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Found 11 results

  1. Reinhold Weber, born in 1927, was known as a pioneer of electronic music. In his compositions, Weber placed a focus on twelve-tone music, he became increasingly fascinated in the field of computer music since the 1970s. He produced numerous works at the Studio for Electronic Music at the University of Karlsruhe. Released in our Early Electronic series released March 4, 2022
  2. The complete works of one of the pioneers of Belgian early electronics. This 3CD set highlights Leo Kupper's earliest unique compositions produced during the 60's to 90'swhen he was ardently seeking out structures distinctly applicable to purely electronic sounds. His GAME machine - Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) was constructed during such period and spirit of renewal and technical exploration. Released in our Early Electronic series credits released January 30, 2022 Leo Kupper was born in Nidrum, Hautes Fagnes (Eastern Belgium) on the 16th of April 1935. He studied musicology at the Liège Conservatory, then became the assistant of Henri Pousseur who, in 1958, had just founded the Apelac Studio in Brussels. Kupper started to work on his first pieces there, but he would finalize them only upon putting together his own studio in 1967: the Studio de Recherches et de Structurations Electroniques Auditives (which means 'studio of audio electronic research & structuring'). That is where he would compose, to this day, over forty works, most of them on instruments of his own design. In the '70s and '80s, he built a series of Sound Domes (briefly established in Rome, Linz, Venice, and Avignon), places where every sound, every phonem uttered by the listening audience was transformed by hundreds of loudspeakers of various sizes organized in a dome shape. This device transformed sounds through space AND time: something said could be morphed into another sound hours, days, perhaps years later. Leo had envisioned that a device like his, a place for contemplation, would be much-needed in cities where Nature had been evacuated. In the late '70s, after discovering Iranian music master Hussein Malek, Kupper became one of the very few Western virtuosos of the santur. His first pieces were released by Deutsche Grammophon and, later, Igloo. His latest works have been released by the New York-based label Pogus. The GAME machine In 1961, having terminated his musicology studies, Leo Kupper left Liège for Brussels. By that time, centres for music research such as those in Cologne, Paris and Milan had already produced works of experimental music, where pioneers were forging new and diverse routes in electronic music, 'musique concrète' and electro-vocal music. The GAME machine - Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) was constructed during such period and spirit of renewal and technical exploration. The GAME consisted of a collection of variable 'sonic cells' sensitive to modulations of positive and negative voltages and programmable manually through the aid of colour-coded cables. Complex electronic loops and sound from loudspeakers and from microphone pick-ups were then either recorded by tape-machines or performed and interpreted by musicians who opened automatic channels, thus triggering automatic sound to exit the speakers. This in turn penetrated the machines by means of microphones and was replayed. Here then was an entirely new way of playing a musical instrument and how the works here were composed and performed.
  3. If you don't know Xenakis, you should. Extremely highly recommended.
  4. A new box set focuses on the electroacoustic works of revolutionary Greek composer Iannis Xenakis (Resident Advisor)
  5. http://www.inagrm.com/parution-cd-bernard-parmegiani-matieres-premieres After Bernard Parmegiani's passing in 2013, his wife commissioned the GRM for the preservation of his tapes that weren't already put into digital. They found 3 finished pieces from circa 80 which make the first disc (one of those, "L'écho du miroir", featuring Michael Lonsdale speaking as he was lost in a sort of labyrinth, supposed to be inspired by the work of M.C. Escher), and 30 "matières premières" which found their way on the second. Hearing those works in progress let us wonder that he had still so many things in him for the future...
  6. At under15$ per night I will not miss this! Can't wait!! https://www.lfttckt.com/tickets/lfttkt-casa-1470668344-18962 https://www.lfttckt.com/tickets/lfttkt-casa-1475784287-19210
  7. Out today, an album that came out of a live collaboration for Sardinia's Spaziomusica festival by myself and fellow Irish producer, Munich based Ian Fleming. The music combines electroacoustic, spectral and found sound techniques with analog synths and techno elements that frequently fall off-grid. It's a ten track album with 62 minutes of free custom video (dropbox links) for the price of a pint and some dry roasted peanuts (or salt and vinegar peanuts- who I am I to say?) Your support would be very welcome. https://tombolaproject.bandcamp.com/
  8. http://delyria.bandcamp.com/album/ported 01. Semicircle 02. Sixfifteen 03. Grasp 04. Sprockets 05. Incidental 2 06. Psych Terrain 07. Internal Review 08. Overtrax 09. Temp Wash (Incidental 3) 10. Point of Impact 11. Incidental 4 12. Semicircle 2 13. I Can Finally Rest Created over the course of more than two years and while living in three different cities across the country, this album brings together a wide variety of sounds and styles ranging from the subtle to the hyperactive. Using a deep love of both natural and synthesized sounds, it will take you through an exploration music leaving you either ready to relax, or ready to get down. From the funky beats of Sixfifteen, to the meditative Incidental 4, to the frantic explosions of Point of Impact, this album is sure to leave you aurally satisfied. released 01 October 2013All music written, recorded, mixed, and produced by DeLyria. Free music for all you lovely WATMMers. And whoever else. I hope you think it's quite good. Cheers!
  9. Long awaited 2CD from an unsung hero of contemporary experimental music is finally out. I think there might be a few takers for this on WATMM. Copy pasting one of the most on-point album descriptions I've read all year: Buy: http://www.23five.org/publications/gpark_sub.html Listen: https://soundcloud.com/23five/g-park-stack-from-the-2cd-sub Watch: https://vimeo.com/60370355
  10. New podcast: MEMORABILIA. COLLECTING SOUNDS WITH... Kees Tazeelar. Part I Link: http://rwm.macba.cat/en/research/memorabilia_kees_tazeelar/capsula Playlist: http://rwm.macba.cat/uploads/20130311/Memorabilia_Kees_eng.pdf Produced by Roc Jiménez de Cisneros and Rubén Patiño For several years, Kees Tazelaar (1962) has been the head of one of Europe’s most important electroacoustic music archives, but he shies away from the label collector. As he explains, his interests are informational rather than exclusive, and he has more of an archaeological urge than an urge to completion. Tazelaar's artistic and academic career is closely linked to the prestigious Institute of Sonology in the Netherlands, one of longest-running research and production hubs on the European electroacoustic music scene. The Institute, which has been based at the Royal Conservatory of The Hague since 1986, was born from the ashes of the Philips Research Laboratories in Eindhoven in 1967, and inherited an extensive collection of tapes by electronic music pioneers in the Netherlands. As a result, the archive is an interesting snapshot of the burst of activity and experimentation that took place mid-century – not just in the Netherlands but also in many other studios around the world – under the auspices of universities and private labs (Bell, IBM, Philips), during a fascinating period of transition in which industry research into acoustics mingled with the early milestones of electronic music. A composer and teacher (lecturer in Sonology since 1993 and Director of the Institute since 2006), Kees is also known for his work on the restoration and conservation of essential works of twentieth century electronic music. He has participated in reconstructions of works by Gottfried Michael Koenig, Jan Boerman (who taught him composition), Iannis Xenakis, György Ligety and Luctor Ponse, although his star project remains Edgar Varèse's 'Poème Électronique'. As an artist, restorer, administrator of the Sonology archive, and an expert in all things related to the history of the legendary 1958 Philips Pavilion, in this interview Tazelaar discusses the challenges of restoration, the limits of intervention and the concept of artistic responsibility in reconstructions, the importance of the medium and its maintenance, and digitalisation. And although he inevitably ends up circling back to the word collection every now and then, there’s no doubt that he uses it in the open rather than restrictive sense. Tazelaar’s approach is ultimately pedagogical, closer to the test tube or the microscope than the butterfly net or auction house. As we can see from ambitious restoration projects such as 'Popular Electronics: Early Dutch Electronic Music From Philips Research Laboratories' (1956 - 1963), his 2004 four-CD project that unearthed forgotten and unreleased works by the pioneers of early Dutch electronic music, Tazelaar does not stop at creation and dissemination, he also sets up links between generations which would otherwise probably remain cut off from each other. You can find the complete series here: http://rwm.macba.cat/en/memorabilia_tag/ You may also be interested in the following podcasts: MEMORABILIA. COLLECTING SOUNDS WITH... Kenneth Goldsmith. Part I Kenneth Goldsmith, founder of Ubuweb, takes us on a journey through his personal history as a collector of sounds that spans from his childhood to adult life and the creation of Ubuweb. Link: http://rwm.macba.cat/en/research/memorabilia_kenneth_goldsmith/capsula SONA #168. Wolfgang Ernst reflects on the possibility of going beyond the concept of the archive by exploring some of the practices around what is now being called the 'anarchive'. Link: http://rwm.macba.cat/en/sonia/wolfgang_ernst/capsula
  11. http://etherkreet.bandcamp.com/album/p4
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