Wednesday, October 31, 2018
Monday, October 29, 2018
[via Robin Carmody]
guy behind it was the guy behind
went from copying Roxy to jostling alongside the synthy children of Roxy like Visage
a tenacious fellow, adjusting to the times and coming again Nineties style with the "poetic-techno" of Noir
(is this trying to be Underworld or something?)
i'm drawn back compulsively to the atrocity that was
Wednesday, October 24, 2018
cor, what a great tune
such crisp drumming, so much intricate space, that glistening luminous bassline, all the gorgeous little flickering riffs and FX,
sort of a funkatified Spirit maybe, or a proto-disco Zombies
but you know what is even better
take two copies of the same video
play one, and then cue the other to start with a delay
could be 10 seconds gap, or 40 seconds, or even a minute and half
it almost always sounds great
it's that old swirling or phasing trick that deejays would do, two copies of the same record on each deck
i've tried it before but i've never had the same degree of "it all sounds good" no matter what the delay factor is - usually you had to jiggle about a bit, pause the PLAY and restart after a second, do that a few times to get a pleasing effect, nudging it towards a nice phasing
but perhaps because of all the spaces in "Green Eyed Lady" - the definition in the way the drums have been recorded - the mirrored out of synch versions of the song seem to mesh easily more often
"On December 7, 1952 Serge Berna, Jean-Louis Brau, Guy-Ernest Debord and Gil J. Wolman declared in Aubervilliers the birth of the Lettriste International. This movement prefigured the Situationist International, which was born five years later. By diverting images found in the Aubervilliers municipal archives Alberto Calabria presents the birth of this movement and a deepening around the theories of Drift and Psychogeoraphy"
Monday, October 22, 2018
"a weird/spiritual synthesis of acapellas by gospel soprano Irene Oliver, whose notes are then modified by Joel Chadabe with weird dubby effects & synth" says Wouter de Romph
no mouth music element here but worth some ear time
Sunday, October 21, 2018
Saturday, October 20, 2018
Friday, October 19, 2018
Thursday, October 18, 2018
"There is a quality about Vanessa that makes me feel as if she resides in a netherworld of mystery that eludes the rest of us mortals. Her voice seems to come from some deep place that knows all suffering and all secrets. Watching her work is like seeing through layers of glass, each layer painted in mythic watercolor images, layer after layer, until it becomes dark, but even then you know you haven't come to the bottom of it ... The only other time I had experienced this with an actor was with Marlon Brando ... Like Vanessa, he always seemed to be in another reality, working off some secret, magnetic, inner rhythm" - Ms Fonda
Wednesday, October 17, 2018
Tuesday, October 16, 2018
Monday, October 15, 2018
Friday, October 12, 2018
Wednesday, October 10, 2018
Tuesday, October 9, 2018
Sunday, October 7, 2018
Saturday, October 6, 2018
Frank Garvey's OmniCircus from Vincent Tremblay on Vimeo.
"Frank Garvey is a radical all-around artist who dipped his fingers in painting, sculpting, songwriting, and theater. He is best known as the creator and director of the OmniCircus in San Francisco, the world's first robotic theater ensemble. Marxist philosophy, surreal dreamlike imagery, and a sweet-and-sour taste for the unfit (junk metal, the physically impaired, the socially marginal) have been fueling his creations since the 1980s. Garvey writes musical dramas that call for robotic and human actors, dancers, and singers. He leads the ensemble DeusMachina, also attached to the OmniCircus.
"Garvey didn't study music. He grew up in Urbana, IL. His mother was a classical pianist, his father John Garvey a close collaborator of Harry Partch (he directed the premiere of The Bewitched). Partch's music (and his love of homemade instruments) had a strong influence on Garvey who later said he would do for metal what Partch did for wood. His formal training is in video (at the Art Institute of Chicago), computer animation, and applied sciences. Relocating to San Francisco in the '80s he slowly developed his artistic ideas and ideals. After a painting phase, he began to build lo-fi robots and founded the OmniCircus in 1988, staging small-scale shows at first. He managed to build a small following and an exaggerated reputation as a mad scientist (he liked to take his creations for a walk). In 1995, he met engineers Aaron Edsinger, Jeff Weber, and Carl Pisaturo. They helped build what is known as the OmniCircus Robotic Red Light District, a collection of perverted, twisted robots, surreal personifications of Mankind's deepest sins and fears. Some media attention of a controversial nature brought his work to a wider audience. The production House of the Deafman, backed by a cocktail of post-industrial rock and world music, garnered excellent reviews. In 1999 Garvey moved to Pittsburgh where he founded the Center for Robotic and Synthetic Performance (CRSP) at the Carnegie Mellon University where he now teaches."
Friday, October 5, 2018
Wednesday, October 3, 2018
wow. just wow.
and i'm not even particularly a Laura lover.
Very much in the tradition of "Omaggio a Jerry Lewis" by Richard Trythall and
James Tenney "Collage #1 ("Blue Suede")"
back to Arne - some more of his mouth music, this time choral
Tuesday, October 2, 2018
"To me, Baudelaire's poems are of such unique power that they always seem to rise above the level of the personal and sometimes existential nature of their content. In this composition, I have attempted to parallel the transcendental qualities of the poetry through electronic means.
For the words, I used my own voice as the generator of the original sound to be altered or "dehumanized." This seemed practical since my experiments with the medium were too time consuming to have been easily accomplished with a collaborator.
To modulate my voice, I used a variety of techniques. Changes of timbre were achieved with filters. Tape speed changes were used to control pitch. Into the shape of some words, I injected sound waves and white noise, thus changing the quality of their sound but not the flow of their delivery. By adding reyerberation, I varied atmospheres and decreased or increased space illusions. To accent special words or phrases, I used controlled tape delays. Choruses were created by combining slight delays with multiple track recordings.
The musical settings around the voice were made with music concrète materials, a moog synthesizer, other electronic generators and conventional instruments, which were usually altered electronically.
In the translations, there was no attempt to rhyme the verse as in the original french poems. I tried only to keep the language as direct and simple as possible, for I always found that the dominating power of Baudelaire's ideas were in themselves of electrifying force."