We caught up with the lads running some of the best events of the AutumnContinue Reading >>
In calm reflections on life and nature, the Quiet Ensemble lets flora and fauna compose their own ambient etudes, following their movements and tuning in on electrical frequencies. Mice running in wheels play music boxes; light and sound trace the slimy path of snails. Fruit charge up thick, glitchy bass, as goldfish perform an audiovisual quartet in rectangular aquaria.
Based on Rome, this collective has produced a series of reflective audiovisual performances. Each project takes on a unique personality, musically and philosophically, so let’s look at them in turn.
Orienta; è qui ora, che decido di fermarmi
Technology and nature. Randomness and control.
The revelation of what is insignificant as a poetic and marvelous moment.
A reflection upon the life track, invisible paths that tell the story of a living being’s passage on earth.
The passage of 25 snails makes in real time an endless light painting, made exclusively by the walking of the small animals. At the end of each day we’ll have a totally different light-painting.
“Natura Morta” is a musical concert where the only instruments used are real fruits and the sound we’ll hear is exclusively the electric energy contained within them.
The electric power of the humans getting mixed with the energy of the fruits makes the sound audible, is the physical contact between human and nature that generate the music.
Each fruit has acid in it that produces electrical tension, using a special technique we can boost these frequencies making the inaudible audible, the sound of the vital energy of nature.
The individual fruits are raised on wooden platforms, standing on a transparent plexiglass plate lit from under. Each time a fruit plays its base will lit up, staining the surrounding space, making it changeable and dynamic. Each platform is a home made midi controller which allow us to modulate the sound wave’s, creating more complex rhythms and sounds.
The sound frequencies are emphasized by a large video projection representing a macro vision of the fruits.
Slowly the concrete images becomes abstract, the Natura morta (Still life) picture changes reacting precisely to the sound waves,
crashing and dissolving into pure shapes of colors and lights.
See also Wired Italy with an interview and more video (Italian only)
Quintetto is an installation based on the study of casual movement of objects or living creatures used as input for the production of sounds. The basic concept is to reveal what we call “invisible concerts” of everyday life. The vertical movements of the 5 fishes in the aquarius is captured by a videocamera, that translates (through a computer software) their movements in digital sound signals.
We’ll have 5 different musical instruments creating a totally unexpected live concert.
Orchestra Da Camera is a musical installation in wich the 40 elements of the chamber are mais running on their wheels.
Each wheel its connected to a carillon and when it turns the carillon starts playing its musical note.
The great number of carillons and the random actions of the living creatures makes unrecognizable the melodies (lullabies by Brahms, Schubert and Mozart ) creating an unexpected musical carpet determined by the mice.
The inanimate objects
You can catch Quiet Ensemble making the rounds in Europe – and more of their portfolio below.
And in their latest work, the group reimagines the theater as performer itself, in a dynamic and partially terrifying staging of Faust in which the space and objects in the theater become themselves the actors. Watch:
un progetto/project by Quiet ensemble
con la collaborazione di/with the collaboration of Matteo Marangoni
audio post-production Gianclaudio Hashem Moniri
ripresa video/video shooting Manuela Meloni
consulenza tecnica/technical consultancy noideaLab
project management Claudio Ponzana
distribuzione/distribution Claudio Ponzana
co-produzione/co-production Centrale Fies
Der Teufel leise (The devil whispering).
In this version of Faust, theatre becomes the instrument that determines the performance.
The action is orchestrated by the equipment of the space and the sounds are determined by their technical functions, simultaneously to the work’s creation.
The theatre as a space of representation is shown to the audience free of the vital and fundamental representative systems, the lights illuminate the void, the stage accommodates the absence of the actors, the sound speakers makes audible their own silence and the absence of soul is represented by the carcass of the space, now emptied from its own humanity.
The post Quiet Ensemble: Music by Pineapples, Mice, Snails, and Goldfish, and a Theater as Actor appeared first on Create Digital Music.
America has lacked a launch vehicle for manned spaceflight for too long. Ras G just brought it back.
Our cup runneth over. And just as we’re adding our favorite stories to read to the new Reading List feature, we bring you some of our favorite listening. This is what’s playing through my cans as I’m working and meditating.
Ras G – Back On The Planet is, simply, out of this world. Forget what you know about Brainfeeder and LA; this is earning Afrofuturism comparisons to Sun Ra and George Clinton with good reason. Dense, jazzy, and splendidly improvisatory, it’s some of the most dynamic hip hop/electronic music to come out this summer. Gregory Shorter, Jr. is doing wonderful things; I hope we get to talk to him soon.
Out now on NinjaTune (digital was released yesterday).
Pitchfork earns controversy now and then, and putting numbers on music never feels quite right. But Miles Raymer nails the review for them; it’s well worth a read.
Jon Hopkins’ “Breathe This Air” single features Purity Ring on vocals. It’s as beautiful as that sounds, if you know these two artists. Out on Domino, and Hopkins is touring (a lot):
Speaking of LA, Austrian-born to Austrian and Mexican-American parents, John Tejada now calls the city of angels home. And it’s delightful to welcome new music from Tejada, with beautifully-reserved, cheery, elegantly composed dance tracks in a new EP – listen above. Also, what’s that about a live hardware set at Berlin’s Panorama Bar, enroute to more of the same around Europe and at Decibel in Seattle? We may have to check in with Maestro Tejada.
It’s also worth noting that 50WEAPONS has joined the monthly subscriptions available on Drip.fm. A worthy antidote to the soul-sucking, music-killing likes of Spotify, Drip lets you get high-quality downloads (not streams) of your favorite imprints and supports those independent labels and artists. 50WEAPONS is just made for the service. Founded by Modeselektor, it’s been steadily releasing some of the best electronic music out there, including Anstam, Addison Groove, Bambounou, Benjamin Damage, Cosmin TRG, Dark Sky, Marcel Dettmann, Phon.o and Shed. (Extra shout out to Phon.o and Shed, who each turned in fantastic performances this weekend.) You even get extra discounts, special exclusives, and even stems and accapellas. $10 a month? What do the kids say these days, that “shut up and take my money” thing? Yeah, that.
Oh, yeah, and did we mention that Julianna Barwick’s Nepenthe is now out?
Wonderful Drowned in Sound review, reminding you that the obvious results of mixing her vocals with Sigur Ros instrumental sounds is nothing to complain about:
This music feels like a shortcut to the actual sounds the world makes when I’m waiting for the other person in bed to wake up, on the mornings I have no regrets pestering me yet, or arguments to re-play and this time I win. This is Nepenthe; I am in here; everything’s good.
Electric Indigo. Vienna’s Electric Indigo aka Susanne Kirchmayr has kept showing up here, and will keep showing up here, for her broad span through composition, live electronic musicianship, and DJing and selection. And her playlist for PodcastBERLIN’s Klark Kennt Podcast is a brilliant survey of some of the best things happening in experimental dance music, an eclectic demonstration that “techno” need not stick to the straight and narrow. Check out, among others, Bill Youngman’s cut – his live work is terrific and we’ll talk more about that soon.
01. Manu C. – Mental Disorder [ANG 34]
02. Zeitgeber – Display 24 [Stroboscopic Artefacts LP001]
03. Manu C. – Dystopian Planet [ANG 34]
04. Adriana Lopez – Acta [Modularz 12]
05. Strck – Type Type [Fluxus Digital 19]
06. Scalameriya & Dubit – Moan / Go Hiyama Remix [Genesa 003]
07. Bill Youngman – Marmor [Suicide Circus Dark Series 003]
08. Yair Etziony – Love [unreleased]
09. Egor Boss – Prism / Thomas Hessler Remix [Mutex 009]
10. REALMZ – Trigger [Internal Realmz 01]
11. Tadeo – Morse Processing [Another Intelligence 02]
12. Pacou – Rota [Newrhythmic LTD 013]
13. PVS – Parallel / Kwartz Remix [C.R.S. 027]
14. Mattias Fridell – Coveled Part I [Affin 139]
15. Lakker – Asvattha [SAM 014]
16. Ajtim – Notime / Svreca Remix [Ensydaen 001]
17. Brian Sanhaji – Daria [CLR 068]
18. Adriana Lopez – Lines of Fracture [Grey Report 02]
19. Diamond_Version – Operate At Your Optimum [Mute Artists Limited 12DVMUTE5]
20. Clara Moto – Joy Departed [InFinÈ 2054]
21. Gain Stage – forking paths part 2 [False Industries 011]
It’s also worth marking your calendar for 12 September in Berlin, when a day-long festival curated by Electric Indigo and female:pressure will celebrate the unheralded work of female producers. It’s an answer to the excuse that there aren’t enough women to program on festivals. See:
and the Facebook event
Bursting at the seams with great artists in music and VJ sets, it’s positive action that proves the artists are there.
Thomas Fehlmann. Speaking of mix from veteran selectors still active on the scene, here’s Thomas Fehlmann. The Swiss-born Orb co-founder who has somehow had a finger in every dance music scene since the 90s, it seems, has a lovely set of top-notch tracks for Little White Earbuds. Like Susanne’s mix above, I just keep listening to it again and again. (and it’s downloadable, so you can disconnect from the world, if you like, and tune in only to this…)
LWE Podcast 171: Thomas Fehlmann (plus a nice interview)
01. The Orb, “Fussball” (Deadbeat’s Champions League Dub) [Cooking Vinyl]
02. Dark Sky, “Voices” [Mister Saturday Night Records]
03. The Mole, “How I Understand” [Slices of Life]
04. Osunlade, “Camera Shy” (Justin Imperiale Remix) [Yoruba Records]
05. Baaz & Iron Curtis, “K.M.S.” (Soulphiction RMX) [Office Recordings]
06. John Tejada, “Somewhere” [Kompakt]
07. Alex Burkat, “Ammadomyownthing” [Mister Saturday Night]
08. Kyle Hall, “Crushed” [Wild Oats]
09. Michael Cleis, “Mir a Nero” [Pampa]
10. Zander VT, “Trying Some More” [Bpitch Control]
Moderna. LA’s Moderna (aka Missy Livingston) chills us out again and again; she contributed a summer mix to CDM, among others. Here, she has a richly-diverse mix of electronic music for an excellent series called the Modularfield AirCast (from Modularfield Records of Köln-Mülheim).
Some great artists on here, too – I like the SoundCloud comment, “makes me feel in love.”
Changes (Harmonimix) – Mala
Petrichor – Recondite
Fear of Numbers (Leo Zero Alternative Dub) – Footprintz
Geffen – Barnt
The Witch (feat. Sourya) [The Access Remix] – Dombrance
The Outcast (Morgan Geist Mix) – Tennis and Pillowtalk
EGO dub – Tomas Barfod
Wanted Exotic – Michna
Slo-Mo Girl (Fur Coat Dark After Hour Mix) – Delete
Doppelganger – IV
Without You feat. Kerry Leatham (Album Version) – Lapalux
Miss Kittin. From Grenoble, France, Miss Kittin (Caroline Hervé) is a terrific producer and DJ, both. For her Items & Things Podcast, she pulls some soulful and beautiful tracks, including, of course, Items & Things’ own intelligently-diverse catalog. Spanning from Autechre to Morgan Geist to Mano Le Tough to Benoit & Sergio, there’s a bit of everything, and of course Kittin’s own terrific collab with Marc Houle.
Chris Randall uses an Elektron Analog Four to drive an original (not remade) Oberheim SEM and Eurorack modular setup. One technical note:
Everything is sequenced from, and mixed in, the A4. It’s worth noting, if you’re thinking of buying one, that the analog inputs on the A4 have very limited controls. If you want to give up a synth channel, you have full control, but if you’re just bussing them to the outputs, you only have pan, level, and FX sends (chorus, delay, and verb.)
It’s a terrific hardware rig, though, and Chris’ musicianship is well represented here. Read the full blog post.
For something else involving an Elektron box but in every other way entirely different, we turn to Mark Mosher. He uses Elektron’s Octatrack with Native Instruments’ Absynth for something entirely ambient – no sequencing, no beats.
Lots of reflections in his blog post.
For a much cheaper rig, AuxPulse plays just a single KORG DS-10 system running on the Nintendo DS – at used prices, that might be competitive with a power adapter for one of the devices above. A blast from the past (2012, to be exact).
See you in another week or so with another of these epics – keep those submissions coming. We’d welcome guest curators, too, if you’re interested.
The post Playlist: The Best Music Mixes, Jams, and Releases to Queue Up Now appeared first on Create Digital Music.
Latency can be the bane of a producer’s life. It’s the delay between doing something in the real world, and hearing the result through your computer or speakers. It’s always present—the goal is to minimize it. This tutorial will show you how to manage latency and your buffer settings so that you don’t encounter playback issues.
Photo by Alex Majoli Leros
Their production moniker may sound like a Czech grandmother muttering words of disapproval into a bowl of soup, but on this debut LP, Swedish duo SHXCXCHCXSH ladle out a dose of severe atmospherics that displays a cohesive and bold narrative drive. Riding on a low-end, smokestack rumble, the seven tracks here manage to evoke audio memories of both jitterbug post-punk — namely in a Suicide-esque melodic scratchiness that is never permitted to resolve itself — and a hypnotic, rolling techno that makes their debut LP a perfect fit for Avian. It is in the many oblique angles, however, that the duo makes their disquieting presence felt to greatest effect. “LDWGWTT” is a case in point. Circular synth squalls and strangely human noises sound alarmed, and deep under the pulse it sounds like some kind of distress call, so much so that I had to remove my headphones a couple of times to check nothing untoward was going on outside. It connects on that subliminal level of palpable unease without resorting to schlock tactics — genuinely creepy.
“WHTLGHT” is a straight-ahead pound in the current techno vein, but underpinned by urgent white-noise palpitations like Morse code being transmitted into the ether. It’s an interesting sensation — a DJ tool that constantly shifts the parameters. “PCTSTSS” is one of the seediest techno cuts you’re likely to hear this year, sultry drones concealing all manner of weird wood-block patterns underneath the throb. Not all is quite so noir, though; “LLDTMPS” is a relatively funky detour that hinges on a dark, electro bass line alongside Mills-esque synth and cymbal work that takes you out of the laboratory and into orbit. While Avian bosses Shifted and Ventress are no strangers to the clammier corners of techno, STRGTHS represents perhaps the most uncomfortable music they have put out on the label, though it is by no means an exercise in wanton darkness. Rather, SHXCXCHCXSH have sewn together a compelling excursion into the wilder excesses of mauve techno adventure.