Jan 29, 2010

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

Jan 20, 2010

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

Jan 15, 2010

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

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


Jan 13, 2010

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/

Jan 7, 2010

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.
Collected works of Augustine Kofie