Really like the panning sound.Gives the whole thing a nice sense of movement( combined with the meloody). Somehow It creates a continous sense of buildup , very cool.

Totally hear a concrete Machine in there!!!

this is your brain on

With less the 2 weeks until "Drown Out" is released on Anticon and today celebrating 15 year's anniversary of the label in Los Angeles' Echoplex here is Music Concrete.

The title, a play on the term for found sound features Chris Alfaro (of Free The Robots) and Phil Nisco skateboarding. I find the noise of which is speed incarnate. The sidewalk's texture, ollies and grinds, all evocative of a controlled fall. The track is that, barely holding on, crashing along, but also unabashedly free.

Drown Out is released on September 17th

http://www.anticon.com/item/drown-out

Music Concrete

From Drown Out a song out-of-time, a sound from-another-era. Features vocals from Laura Darlington, Amir Yaghmai, and Hrishikesh Hirway renditioning a song from 1597. 

And there is remix opportunities:
http://www.karmaloop.com/guru/remix-daedelus-track-win-quneo/

Karmaloop's GURU has featured a samplepack (https://soundcloud.com/klguru/sets/guru-soundpack-daedelus) from the song (just a few choice noises really), and challenges you to make something wholly fresh and quite you. The contest will run through midnight EST on Friday, October 11th. A winner will receive a QuNeo! I'll be part of the judging panel so I expect excellence!

Tiptoes

broadcast September 25, 2013

tracklist & video @ boilerroom.tv

Machinedrum LIVE in the Boiler Room NY

Remix of "While I'm Still Here" by Genesis Breyer P-Orridge, from the Deluxe Edition of "Hesitation Marks."

Hesitation Marks (Deluxe Version)

While I'm Still Here (Breyer P-Orridge 'Howler' Remix)

tansi's first jungle empire exclusive single

triple xl - (tansi! exclusive)

Cap Rising 87bpm

Southside And David G

@devvaa

just got the iphone so im #backonline

Ode to rasec barravino

wring +devva

Recording 5-20-24 4.17.41 AM.m4a

39 mins - sorry responded kinda l8

 i fshoo lost anyways -> 

https://soundcloud.com/suicida2005/carlobb-2105-carlofrick?ref=clipboard&p=i&c=0&si=098CE1DAB9174778ACBADCA909C22937&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

carl☯︎bb(ext)@suicida2005

hopefully somebody in the far future is vibing out to this musical creation I made

xeko

shitstorm

Survivor ~ Track 12 ~ Endgame

If any sequence nearly broke me as a composer, it was this one. I rewrote the music for this climactic sequence many times, unable to get it right, both compositionally and instrumentally. This was everything the film had been building toward - the most dangerous stage of the mission, where tension spikes, control must be seized, and there's no turning back.

The challenge was nailing down not just the tone, but how that tone needed to shift through multiple emotional gears. After several complete rewrites, I finally found the right approach.

The cue opens with rhythmic percussive patterns reminiscent of a psychological thriller. He needs to get this right. Focus. A clock starts ticking like a countdown.

And then the anomaly sees him. It's going to fight back.

An electronic and orchestral hybrid heroic swell erupts - brass fanfares layered over surging synthesizer arpeggios - but then it dies down, as if the anomaly is drawing breath before the real confrontation begins.

And then: ACTION!

Hectic electronic arpeggios surge forward over simple orchestral sustains. Heroic brass declarations - horns and trombones propel the protagonist's desperate struggle forward while strings play hectic ostinatos beneath.

But then, suddenly, everything slows down.

He's losing his footing. The brass and electronics vanish. Only strings remain, contemplating his struggle and perhaps his surrender. For a brief moment, I wondered if this quieter passage would read as weakness, but then decided it was essential. This is the moment where he could give up.

And then he rises.

This is it. There is no going back. This is getting done in the face of the anomaly's intense opposition.

The music erupts with determined swells. I threw every orchestral instrument at this section along with synth arps and pads and a choir. The cue builds through multiple orchestral and electronic swells, each one more intense than the last, until finally reaching a massive climax as he completes the final step.

And then time suddenly reverses. Violently.

Chaos erupts all around. What is happening?

I took the opening track, "Awake," and played it in reverse at 4x speed. In its original form, "Awake" built up tension through ascending Shepard tones, creating the sensation of rising tension. In reverse, it created the opposite effect - tension slowly dying down, winding backward. But there was something else in that sound, something I hadn't anticipated: it felt like his life force draining away, spiraling in the wrong direction.

I layered in sound design elements I'd used throughout the film - the anomaly’s energy signatures, radio interference, time distortion effects - throwing everything at the sonic chaos. The reversed Shepard tones descend endlessly as the chaos winds down, reality settling back into place.

Then, a mental stillness. We hear the exact same sounds from the very beginning of the soundtrack. And then a single NASA-esque radio tone cuts through, interrupting all sounds, echoing alone into the dark.

He's done it. His people saved, time rewound - it's complete. But the look on his face tells us everything: it came at the cost of himself.

12 ~ Endgame

haha

Under the alias Daedelus, Alfred Darlington has been an instigator of electronic music culture for the past 25+ years. A fore-figure of Los Angeles' Beat Scene, they have released 20+ LPs, countless EPs, remixes, and additional productions on labels such as Ninja Tune, WARP, and Brainfeeder. As a performer they're synonymous with controllers, from the grid Monome to computer-free modular, and have played over 1,000+ shows on 6 continents at events ranging from Boilerroom to festival mainstages such as Coachella.

Dj at Dublab, founding faculty member for the Berklee College of Music's EDI (Electronic Digital Instrument) program, and S.E.T.I. artist in residence.

Daedelus has begun to live up to their Greek mythological namesake.

Music Concrete

Daedelus

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