Jazz Police Free and Cheap Jazz: Holiday Bargains in Live Music Jazz Police, MN - 12 hours ago No cover, experimental music on Tuesdays and Thursdays and great jazz on the weekends, 9 pm – midnight. December 7, Enormous Quartet with Chris Thomson, ...
/////////////////////////////////////////// Noise in France and Belgium this week - reminder
Bonjour, Lives this week [reminder] Category: Music ____________________________________________________________________ [05-12-2007] Crno klank, Analog
/////////////////////////////////////////// DIY-not? Music meet food - food meet music
"There's nothing glamorous about having shows in your kitchen," says Brianna Toth, 24. Crediting the likes of George Chen (and Club Sandwich) for the inspiration to program all-ages concerts at somewhat unconventional spots, Toth extols the simplicity of the monthly event she puts on at her 22nd Street apartment. Her abode sits atop an overpriced tapas joint, across from a lame happy hour, down there in the somewhat unconventional Mission.
The series is called Music in My Kitchen. No red tape, no velvet rope, no plus-one waistoids mugging about, mostly. Mostly it's about new sounds, good food, and sharing. Local caterer-chef Leif Hedendal cooks the spread. The musicians play for free, and donations are placed in a plastic jug, and the suggested price is never more than $10 per head. It's usually $7 - enough to cover the cost of the food. She programs all kinds of performers, anything from soupy folk to harsh-noise acid-gravy. The audience brings its own Sunny D or whatever.
What could be better than discovering some kid's sound while dispatching strangely flavored bean curd, profiling in a metal folding chair, making eyes at the pretty bangs across the room, sharing two-tone-tile floorspace with the other cool kids while polishing one's climbless karabiner ego? A win-win-win, really: cheap eats and music treats for the audience, nodding heads for the band, street cred for the homemaker-promoter.
But Toth set me straight on all that. The Mission, though an overly sensitive district, is not without an entirely self-assured, hopefully anti-disingenuous concern for art as art. "Bands change when they play in the house," she says. "It's about providing intimacy."
She hesitated to use the word "opportunity," conceding instead that Music in My Kitchen is a platform for exposure, band-to-audience and audience-to-band. The premise: accessibility and the tone of the shows. Personal experience is the pay-off. Says Toth: "I want to stand in my sink. It's the best view."
The next Music in My Kitchen, coming in January, brings together the Ohsees and the Traditional Fools. For more info, contact Brianna at bravoalphata...@hotmail.com.
The holidays are a time for family, schmaltzy Christmas commercials that somehow make you cry, and, if you are involved in music journalism, listmaking. Lots and lots of listmaking.
Over the past few years, the availability of year-end critics' lists has multiplied faster than the worry lines on Be ...
/////////////////////////////////////////// Music Review - Jos Gonzlez
BEST NEW MUSIC José González “In Our Nature” (Mute)
You know, I admit, sometimes my musical snobbery simply gets the best of me. That has been the case for José González. I can not tell you how long I ignored Mr. González simply because of that singer/songwriter tag and all the press he was getting. That specific genre is overrun and frankly I just assumed that José González was like all the rest. Wow, I could not have been more wrong. In Our Nature is González’s second album and it is a beautiful testament to his artistry.
One thing that distinguishes José González from his singer/songwriting peers is the fact that he really can play the guitar. Despite the delicate nature of most of his songs his guitar playing is full of power. In Our Nature is beautiful in its simplistic approach. Rarely do these tracks stray from focusing strictly on González’s emotional vocals and acoustic guitar. While his vocal skills might not reach the heights of the greats like Kozelek, Drake and Smith, his arrangements and skillful guitar playing allow him to sit quite comfortably next to those impressive names. So, I apologize Mr. José González. Please forgive me for I truly underestimated your talents. Genre: Indie/Pop/Acoustic RIYL: Nick Drake, Mark Kozelek, Elliott Smith, Down The Line (mp3)
Viktor Toth is a young Hungarian alto saxophonist, playing here with Hamid Drake on drums, Matyas Szandai on bass and Ferenc Kovacs on trumpet, for a free bop record which has its merits. Some of the tracks are absolutely excellent, like "Autumn In Sicily", or "Snake" with its long-spun melody full of balkan influences, or the more uptempo "Train To Sarajevo", but then at times the band falls back into some more gentle, less adventurous mainstream pieces, such as "Mese" or "R's Day". Even if the compositions leave somewhat lacking, the playing is good : Toth, Kovacs and Szandai excellent musicians, as is of course Hamid Drake, who is as recognizable as ever, precise as clockwork, creative, supple and supportive, and especially shining in the faster pieces. Nice music, but a little too nice for my taste.
But then again, who am I, if William Parker writes these wonderful words in the liner notes : "Please drop all pretensions and let these sounds dance in your souls, stirring things up to take you to the top of the mountain".
Non-Event and Semata Productions present a FREE concert of experimental music featuring BRANDON LABELLE with JARROD FOWLER :: December 17, 2007; 8:00 pm :: Piano Craft Guild (rear entrance), 791 Tremont Street, Boston (South End) :: FREE!!!
BRANDON LABELLE is an artist and writer working with sounds, places, bodies, and cultural narratives. He presented a solo exhibition at Singuhr galerie in Berlin (2004), and an experimental composition for pirate drummers as part of Virtual Territories, Nantes (2005). His ongoing project to build a library of radio memories, “Phantom Radio”, was presented fall 2006 as part of Radio Revolten, Halle Germany. He is the author of “Background Noise: Perspectives on Sound Art” (Continuum 2006).
JARROD FOWLER used to be a drummer. His music has become so abstracted and conceptualized that his percussive practice bears little resemblance to that of his contemporaries. His work is influenced by the late- and post-modern fields of philosophy, conceptualism, hip hop, poetry, and noise. He is the author of “Translation As Rhythm” (Errant Bodies 2006).
/////////////////////////////////////////// 12/8 - TONEBURST 5:new and unusual experimental music from austin and beyond...
Toneburst is an semi-regular series featuring experimental music from some of Texas' finest underground musicians. Expect short, focused sets of improvisations / compositions by solo performers and the live debut of SIRSIT (Cory Allen, Brent Fariss, Josh Russell, Rick Reed). All the performers have a highly developed sense of texture, mood and unusual sonorities. To further enhance the experience, we will feature original video and slides throughout the show.
Web site for more details.
Saturday, December 8, 2007 - 8pm - $5-8 Ceremony Hall Google Map 4100 Red River Austin, TX
/////////////////////////////////////////// Nine Oddball Sound Design and Recording Techniques from VideoHelper
VideoHelper, a sound production house, has a new library of sounds they call “narrative sound design,” a combination of “experimental” sound designs. You may have already heard some of the sounds from the two-disc collection, “Modules”, as the sounds have popped up in trailers for the likes of Spiderman 3, House of Wax, and Transformers. Since we love strange sound design techniques, though, I was just as interested in the techniques used to record the library, so I asked the boys of VideoHelper to share some of their favorite recording techniques. Sure enough, they’ve got some great examples — ones that might inspire you to go grab your mobile recorder and see what damage you can do.
Chris from VideoHelper searched his memory and mentioned these techniques, some of which even have subliminal political messages (hey, sound is powerful stuff). Some techniques you’ll no doubt know well (BANG THING! BANG THING RECORD WITH MIC! being one of my personal favorites to use), while others may be new. Chris writes that his favorite tips are:
Hitting and smashing everything. Mailboxes, dumpsters, whatever. Homemade contact mics. $2 worth of parts from Radio Shack and some duct tape. They are piezo mics that can be wired to a 1/4” output and taped to an object. Dry ice. We’ve bought dry ice and recorded the contact between it and metal cymbals and whatever else is laying around. Makes a squealing sound not unlike fresh sausage hitting a hot skillet. Recording silence in acoustic spaces. I do this a lot…I’ll record in a big acoustic space (like a subway corridor) and use the files for ambient recordings/sound design. It’s cool b/c it’s not really silence, just nothing in the foreground…also I record at 96K so I get some really subtle sub-harmonic material. Leave beats on my answering machine and re-record for a breakdown. If I’m recording a trip-hop track around 100 bpm, I may record 3 half-steps slower, so I can re-pitch up to original tempo. For my POLITIK score (SH02) I got to plunder our vaults of news music for sampling. The score is a political trip-hop score using some orchestral sounds, concrete elements, fair use bites etc. I used Bush’s 2000 ring modulated acceptance speech as an impulse/input (ala Paul Panhuysen) to a prefaded verb for the ambient element of the piece BIRTH OF A NOTION. I inter-cut Hilter speeches with the cheering from the 2004 RNC. Grabbed audio from protesters in Miami (anti FTAA) and cut up into rhythmic bits…did turntable cuts on police siren “records”. The last piece depicting 9/11 has design made of box-box recordings (CVR) which was difficult to listen to. ENERGY CRISIS has all sound to do with gasoline and auto maintenance. The piece AFGHANI HEROIN has concrete elements from the the floor of the NYSE, as well as Hamid Karzai’s acceptance speech. Maybe my favorite: I have 1/4” blank audio tape that I buried in a graveyard in Sleepy Hollow over Halloween of 2003. The tape was washed and re-spooled and now I use it to lay off tracks to…also I recorded it back (blank) to a file so you can hear all the dents and pits and whatever other hallucinations you can find on it. Oh and one more thing talking of acoustic spaces…Flavio and I got the opportunity to record in an empty water tower in my hometown of Hampton Bays (my father-in-law works for the water authority)…the tower was being filled that week but we got to crawl around in it while empty…
VideoHelper has full details on the Modules series, with searchable sounds and previews, at their website. The library includes “modular” cuts that can be edited into full designs, with individual and annual blanket licenses.
VideoHelper Music Production Library
field recording, film, oddities, production, recording, Sound design, soundware, tips
Minoxs art is atmosphere and refinement, melody and instinct, strength and vigor in splendid balance, an avant-garde trend that seeks contact with various artistic genres, without the ideological pretence of defining itself as total art. It does not limit itself only to sound but also moves toward the visual and literary arts, dance and theatre, image and poetry. Minox are already well known on the international front thanks to important collaborations and productions linked to the "Bruxelles Sound" and tied to the Central-European movement developed in the 80s by labels such as Crammed and Les Disques du Crepuscule. The band has also authored music for theatrical pieces and the first mise-en-scène in 1985 gave birth to the single "Suite Maniacal" for the Artzine Free for Industrie Discografiche Lacerba. One year later, their first album "Lazare", produced by Steven Brown of Tuxedomoon, was released to great critical and public acclaim throughout Europe. Serious events subsequently mark the groups activity (Raffaele Banci and Enrico Faggioli, two members of the first Minox line up died in 86) so Mirco Magnani and Marco Monfardini spend a long period of time away from the musical scene, dedicating themselves exclusively to sound experimentation and research, after recording an album which unfortunately never came to be released. They make their comeback in 1991, with a musical-theatrical production entitled "Minox play Lorca", a critical re-reading of the folk songs and the theatrical music of Federico Garcia Lorca.In 1994, Marco and Mirco found their independent label Suite inc. and break the label in with the CD single "Plaza", a release that pieces together the legacy left behind by their collaboration with the legendary Industrie Discografiche Lacerba. A year later they produce "B Movie Show" a concept album featuring 4Dkiller, Dubital and Minox which is something of a complex soundtrack to image-less B Movies. This occasion marks the debut of 4Dkiller, a project of electronic syntheses, the fruit of Minoxs persistent dedication to sound research and experimentation. Under this guise, they come to remix several of Minox and Dubitals tracks. Over the next two years Minox produce and mix "Dubital ep", "Ignoranza & cultura" 12", "Lite" and Technophonic Chamber Orchestras 1998 release "Beats and Movements". During the summer of 1998 Minox releases their limited edition CD Single "U Turn" featuring Lydia Lunch and making with her an interesting italian tour. During 2000 Minox went to the studio to work with their friends and collaborators from 1986 Steven Brown and Blaine L. Reininger of Tuxedomoon. A tour with Steven Brown in Italy followed, and on November 2001 has seen the light their new album "Downworks" featuring The Gentle People, Lydia Lunch, Nobukazu Takemura, Blaine L. Reininger and more.In 2003 Minox have direct the 4th volume of the thematic series Suitable "Suitable #3 the downbeatniks" and have produced the debut album of Enfantronique "Ecole 72" in 2004 they have produced "Nemoretum Sonata" the second album of Technophonic Chamber Orchestra. Actually Minox are working on their new album, theyve invited Jan Jelinek (aka Farben, Gramm - Scape, de) and Dictaphone (City Center Office, de) and are compiling "Suite inc. classics" featuring Murcof, Daedelus, Jan Jelinek, Nobukazu Takemura, etc.
Great atmospheric minimal synth MLP much in the mid 80s european vein of Tuxedomoon...not suprising though as this was produced by Mr Steven Brown. get it here This posting includes a media file: http://rapidshare.com/files/72528204/minox_-_lazare__1986__.rar
/////////////////////////////////////////// A leap of faith with the king of improvisation
Improvisation can be a scary word. Even classical musicians with years of training on their instruments can be struck silent when faced with filling in space without specific instructions. Yet as George Lewis says, we all improvise as part of our lives.
Stockhausen epitomised all that was wrong and right in the world of contemporary classical music for me. Controversial and eccentric, he was prone to talking about receiving his music from the universal consciousness, scoring music for string quartets and helicopters, and writing operas that lasted a whole day! There was always an uncomfortable, gimmicky aspect to some of his work. However, he was undeniably a pioneer who threaded the fabric of modernity from strips of magnetic tape with music concrete pieces such as Gesang Der Junglinge and the minimalist electronica Telemusik. Like most people of my generation Stockhausen came to my notice by word of mouth. One of the faces on Sgt. Pepper’s Lonely Hearts Club Band, he was often name-checked by musicians in the MM or the NME which eventually piqued one’s curiosity. As with John Cage (another frequently named-dropped icon of the avant-garde back then), entering into his world was like walking into a vast auditorium filled with possibilities and spring-boards to other places and spaces. The sheer range and choice that Stockhausen’s music implied could leave you breathless and dizzy. The piece of his that I kept coming back to throughout the years was the vocal work, Stimmung, whose ability to be both soothing and provocative made it utterly exhilarating. I wasted no opportunity to swank around telling people that I really dug Stockhausen, and it was great music to put on the record player when you wanted to clear the room or appear dreadfully highbrow and (you thought) sophisticated.
Notwithstanding such youthful prattyness, I didn’t always understand or like what I heard but I knew it was never going to be dull and I was well and truly hooked. In the mid-70s my sister, Lesley returned from Heidelberg, Germany where she was living at the time and presented me with a huge vinyl box set of the epic Aus Den Sieben Tagen (now sadly lost amongst several house moves) and Jonathan Cott’s Stockhausen: Conversations with the Composer was a constant companion, introducing me in some detail to the world of graphic scores, potentiometers and Stockhausen’s often bizarre but intriguing cosmology. More than that it was a portal into other worlds of strange music, filled as it was with references to lots of other people I’d never of such as Jung, Varese, Boulez, Le Corbusier, Berio and concepts about timbre, serialism, microtones and all manner of incendiary ideas that quite literally blew my mind. Stockhausen was a major artistic catalyst for me and like many others around the around the globe who came into contact with his work, my life was immeasurably enriched. It was from reading about and listening to Stockhausen that I stepped off into the world of performing music, drafting my own graphic scores and eagerly presenting them to the experimental music workshops hosted at Wallsend Arts Centre in 1975 and led by Keith Morris. The title of one of them, In The Stomach of God was lifted from Stockhausen’s recounting of one of his dreams, and used a text by Novalis (The Disciples of Sais) which Cott prefaced his book with, rightly believing it to be a perfect description of the man himself. “He watched the stars and imitated their courses and positions in the sand. Into the ocean of the air he gazed incessantly; and never tired of observing its clearness, its movements, its clouds, its illuminations.”
/////////////////////////////////////////// Stockhausen Leaves Us With His Influence
Karlheinz Stockhausen, German pioneer of avante garde ‘difficult music’ has died aged 79 and can be easily credited with a long line of influence that extends into classical and avante garde music, the art of sound recording via his experiments with Musique concrète and extending into influencing many of the early pioneers of electronic music and its influence within popular music.
He was always a controversial figure. When Stockhausen emerged in the 1950s many American avante garde composers would decide to take music in a different direction very precisely opposed to the aesthetics that Stockhausen was bringing to the experimental music arena, Philip Glass certainly being on record as not wanting to be aligned with this particular branch of musical experimentation.
Such was Stockhausen’s influence and stature that he was featured on the Beatles Sgt Pepper’s lonely hearts club band album cover, Frank Zappa cited him as an influence whilst founding members of ‘Krautrock’ group Can, Holgar Czukay and Irmin Schmidt studied under Stockhausen along with the original Kraftwerk.
His influence is enormous and his body of work will no doubt divide critics and listeners alike for many years to come.
Random post__Blogs I Read__Twitter __My Stumbleupon__Facebook
Renowned German composer and electronic music pioneer Karlheinz Stockhausen passed away December 5 at his home in Kuerten, Germany, according to statement released today by Stockhausen-Verlag. He was 79.
Born August 22, 1928 in a village near Cologne, Stockhausen rose to prominence in the 1950s with a number of pieces that broke decidedly with convention. Across a career that extended into this century, he invoked both awe and controversy with his unorthodox works, noted for their innovation and complexity.
A man content to exist outside the classical establishment, Stockhausen saw his influence extend beyond it as well. Among his advocates were the Beatles, who included the composer on the collage cover of Sgt. Pepper's Lonely Hearts Club Band.
The 362 works Stockhausen composed include the world's longest opera cycle (Licht, completed in 2003), the first annotated and published piece of electronic music (1954's Electronic Study II), and a piece for string quartet that also called for four helicopters (1993's Helicopter String Quartet). Like John Cage, he demonstrated a fascination with aleatory composition, that which accounts for an element of chance. Early in his career he was also a proponent of serialism, composition based on mathematical formulas.
Stockhausen studied under Olivier Messiaen and Les Six member Darius Milhaud, among others. He was a highly respected teacher as well, whose students included several of krautrock's prominent figures, including Can's Holger Czukay and Irmin Schmidt.
"In friendship and gratitude for everything that he has given to us personally and to humanity through his love and his music," wrote longtime collaborators Suzanne Stephens and Kathinka Pasveer in the Stockhausen-Verlag statement, "we bid farewell to Karlheinz Stockhausen, who lived to bring celestial music to humans, and human music to the celestial beings, so that Man may listen to God and God may hear His children."
Licht will be performed in its entirety for the first time at October 2008's Donaueschingen Festival in Germany.
/////////////////////////////////////////// Composer Karlheinz Stockhausen is dead (AP)
AP - Karlheinz Stockhausen, one of the most important and controversial postwar composers who helped shape a new understanding of sound through electronic compositions, died at his home in western Germany. He was 79.
/////////////////////////////////////////// Pioneering German composer Stockhausen dies
German composer Karlheinz Stockhausen, one of the world's most influential 20th century composers and renowned for his pioneering work in electronic music, has died aged 79.
I just heard that Karlheinz Stockhausen died today. For a proper obit, you can read the Guardian Unlimited article. I just figured that since I was playing Stockhausen’s work last week, I’d write a little bit about why Stockhausen matters to me– this is, after all, a blog.
I first heard one of Stockhausen’s works just over ten years ago, having been “introduced” to the master by Tony’s older brother Wess, who has long had a serious passion for modern and avant-garde composition. Tony and I could enjoy groups like Negativland, but on a deeper level, I guess I always wanted something more personally meaningful. When his brother started telling me about a German composer who would work months intricately splicing tape shards together, only to discard the resulting few moments as unacceptable… well, I knew I had better find out more about the mysterious Stockhausen.That first day, Wess let me make a copy of his “Elektronische Musik 1952-1960,” which he had ordered from Stockhausen’s own label. With the earliest of his electronic and tape pieces, including the amazing “Gesang der Junglinge,” it was a great place to start. Every track was exciting, full of new sounds, and very much what I wanted to hear.
It wasn’t long after that I found copies of “Mantra,” “Hymnen,” and “Mikrophonie,” all of which took numerous listens. I didn’t even like Mantra
...
Friends of the blog This is Mutant Sounds blog contribution to enviromental and earth protection.The need of new energy resources is urgent:climate changes,earth is burning,temperature rises,people die...no more music to be done.We have to stop this.The blog's suggestion to new energy recouces is energy from music!Since music is finally nothing else than mathematics,we can possibly transform the energy of "music" itself to useful types of energy.This is possibly a challenge ,for open minded scientists , to research.Imagine cars moving with music,planes flying with music ,cooking with music....THIS IS A DREAMWORLD! Anyway...just giving my litle contribution(possibly mutant one) to enviromental matters.... PS:collage shown above made by Jim Mutantsounds under the influence of so many things heard today about our "dying" planet.
Karlheinz Stockhausen who just passed away, would probably be best known for being listed on the Beatles St. Pepper’s Lonely Hearts Club Band album (check your liner notes for where he is on the cover). But he was a modernist composer who was at the forefront of the serialist and electronic music in the 50’s, 60’s, and into the 70’s. He would also unfortunately be remembered for his controversial comments about the September 11 attacks in which he alleged to have said the attacks were “works of art”. As to whether he said it or not, it is possible he did. But in doing so, you would have to first understand the man himself and more importantly, his music for context. More importantly, that he would’ve not said to be sympathetic to the attackers in any shape or form. Rather, he was a consummate composer in which everything in the world was filtered through his ears (and eyes) as music.
On December 6, several months after Toyota’s DJ Robot ditched its entertainment career for a job as a receptionist and renamed itself “Robina,” the auto giant unveiled a new, musically-inclined Partner Robot that can play violin. A total of 17 computer-controlled joints in its flexible arms and agile fingers allow the robot to hold the violin and correctly press the strings against the fingerboard with its left hand, while gently drawing the bow across the strings with its right hand. In a recital held at a Toyota showroom in Tokyo, the 152-centimeter (5-ft) tall humanoid entertained guests with a slightly robotic but technically adept rendition of “Pomp and Circumstance.”
The robot violinist is the latest addition to Toyota’s ensemble of musical androids, which can also play trumpet, tuba, trombone, French horn and percussion. In addition to further developing its musical skills, Toyota aims to continue improving the robot’s dexterity and coordination so that it can one day perform household chores.
Also unveiled at the demonstration was a new mobility robot — a motorized chair that balances itself on a pair of self-adjusting Segway-like wheels that can roll smoothly over uneven surfaces and rough terrain. Intended as a personal transport system for the elderly, the mobility robot can run at a maximum speed of 6 kilometers per hour (3.7 mph) for 20 kilometers (12 miles) on a single battery charge, can handle 10-degree slopes, and is outfitted with sensors that allow it to avoid collisions with obstacles. Users can also summon the robot by remote control and use it as a porter to carry luggage.
Toyota plans to begin testing the robots at hospitals next year, with the hope of putting them into practical use by the early part of the next decade.
Great Norvegian progressive/Jazz LP,with much guitar and violin.No more infos available in English though,and no pic sleeve scans...any help would be much appreciated. get it here This posting includes a media file: http://rapidshare.com/files/72537898/moose_loose_-_transition.rar
/////////////////////////////////////////// Nokia Claims Ogg Format is "Proprietary"
a nona maus writes "Several months ago a workgroup of the W3C decided to include Ogg/Theora+Vorbis as the recommended baseline video codec standard for HTML5, against Apple's aggressive protest. Now, Nokia seems to be seeking a reversal of that decision: they have released a position paper calling Ogg 'proprietary' and citing the importance of DRM support. Nokia has historically responded to questions about Ogg on their internet tablets with strange and inconsistent answers, along with hand waving about their legal department. This latest step is enough to really make you wonder what they are really up to." Read more of this story at Slashdot.
this split features one live track a piece by both projects. first is seattle-based diseased visions, which is levi berner (algiers, ground tissues, wasting...) and john lukeman from drowner and whatwedoissecret. next is shanghai's torturing nurse, which is currently junky, jiadie and youki.diseased visions' piece from methfest is an exercise in hypnotic noise minimalism. the main component is a high pitched droning wail; think whistling tea kettle. below that is a repetitious loop of sound that i sort of lock in on as it nicely counteracts that shriller tone. towards the middle of their set they'll swap out the loop for a lulling motor-like sound. again, they'll continue to maintain a nice balance between dissonance and tranquility. the final minute breaks their motif a bit as everything drops off, save for introductory feedback and then an unexpected outburst of shouting... ... interestingly enough, torturing nurse's @ loft 49 opens up with a few yelps, making for a terrific segue. once past the initial fit of yelling, these guys get into some terrific multi-channel noise, offsetting diseased visions' less is more approach. particularly fucking great is the left channel manipulations of a sample. the way that it's being affected and the sound of it while it's being affected is a joy to my ears. meanwhile, in the right channel, there's great things happening over there as well. quite a few times the noise will briefly settle into nice repetitious patterns while the other channel continues on with the dynamics. add to this mix a great use of shouting (pretty catchy, actually), samples and noise that's just a blast to listen to and you've got yourself one hell of a reason to go to china. beautiful.
Chronicle of Serial MurderMembrum Debile Propaganda, 2000. 1 We Slaughter (4:30) 2 Trolling '98 (6:00) 3 Primemover (1:15) 4 Activate Me (4:00) 5 Human Garbage (6:00) 6 186 Yard (3:30) 7 4315 Charlotte St. (4:30) 8 I Am The Night (1:15) 9 Constant Elevation (1:45) 10 Waste It (5:00) 11 Ken And Barbie (5:00) 12 Set Set Set (4:00) 13 I Zip (4:15)
Limited to 500 copies. Comes in an A5 sleeve. Recorded in Bensonhurst, Brooklyn during the Spring of 1988.
Megaupload
Let Me Show You HowTeito Sound Company, 2004. A1 Screwdriver (2:12) A2 Video Video (3:14) A3 One Second (1:50) A4 Built To Last (4:18) A5 Behind Closed Doors (3:34) A6 Hunts Point (3:37) B1 Read Me (3:08) B2 God Never Gives Me What I Want (4:31) B3 Again And Again (2:39) B4 Bond (4:25) B5 I Lash Out (2:29) B6 Judge And Jury (3:24)
Megaupload Now this is power electronics! Very much in the style that I like so much. Crushing, menacing and no fun at all.
/////////////////////////////////////////// Review of the new Biota CD "Half A True Day"
the writer's opinions are their own and may differ from those of the bloggers on this site. this blog welcomes submissions from anyone interested in any aspect of electronic music. contact paddyohooli...@gmail.com
By Camden Newhouse
"Biota’s work is the musical equivalent of the introduction of perspective to painting by Italian renaissance painters."
Anyone who knows me knows that before I get to my point I have to tell a few jokes, set up a couple of metaphors or analogies, etc. And, like my pal Jesus Christ, I like parables.
So, we’ve all either seen firsthand or know about the clod who stands in front of an abstract painting by Pollock or Kline or Motherwell and says “my kid could do that.”
First of all, your kid didn’t do it, OK? If they had, I promise you it would be in the fucking museum. If you come home from work some day and find that your kid has stretched a canvas sixteen feet long by nine feet high and done a massive abstract expressionist painting, call the museum. Then call me.
Second, ironically, your kid probably COULD do that, or something similar and you know why? Because kids create from the heart. Their creations are relatively pure and honest because they are unencumbered by the adult mind which is clogged with bullshit and criticizes itself while creating and says things like “that’s no good. Wait, maybe it is. No, it looks like the stuff that other guy did. Oh, I can’t paint. Who am I kidding? I wonder if these pants make my ass look fat?”
Part of the point of those big messy seemingly simple abstract expressionist paintings is that to make them the adults who created them had to turn off that meaningless chatter of the mind that gets in the way of creating. Like kids.
When I was a kid in music class around 1960, our teacher one day played us some “music of the future.” This was part of an attempt to broaden our minds and included an excerpt from Stravinksky’s “Firebird Suite.” The segment of futuristic music we heard was actually called “music of the future” and it consisted of – I am not kidding – chains clanking and a foghorn and a few other sounds I don’t recall, just randomly assembled. I’m not sure if the creator of this piece of shit intended to create the impression that experimental or avant garde artists are insane idiots, but he did. And I’m saying “he” because everything like this back in the 1950s and 1960s was created by white men. Now I was an open minded person even as a kid (which makes sense, you don’t tend to suddenly become open minded in later life) and when I heard this ‘music of the future’ I thought to myself, “Man, if THIS is what we have to look forward to I’m going to poke out my ear drums now.” Back in the fifties and sixties a lot of educational things did two things simultaneously:
told us whatever was known about the subject at the time, which usually wasn’t much because westerners felt compelled to mock and/or ignore anything strange or foreign and… created horribly stupid
...
Alex le Lievre has built what looks like an insane custom controller for Pro Tools LE using an iPhone. He seems to have mimicked the look and feel of Pro Tools so successfully that some called the results a fake. There’s incredibly detailed feedback on track status, including live audio signal feeds and transport controls. It even uses iPhone’s tilt mechanism.
This is interesting for two reasons: one, those lusting after iPhone and iPod Touch have another reason to drool. But secondly, Digidesign has been pretty closed about their controller mechanism. If this is real, Alex did a pretty great job of cracking into it. (I only just heard from JazzMutant, by contrast, that their Dexter won’t support Pro Tools because it’s not possible.)
ProRemote 0.0.1 on YouTube (darned nice “0.0.1″ release!)
Alex’s video on his .Mac page
All of this is assuming this is real — anyone want to hazard any feedback? (I’ve also written Alex to learn more about how he did it.)
Thanks to Chris O’Malley for the tip.
alternative controllers, control surfaces, controllers, DAWs, Digidesign, iphone, iPod, ipod touch, multitouch, Pro Tools, software, touch, videos
Generative.org (Italy/Germany/Berlin) generative.org is the common art project of the video artist Peggy Sylopp and the sound artist Giovanni Longo. They work since 2000 together with the emphasis on sound and media art, mostly with integration of different kinds of interactivity. Since 2002 they have been curating and organizing exhibitions and events for the promotion of the topic art and technology from different perspectives. Their work is characterized by an ideosyncratic attitude going beyond the fashion features and independent of mainstream conventions. They partly follow the stylistic and aesthetic concepts of avantgarde such us minimalism, fluxus or abstract expressionism and transform them experimentally to contemporary styles of electronic culture and digital art. more infos at generative.org
Seiji Morimoto (Japan/Berlin) Born in Tokyo 1971, studied musicology at the Kunitachi College of Music, graduating in 1995. During this period he began to play the electronic pieces by John Cage and his own sound performances. Since then he has been active in the field of sound-art and creates sound performances, installations and videos. In 2003 Morimoto moved to Berlin, has performed and exhibited in many international festivals including transmediale05 in Berlin (2005), Experimental Music in Munich (2004/06). He is interested in the uncertain acoustic appearances between usual objects, for example water and stones, and the technical medium. more infos at seiji morimoto
Sciss (Germany/Weimar) Sciss has been working with electronic and sound music since 1999, and on sound installations since 2001. Between 1999 and 2004, he studied musical computer science and computer music in the electronic studio of the Technical University of Berlin. Since 2004, he has been a research associate at the SeaM Studio for Electronic Music in Weimar. more infos at sciss
Salon Bruit Friday 14/12/07 at 22.00 in Kastanienallee 77, U2 Eberswalderstrasse or Rosenthaler Platz, Tram Schwedterstrasse Eintritt/Entrance 3 euros
/////////////////////////////////////////// elephant kiss
elephant kiss are seattle's kyle reimer and tiffany gartin.
yay, pop music! actually, all is not well in the land of pop for this tape. despite the fact that i have more c86 than anyone who listens to macronympha should, even i have my limits. i really want to say that this is awful, but i don't want to be such a blatant dick about it. it's got cute girl and boy harmonies, charming (to a point) innocence, no organic instrumentation (neither a pro nor a con, just putting that out there), spastic drum machine rhythm (assisted by a gameboy), but i really don't think that anyone older than say fifteen or sixteen should be listening to this (or would want to). the strongest draw that this tape would have would be in the quirky electro sound of it, as it's not really that catchy. i've listened to it five times and i still can't remember any lyrics; not that i'm complaining. this makes me want to buy multiple stereos and blast burzum, opeth and whitehouse all at the same time.this is an odd release by jk tapes and really, to me, (further) cements the fact that this label wishes it was not not fun. i can't think of any other imprints that would release noise-related things alongside dancey, lo-fi pop. i would applaud the fact that it's quite ambitious, if it hadn't already been done so recently. the big difference that i notice between the two is that, in the beginning, nnf culled their stuff from their own scene; picking out different acts in l.a. that they were stoked on. this just seems like a stretch, and the real casualties of this release are, unfortunately, elephant kiss. i wouldn't say that this duo sucks at what they do, i just don't find it appealing. i'm sure that there's a niche market for it, but having it released on a label whose best offerings have all been ex
