I am very excited to announce I am releasing a new track called "Recursion Constructors". This piece was a commission for the University of Huddersfield. A 12-minute mind-bending Electroacoustic journey driven by a customized MakeNoise modular system and various objects, that utilized the FluCoMa toolset.

Link to the track on Bandcamp: https://richarddevine.bandcamp.com/track/recursion-constructors

Grab the free Max/MSP patches, samples, Morphagene Reels, and a detailed explanation of the making of "Recursion Constructors" in the link below: 
https://learn.flucoma.org/explore/devine/

Recursion Constructors

transfert/pulsar

astral/islands

BRONX ( keuspo _ Veuy )

AÏON

FOLK 70 ( Keuspo chant guitares folk,bass . Veuy guitare electric ) (2).wav

Black Though
Vocals by Taïna Gomes & HellBy Dilling3r
Music produced by jim diGGler
Recorded and mixed by Michel Taitinger
https://jimdiggler.bandcamp.com/track/black-though

Black Though

Instrumental 
produced and mixed by jim diGGler at the electricdiGGlerLand studio

96th Street

Super Vibes Instrumental version

Epmd - symphony 2012 (hitz edit)

https://www.youtube.com/watch?v=tPPuwFg2SvU
http://smarturl.it/RichardDevineRevsic
http://smarturl.it/RDSortLave
http://planetmu.bleepstores.com/release/1079…ine-sortlave
http://richarddevine.bandcamp.com/album/sort-lave

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album ‘Sort\Lave’ on Venetian Snares‘ Timesig imprint. Recorded between 2016 and 2017 using Richard’s custom built Eurorack modular system and two Nord G2 Modular units, Sort\Lave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as ‘Revsic‘ to ‘Astra’s dazzling juxtaposition of sounds and onto the radiant ambience of the album’s closer ‘Takara‘.

Talking about the album’s genesis Devine explains “I’ve been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.”

“I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.”

This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. “I really wanted to break free from timeline-based music creation and do things with my hands on the fly,” he explains. “So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I’m very excited to share it with the world.”

Making his debut in 1995, Devine’s releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world’s leading music technology businesses and working with companies such as Google and Nike.

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