Ambient moments

Sickness

for reading

soma

trucks 2

ELECTRONICA EXPERIMENTALE

at the close of 2014 i looked back at the year of studio diary entries and was pleased with what came out. i like the idea of daily, creative tasks, when possible. my 2008 polaroid project and 2009 field recording project yielded powerful and useful work that i still reference today. 

as the sun rose on 2015 i wasn't sure if i wanted to do "more of the same" with the studio diary idea but decided i should at least start there, to begin the year creatively. what this project will turn into, i'm not sure. my goal this winter is to start and finish my new solo album so there may be less focus on creating random sounds and more on the actual album work, perhaps posting bits and pieces of those tracks in progress.

regardless, being in the studio is peaceful for me and the worries of the world tend to melt away. i'll do what i can to share my creative process here, sounds.. maybe images, or video somewhere. but for now, it's 2015 and the world speeds by. i hope this diary will help slow it down for you.

Taylor Deupree 2015 Studio Diary

Tusks- Ink E.P
04. Dreamcatcher
Released 23.06.2014
Written, performed & produced by Emily Underhill 
Buy on Bandcamp: https://tusksofficial.bandcamp.com


Facebook: https://www.facebook.com/Tusksofficial
Twitter: https://twitter.com/TusksOfficial 

Lyrics:
Stumble, i won't be your call
Each time you fall
When you need it
And I still feel it
I can't breathe here

Elusive shadows
I try but I can't let them go
You took my dreams and you set them in stone
When you told me you love me

Tumble, lights cover all
Your dark waterfalls
(Catching up)
Your eyes are full of fear
Get me out of here

Elusive shadows
I try but I can't let them go
You took my dreams and you set them in stone
When you told me you love me

Vinyl

Dreamcatcher

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➤ Data Transmission
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➤ Tim Reaper
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Tunnelvision

<< DOWNLOAD >>

Tim Reaper & Kloke 'Ocean Currents' [Core/Tempo Records]

陶芸家Erika Fujiwaraさんの制作されたウドゥという陶器の楽器とピアノの演奏での試作曲。※ウドゥーの音はかなり加工しています。藤原絵里佳さんのHP→　http://www.erikafujiwara.com/


Udu 3

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MLHLND - Clothes Off

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YATES - MAKO

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B. Miles - Nine Matches (Prod. by Noise Club)

This track is a direct recording from a computer generated music stream. As part of "La Mécanique des Beats", it impersonate the computer role in a trio with a dancer and a musician where the two human character struggle to fit in harmony with the automatic digital production.

Mouvement 5, La Mécanique des B(ea/i)ts

Trenched

Peripherals

Mouvement 1, La Mécanique des B(ea/i)ts

You're A Sick Man, Tom

Taken from Rusted/Thickets.
Forthcoming on 7" & digital.
Out 11th May 2015.
Pre-order: http://bit.ly/boomanxjehst

As premiered on Clash Music: http://www.clashmusic.com/news/premiere-bambooman-ft-jehst-rusted


Buy at Bandcamp

Bambooman - Rusted Ft. Jehst

i recorded this sound on april 7th and now, april 16th, i've totally forgotten how i made it.. except that i know it's the modular, and i believe is based around a piston honda MKII oscillator or the intellijel shapeshifter.

maybe.

i'd rather not remember how i made every sound, though. when you know too much about something the mystery is gone.

april 7, 2015 (grey days past)

Produced by one of electronic music’s most exciting voices, NYC’s Machinedrum, "Like a Drum" is the second cut from Roots Manuva's new single Facety 2:11.

In his inimitable words, the single is "a wee spring warmer in voodoo coptic dialect shape shifting: the remit the same as ever in awakening one’s inner, modern-day Sun Ra, ODB and Kate Bush on an overdrive of 'doing because we can't help ourselves…’"

Buy the single here:
iTunes - found.ee/facety-it
Ninjashop - found.ee/facety

Like A Drum - Roots Manuva

Track numero uno on 'The Crystal Cowboy'  out now

Watch A Man Die

i've been really busy finishing a 17-speaker sound installation for a public passageway in sapporo, japan these last couple of weeks... but did have time yesterday to fire up the jupiter-8 and make this simple arpeggio which goes through an eventide h3000. i do love the jupiter-8.

april 30, 2015 (a simple jupiter)

Sunrise (ft. Zeitfaktor)

A Moment (Reconsidered)

once again i say where has the time gone... i've had little time to dabble in the studio, been too busy with real work....

but i did manage to do something i've done before a million times... control the verbos harmonic oscillators with a bunch of LFOs, well, in this case, with one expanded turing machine.

the sine waves go into a verbos amplitude and tone generator for the saturation and reverb comes from a lexicon PCM90\

nothing outstanding, but at least i'm tinkering again.

may 11, 2015 (harmonic saturation)

on the release date of mine and marcus fischer's "twine" album... which was all created with reel to reel tape loops i thought i'd play around with some tape myself.

this is a cassette loop of, i believe, a hohner pianet, but maybe something else... it's going through a red panda particle pedal with some reverb by a bricasti M7.

october 30, 2015 (a tape for autumn)

starting to prepare some sounds and patching ideas for my upcoming tour in japan this month. my sets will be mostly modular along with some pedals, tapes and probably and OP1.

here i have loaded some sounds from the new album i'm working on into a few Radio Music modules, and am employing a verbos harmonic oscillator for additional sounds. most of this is controlled by a Batumi LFO and there's supporting processing from things like Clouds, an intellijel spring reverb and the 4ms SMR.

the whole thing is going through a bricasti M7 reverb on recording.

november 03, 2015 (japan tour prep)

more experiments and preparations as i hone my live rig and come up with ideas....

modular sample manipulations and live looping with a kaleidoloop.

looking forward to being back in japan....

november 05, 2015 (more preparations for japan)

wow.. it's been a while since i've posted here... the year just got away from me.. not nearly as many postings as last year, but i'm really happy with all of them... been some great exploring and i finally feel like i've come to grips with my modular system.

it never stops growing, though.. and today i received a ZDSP modular with the Grain De Folie and Time Fabric cards...

this is my first attempt, a VERY simple patch with the SIX GRAINS algorithm from Grain De Folie... looping and granulating a simple piano sample from a Nebulae.

very inspirational sound for me.. i can see this is going to really be fun to explore.. and this is a dead simple patch with no modulation or any filtering or any other modules..

just a first experiment.

december 04, 2015 (zdsp 1st experiment)

sounds to me like sitting on a beach, in the winter.

december 15, 2015 (ocean winter)

* Watch on YouTube : https://youtu.be/AW7DAQHQw0I
* Read more on : http://boltingbits.com/body-san-pacific-reasons/
* Pre-order : http://redeem.lorecordings.com/music

Brandon Knocke is a Portland-based musician who may be more familiar to you as @Body-san. Knocke has released music under a number of different aliases throughout the years, perhaps most notably as Discoverer, on the dreamier and more experimental side of the spectrum. His music as Body-San has a similar flavour to it, keeping that same West Coast haziness but generally in a more house-leaning direction. With two fantastic long format cassette tapes released via 100% Silk and 1080p, as well as a couple of singles over the past two years, Body-san is back with his first 12" which will be released by East London's Lo Recordings, a label that has quietly been around for 20 years, releasing music from a very wide variety of artists.

"Pacific Reasons" is a four track EP chock-full of sun-kissed melodies, warm chords and crisp percussion. From the twilight vibes of 'Topaz Chalice' to the meditative feelings of 'Central Casting' and 'Liquid Entrance', Brandon Knocke's music continues to evoke emotion while still being dance floor appropriate. The title track and our premiere today, B1 'Pacific Reasons' starts off very subdued with some airy chords and hazy atmospheres. The drums and bass act more like supportive elements in this slowly developing moody number rather than being up front and centre. Vocal melodies and synth lines emerge from the mist, like the sun peaking in through early morning fog until we get a chance to bask in the full warmth of its rays, but only for a brief moment as it is once again submerged in the clouds.

PREMIERE : Body-San - Pacific Reasons

M00n

"In a time when techno and abstract music is sounding repetitive, Metasplice continue to utilize unconventional sounds and arrangements. "Decant", being the more floor oriented track, combines groovy bits that turn into splashing immense noises and harmonies. "Churn" opens with a barrage of beautifully crafted harmonic sequences, then relentlessly descends into a sublime world. Both tracks are spectacular floating grooves that immerse the listener in the group's unique and intense headspace."

doser015 - Metasplice - a - Decant

artwork drawing & Recording of bells  by sayuri

Unité

silentnight

An early recording of "Flying" taken from the album Different Colours

Krimzon

a trip

When I first heard Re, it put a huge smile on my face. I was fascinated by the delicate honesty in the recording. Sometimes one great idea can trigger many streams of thought - this was such a derivative, and I've worked to preserve the fragility of the original, while letting the electric guitar have a nice conversation with Nils's piano. Hope you enjoy it, and have as much fun as I had working on it - Sridhar

Lyrics:

We, we are empty
We are empty

It's the same design
should've been 'cause of a reason
He spent his time
to search and find a solution

How could it be?
How could it be?

He stood aside
never got into the meaning
He gave his life
but never tried in believing

How could it be?
How could it be?
We, we are empty
We are empty

Song art licensed via Creative Commons from flickr user Vinoth Chandar http://www.flickr.com/photos/vinothchandar/6168933212/

Nils Frahm - Re (We are Empty, Sridhar rework)

Taken from the compilation album "BineMusic presents Various Artist 2010"

Ancoats 111

Taken from the unreleased album "Weightless" (Ambient Transmissions Vol.2)

Weightless (Ambient Transmission Vol. 2)

Weightless Part 5

Weightless (Part 5)

A Lost Connection

Stationary

Taken from the download only compilation album "13"

Two Kinds Of Silence

Available end of September, 2013. Early pre-orders for those on the mailing list:

www.fac-ture.co.uk/Mailing-List

The audio process…

Light Folds by The Seaman and The Tattered Sail is a collaboration between Craig Tattersall (The Boats, The Remote Viewer, The Humble Bee, Cotton goods, Theodore and Hamblin, The Famous Boyfriend, etc.etc. and artist/designer) and Bill Seaman (SEA, Attsea, Otic.Info.Set, sp.op.cit, Spilly and the Drops, etc. and media artist exploring linear and interactive works). The work took place via the internet, sending differing files back and forth using Drop Box, wetransfer.com, and vast quantities of email. After about 2 years Tattersall and Seaman met face to face!

It started with a simple back and forth set of responses to a few audio files, building up loops and tracks. Over time it built up to over seven hours of music. We initially made a double CD of works but we kept abstracting and remixing and colliding things. Tattersall brought his distinct form of “dusting” which explored unique forms of noise, tape ambience, tape degradation, etc. Seaman often explored abstraction using Ableton Live, especially in terms of time / pitch manipulation, and exploring the combination of a multitude of Ableton plug-ins. Huge amounts of data were sent back and forth! Occasionally we went a bit mad with naming and keeping track of things… Usually a number of mixes for each initial work emerged out of the process. Sometimes the abstractions went quite far away from the original tracks. The double album on Vinyl came late in the game where a series of shorter versions and new abstractions were defined.

Tattersall played Guitar, piano, dusted loops, analogue loops, digital loops, drum machine, analogue synth, synth bass, field recordings, abstractions, fragment constructions and reconstructions, abstractions of Seaman (etc.), analogue spatial recordings, artificial wind, crackles (record surface noise).

Seaman was working primarily with Ableton Live and contributed Piano, vocal, text, fragment constructions and reconstructions, time abstractions, quartet samples, trumpet samples, clarinet samples, drum machine abstractions, drum machine constructions (samples), digital distortions, bit reductions, synth abstractions, abstractions of Tattersall (etc.), digital loops, radical pitch shifts, noise enhancements, historical samples, crackles – record surface noise (from Tattersall), artificial crackles.

We worked with some excellent musicians in the construction of the samples…

Trumpet (sample recordings) – Robert Ellis-Geiger; Ciompi Quartet (sample recordings) – Eric Pritchard (violin), Hsiao-mei Ku (violin), Jonathan Bagg (violin and viola), Fred Raimi (cello); Clarinet drones (sample recordings) — David Beaudry; in Ableton Live (construction space), and Seaman used a Roland Edirol R-09HR Ver.3.0 for instrument and voice recordings.

The musical influences run the gamut from ambient, industrial, glitch, dance, pop, jazz, classical, experimental, noise art, etc. Seaman has called this alt.genre in the past… although it really defies a single musical label.

The working process was quite exciting to hear what each had done with the tracks as an ongoing process… The project is incredibly rich in its subtle exploration of psychoacoustic spaces and layerings, and it is vast… The works form a series of plateau-like spaces where time is explored and erased, and an atmosphere for reflection and association is presented. Duration was not worried about and many of the works are quite long. The entire project has been incredibly exciting and rewarding in that we each seemed to pull the best out of the other!

It is also worth noting that as an aside to creating within this album, there was a huge element of learning within the album.

Working with a new creative partner always begins with finding a commonality in working practices, then from this you can bring your individual approaches to working practices, it is in the dialogue whilst working through these passages that you learn from each other.

The artwork process…

Like most work undertaken there is a underlying aesthetic language that has been built up over years of arts practice, whether this be audio or visual production.

An aesthetic language seems to span audio and visual works that is to say that you use a language and approach to creation in the same way whether it be audio or visual work, so it seems obvious that visual artwork that is in creation at any given time will in some ways mirror audio creation at the same time.

So as we where in the thick of creating the audio I had started making some experimental pin hole lumen prints (a photographic technique where you work with photographic paper within direct sunlight).

These were simple images of dots created with holes in little metal boxes. They were interested in capturing light and time rather than a conventional image. So the images were created using one (pin) hole exposed for one hour, two (pin) holes for two hours and so on up to 12 holes/12 hours.

I was sharing these with Bill and as well as Bill liking the work/process it became apparent that they seemed to share an aesthetic with the audio we were working, looking at light, time, space.

So in conversation with Bill I started to take the photographs into digital forms, exploring how the ‘dust’ of the analogue process could be extrapolated through digital forms, and then of course taken back into the darkroom and analogue processes, exactly how we were working in the audio work.

From there, and through extensive email conversations the artwork developed into the body of work that comes with the release.

Like the artwork the titles also reflect the abstraction process. Needless to say – “Light Folds” can be understood from many different perspectives. – Craig Tattersall

The Seaman & The Tattered Sail - Light Folds (Preview)

With over 100 physical releases since its inception by Taylor Deupree in 1997, New York-based music label 12k has decisively defined and developed the concept of minimalism in the realms of electronic music for more than a decade. Fusing elements from Ambient and Electro-Acoustic Composition with carefully arranged digital textures and associative micro-noises, the label's aesthetics revolve around a precisely-outlined, yet deeply emotional concoction of the technological and the organic. Eschewing the typical marketing mechanisms of the commercial music industry, Deupree has sculpted a platform whose influence today extends well beyond the confinements of the experimental community. 12k's integral approach, in which the label's instantly recognizable, elegantly spartan artwork enters into an inseparable symbiosis with the music, has created a timeless audiovisual language respected and appreciated all over the world.