very specific data, so it's easy to get it directly. The video title information and the running time information are in two separate databases, so I have to get the videoID of each of the videos in the playlist and query each video directly in a loop to get their runtimes. Lastly, the NO_AT_BRIDGE is to stop emacs (well, GTk) from bitching it can't find a particular resource (it's pointless and just bugs me).

Note: I'm thinking you may need to re-join the lines I split with "\" in the listing for clarity (especially the URLs ... the rest should be fine since it's just command-line stuff).

Edit 2021/10/18: I have made quite a number of changes to the script and it seems to do most of what I want it to do now. Here are the changes from the description above... it now generates four files: playlistBulleted.txt (track names with bullets), playlistMusicTime.txt (total running time of music that aren't my segments... Bash math is always weird to do), playlistURL.txt (saves the URL of the playlist), and playlistWithTimes.txt (track names with running times). It normally saves the files in a directory with the name "Show####-yyyymmdd", which the script gets from the playlist itself (I use the format like "Show #23 – The Passionate Friar on YouTube – 2021/10/03" and it pulls out the show number, zero pads it to the left, and gets the date and strips the forward slashes). If the directory does not exist, it is created, and a template script is copied into it along with the files generated by the script. If the directory exists, the files are just written into that directory (the template file is not overwritten so it doesn't trash my script if I've been working on it). If the "-t" flag is specified, it saves the files to "/tmp" rather than overwriting the files in the show's directory (which I have usually edited and don't want trashed... I just added that today, oh well). I also fixed a couple of bugs where the YouTube running time format "PT<minutes>M<seconds>S" could be "PT2M" if there were 2 minutes and 0 seconds, or "PT23S" if there were 0 minutes and 23 seconds. I saw both cases, but it is fixed now.

#!/bin/bash

saveInTmp=0

# -t causes it to save the files in /tmp and not copy the template script
if [[ $# == 1 ]]; then
    youtubeID=$1
else
    if [[ $# == 2 && $1 == "-t" ]]; then
	saveInTmp=1
	youtubeID=$2
    else
	echo "Usage: extractPlaylist.sh [-t] "
	exit 1
    fi
fi

# Relies on title being in a format like "Show #19 - The Passionate Friar on YouTube - 2021/09/05"

playlistTitle=`curl 'https://www.googleapis.com/youtube/v3/playlists?\
    part=snippet&maxResults=25&id='$youtubeID'&key=[API KEY]'\
    --header 'Accept: application/json' --compressed | \
    grep "\"title\"" | head -1 | sed 's/.*: "\(.*\)",/\1/'`

playlistNumber=`echo $playlistTitle | sed 's/.*#\([0-9]*\).*/\1/'`
playlistDate=`echo $playlistTitle | sed 's/.*#[0-9]*[^0-9]*\(.*\)/\1/' | sed 's/\///g'`
if [[ $saveInTmp == 0 ]]; then
    playlistShowName=`printf "Show%04d-%s" $playlistNumber $playlistDate`
else
    playlistShowName="/tmp"
fi

if [ ! -d $playlistShowName ]; then
    mkdir $playlistShowName
    cp 00-Script_Template.odt $playlistShowName/`printf "00-Script%04d-%s.odt" $playlistNumber $playlistDate`
fi

printf "https://www.youtube.com/playlist?list=%s\n" $youtubeID > $playlistShowName/playlistURL.txt

curl 'https://www.googleapis.com/youtube/v3/playlistItems?\
    part=snippet&maxResults=25&playlistId='$youtubeID'&key=[API KEY]'\
    --header 'Accept: application/json' --compressed | \
    egrep "\"title\"|\"videoId\"" > playlistInfo.txt

grep "title" playlistInfo.txt | sed 's/.*: "\(.*\)",/\xe2\x80\x93 \1/' > playlistNames.txt

grep "videoId" playlistInfo.txt | sed 's/.*: "\(.*\)"/\1/' > playlistIds.txt

rm playlistTimes.txt > /dev/null 2>&1

for i in `cat playlistIds.txt`; do
    curl 'https://www.googleapis.com/youtube/v3/videos?\
        id='$i'&part=contentDetails&key=[API KEY]' \
        --header 'Accept: application/json' --compressed | \
        grep "duration" | sed 's/.*: "\(.*\)",/\1/' | sed 's/PT\([0-9]*\)S/PT0M\1S/' | \
        sed 's/PT\([0-9]*\)M\([0-9]*\)S/\1:0\2/' | sed 's/\([0-9]*\):.*\([0-9][0-9]\)$/\1:\2/' | \
        sed 's/^PT\([0-9]*\)M/\1:00/' >> playlistTimes.txt
done

rm playlistIds.txt

paste -d' ' playlistTimes.txt playlistNames.txt | grep -v ".*Show.*PF #" > playlistInfo.txt

cut -d' ' -f1 playlistInfo.txt > playlistTimes.txt
cut -d' ' -f2- playlistInfo.txt > playlistNames.txt

rm playlistInfo.txt

export NO_AT_BRIDGE=1
emacs playlistNames.txt

paste -d' ' playlistTimes.txt playlistNames.txt > $playlistShowName/playlistWithTimes.txt

let minSum=0
let secSum=0
declare -i timeMin
declare -i timeSec

for timeStr in `cat playlistTimes.txt`; do
    timeMin=`echo $timeStr | cut -d':' -f1 | sed 's/0\([0-9]\)/\1/'`
    timeSec=`echo $timeStr | cut -d':' -f2 | sed 's/0\([0-9]\)/\1/'`
    let minSum=minSum+timeMin
    let secSum=secSum+timeSec
done

let minSum=minSum+secSum/60
let secRem=secSum%60

printf "%dm%02ds\n" $minSum $secRem > $playlistShowName/playlistMusicTime.txt

rm playlistTimes.txt

cat playlistNames.txt | sed 's/\xe2\x80\x93/\xe2\x80\xa2/' > $playlistShowName/playlistBulleted.txt

rm playlistNames.txt*

echo "Titles with times for Show #$playlistNumber:"
cat $playlistShowName/playlistWithTimes.txt
echo
echo "Bulleted titles for Show #$playlistNumber:"
cat $playlistShowName/playlistBulleted.txt
echo
echo "Playlist URL for Show #$playlistNumber:"
cat $playlistShowName/playlistURL.txt
echo
echo "Music running time for Show #$playlistNumber:"
cat $playlistShowName/playlistMusicTime.txt

exit 0

In case you hadn't guessed, this is mostly documentation for me when I try to remember what I did, but I do hope that someone with a similar issue finds it and saves some time with it.

If nothing else, if you don't care about my technical ramblings, I have provided an hour of music and commentary to make up for it (note: shameless plug ... and I legit do hear from folks that it's pretty good).

I was a few hours late today getting it done and loaded onto YouTube due to an overabundance of family and household responsibilities (family takes precedence over any project like this), but it did at least get done. I know I need to choose my music and write the scripts over the course of the week if I don't want to wind up in a crunch like I did this time around.

I'm very pleased with the results I'm getting, both in terms of flow, and the way the show hold together musically and visually. The only downside is there are some people who aren't using an ad blocker, and I pity da foos! I have watched it without myself just to see, and it still works, but certainly doesn't flow as well (having to manually skip ads if they don't want to sit through them or have them play in the background).

I've also realized I don't need to make "public" the parts with me in it... I can leave these individual videos "unlisted" (which means you need to be given a link to see them) because they are on the playlist, and so people playing the show have access to them (I've had Happy check it out and they agree that it's working). So that people who subscribe to the channel get notified that a new show is available, what I will do going forward is post a short "intro" video that will have a link to the show's playlist that I will make "public". That means that only one new video a week for the show will be posted rather than a bunch, which even I thought was a bit cluttered and potentially confusing.

Here's the show:

https://www.youtube.com/playlist?list=PLcbc6Su4uUe-AGQ6XSRExy_dFsv8Snt0L

And, fwiw, here's my intro video (with a link to the show):

Launched on May 2, 2021: The Passionate Friar on YouTube!

Here's a link to Show #1:

https://www.youtube.com/playlist?list=PLcbc6Su4uUe8yi__EUq4eGpA16m6bqTwx

And the description I wrote for it (by way of introduction):

The Passionate Friar is a radio show on YouTube that you can watch! Every Sunday at 8PM, I will post a new 1 hour show that will take you on a curated audiovisual journey with a mix of the music and videos and thoughts of well known and lesser known bands, artists, creative performers, and visionaries with an emphasis on great sounding music and, where feasible, innovative visual productions.

Because of my radio roots, the focus of the show is on the audio experience, and the goal is to be able to enjoy the ride with or without needing to look at a screen. With that said, I do hope to also bring you exceptional video productions because, well, this is YouTube and there's tons of great stuff to see. A caveat: if there's a song/audio I want to play and there's no video for it, I'm going to use the audio-only version (usually it will have a still or if I'm desperate, ugh, a slide show) so I can still share it with you. My segments are recorded live and in real-time, and presented without edits, as I watch the videos myself; and then inserted into the playlist to form the show. It's the closest I can come to a live broadcast, with no safety net and no do-overs, in this new format I have chosen to work with.

I did a weekly show on CKCU 93.1 FM in Ottawa, Canada for over 7 years, but voluntarily hung up my headphones on Feb. 7, 2018. I have dearly missed doing radio since then and believed I would always end up returning to the FM airwaves, but have grown restless waiting for the opportunity. I thought about podcasting or streaming or even doing an underground production, but the licensing aspect was always going to be a thorny issue (either trying to secure licenses for what I played, or dodging enforcement if I was going pirate). On Apr. 24, 2021 I came up with this idea for "Radio On YouTube" (I've talked to a few people and they seem to think this is a new idea, but I stand to be corrected... I can say that if I'm late to the game, fwiw I did come up with it independently).

The core of the idea is to duplicate the live broadcast radio experience as much as possible. The show will be written and produced, and then presented live just as I would my radio show (recorded live, in real time, and unedited). Instead of spinning vinyl or CDs, I am "spinning" YouTube videos. The format does come with some vexing limitations: I can't voice over the music on its way in or out, I can't mix the tracks into each other (one video stops and only then the next starts, often with a short pause), and a lot of videos for songs feature additional sounds or audio modifications not in the "album track". I hope that does not detract too much from the production, and maybe YouTube will one day introduce proper mixing features (overlaying and fading the end/start portions of videos to allow for slicker production)? That'd be cool and would open up a whole new world of possibilities on the platform!

As for my former FM radio show, as I write this, several are still available "on demand" (they age out eventually due to music licensing restrictions for the station), and all my playlists are available if you want suggestions on "new to you" music to check out.

https://cod.ckcufm.com/programs/371/index.html?filter=all

Danz aka Computer Magic aka Danz CM (current handle) aka Danielle "Danz" Johnson just posted their back catalogue on Bandcamp and I am both extremely happy and lighter of bank account. I downloaded their early EPs when they first posted them to the Internet for free download over a decade ago and have been looking for a way to pay money to them for this music that I have enjoyed so much. This finally gave me the opportunity to do so (I will not give money to iTunes or Spotify and their ilk, and want to have either physical media or at least downloaded digital media so I am not reliant on such services for access). It's also very nice that Bandcamp lets me choose what audio formats I want to download. I get FLAC (lossless) and MP3 (with V0 encoding for size).

https://computermagic.bandcamp.com/

Anyway, the issue is that the Bandcamp filenames do not match the format I maintain my library in. I've downloaded albums before and renamed all the files manually, but the last time I got a few albums (Nash the Slash, another of my favourite artists), I knuckled under and wrote a script to mangle the filenames into the format I like: "<track_number>-<artist>-<song_name>.<suffix>" (there's also some stuff I like to do with special characters and such, like use "+" when the artist or song name has a "-" in it that I included). It's called (unimaginatively) "fix_bandcamp_names.sh". I unzip the files downloaded from Bandcamp into a temporary directory, cd into it, and run the script. When I'm done with the track names and such, I rename the directory to "<artist>--<album_name>". For MP3s, I have another script ("relabelmp3s") that I pass in the release year, and run in the directory with the MP3 file that sets the MP3 meta information based on the song and album names (it uses the "id3tag" program). The process does a pretty good job for me (some hand-tweaking of filenames post-processing is sometimes necessary as it's just mindless text substitution for the most part). Here are the scripts, you are welcome to use them or adapt them as you see fit. Yes, I use regexp stuff, so it looks like I had a seizure while typing (or barfed ASCII onto the screen).

fix_bandcamp_names.sh:

#!/bin/bash

for i in *.mp3 *.flac *.pdf; do mv "$i" `echo "$i" | sed 's/ /_/g'`; done
for i in *.mp3 *.flac; do mv $i `echo $i | sed 's/\(^.*\)_-_.*_-_\([0-9]*\)_\(.*$\)/\2-\1-\3/'`; done
for i in *.mp3 *.flac; do mv $i `echo $i | sed 's/_-_/+/g'`; done

relabelmp3s:

#!/bin/bash

if [[ $# != 1 ]]; then
    echo "usage: `basename $0` "
    exit 1
fi

for i in *.mp3
do
    id3tag -s"`echo ${i%.mp3} | cut -d- -f3 | tr '_' ' ' | tr '+' '-' | tr '=' ':'`" -a"`echo $i | \
        cut -d- -f2 | tr '_' ' ' | tr '+' '-' | tr '=' ':'`" -A"`basename $PWD | cut -d- -f3 | \
        tr '_' ' ' | tr '+' '-' | tr '=' ':'`" -y $1 -t`echo $i | cut -d- -f1` "$i"
done

"Some people, when confronted with a problem, think “I know, I'll use regular expressions.” Now they have two problems."
— Jamie Zawinski

I leave you with one of my favourite Computer Magic videos (and one of my favourite videos of all time... it really resonates with me).

I hunger for new-to-me music and ran across this song by the French-Finnish The Dø a couple of months ago... and I can't stop listening to it! I started with the official music video, and just ran across this live performance today. I often worry about watching live performances of a song that has captured me, but this was breathtaking!!! I don't know that I really like much of the other stuff they've done, but there is something about the chord progressions and feel of this song that gets me every time.

Pro tip: don't listen to the song Sir Bodsworth Rugglesby III right before going to sleep or you will have really weird dreams!

Guru tip: listen to the song Sir Bodsworth Rugglesby III right before going to sleep and you will have really weird dreams!

Every time I log into my server at home, I get a message from the "fortune" program (not "fortune -o", heh). I thought today's was worth sharing:

No one can make you feel inferior without your consent.

— Eleanor Roosevelt

It's good to keep in mind.

Today's media makes me gasp every single time I see it (and I've been watching it for over a quarter of a century ... not constantly, mind you)... to me, it's not just concert footage, it's like watching a geological event. There is something surprisingly transcendent about it (your mileage may vary). It also seems relevant to the quote :).

I have purchased all of FKA Twigs' albums (even imported one from the UK on vinyl because that was the only way I could get it in a physical format). I am quite engaged by her music and videos (much of which is fairly transgressive and unlike most other music). I have sometimes gone looking for live performances to see if she can perform her stuff live (some people are just studio artists, which is fine, I'm just curious). Most of the footage I have run across has been shot by fans in the audience (<flame>put down your fucking phones and experience life through your own senses, and stop shining your accursed screens in my face as you record you self-centered ... umm, dweebs ... and, ummm, get off my damned lawn! ... Seriously, I went to a fireworks competition and over half the crowd were watching it through their phones and I could barely see the night sky because of the blinding glare of hundreds of backlights ... it was one of the saddest, most pathetic things I have ever seen and sure sign we have lost our way as a "civilization"</flame>), and the audio sucked so hard I couldn't bare to listen, much less watch.

Anyway, I ran across this just now (still studying for my exam on Tuesday) and thought I would share. It was fascinating to see and hear how they brought the sounds of the music to life in a live setting. It was also really interesting to hear her talk (I think this is the first time I've heard her speak in an interview).

Well, I am finally back up to a basic operational level with Verilog coding... only to find out that the project I will be working with has been done in VHDL. While one language versus another is usually no big deal for me (okay, I hate C++, but I've been using it since the 80s when I worked on what was, at the time, the largest C++ project in the world and I'm good at it, but that doesn't mean I have to like it), VHDL has its roots in the Ada programming language D:. Why the grumblings? Ada was developed by the U.S. Department of Defense and is one of the most notorious Bondage and Discipline languages in existence. While B&D might be fine, it needs to be consensual and nobody ever asked me if I wanted the flagellations VHDL/Ada will entail ;).

It does remind me of an interesting side path in processor technology development from way back when... the Intel iAPX 432 system. By any measure, this was a complete failure for Intel (and the industry as a whole), but it introduced a number of features that we now see in most modern processors. I'm not going to go into it here, except to say that it supported object oriented data access and security control models at the hardware level, supported explicit hardware fault tolerance and multi-dimensional data busses, had superscalar processing elements, and so many other features that were too far ahead of their time (and thus made the system intolerably slow and cumbersome, and thus uncompetitive). I remember that the instruction set was actually a bitstream read into the processor in 32-bit chunks and parsed, and that instructions could be anywhere from 4 to 111 bits in length! It really was an engineering masterpiece, but I often mused that the people that worked on it must have been locked up in the loony bin afterward en masse (I think one of them went on to be CEO of Intel or something... maybe the same thing? Heh). Anyway, why I bring this up is the 432 was never meant to be programmed in assembly language or even "system" languages like C, but rather was designed such that Ada was essentially its assembly language. Perhaps that is another reason (maybe even moreso) for its demise ;). Sadly, VHDL is widely used in the electronics design sector, so it was inevitable that Ada would eventually catch up with me... I took two textbooks on VHDL out of the Carleton library on Wednesday and have started reading them. I am determined to progress, if equally resigned to my fate.

I'll make sure to leave a tube of lube on my desk as I work... it might make the proceedings a little more comfortable to me ;).

On a completely separate note, I am currently listening the heck out of Floex's album "Zorya" (Floex is the project of Czech composer, musician, artist, producer, etc. Tomáš Dvořák, who also did the gorgeous soundtracks for the delightful games Machinarium, which is where I first heard his work, and Samorost). The music on this album successfully pulls from so many different styles: prog, classical, industrial, pop, etc. and puts them together into what I find a very pleasing whole, blending acoustic instruments/sounds with synthesizers and samples. In particular, on one track (Forget-Me-Not), he plays piano and a clarinet without a mouthpiece that I can listen to over and over again... melancholy and evocative, it really floats my boat right now. The clarinet played like a trumpet has a very distinctive sound (to say the least) that makes that song stand out for me. There are many different moods throughout the album and even within the songs that keeps it interesting all the way through. It also features the best Yes song not by Yes I've heard in a while ("Precious Creature" featuring the vocals of James Rone), heh. You can listen to it free on his Soundcloud page (or listen to and potentially buy it at his Bandcamp site):

https://soundcloud.com/floex/sets/zorya

(the Soundcloud page is nice because it talks about some of the intruments and credits the other people that performed on the album... just click on "Show more...")

Edit: I started reading Douglas L. Perry's book "VHDL Programming by Example", Fourth Edition, McGraw-Hill, ISBN 0-07-140070-2. It bills itself as "the hands-down favourite user's guide to VHDL"; but good lard, what a disaster! I made it as far as page 4 and had already picked out typos and plain wrong information... the cruftiness was continued on page 5... and I have given up and tossed the book aside (gently, it's a library book). On page 4, they refer to the "counter device described earlier", but the only thing described earlier is a multiplexer (there's nothing else earlier in the book, this is the start of the book!). On page 5, it reprints a fragment of code from page 4 and says it's from the "architecture behave" code, but the code it is referring to is clearly "architecture dataflow". What a crock of shit (and it hasn't helped my opinion of VHDL any either, I might add, ugh). There does not appear to be any errata for this hunka-hunka-burning-turds. Let's try the other book I got from the library, sigh.

Second edit: I am now digging in to Peter J. Ashenden's book "The Student's Guide to VHDL", Second Edition, Morgan Kaufmann, ISBN 978-1-55860-865-8. I now know one of the reasons why VHDL has always seemed somehow wrong to me (while Verilog seemed a sensible approach in contrast). Quoting from the Preface: one pervasive theme running through the presentation of this book is that modeling a system using a hardware description language is essentially a software design exercise. And there you have it... VHDL became popular because it views hardware design as an exercise in software design. Since there are so many programmers in the world (thousands per hardware designer), it is a seductive statement that anyone who can write a program can design an integrated circuit. However, that is like saying that giving someone a Digital Audio Workstation (DAW) will allow them to effectively compose good music. Yeah, anyone using looping composition software can create something quite pleasing and often interesting, but it is not crafted in a way a trained composer or musician can do it. It is also much harder to innovate (music or hardware design) without deep training in the art in question. I find it interesting as well to note that there are thousands of folk musicians for every trained musician (I consider most rock, etc. kinds of folk music... and before you think I'm being snooty, I only do "folk" music myself in one form or another, and I have no pretentions about where my music fits into the spectrum of musical sophistication). I have done both serious hardware and software development (and I can do me a mess o' software... I've been programming complex and sometimes mission critical software for decades and I'm very good at it), but the two skillsets are radically different. Anyone with a VHDL compiler in one hand and an FPGA in the other can probably get something to work that'll do the job, but it is going to be sub-optimal in many potentially important ways (if not subtly buggy). This explains a lot of what I have seen lately with a number of ASICs, hmmm. The medium (VHDL) is the message.

I am starting to regret that I wasn't telling the truth when I said I'd keep lube by my side as I worked...

Nothing to say except "blub, blub, blub...".

Since there's a new Goldfrapp album on the way (March apparently), I'm listening to their stuff as I work (a brand new audio track from the upcoming album has been officially released here in case you are a fan/interested). And in case you haven't seen this particular Goldfrapp video... here you go. I love short films, and this succeeds so well in telling a story — but also in leaving so many questions unanswered to ponder.



It reminds me of this video from the band Árstíðir, based on an Icelandic folklore. Note: like many folk tales, this is creepy as fuck and more than a little gory, so be warned if you watch.



If you aren't completely breathless from that one (presuming you watched it), you had better get lots of oxygen into your system before watching this one (if you decide to go for the full triple bill). I'm going to go so far as to call trigger warning on this one... what trigger? No idea what your triggers might be, but there's probably one in here for you that you might not even know about (it is a brilliant video, but I can't say it's a particularly pleasant video). You have been double warned. From New Zealand, Sheep, Dog & Wolf (actually the solo project of Daniel McBride... written, performed, and produced by said same):



Need a palate cleanser or just want to skip to something less intense? Here's some Computer Magic (aka Danz aka Danielle Johnson... from Brooklyn, NY). She's a youngin' but has a great grasp of synthesizers and minimalist electronics/composition (that I'm a huge fan of in general, but she does it very well). Side note: she's big in Japan... the song is "Grand Junction". Lastly, the Árstíðir song/video above is not typical of the band, so here's another side of them (their more typical side), covering Simon and Garfunkel's version of "Scarborough Fair" live at Fríkirkjan. Beautiful stuff.