The Reacher

Reprogram is an exercise in the re-creation and re-contextualization of iconic sonic textures found in glitch/microsound. The obsessive and constant pulse in Reprogram obscures any real sense of meter, instead shifting the focus to micro-variations in its surface activity. Structural changes are marked by a distinct signal, which instigates or terminates sonic strata and creates a sense of anticipation through slow and deceptively irregular repetition. 

Reprogram attempts to harness the stark, monolithic character of purely synthetic microsound (Ryoji Ikeda’s sound work in particular), while retaining a distinctly human element through the incorporation of vocal sources drawn from the recitation of a poem.

Reprogram (excerpt)

Music I've been playing to add extra happy to happy hours... some tracks appeared in other recent mixes, but I don't mind if you don't. 
xo,
8ball


Happy Hour Is Whenever You're Happy

"Usul: Aksak Routine"  is an algorithmic  performance of electroacoustic music based on the rythmic system Usul of Turkish music. The term usul, which includes both the concepts of meter (measure) and rhythm, defines the rhythmic elements of all the structured musical pieces of the system. Every usul is a recurrent rhythmic circle – something similar of meter in western music – a model with a name and a pattern. The usuls are performed in beats, known in Turkish as "darp". Also the usuls are named according to the length and form of their beats and they are divided into two main groups, Minor usuls and Major usuls. The minors are those of 2 to 15 beats. The majors are those containing from 16 to 124 beats. The goal of this project is the use of minor usuls to create diffrent major usuls in real time.
The current multichannel (4ch to 8ch) piece consists of 6 sound sources. Each one of them returns a different minor usul, with samples created using the physical modeling software Genesis and SuperCollider. Every darp (beat) produced with graining effects in SuperCollider.  The rhythmic patterns and the sound spatialization are generated with original programs and routines, written also in SuperCollider. For controller in performance I am using a multitouch OSC controller.

Usul: Aksak Routine

The long awaited return of our monthly curated selections! Soon to be followed by a dump of sweet tunes from our group as well. Compiled by alfredofreak (https://soundcloud.com/alfredofreak)

Art by FirstDefense (https://soundcloud.com/firstdefense)

Departure - The Scientific Method (Jim Hughes)

ran out of patch cables so i just hit record

03082016

Fractus I (2010)
for Trumpet and SuperCollider
Eli Fieldsteel, composer
Jared Broussard, trumpet
Composed at the University of North Texas, recorded and produced at the University of Texas at Austin

Fractus I

emf0

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