Donāt forget that Saturday is http://recordstoreday.com/ !
Those poor needles!
I loved it, apart from the shattered/shredded pieced. The pieces with tone and distortion were eerie and hair-stand-up-on-endy, but the disks that were split up just added noise which began to grate after a few seconds. That said, I love what heās doing.
These constructions are clever, but for some really incredible vinyl/turntable abuse, you should seek out some Otomo Yoshihide. Or Christian Marklay. There is just tons of incredible misuse of turntable technology.
HA! By playing the LP upside-down, they are actually playing it backwards. Ingenious. Arguably that piece of music they are playing backwards is spooky sounding forwards too.
Dunno, maybe could do something really radical, like, maybeā¦ splicing tape! Yeah, thatās the ticket! (Pierre Henry? Whoās he?)
The process here seems be more interesting than the results, but Iām not sure itās interesting enough to make up for the paucity of interest of the results. The idea of a musical montage evocative of a mysterious past was doable in a fairly precise way with very old technology; see Vergangenes. (You donāt get much older than instruments that are blown, plucked, struck and scraped.) The idea of improvising such a montage to good effect with modern technology (a DAW, perhaps) is entirely doable; see much of Robert Frippās output, such as When the Rains Fall.
This, however, has more in common with a Jean Tinguely sculpture, but maybe not as much fun for a crowd.
I am wary of work that relies on gimmicks. Schoenberg could and did write anything that suited him, tonal or atonal. Fripp can play damned near anything for guitar, with or without electronics. How far can these ladies take this before it palls? Can they make all of it work together to good effect? (No, I donāt think they have so far - the sound is at least as important as the method, and they havenāt nailed that.) Are there more effective ways of achieving what theyāre looking for?
Something to think about, perhaps.
Would be perfect mood music for Bioshock: Ghost Story which, sadly, isnāt a thing (except in my mind ).
When I was listening the video I immediately said āmusique concreteā too.
In the 1950 record players and acetate disc were use for these experiment because reliable tape tecorders were unavailable. Then the Melloton was invented. Then the Fairlight CMI was invented, and so on. Going back to gimmicks made because the technology of the time was limited without knowing what the current technology could do and worse of that what other composer made in the past I think itās not interesting.
If you instead know what you do, you coul arrange a sonk like Delia Derbyskire has done (also listen to Howell arrangement made fith analogue synths and tapes for a more modern and different take)
If you like to just play or seriously compose with sounds like this I can recommend a software product called āflowā by performer/composer/teacher Karlheinz Essl. It allows you to load up 4 different sample files and randomize the playback with several fun parameters. No records or turntables are harmed. Iāve owned this software for 15 years and have always been impressed with itās simplicity, interface, and moodiness. Mac only! http://www.essl.at/works/flow/download.html
That was totally spectacular; thanks.
Like throwing a baseball through a stained-glass window.
This reminded me of several parts of the Yellow Submarine animated movie.
Unable to free up the required amount of studio space, I eagerly await the VST plugin.
I really like this it would totally fit right in with Phog Masheen at a festival.
This was spectacular!
Itās nice to finally hear this. Iād only previously seen this guyās setup on the cover of āLet It Bleed.ā
I approve of the experiment. Iām underimpressed with the result; at best, this is ālab notesā and the inventor needs to work more on (a) turning this into a playable instrument and (b) playing it interestingly.
Since others mentioned musique conrĆØte, Iāll quote Edgard Varese: āI do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.ā.
Even Cage, despite his fondness for stochastic processes, didnāt publish until he had found a process that produced something he thought was worth hearing. Composition by subtraction and editing, is still composition. That could be applied here too: Record the somewhat-random results, then select, arrange, mix and balance the portions which work well together. Or, at the very least, note what worked well and what didnāt, and next time you try a live performance keep the former and discard the latter.
31:05ā¦"ā¦yeah, itās real but is it interesting?"
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