Categorie archief: ambient

‘Music For Mimosa Pudica & Codariocalyx’ David Edren

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Ambient Antwerp Festival @ CC Luchtbal (Antwerpen Noord) zaterdag 17 mei

 

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Eén van de ietwat kleinere festivals die dit land rijk is is het Ambient Antwerp Festival. Dit jaar is het uitgebreid tot soundscapes en drones.

Het festival bestaat al van 2009, dus …

https://www.facebook.com/events/474900799275901/

met Dirk Serries’ Streams Of Consciousness, Aidan Baker, Alio Die, N-O

check it out

 

Rivers Of The Red Planet

http://riversoftheredplanet.com/

Max Graef

Zero 7 ‘Give It away’

Ik heb het al eens geschreven dat je soms een kringwinkel binnenstapt en daar met een parel buitengaat (tussen een berg zooi natuurlijk). In dit geval was het ‘Het Leger Des Heils’, de orde is daar iets meer dan zoek dan in een reguliere Kringwinkel. Zo erg als spullenhulp wordt het blijkbaar nooit meer. Daar had je een riek nodig 😉

Hun tweede EP voor dat ze Simple Things uitbrachten.

Trip-hop en ambient uit 2000

Zero 7 bestaat nog steeds hoor https://www.facebook.com/Zero7

Tycho Awake

Monolake Live at Ego Düsseldorf June 5 1999… before Ableton Live

Monolake Live at Ego Düsseldorf June 5 1999

‘This is a live recording, captured at Ego club in Düsseldorf, June 5 1999. The music has been created with a self written step sequencer, the PX-18, controlling a basic sample player and effects engine, all done in MaxMSP, running on a Powerbook G3. The step sequencer had some unique features, e.g. the ability to switch patterns independently in each track, which later became an important part of a certain music software.

I found the recording on a backup disk today. It has not been edited or mastered. During the first 20 minutes of the set, and before the ‘encore’ the Monolake CD ‘Gobi’ is playing in the background.’ sic Soundcloud

‘This is what a Monolake live set sounded like in 1999. And in the days before Ableton Live was a finished product, running patterns was a job for self-built software in Max.

What strikes me about this is that both the music and the patch hold up nicely a decade and a half later.

You can see the Max patch at top. You’ll notice those are modern widgets; Robert just opened it in the newest version of Max. But the software, too, endures. And embedded in the constraints of this patch are some of the kind of formal restrictions Robert imposes on his music. With a fixed number of parts on tracks, the sonic materials sound like a consistent ensemble — the shapes of the sounds shifting over time, but still discrete, recognizable objects.

The thought also occurs that there’s still value in working this way today, even with Live as a choice. You could certainly load this sort of pattern maker into Live with Max for Live. But you might also put together a different kind of performance if you channeled your musical ideas into this kind of DIY creation.

I’ll be talking tonight about that topic at Coding the Club here in Amsterdam; I’ll share some notes on that presentation afterward.

By the way, I will quote Robert from a previous discussion on his site of Ableton Live, so as not to bring an old myth back to life:…read further on @ creativedigitalmusic

Monolake stond aan de wieg van Ableton daarom is dit, dacht ik, een boeiend document.

Yves De Mey ‘Double Slit. SEMANTICA 63’

Nieuwe release van Yves De Mey in Vinyl en ook digitale download