Wall Painting: Supakitch and Koralie

Wall painting by Supakitch and Koralie

at the VÄRLDSKULTUR MUSEET GÖTEBORG / SWEDEN

With the support of POSCA

supakitch.com & koralie.net

Video by ELROY

Music by DLid (quatre rec. / Leonizer)

Music & Sounds, concrete: Christian Zanesi

Former student of Guy Maneveau and Marie-Françoise Lacaze at the Pau University (South of France) (1974-1975), of Pierre Schaeffer and Guy Reibel at the Paris Conservatory (1976-1977). In 1977 he joined the Groupe de Recherches Musicales (GRM). There, he learnt and practised all the technical skills linked to sound, thanks to a wide range of experiences, productions and encounters.
He has initiated many projects in the field of radio, publications and musical events including: the Electromania radio show on France Musique, the festival Présences électronique and the CD box sets « Archives GRM », « Bernard Parmegiani, l’œuvre musicale », «  Luc Ferrari, l’œuvre électronique ».
He currently is the artistic director of the INA GRM.
Since the '90s Christian Zanési has been composing from his home studio and drawing his inspiration from the poetic encounter with remarkable sounds.

Christian Zanesi - Stop! L'Horizon

Harry Bertoia's sculptures, beautiful collection

In the early 1970's Designer and Sculptor Harry Bertoia and his son Val, made hundreds of sound sculptures. These sculptures represent Harry Bertoia's formation of Sonambient®.

Sonambient® was Bertoia's term to describe the spatial and tonal environment created by these sound sculptures.

Harry Bertoia created these sculptures of different shapes, length and thickness in order to achieve a range of gentle and sharp sounds. He experimented as a way to seek harmonic balance with the metal, resulting in pure, unique tones.

When touched, struck or brushed, these sculptures became abstractions of sound as they sway and knock against one another. The sounds are organic and mysterious, as tones resonate and flow into each other.

The completed Sonambient® also consists of gongs and suspended sonic-bars. Within his renovated barn, Harry made more than 360 magnetic-tape recordings, some of which are available on CD in the Bertoia Studio Online Store.

Harry Bertoia Website

James Horner - Brainstorm (1983)

Getting extremely able assistance from the London Symphony Orchestra, Horner devises a score of classical, choral, and dissonant elements that melds perfectly with this film's story of a device that can transfer the thoughts, sights, and smells of one person to the mind of another, but is then used for sinister purposes by the government. 

I love that movie. First of course because of Christopher Walken, then for the soundtrack and soundmix. The music fit wonderfully with the etherial theme of Brainstorm. The listener is taken on a ride from suspense to sorrow to elation, all while in the gentle embrace of Horner's skill. It really is a shame that this CD is so hard to find these days, so i'm pleased to share my copy with you

/link in cover/
you also can buy it here from Varese Sarabande

Jean Tinguely (1925-1991) - '40 Degrees above Dada'

Tinguely is one of the most significant machine artists and a father of robotic art

He was part of the Nouveau Réalisme movement. A term coined by the French critic Pierre Restany in 1960 (in a manifesto of this name) to characterize the work of a group of artists who incorporated real objects (often junk items) in their work to make ironic comments on modern life. The Nouveau Réalisme movement was part of the vogue for assemblage and had affinities with Junk art and Pop art. Restany also recognized a debt to Dada—hence the title of an exhibition he held at his Galerie J in Paris in 1961, ‘40° au-dessus de Dada’ (‘40 Degrees above Dada'). In the following year another representative exhibition, entitled ‘New Realists', took place at the Sidney Janis gallery in New York. Yves Klein was closely associated with Restany in the foundation of Nouveau Réalisme, and among the other leading artists involved were Arman, César, and Tinguely

Bio

Jean Tinguely - Méta-Harmonie II - Tinguely Museum, Basel

I spent a lot of time to learn about concret music, pierre henry, Pierre Schaeffer, etc, during my studies in Paris ten years ago, and i still cannot believe his name was never mentioned in this domain in the sixties. Tinguely was more than just a 'visual' artist.

see more here

www.tinguely-jean.com

www.tinguely.ch

Dub Step Club! Bong Ra on Electronic Explorations

Linked by the friend Bong Ra dis week, a tastic mix of his last productions. Enjoy this podcast from electronic explorations!

117 – Bong-Ra

The Show July 26th, 2010

Podcast: Download (Duration: 47:58 — 91.8MB)

01. Megasaurus – Bong-Ra [Ruff 10]

02. Gargantuan! – Bong-Ra [Ruff 10]

03. Behemoth – Bong-Ra [Monster EP - Ad Noiseam]

04. Wormskull [Remix] – Bong-Ra [Dub]

05. Wormskull – Wormskull [Dub]

06. Woody Strode – Wormskull [Dub]

07. Nosebleed – Wormskull [Dub]

08. Yeti – Bong-Ra [Monster EP - Ad Noiseam]

09. Yeti [DJ Producer Remix] – Bong-Ra [Dub]

10. Charlie – Bong-Ra [Clash 013]

11. Ori Ede – Bong-Ra vs Deformer [Dub]

12. Ori Ede [Remix] – Wormskull [Dub]

13. Downers – Wormskull [Dub]

14. Droppin It Down – Bong-Ra vs Deformer vs Wormskull [Dub]

“Loads of new dubs, especially of my other new project WORMSKULL, and 3 piece metal/breaks project with Deformer and Balasz Pandi (drummer of Merzbow and Otto von Schirach).”
This mix is fucking mental, exactly what I want from electronic explorations   …… summer is here .. bring on the pummelling beats and high speed breaks

more @ electronicexplorations.org

New Job: Insect Vibration | Accelerometers | Mini Acoustic Chambers

>>BBB - Bay Bug Box<<
(Insect Stimulation & Recording System)

Insects are studied for many reasons including optimisation of their role in plant pollination e.g. Bees and in pest control e.g. Chrysoperla (Lacewing); In particular an understanding of their methods of communication is important if we wish to understand and eventually influence their behaviour. The BBB enables researchers study the low frequency vibrations that some insects use. The BBB will stimulate a specimen insect using a recorded vibration or sound and then allow the researcher to record the insects response. The system comprises: - • Personal Computer (Windows based) - Typically user supplied Control system • Vibration sensing probe • High gain low noise pre-amplifier • Power amplifier • 16 bit precision analogue to digital converter (ADC) • Loudspeaker Software system • Control excitation through the loudspeaker • Acquisition of the vibration • analyse the signals

Time History recording of the Chrysoperla (Lacewing); this particular example was recorded by our customer in India within a few days of receiving their first BBB.

The frequency of these signals is extremely low; typically between 30 – 125Hz. The amplitude is also very low as the insect is small it has limited capability to generate noise and or vibrations at these low frequencies. The “sound” when played through a loudspeaker will only be audible when amplified by 100+ times i.e. 40dB. The sound when the insect e.g. a Lacewing is on a leaf or in our laboratory “studio” will be inaudible.

Sample recording of a Lace Wing made with the BBB (.wav)

BLU! BIG BANG BIG BOOM! The new wall painted animation

 

"BIG BANG BIG BOOM:
an unscientific point of view on the beginning and evolution of life ... and how it could probably end.

direction and animation by BLU
blublu.org
production and distribution by ARTSH.it
artsh.it
sountrack by ANDREA MARTIGNONI

Search other Blu' posts for more

Ryoichi KUROKAWA

Ryoichi KUROKAWA : Rheo | 3 HD projection + 5.1 | 0:30:00 | Japan | 2008-2009

Concept, Direction, Composition, Programming: Ryoichi Kurokawa
Production: Cimatics - Co-Production: Maison des Arts de Créteil, Le Manège - Support: Canon Europe

Ryoichi Kurokawa is a young audiovisual artist from Osaka (Japan). He declines vibrant and refined universes through clips, albums, installations, and performances, where glitch minimalism breaks up and re-assembles in more complex and vertiginous structures. Some people think he's a visionary and genial artist while others consider him to be formal and technicist. You're forced to confront with his work: the continuous concentration on synaesthesia, the ability to make imagination fly and the scrupulous attention to landscapes and definition made Kurosawa's works a sort of official standard for the ones who wants to get closer to audio-video world.

Kurokawa was born in 1978 in Osaka. In 1999, he started creating video and sound work and presented audiovisual work, installations and screenings in various art, music and film festivals. At the same time, started performing live with his audiovisual cross-media concerts and released CDs and DVDs. He also performed live-visual for musicians such as HUMAN AUDIO SPONGE (ex.YMO: Sketch Show + Ryuichi Sakamoto). Kurokawa is invited to numerous noted international festivals and museums in Europe, US and Asia including TATE MODERN [UK], ARS ELECTRONICA [AT], MUTEK [CA] and SONAR [ES] for exhibitions, screenings or audiovisual concerts, and he continues to be an active presence on the international stage.

|||||||| RYOICHI KUROKAWA |||||||

So Good: The Ex + Brass Unbound UK Tour 2010

 

UK Tour * February 2010

A selection of reviews from the tour
Glasgow | Birmingham | London | Manchester | Liverpool

Here is extract from the Ethiopia Tour, in addis abeba, with Getatchew Mekuri, 2007

Support Them and buy their records! >>>> www.theex.nl <<<<

You can read a first post about The Ex & Tom Cora

Vladimír Václavek & Iva Bittová: Bílé inferno - White Inferno (1997)

Tom Cora, Iva Bittová, and Vladimír Václavek in booklet

Indies Scope Records MAM055-2 | 1997 | Selected APE | 168 MB
Genre: avant-pop, folk, etno, postrock, czech language
Czech singer/violinist Iva Bittová and guitarist Vladimír Václavek join forces in a sparse exploration of voice and sound. Joined occasionally by Tom Cora on cello, Frantisek Kucera on trumpet, or children's sing-song voices, this is primarily duets both stark and expressive.

After a few years passed collaborating with drummer Pavel Fajt, Iva Bittová teamed up with Rale guitarist Vladimír Václavek to write and record the beautiful two-CD set Bílé Inferno (White Inferno). The singer remains true to her stripped-down aesthetics, keeping arrangements sparse, letting the songs show their power with as little embellishments as possible. Václavek's acoustic guitar and vocals are often enough to accompany Bittová's sensual (and very creative) vocals and violin playing. Tom Cora may add a bit of cello, Frantisek Kucera a touch of trumpet, or children some singalong lines. The songs are long, repetitive in a way similar to nursery rhymes. The mood is kept quiet, Bittová often whispering in our ears the words of lyricist Bohuslav Reynek. The childlike playfulness of "Kdoule" and "Moucha," the more defiant "Vzpominka," the overdubbed vocals at the end of "Zvon" -- all constitute highlights. Each song seems to be the result of a labor of love between the two protagonists, no detail having been left to chance. And yet, spontaneity permeates the album, mostly thanks to Bittová's many groans, shouts, yelps, and other strange exclamations and techniques she derives from Eastern European cultures and the playground. For a double album, Bílé Inferno is short. The total duration of 77 minutes and 14 seconds would have fit on a single CD, but -- and even though the price of this Czech import gets beefed up because of the two-CD status -- the idea to split the set in two works wonderfully. Listened to as one big chunk, Bílé Inferno would sound a bit linear, become tiresome, and lose part of its appeal. Taken in two helpings, it is one stunning piece of art. The label Indies made up for the short duration with lavish artwork and photographs. This is the Iva Bittová record, timeless and essential to any fan of Czech alternative pop/rock.

part 1

part 2

Sound Design: Raymond Scott - Soothing Sounds for baby (1963)

Raymond Scott (born Harry Warnow, 10 September 1908 — 8 February 1994),was an American composer, band leader, pianist, engineer, recording studio maverick, and electronic instrument inventor. He was born in Brooklyn to a family of Russian-Jewish immigrants. His older brother, Mark Warnow, a conductor, violinist, and musical director for the CBS radio program Your Hit Parade, encouraged his musical career. Though Scott never scored cartoon soundtracks, his music is familiar to millions because of its adaptation by Carl Stalling in over 120 classic Bugs Bunny, Porky Pig, Daffy Duck and other Warner Bros. Looney Tunes and Merrie Melodies animated features. Scott's melodies have also been heard in twelve Ren & Stimpy episodes (which used the original Scott recordings), while making cameos in The Simpsons, Duckman, Animaniacs, The Oblongs, and Batfink. The only music Scott actually composed to accompany animation were three 20-second electronic commercial jingles for County Fair Bread in 1962.

Despite its title, Soothing Sounds for Baby isn't just for infants. When it was recorded, it was intended for babies -- but history has endowed this deceptively simple work with a broader significance. Had Scott known that this elemental music's appeal would continue as its target audience grew up, he might have entitled the series Sophisticated Sounds for Baby...


- - Released on three long-playing records in conjunction with the Gesell Institute of Child Development, Inc., Soothing Sounds... was intended to serve as an "aural toy" during the "feeding, teething, play, sleep and fretful periods" of infants in three distinct age groups. The original album notes stressed that a young child's sense of hearing is better developed than many people realize. Besides soothing infants, these recordings were intended to be "pleasantly stimulating." Babies like "new sights and new sounds," explained a booklet slipped inside the LPs. Music consists of vibrations, which babies also like -- "just vibrate baby's bed gently," the booklet noted, and "crying often stops." By approximating "the rhythmic tinkle of a music box" and "a ticking watch held close to [the] ear," Soothing Sounds for Baby provided a "quieting" atmosphere of relaxation, warmth, and contentment. 

(1963) Soothing Sounds For Baby Vol. 1 (0 - 6 Months)

(1963) Soothing Sounds For Baby Vol. 2 (6 - 12 Months)

(1963) Soothing Sounds For Baby Vol. 3 (12 - 18 Months)

So Relax. Listen closely, as a baby Or don't. In a world fraught with tension and insecurity, we trust you'll find Raymond Scott's gentle melodies and childlike rhythms to be soothing companions.

/link in covers/

Digital Hardcore: Shizuo VS. Shizor (DHR LP 7 - 1997)

Country: Berlin, Germany
Style: Breaks, Noise, Breakcore, Experimental
Format: Mp3
CBR: 44.1Khz, 320kbps.

Ugly underground cover for a fantastic old school record. Shizuo was the Digital Hardcore Recordings manifestation of David Hammer (born in 1973, in Berlin), with occasional vocals and an animated stage show by Annika Trost. Their 1997 album Shizuo Vs. Shizor wowed critics with its giddy, crazy blend of punk rock electronics. During the popularity with Shizuo's music, David also started a band with Annika and Razi Barakat called Give Up (Razi had earlier been featured on The Cramps cover song "New Kick"), but the band later broke up after the 1997 DHR tour due David's heavy usage of LSD, as a serious disagreement with creative differences led to David legitamely attacking Razi half way through their set.[citation needed] The two would never collaborate again, as both were interviewed about the incident in the short lived DHR fanzine.
Hammer's last release under the Shizuo alias was with the self released vinyl Shizuo No.1 in 2000. He was last seen playing guitar in a Berlin based band called The Nothings. Trost now performs solo or with Cobra Killer. One of the best of my breakcore' classics. Where are you Shizuo?

/link in cover/

DRUMS: Dylan Elise

 

 

 Dylan Elise performing at the Tauranga National Jazz Festival in New Zealand

Some parts are close to noise or digital speedcore. Amazing High beats & improvisation
Wish you good luck for midi programmation josh ;)

The Summer is Now: Wevie Stonder - Eat your own Ears (1999)

Open your window, and listen to this. Bricolage, Collage, all in a funny way and reactive melodies. close to stock hausen and walkman, but not so. One of my classic collage pop again.

/link in cover/

Nomex Live at Datacide + Cagliostro Soliparty Berlin 14.05.2010

"Those works created from solitude and from pure and authentic creative impulses - where the worries of competition, acclaim and social promotion do not interfere - are, because of these very facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade." - Jean Dubuffet.

nomex.adverse

discography

praxis.ithinkmusic.com

Fine Tuning: Future Is Not What It Used To Be - Erkki Kurenniemi

erkki kurenniemi - ÏÅnityksiÅ 1963-1973

Bio

The most ambitious of Erkki Kurenniemi's projects was the series of digital synthesizers, called DIMI, in the early 1970s. For example, Kurenniemi's video synthesizer DIMI-O (1970-1971) converted any movements recorded by the video camera into real-time sounds and music. DIMI-S (also known as the "Sexophone") was able to generate sound and light by contact with the skin, reacting to the emotional state of the performers. Kurenniemi created the first commercially manufactured and marketed microcomputer in 1973, two years before the American MITS Altair 8800. Nowadays many of the Kurenniemi-created instruments are in the possession of Swedish collector Ralph Lundsten, the owner of Andromeda electronic studio.

Dimi-S Schematic 

Mika Taanila has directed a documentary film on Him. The title is "The Future Is Not What it Used To Be", premiere November 2002, and it is accompanied by a compilation of Kurenniemi's previously unpublished electronic compositions from the 1960s on Love Records. A DVD version (June 2003) entitled The Dawn of DIMI contains the documentary, plus Kurenniemi's various short films and animations and concert footage from the early 70s.

Extract from the dvd Erkki Kurenniemi -- The Dawn of Dimi DVD (2002)

 Here is an extract from Pan Sonic + Carl Michael von Hausswolff + Erkki Kurenniemi -- live @ Kiasma theatre, Helsinki, Finland 21-10-2002. 

or "how to be payed 3000$ in a museum to play with a microwave"

/link in cover/

Mouse On Mars - Instrumental LP (1997) & Live Session

Mouse On Mars. I used to love and listen that band so much in the 90's. Various differents post-dance-no-style-electronic-noise-experiments, from pure ambiant, gliches, noise to ultrabeats, always in personal approach, and nevertheless "musical" way. Totally in accords to my listenings of guys like squarepusher evolution, Oval, Aphex, Bogdan, wabi Sabi or Stock, Hausen & Walkman at the same times., far from my Noise listenings. When experiments in electronic music was a school to follow, not making claim to distinction. Some tracks were really part of my life playlist, and keep on. Some of  the Instrumental Lp. Take it here

St. Werner and Toma are childhood friends who were born on the same day, in the same hospital. Their first album, Vulvaland, was released in 1994 on the british record label Too Pure. This is considered their "straightest" and most focused album, mixing ambient and techno. Their second album, Iaora Tahit, has a much more playful feel and encompasses a wider variety of electronic dance genres. Read more

Extract from a liveshow in 2000. A blast compared now to the (now) laptop Era. Something to ear, to see, to feel. Improvised and remixed.

If u liked this or knew from them already, i suggest you to listen to that live recording here did in 2000. Different approach of some hits, with bass, drum and electronics, really close to their peel session. Nothing compared to what they do now, unfortunatly..

More info:

Higher Frequency interview (August 2004) 

Mouse On Mars Biographical Short: "Mouths On Lamaze" (February 2009) 

Junkmedia interview (November 2004) 

PopMatters interview (December 2005) 

Radio interview with Mouse on Mars and Lætitia Sadier of Stereolab

Automatic String quartet , by Frank Pahl

Four ukuleles, one toy organ and minimal percussion provide the rhythm and ambience for a Brian Eno inspired composition. The quartet is sequenced by a microcontroller and triggered by the opening of the score (a mercury switch is embedded on the first page of the score). I believe the motors are 60 rpm, hence the tempo.

For more, visit playgallery.org, UM School of Art & Design's gallery for time-based work.

TV from the late 80s: Christian Marclay on Night Music

I guess nothing to compare to our today-streamed-extra-HD-16/9-super-mega-pixelled-&-digitally-surrounded-8:1 TV programs, French tv music pre-dead dinosaurs guests & M(arketing)TV gagaz, Cold play posers or greenday clones. Technical progress is something. Ethics would have been able to be the key. Or when the passion is swallowed by a market.

Following, an interresting french interview of Marclay, during the french  "Mange Ta Ville" (Eat Your Town) festival. Talking about "The Sounds of Christmas",an  interactive sound installation, where Marclay invited some local djs and friends to remix about 1500 christmas songs old vynils on turntables.

For more, you can check a first post ive made about him here

cheers 

Sound design: The Sound Of Rain

Zimoun : 97 polysiloxane hoses 3.0mm, compressed air, 2010 on Vimeo.

A way to think how to make sounds with puredata. How a rain sound, or fire synthesis , is made of different frequencies & elements.

Check here to know more about it on obiwannabe.co.uk
Also great explanations about fire synthesis here
cheers,

Sound Design: Andre Michelle

Starting 1998 in Flash 4 as an autodidact, Andre Michelle repeatedly pushed the limits of Flash possibilities.

I've discovered him when he used to work on Audiotool 1.0, an online music application entirely developped in Flash.

pulsate

Click to create at least two circles.
Listen to the tunes they make.
Press Space to clear them all.

superellipse

 A 3D Sound-visualizer based on research byPaul bourke and the wonderful music by Alva Noto & Opiate.

tonematrix

Simple sinewave synthesizer triggered by an ordinary 16step sequencer. Each triggered step causes a force on the underlaying wave-map, which makes it more cute.

 If you wanna get more or source codes, please check his website

Monsieur Deleuze: L'Abécédaire (1996)

The eight-hour series of interviews between Gilles Deleuze and Claire Parnet, filmed by Pierre-André Boutang in 1988-1989. The individual episodes are "A comme Animal," "B comme Boisson," "C comme Culture," "D comme Désir," "E comme Enfance," "F comme Fidélité," "G comme Gauche," "H comme Histoire de la philosophie", "I comme Idée, "J comme Joie", "K comme Kant", "L comme Literature,"M comme Maladie,"N comme Neurologie", "O comme Opéra", "P comme Professeur", "Q comme question," "R comme Résistance", "S comme Style","T comme Tennis","U comme Un", "V comme Voyage", "W comme Wittgenstein, "X & Y comme inconnues," "Z comme Zigzag"   PART II

Soundtrack: Lost Highway (1997)

With David Lynch serving as executive producer, we get one of the finest soundtracks ever put together. The soundtrack opens with David Bowie performing "I'm Deranged" (which the film's credits opened up to), and while it may sound a little techno (compliments to Brian Eno), it is still Bowie, and this song helps to forever cement him as the king of cool. Nine inch nails's "Perfect Drug" fits the tone of the film like a glove, just try to resist the urge to sing along with the catchy chorus. The Smashing Pumpkins' mournful-esque "Eye", which may be one of they're best songs. Lou Reed's rendition of "This Magic Moment" is a tad disturbing, while Marilyn Manson contributes "Apple of Sodom" and an excellent rendition of Screaming Jay Hawkins' "I Put a Spell On You", and we also get a few selections of barry adamson's grooves, all of which are sandwiched between orchestral compositions from Angelo Badalamenti. A must have for the fans of the film.

/link in cover/

Snake fire-escape graffiti

Zadcat snapped this superb graffiti in Montreal's Chinatown

Free Softwares

You say u search a way to make your own music but you dont have a $ in your pocket?

Now, no excuses!

Audition   

Reaper   

Sonic Visualiser   

Soundhack   

Spear   

Pure Data [PD] 

  

Free!

CODEORGAN

www.codeorgan.com

Street art: Obey, work in progress

>>> Obey Giant <<<

wikipedia

Beat Boxer

Mr Mike Glozier Play Mr GEntleman Aaron Funk Aka Venetian Snares 

The drummers become, in parallel to digital technology, better and better and millimetre-length addicts. 

Dance? Sound Design? Visuals? Noise? Hiroaki Umeda!

I saw Hiroaki Umeda yesterday at CTM transmediale Festival in Berlin.
Except a little baby in the audience who did not appreciated the super high frequencies part, it was so fresh and amazing that I've decided to post something about it, and will probably included some sound parts I've recorded (stoled) with my little and so handy shave unit Q3.

In few lines, Hiroaki Umeda has earned a reputation as one of Japan’s most exciting dance artists, using lighting, projections, self-created music and a powerful dance technique to create striking solo dance pieces.

Born in 1977, he studied photography at Nihon University and began dancing at the age of 20, having trained in classical ballet and hip-hop. In 2000 Umeda founded his own company, S20,  and has showcased his work at cutting-edge dance festivals in Korea, Japan), Italy, France and Canada. while going to a condition, which will be presented at the PuSh Festival along with Accumulated Layout January 22-24, has been described  as “a visual and sensorial experience . . The discovery of a young artist, both original and promising.”

 

Hiroaki Umeda - Adapting for distortion

Bringing elements of hip hop, ballet and butoh, Umeda has said in interviews, “there are no conceptual themes in my shows, which I empty of everything that might constitute a meaning”. Alternating between stillness and frenzy against a background of projected images and a cacophony of sounds, Umeda constructs meaning out of chaos, disorientation and sensation.

He currently lives and works in Tokyo.

more @ www.hiroakiumeda.com

The Loudness War Analyzed

Recorded music doesn’t sound as good as it used to. Recordings sound muddy, clipped and lack punch. This is due to the ‘loudness war’ that has been taking place in recording studios. To make a track stand out from the rest of the pack, recording engineers have been turning up the volume on recorded music. Louder tracks grab the listener’s attention, and in this crowded music market, attention is important.   And thus the loudness war – engineers must turn up the volume on their tracks lest the track sound wimpy when compared to all of the other loud tracks. However, there’s a downside to all this volume. Our music is compressed. The louds are louds and the softs are loud, with little difference. The result is that our music seems strained, there is little emotional range, and listening to loud all the time becomes tedious and tiring.

Suite here @ musicmachinery.com 
TT DYNAMIC RANGE METER VST-Plugin & TT DR Offline Meter> here

All we have is Noise! Alvin Curran - Canti E Vedute Del Giardino Magnetico (1974)

ANANDA
ananda N. 1 Vinyl LP 1974

Composer Alvin Curran (born December 13, 1938) is the co-founder, with Frederic Rzewski and Richard Teitelbaum, of Musica Elettronica Viva, and a former student of Elliot Carter. Curran's music often makes use of electronics and environmental found sounds. He was a professor of music at Mills College in California until 2006 and now teaches privately in Rome, Italy, and sporadically at various institutions. Since 1996, Curran has worked on a growing series of solo piano pieces entitled Inner Cities.

Rare original copy (and insanly expensive) of Canti E Vedute Del Giardino Magnetico (1974), that has to be considered the Alvin Curran's most lyrical collage, scored for for tape, voice, flugelhorn, synthesizer and tape of natural sounds (wind, high-tension wires, frogs, beach waves, etc). "Though I have been making music for some time, "Canti E Vedute Del Giardino Magnetico" is for me like a first piece. It marks a radical departure from the previous 7 years of experimental and collective music making with the group MEV and it signals my beginning in the strenuous role of a solo performer-composer.I recorded and engineered (often while playing) by myself, using Schoeps condenser mics, an AKG D 224 (flugelhorn) and an RCA 77 DX (voice) into a mixer by Livio Argentini and a Revox A 77. Instruments heard in order of appeareance are: Synthesizer (SYNTHI A), Amplified cymbal, my voice with glass chimes, flugelhorn with Harmonicas and jews harps and the voice of Margherita Benetti singing an Emillian folk song. On side 2: synthesizer with African thumb piano (Kalimba), metal chimes and corrugated plastic tubes" Alvin Curran.

"Though I have been making music for some time, CANTI E VEDUTE DEL GIARDINO MAGNETICO is for me like a first piece. It marks a radical departure from the previous 7 years of experimental and collective music making with the group MUSICA ELETTRONICA VIVA and it signals my beginning in the strenuous role of a solo performer-composer…"  Alvin Curran

Website

Philippe Sarde, Le Locataire Aka The Tenant (Polanski, 1976)

Here is the soundtrack of The Tenant. Perhaps Polanski's most personal work and the more atonal original soundtrack from Philippe sarde.

Darkly witty nightmare starring the director himself as a Parisian office worker who moves into an apartment recently vacated by a suicide victim. As he idly asks around about what happened, Polanski inadvertently irritates his friends and neighbors, who complain that the timid little man is too brash. The Tenant’s tone of abstracted anxiety is distinctive, and its central message, that the obnoxious define the world for everyone else, provides another tile in Polanski's career mosaic of paranoia and power brokerage. 

Key composer of the 70s and 80s French cinema, Philippe Sarde is a fantastic chameleon, entirely devoted to the film vision of a director.  He has composed music of an astonishingly wide range and at an amazing rate. Some critics find his body of work devoid of an overall style or personal imprint, but that is Sarde's intent. For Sarde, the music evolves from the film, from the director's idea of the film and his directorial style. Consequently, his musical compositions are as diverse as the films he scores.

Read more about Philippe Sarde & his discography here
/link in cover/

Time Lapse: Suite

3:06 a.m.Calma while searching for some pics for some new animations. Hands work / da key.. 

If u didnt check already my older post about Blu art, its time to do it here.

Andrea y Screw, Monterrey, Nuevo León, México

Augustine Kofie. another brain, & structures, for pleasure.

please visit his website to see for more material and nice music.

keepdrafting.com

Collected works of Augustine Kofie