i never thought blues was so close to trance... really cool textural work. also keeps you on the edge and definitely listening! i wonder if that's what the first experiments sounded like when recording direct to shellac with a drummer in the studio...;)

oh yeah, you should exploit this cage like riff. very much like prepared piano

was nice to hear you do this live at band on the wall the other week. sections remind me tracks from  biosphere's cirque. great stuff

Elektro Guzzi deliver us this week's R$N mix. 

Pease introduce yourself…

Who are you: 

We are Bernhard, Berni and Jakob and together we are Elektro Guzzi

Where are you: 

Most of the time we spend our time in our studio in Vienna, on the weekends we are always somewhere else...

What are you: 

A Techno Tanzband

Where was the mix recorded?

In our 3 flats. Since no one of us is a real/serious DJ we decided that each of us is doing one part of the mix. Jakob did the first, Bernhard the second and I did the 3rd part of the mix. Then we put it together at Top Sound Studio. 

What would be the ideal setting to listen to the mix?

Probably the best setting would be in a car while travelling trough 3 different land-scapes, because each of the 3 parts of the mix is quite different - so it maybe could be this journey:

What should we be wearing?

Tracksuits, racing suit or 70ties style tennis outfit

OK? Right, let's get on with the interview:
http://www.theransomnote.co.uk/music/mixes/elektro-guzzi-the-ransom-note-mix/

Elektro Guzzi - The Ransom Note Mix

Sami Reindeer Calling Song - Manchester Museum choir

The Blues (Gramophonic Remix) is a performance combining a new composition made entirely of gramophone loops, that have been extracted from the 78rpm shellac record, The Blues: Part One by Artie Shaw and His Band and then been pressed into dub plate (45rpm) and live gramophone glitching, playing the original record on a wind-up gramophone. By reinventing the uses of the mechanical musical hardware Naomi has developed and extending her craft of extracting unexpected sounds from existing music on 78rpm records using tactile techniques to create new, yet intrinsic sounds, both live and in the form of a new piece of composed music using Logic Pro.

Naomi's new performance comprises of three interweaving parts:

Part 1: Playing the 78rpm record, The Blues: Part One by Artie Shaw and His Band on a wind-up gramophone (the source of the extracted 'found sounds').

Part 2: Playing The Blues (Gramophonic Remix); a piece of music that has been composed using Logic Pro 9 that is made entirely of gramophone loops extracted by re-appropriating the 78rpm record with electrical tape (the tape adds an additional tactile layer that in turn creates unexpected percussive discordances, harmonies and manually maintained locked grooves when played, as the steel needle staggers or glides across the discreetly undulating strips of electrical tape). This technique captures and reveals unexpected sounds and melodic fragments that are intrinsic and are coaxed out through playful, visual and skilful methods. The sounds have been manipulated in Logic; changing the pitch and tempo of the loops, boosting the bass and reversing the audio.

Part 3:  Live gramophone glitching using the 78rpm record and electrical tape to reveal the process of extracting the unexpected hidden riffs and melodies within the record; the process used to coax out the loops that were then recorded and manipulated and arranged in The Blues (Gramophonic Remix). Due to the mechanical nature of the gramophone, it has to be wound up in order to maintain the desired tempo. The constant ritualistic maintenance and tactile involvement in playing the re-appropriated record, reveals the attention, maintenance, mindfulness and sometimes stillness (locked grooves are sustained manually by keeping the needle in exactly the same position) that is required.

The Blues (Gramophonica Remix)

Naomi Kashiwagi

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