Two music producers who happened on each other by chance, and by chance they connected, and then both happened to release some of their most personal and strongest work a week apart. Like a zoom convo they had before when just getting to know each other, they decided to sit down and record themselves talking about the albums they just released, and managed to capture an honest look at the two producers relating over their soundtracking of family.

Support the artists by purchasing these albums at:
 
https://illpoetic.bandcamp.com/album/portfolio-i-as-serious-as-your-life

https://mediumzach.bandcamp.com/album/bad-by-myself 

They're also streaming everywhere music is available online.

Follow @mediumzach on IG/Twitter, and check out mediumzach.com for videos, news, merch, etc.

Follow @illpoetic513 on IG/Twitter, and check out illpoetic.com to stay up to date on everything he has going on!

Soundtracking Family: Medium Zach & ill poetic interview each other about their albums.

Neck & Wrist

Neck & Wrist (feat. JAY-Z & Pharrell Williams)

For solo percussion
Performed by: Rebecca Lloyd Jones

Composed 2020-22

Recurrences - Movement II

Program note: Influx for string quartet explores a continuous straddling of the boundary between identifiably pitched and noisy complexes.

Composed: June, 2022
Recorded by: the Mivos Quartet
Recorded October 12, 2022 at the University of California San Diego

Influx

Nathaniel Haering | to facilitate friction — ASCAP / SEAMUS 1st Prize Commission, 2019

Violin: Ilana Waniuk

Program Notes:

While working on a recent piece for chamber ensemble and electronics, I was immersed in its erratic, panicked atmosphere. I became obsessed with the idea of frantic, futile solos lashing out violently from silence with such constant intensity and fervor that they resulted in a kind of horrified stasis, a unit of grotesque and vicious sustain, striving endlessly but going nowhere, grasping desperately at nothing in the pursuit of a distant unseen hope. to facilitate friction elicits this sense of urgent driving desperation even more potently as it is condensed, focused, and amplified by being embodied by a single performer. Acting as the sole conduit for the rapid, jarring yet intricately intertwined shifts in materials, sonic worlds, and dire emotional stakes of the piece the soloist wields, reinforces, and rallies against the electronics as an extension of themselves.

to facilitate friction - Violin and Live Electronics (2020)

MOTEL 6

Soul (Prod By Ill Poetic)

A conversation with Jeff & Eric Rosenthal (ItsTheReal) based on their award winning podcast "The Blog Era".

Hosted by Timothy "Ill Poetic" Gmeiner, featuring Abjo (Soulection/Ashe) | Recorded Thursday February 29, 2024 at The Loft (UCSD)

Described as an essential discussion on one of hip-hop's most riveting eras and the artists, blogs and conditions that defined it.

In Conversation with ItsTheReal "The Blog Era" | 2/29/24 @ UCSD

An Idiot's Guide to Anarchy

Billie Holiday

In one corner, the shamanistic Saul Williams, actor, screenwriter and renowned harbinger of noise poetry and hip hop futurism. In the other corner, cleric of eclecticism King Britt, accomplished Philly-based musician, DJ, author and producer. 

On the explicit invitation of Moor Mother, who was a guest curator at Le Guess Who? 2018, these two great minds gave an exclusive, one-time collaborative performance entitled ‘Unanimous Goldmine’. Forging their collective work, insights, experiences and curiosity, it resulted in a fearless and groundbreaking performance that was completely improvised on stage. 

Recorded by Marc Broer on Saturday, 10 November 2018 at TivoliVredenburg's Ronda. 
Mixed by King Britt.
Illustration by Ethem Onur Bilgiç.

www.leguesswho.com

Saul Williams & King Britt present 'Unanimous Goldmine' – Live at Le Guess Who? 2018

Two artists who are fans of each other's art talking a lot of really specific nerd-level artist shit that will probably only be interesting to other artists or people who like to hear about artist issues or people who fuck with Ill Po or Devin's music and art.

Art shit.

'Artists Talking About Artist Shit' - Ill Poetic x Devin Burgess

Composed in 1999 at CCRMA Stanford, using my MATLAB simulation of particle physics.

I. 	Gradual Introduction of 50 Particles into System; Tuning the Harmonic Potential; Adjusting the Observation Apparatus
II. 	Adding Viscous Fluid to Reveal the Restmass Spectrum
III. 	Sudden Increases in the Coulomb Potential of the Universe; Subsequent Oscillation of Potential Walls
IV. 	Two-Generation Cascading Radioactive Decay
V. 	Reduction of the System Via Least Energies

This 10-minute composition is derived from the methods described in the publication: "Sonification of Particle Systems via de Broglie's Hypothesis". With these algorithms developed, their musical usefulness had to be tested. The ideas are interesting in and of themselves, but what of the final product? Would this system produce music as interesting as itself, even when standing alone from its programmatic nature?

It is interesting to note that even though their is a direct correspondence between the physics and its audification, which makes the music steadfastly programmatic, non-physicists who are aware of this feature will have little understanding of what that correspondence means. It is a very different case when a piece is entitled "Summer on the Danube" and "C. Eligan Genome." Generally titles like the latter will hold little meaning and provide little expectation for an artwork, than will the former title. As in the current example, some titles may be misleading. This music comes form a "simple harmonic system," but that does not refer to the tonal qualities of the work. A physicist would read the title correctly, whereas a musician would not.

Naturally, to test these techniques I composed a 10-minute composition with five 2-minute movements, each utilizing a different aspect of the system. This system of composition with particles is very strange to work with in that common sense takes a hike and expectations are led astray. Before the seven hours worth of computation time to produce one minute of sound, one needs to be sure that the result will be useful for whatever needs. To circumvent this then a practical system of experimentation needs to be developed to predict and mold the variables--much like composers creating studies to determine what solutions exist. The duration of the final composition will be far exceeded by this time of experimentation and computation.

The composition "50 Particles"(Premiered May 24, 1999 at Stanford University; at a very high volume), is the first to use the techniques discussed here. There are five movements, each with a rigid duration of 120 seconds, constructed using one to several phenomena. There are no pauses between movements, no interruptions; the system begins each movement where it left off.

50 Particles in a Three-dimensional Harmonic Potential: An experiment in five movements

Hip-Hop fans may recognize Ill Poetic as the man behind the boards of Detroit artist Red Pill’s 2016 album “Instinctive Drowning” (Mello Music Group). Praised not only as a powerful and emotional project, Ill Poetic was highlighted by numerous national media outlets for his progressive, boundary-pushing production on the record as well. Those familiar with Ill Po’s career wouldn’t be surprised by these descriptions; he’s built a career unbound by genre, or even industry. 

From his early days of emcee-battling at Cincinnati, Ohio’s famed Top Cats and Scribble Jam, to establishing a career self-producing two solo albums in the late 2000’s, Ill Po became a recognizable name in the underground hip-hop scene and tour circuit. It wasn’t until 2008, when he’d release a mash-up album of Portishead & Joe Budden (“Mood Muzik’s Third”) that his career would elevate beyond the typical rapper/producer narrative. After receiving cosigns from Rolling Stone, as well as both Portishead and Joe Budden Ill Po would go on to release two more successful mash-ups.

The late 2000’s would also bring Ill Poetic into business with manager Micshon Harper, forging a partnership to launch VoiceOfRzn Management & Consulting. This venture would lead to the launch of their team’s multimedia platform, Definition Music, as well as Ill Po’s graphic and sound-design company SoundRzn. This foundation allowed for Ill Po and various accompanying artists, musicians, and film-makers to release their art on a growing but structured platform.

Ill Poetic’s most recent releases, “Synesthesia: The Yellow Movement” (2012) and “The Silhouette Project” (2016) brought him into the world of live instrumentation. After years of studio work with an array of both legendary and up-and-coming musicians, Ill Po brought the live aspect of his music to the stage, joining with legendary Columbus, OH drummer Don Carlos, members of his band Playhouse and various musicians and singers from the Ohio region to create a live show that pulls from hip-hop, drum-and-bass, deep house, electronic, gospel, funk, soul, and jazz.

Bravely undertaking a completely new creative process for each project, Ill Poetic has again meticulously crafted a unique new sound, shedding the typical hip-hop producer aesthetic he was once known for. He continues to evolve, diving flawlessly into rich and layered production, live instrumentation, vocalists, and exciting new songwriting structures.

Backed by this bold and innovative sound, Ill Poetic continues to push his career in fearless new directions, creating music he describes as “a soundtrack to the imagination”.

'Artists Talking About Artist Shit' - Ill Poetic x Devin Burgess

Ill Poetic

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