d-a-m-o
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Posts posted by d-a-m-o
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8 minutes ago, Stickfigger said:
I'd love some livesets but can't see them releasing anything until after the circuit is done, like usual.
Yes , maybe they're still working on it and modifying it ? Guess we'll know more by the end of the year !
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Do you think they'll play live by the end of the year ? We know they have a live set ready, will they choose to release it because of the impossibility to play live in 2020/2021 ? Sean pls, Rob pls...
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Aside from cultural / historical stuff, Paris is a hellhole. This is getting worse day by day since the 90's...
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14 hours ago, KovalainenFanBoy said:
the way out
This.
x 1000.
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10 hours ago, nikisoko said:
i have a feeling there is a mistake here. for one thing i’ve never heard anything that sounds like a synth i in their music and it’s never come up in a gear list. this looks like photos of multiple setups that were going to play the same night
Yes this set of pics was posted on the Skam instagram a while back.
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Birthday party in LA ?
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Some of my fav artists of recent years, hyped.
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lol at the level of hate...
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❊ Music for Synthetic Piano and Assorted Electronics ❊
Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.
Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis.
As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument [one of these can be seen on the rear cover of the LP release]. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work.
Piano Music 1-7, subtitled ‘Music for Synthetic Piano and Assorted Electronics’, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, ’In writing electronic music,’ Robin Mackay once wrote, ‘you also have to direct the invention of new tools.’
At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow’s investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.
Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, ‘. . . What emerged from this fog or soup [for me] were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.’ -
24 minutes ago, Silent Member said:
Well that sucks, his music is great. Never would've expected anything like that from him judging by the music.
this.
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What about the sound design aspect of their tracks ? Do you think at this point this part of the work is mixed with the rest ? Are they focusing on sound design before going further with the process ? Are they picking a certain synthesis / sound design technique for a release and exploring that direction ? (like with FM in Oversteps ?)
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Siren Spine Sysex, Proc Fiskal's second album sees a reorientation of the source elements of his music. While Insula hung around samples of the ramblings of his friends and sounds of his hometown, SSS is laden with an inner voice of sampled Gaelic, Irish and English Folk Music, contorted and imbued into the futurist body of modern pop; the ghostly anima image of the female folk voice, the lamenting wheeze of the accordion rub against the rush of icey 808s and angles of Grime.
Proc Fiskal aka Joe Power’s family history is in Folk Music, his paternal grandfather Archie Fisher was active in the Scottish Folk revival of the 60s, his grandfather Al Fraser a Bagpipe player & his great aunt, the singer in iconic children's Folk group 'The Singing Kettle'. It's this cultural baggage, the ’Caledonian antisyzygy’ of the constructed, earnest folk tradition he was raised under, beside the modernist dance music he makes that brings a personal element to the album. The music of Siren Spine Sysex examines dance music as folk music, rerouting them comparatively.
His productions were also inspired by the music of The Cocteau Twins, The Roches and Kate Bush, the prominent chopped and screwed Gaelic vocals, like Elizabeth Fraser cut into a UK Garage Lilt - their wordless emoting echoing into joyous twisted pop songs like '8 megapixel phone' and 'Leith Tornn Canal'."
Even though it's fast and detailed, Siren Spine Sysex feels relaxed and pastoral at times. The sino-grime present on Insula are here alongside more folk oriented elements, but the edits and drums are more sensual, swelling and reactive to the music. The album's texture is also influenced by the FM synthesis of computer games and wacky soundtracks. Siren Spine Sysex feels warm, inviting and sunny, exciting thoroughly modern album as well as a manic dissection of personal and cultural baggage.https://procfiskal.bandcamp.com/album/siren-spine-sysex
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listened to it this morning, great stuff.
now playing thread
in Music Discussion
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