Draft78
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Everything posted by Draft78
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CD is also a fetish=no players anymore. I freely indulge. Say “yes”...and don’t open it. CD is probably the cheapest, most convenient way to listen to an album on the stereo. sure, you can plug your mp3 / 'high-res' audio player into the receiver, but CDs are easier / sound better. same with playing music in a car -- a CD (provided you have a player) sounds better than plugging anything into the AUX jack. it's a convenient medium. also, tons of music is released on CD, where there's no vinyl version. probably what you say is true, but leave out the profound meaning of the operation: eradicate the rational sense, make an obvious crap, and feel completely asshole. Take off these three instances, and what is left of me? so: vinyl.
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This is a great album. =D I found this advice on the internet by chance, and I still have to realize how much it represents a rare event. I'm literally sinking into these eight pieces. Chris Douglas is responsible for other projects too, which I have yet to investigate, but I have reason to imagine that they are all interesting: https://cataclyst.bandcamp.com/album/liesma https://touchinbass.bandcamp.com/album/vestiges-compiled-dats-92-00-adf-v1
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CD is also a fetish=no players anymore. I freely indulge. Say “yes”...and don’t open it. I can proudly say that, by committing the same identical crap with other people, the feeling of well-being is transformed into a real, impressive catharsis! Sean, Rob, seriously: now that we have invested all our savings into something we can never listen to, could you come and play in accessible places (I am tired of flying to Poland), possibly in an adequate space? Thank you.
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Scald Rougish ( Chris Douglas ) https://icasea.bandcamp.com/album/bytreqw
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For years I've decided to get rid of fetishes. Vinyl is a fetish. The fetish, with its liturgy, serves to instill a frivolous sense of security. The fetish is near the Horror Vacui. Yet, like a real jerk, this time I bought the vinyl box. The god of the vacuo possessed me. Substance and form intersected and I put myself prone. I have not turned on the record player for at least 7 years. Sometimes it's good, feeling assholes.
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The enigma of declaring an enigma without there being any causal enigma. I thought the "?" was a nod to fans' confusion RE whether NTS is an album, EP, etc. But it is clearly an ep! Isn't it?
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so, now, instead of enigmatic graphics, TDR puts question marks directly in the graphics. The enigma of declaring an enigma without there being any causal enigma. I'm shorting.
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Dial... the melody satisfies me sexually.I have always found a relationship (perhaps desired) between the growing scale of the Dial's motif and the Ligeti's . But no one has ever given me the pleasure to say "good, you've hit the center" I remember them saying in the AAA that it was a Shepard tone experiment. Indeed, the Ligeti Devil's Staircase is - in turn - a Shepard-scale experiment. Ligeti, Rob ... they all must have happened, by chance, on this tutorial...
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Dial... the melody satisfies me sexually. I have always found a relationship (perhaps desired) between the growing scale of the Dial's motif and the Ligeti's Devil's Staircase. But no one has ever given me the pleasure to say "good, you've hit the center"
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Sean or Nosferatu ?
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1200px-Nosferatu_Kinski.jpg
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agree for shimripl casual... can it have some genes in common with String Of Pearl remix? The supporting notes of the melody (on the high tones) seem similar to me, even if in the case of Shimripl it's distant, made ambiguous by the sidereal reverb..
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alas, legend has it that optimism is on the bottom of Pandora's box
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for confusing reasons related to different fonts, I wrote the post on Barbadoro's "Musica Automata" in white ... I realized, right now, that if it is displayed without logging in, the white font stands out against the white background: in other words, it is not possible reads nothing. I place the same text below, inviting the administrator to cancel the previous ones, to avoid redundancy: Recently, in Florence, I met this guy (Leonardo Barbadoro), who has been working from many years on a project where he is composing a work entirely played by "robots" (real digitally acoustic controlled instruments... but i think that tha name of Logos Foundation it's not new here). The songs have a structure so unpredictable and polyrhythmics, which made me think of the cover of Cfern. If the recording is still in progress, there are no songs on the net, but if you listen to the music that accompanies the video, you can definitely get an idea: https://kck.st/2wWMQgQI must say, anyway, that the pieces I had the pleasure of listening to, are rhytmically more abstract and recklessly than this specific example, founded essentially on a crescendo....
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the seventies never cease to surprise for the spiers of modernity that arrive in 2018 as if they had just appeared. As an enthusiast of experimental animation (Czech Republic and Hungary have given us the most penetrating authors: Jan Svankmajer, Ferenc Rofusz, Jiri Barta , Jankovics Marcell...) I wondered how it was possible that, until today, I had never heard of Piotr Kamler (Polish). What is most surprising, looking at Piotr Kamler works, is the attention to the soundtrack, which transforms the relative static nature of the images into an alienating journey with obscurely metaphorical implications. So I went to investigate, and I find that, from time to time, the sound was treated by an electronics giant... some examples: Delicious Catastrophe (Robert Cohen Solal) La Pas (B. Parmegiani) Chronopolis (here, Luc Ferrari, overcame himself, with a balance between melody and soundeign. The opening song reminds me, in some way, Rpeg, enriched by slowdowns and aleatory jokes) Luc Ferrari's soundtrack work has been entirely published : Luc Ferrari Complete Music For Films 1960 - 1984 I also point out this finding with Parmegiani at work: https://blogthehum.wordpress.com/2017/05/20/bernard-parmegianis-lecran-transparent-the-transparent-screen-1973/
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^ ... I've been away for a long enough period ... now I have to catch up with the job
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Maybe I'm noticing something, now obvious, but I have to admit that only now I realized that Shimripl Casual appears - almost entirely - in aeonesix: take for example Helsinki, around 13
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for reasons known only to intangible goods of technology, in the post is finished a sentence in Italian without any relevance: "boy è per i bambini" !? It is a pleasure to discover that the first traces of free will of computers appear as a principle of senile dementia...
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Recently, in Florence, I met this guy (boy è per i bambini) (Leonardo Barbadoro), who has been working from many years on a project where he is composing a work entirely played by "robots" (real digitally acoustic controlled instruments but I think the name of the Logos Foundation is not new to anyone). The songs have a structure so unpredictable and polyrhythmics, which immediately made me think of the cover of Cfern played by Alarm Will Sound. Since the recording is still in progress, there are no songs on the net, but if you listen to the music that accompanies the video I found on the project page, you can get an idea: https://kck.st/2wWMQgQ I must say, however, that the pieces I had the pleasure of listening to, are rhytmically more abstract and recklessly than this specific example, founded essentially on a crescendo.
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I'm not sure that this is the right place to post this link, after all it's the graphics of a live (tallin - 2016), there is not a post that collects graphics intended only for the media, and it seems excessive to open one only for this. At the same time it seemed to me sufficiently well done, to deserve at least one report: https://www.behance.net/gallery/52857275/Autechre-Live-Tallinn ps: the fact that i decided to put it in the AE_LIVE section I think means, according to a Freudian criterion, that at the unconscious level I still have the conviction that aeonesix will soon be published
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that trombone solo on peal MA... what trombone solo? ...i intrigued by that nervous melody, just suggested, starting at 6:00, and then appearing and disappearing for just over three minutes. But i don't find the trombone...
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^^ !!Finally someone who pulls out balls!!
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ps: at 44:36 we can find the father of Steels (quaristice)... or maybe it would be more correct to say that Steels is a cover?
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We all know very well Parmegiani and the influence it exerts on the two friends to whom this sub-forum is dedicated, so it might seem pleonastic to propose "La Creation Du Monde" again, but what I place here is a version adapted for acusmonium. I was present at the event, and I can say that what I felt was not far from what I felt with Onesix, live. I advise everyone not to pay attention to visual, and to enjoy this adventure of an hour and fifteen, preferably with headphones: http://www.ursss.com/2018/04/bernard-parmegiani-andrew-quinn/ ... how strange it is to note that the creative peak of the most influential electronic duo, in 2018, after a journey of 31 years, has as its objective something very similar to what was done before the journey began. After all, I can confess that if La Creation Du Mond did not exist, and this was one of the NTS sessions, I would have come out enthusiastically. Probably you too.
