Aphex Twin - Girl-Boy EP [1996]

Artist: Aphex Twin
Album: Girl-Boy EP
Label: Warp Records
Genre: Electronic
Style: Abstract / IDM / Drum n Bass

wikipedia

Funny Mellotron

The Mellotron is an electronic musical instrument invented around 1960 to provide the sounds of violins, cellos, flutes, choirs, horns, pretty much anything, from a keyboard.  Given the technology of the day, the reasonable way to do this was with strips of magnetic tape.  So the Mellotron uses a strip of magnetic tape, a pinch roller, tape head, pressure pad, and a rewind mechanism for each note on the keyboard.

To our modern day technological sensibilities this cumbersome mechanical contraption seems kludgy as can be, especially you're watching the tape rewind operation, but the fact is that no modern technology keyboard can come close to the quality of presence so characteristic of the Mellotron sound.  Why is this?  Because the tape playback mechanism is the musical instrument.  It matters less what is recorded on the tape.

 

source

Sound Design: Amon Tobin and the Music of 'Infamous'

Find out how Amon Tobin and the Sony Music team used found objects to create a dark and grimey video game score. from the Wired.

Street Art: Blu

a collaborative animation by Blu and David Ellis year 2009 blublu.org &  davidellis.org produced by studio cromie studiocromie.org. music by Roberto Lange robertolange.com made at Fame festival 2009 famefestival.it

Here is the new short film by Blu: an ambiguous animation painted on public walls. blublu.org
Made in Buenos Aires and in Baden (fantoche)
music by Andrea Martignoni
assistant: Sibe

Blu in Berlin - November 2008

& One more live painting from daisuke yamamoto, 1week of art works
Japanese Time Lapse painting #2

 

Film composer: Maurice Jarre

One of the most singular of the plentiful cinematographic course of Maurice Jarre. Undoubtedly because the economic constraints stimulate its inspiration, switch towards amazing scaffolding, orchestral strange combinations, where grow his fetishes instruments: banjo, harpsichord, player piano or Martenot waves. There is a 'Jarre' typical sound of this time, broken beats, lame, obsessional waltz, close to faintness. poetry of the strange & delicious topics, exploiting in counterpoint the images of Franju's horror movies.

Most of these rare movies are reedited in DVD by the fantastic Criterion Collection. Please support them! www.criterion.com

/link in cover /

Christian Marclay - Visual Artist & Composer

Christian Marclay is a New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Born in California and raised in Geneva (Switzerland), he studied sculpture at the Massachusetts College of Art in Boston and at Cooper Union in New York. As performer and sound artist Christian Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979 to create his unique "theater of found sound." Marclay has collaborated with musicians such as John Zorn, Elliott Sharp, Fred Frith, Zeena Parkins, Shelley Hirsh, Christian Wolff, Butch Morris, Otomo Yoshihide, Arto Lindsay, and Sonic Youth among many others. A dadaist DJ and filmmaker his installations and video / film collages display provocative musical and visual landscapes and have been included in exhibitions at the Whitney Museum of American Art New York, Venice Biennale, Centre Pompidou Paris, Kunsthaus Zurich, San Francisco Museum of Modern Art.

A few minutes of Christian Marclay's 13-minute music/video installation Video Quartet called ‘replay’, as shot on DV at the Tate Modern in London (unauthorized, thus the crappy sound quality, sorry). I've stayed 3 hours there when i saw it the first time. A great idea and perfectly realized.
It's seen best in Marclay's two rapid anthologies of filmic snippets. The earliest is Telephones from 1995. For almost eight minutes, the phone rings or is dialled with nervous hands. It's a huge cinematic survey of telephonic jitters, rehearsing those gripping moments (again and again) when the remote tones enter someone else's mind with life-changing intelligence. The repetition makes the phone and actors look ridiculous.

Marclay discusses here his interest in unwanted sound, his use of turntables, early examples of his art and more recent pieces too.
The captivity of music in a record isn't the only subject of this strangely liberating vandalism. In fact, Marclay depends upon recorded music for his videos, both as form and subject matter. His works all contain recorded sound; it's his inspiration and goad. If there's a problem with recorded music, it's the mechanical nature of it. The wider target of Marclay's wrecking hands is the mechanistic, the scripted and the predictable.

 

Christian Marclay Body Mix series _199X

Dummy Run Run!

Dummy Run - Pink Rocket (or Dummy run)
Hot Air BSE CD1
Released 1996
Hq VBR

Web: http://www.simplesampling.com

"First album from this combo, a more beat-obsessed take on SH&W (with whom they share member one: Andrew Sharpley) style anti-context and random cultural spatter (Read: Plunderphonics for the freak-beat set). While trying to refrain from using the word 'wacky', I've decided that it's probably the most apt tag one can place hereon. A decidedly different approach from the more dance-floor concerned end of breakbeat sonics. And a sense of humor (the track 'F.D.' chronicles the media-misconceptions of sample-based music through various timestretched host-idiot-comments before breaking into the chorus of the 'A-Team' theme). If any of you are confused on how to turn a 'musical spoons' record into a tearing drum n' bass steppa, look no further." -- Hrvatski.

& just for you, following Album & second, "Ice Cream headache", 1997. The first Dummy run LP I grooved on, and maybe my favorite. Fantastic bunny cover, music & bright white vynil.

Dummy Run - Ice Cream Headache
Hot Air BSE LP 002
Released 1997
Hq VBR

Support innovative artists and labels by buying their product!

bip

UA in Do Re Mi no Terebi !!

As my friend norman bambi said:

"And now the great UA in Do Re Mi no Terebi !! "






This is a tv show from Japan (TV - NHK - japan) intended to the young children to learn & remember some old disappeared japanese traditional songs. Another good way to show music to kids in their early years. To make them love to sing and dance.

Really addictive in the morning. ;)

Michael Nyman: Draughtsman's contract

This beautifully shot, highly intelligent, somewhat surreal and shockingly unknown film was originally made by Peter Greenaway for the opening night of Channel Four Television in Britain, and represents, perhaps, the man at his peak. The story, which avoids any direct explanations of itself or its plot, centres around a draughtsman (Higgins) who is hired to produce twelve drawings of a stately home in England. While he draws, objects appear in the landscape around him, which he includes in his drawings... when a body finally surfaces, do the drawings contain evidence concerning the identities of its murderers, or has some clever person purposely placed the objects in order to frame someone else... possibly the draughtsman himself? One may watch the film many times, each time coming up with a different answer; the motives and dialogue contradict each other just enough to add to the mystery, but not enough to ruin any possible explanation. This sountrack, by Michael Nyman, is also interesting: the themes within it are based on eight-bar samples of Mozart which are repeated and improvised upon, to hypnotising and evocative effect. A fascinating film & music, not really in relation to my other post, but important in my memories.

/link in../

Sound design: Ovalprocess

If u dont know, u have to..

Markus Popp: Music as software. Genious.

born 1968, in Darmstadt (D); computer musician. Cofounder of the Laptop Scene founded in the mid-1990s, and mastermind of the so-called Glitch Style. Since the formation Microstoria (with Jan Werner from Mouse on Mars) and Oval (originally with Sebastian Oschatz, today working solo) Pop concentrates on digital, clicking and humming sounds, characteristic sounds the result of calculating mistakes or computer crashes, and he develops an original processing style for handling them, whose repetitive patterns convey depictions of the internal organizational mechanisms of digital systems. Pop sees concepts such as musical intuition and creativity in the Age of System Theory and Digital Calculating as obsolete. He also sees the musician as being the mediator of technological aesthetics; lives in Berlin.

The 6th full length release from markus popp (aka oval) finds this world renowned digital mastermind extending the concept & musical platform of last year's acclaimed ovalprocess in every way. exploring a spectrum of sounds between the abrasive sandblast of neo desktop rock (tracks 1-3) and the alienating, timeless splendor of dsp chamber music. in between there are unique excursions in folk electronica (track 4) and pop inflected wall-of-sound tunes that could only come from the mind of oval. popp describes ovalcommers as a 3d musical obstacle course, a friendly and accessible invitation to complexity. ovalcommers surprises with poetic and playful elements (organs and layers of guitar feedback), making room for understatement, sophistication and a new, almost absentmindedly casual atmosphere. haunting emulations of processed brass, string and woodwind sections are carefully added to the otherwise still angular desktop rock. listeners will leave ovalcommers with a new perspective on oval in general, as popp's strategy becomes clearly visible: a friendly, yet relentless fanaticism to experiment and innovate musically."

Read the full interview here

Download Ovalprocess here

Of course, artists needs support, so you can buy it online (Cd or Lp),
on www.a-musik.com

Balanescu Quartet Play Kraftwerk

Strange to notice that Kraftwerk are classically trained musicians that spent the late 60s and 70s removing 'real' instruments from their recordings by designing electronic replacements.

This ironic recording is also iconic in the way in which it restores the underlying classical undertones to the tracks whilst remaining faithful to the originals.

Interestingly whilst some might describe the original Kraftwerk pieces as sparse in this performance they appear lusher than your standard quartet pieces.

Here another version with David byrne, as an introduction for you