Sketches

Untitled

Perereca Assanhada Do Submundo [[WEIRD BAILE]]

Further information: bleep.com/features/bleep-mix-209-proc-fiskal

“This mix is basically a collection of the extremes of what inspired the album” - Proc Fiskal

Photo Credit: Sophie Lunts

Bleep Mix #209 - Proc Fiskal

Florian Hecker & Mark Leckey
'Hecker Leckey Sound Voice Chimera'
Format: LP / DL
Cat.No: PAN 47
http://p-a-n.org/

Florian Hecker & Mark Leckey 'Hecker Leckey Sound Voice Chimera' (PAN 47)

The Death Of Rave, 30. April 2015, 2LP, Album 
gaborlazar.com / markfell.com

Watch Aphex Twin playing Mark Fell and Gábor Lázár at Field Day London 2017: goo.gl/hkud0m and at Primavera Sound Barcelona 2017: https://goo.gl/3wT1sc

The Quietus on Aphex Twin at Field Day London: "...one of the most head-spinning moments around 30 minutes into his set thanks to a cut from Mark Fell & Gábor Lázár's 2015 record released via The Death Of Rave."
https://goo.gl/6DfjN1

The Wire Magazine (Issue 376, June 2015):

"[...] Formed from an ascetic palette of untreated beats and single-frequency synths, The Neurobiology Of Moral Decision Making flaunts Fell and Lázár's microscopic attention to detail throughout, with each track drawing your attention to a tiny parameter variation. Unlike the pointillist studies of Ryoji Ikeda and Florian Hecker, the results are unexpectedly itchy, funky and exhilarating - as the press release says, this neuroscience is "almost compatible with footwork". Amid all the odd numbered time signatures and disorientating multitimbral drones, the disc works a sincere homage to the intricate web of kick drums and snares of Chicago dance music.

When Autechre and Aphex Twin deployed loops of ball-bearing sounds a decade and a half ago, in "VI Scose Poise" and "Bucephalus Bouncing Ball" ,things could slip up and fall flat. This self-conscious IDM was, as Matthew Ingram put it in The Wire 349, "the worst of both worlds, like pipe-smoking breakdancer". Here, in the untitled seventh track, the same rhythmic pattern spawns five minutes of compelling material, a rapid dancefloor cut in which Fell's beat suddenly drops midway through, leaving Lázár's synth flickering alongside a flurry of invisible trainers. The album retains a focus on the danceable, at least until the 12 minute finale, whose strobing and pitched-up snares from the highest bpm of the entire set. Like Hans Christian Andersen's gory tale of the red shoes, this flurry of hyper-rhythmic noise finally passes the bounds of footwork altogether, pointing towards a mechanical state in which human dance is impossible. [...]"

Resident Advisor:

"Rave deconstruction has been back in the spotlight lately. Established figures like Russell Haswell and Mark Fell are in high demand from young labels like Diagonal and Liberation Technologies. And a new generation of musicians are following in their footsteps, taking the conventions and materials of dance music and reshaping them in weird and wonderful ways. Lee Gamble, a self-professed Editions Mego fanatic, puts techno under the microscope. Lorenzo Senni pens bizarre sonic essays on trance. Budapest's Gábor Lázár, meanwhile, fires out machinegun patterns of abrasive synth tones, transforming a single eardrum-scraping rave sound into a study on the psychedelic properties of the dance floor. Music this intensely minimalist is difficult to get right. It risks draining its subject of the qualities that make it so exciting, or else prioritising concept over a musically engaging outcome. Lázár's productions have been improving in this respect, but it's on this collaborative album with Mark Fell that he makes a major breakthrough. [...]" 

Norman Records:

"If you already know Gábor Lázár’s music then you’re probably already a Mark Fell fan and so you won’t be surprised that this collaboration between them has yielded what has to be some of the most rhythmically radical and seizure-inducing futurist electronica being made on planet Earth right now.[...]"

Bleep:

"On The Neurobiology of Moral Decision Making, the duo deliver 10 pieces of off the grid, unsyncopated mastery, deconstructing of the steadfast preconceptions of dance music through a suite of constantly shifting time signatures, sporadic claps and sterile, modernistic melody. Such production methods obliterate the deeply rooted notions of rhythm, ushering in a new age of dance floor exploration.[...]"

Mark Fell and Gábor Lázár - The Neurobiology Of Moral Decision Making (2015)

"With my sketch I started off with a classic drum kit, Standard 909. I then added a Reaktor synth from the Carbon 2 library called 3step908 and began layering melodies on top of it like a collage. From Reaktor, I then added from the 2-Osc library ARPBRI~1. Proceeding to FM8, I made a few customisations to the Subbaba bass synth to make it smoother and accompany the thin strings. The classic 909 drum kit needed a sister, so I added a the Studio Gong preset kit from Battery. Lastly, I added a brass melody from the old Reaktor library." - Angel-Ho

KOMPLETE 11 Instruments and Effects used: REAKTOR 6, KONTAKT 5, FM8, BATTERY 4

For more visit www.native-instruments.com/kompletesketches

Sketches 005 - Angel-Ho

"First I laid down the kick drums using Polyplex. When I'm trying to get a sketch down quickly I'll go straight a preset that I like and then modify it a little and replace some samples with my own. Next, I added the Session Strings layers and used the pitch control on the keyboard to create that ebbing effect and automated the reverb so that it would open up gradually throughout the 30 seconds. The track begins with just violin, but cello and double bass are introduced as the loop gets more intense. I used Razor to create the pulsing bass throughout and automated the bandpass cutoff to give it some movement. Lastly, I put the Driver on the strings group and gradually brought the effect in." - WIFE

KOMPLETE 11 Instruments and Effects used: POLYPLEX, SESSION STRINGS, RAZOR, DRIVER

For more visit www.native-instruments.com/kompletesketches

Sketches 004 - WIFE

"I wanted to keep a pure signal from each part to allow for space. A kind of serene, altered state of consciousness. To effect the vox I used the Solid Dynamics EQ, Replika and the convolution reverb Reflektor. Both Replika and Reflektor are awesome on vocals - airy and never aggressive or metallic. The synth comes from Reaktor Prism. It has a huge identity and can define a track on its own. I effected it with Solid Dynamics EQ.

I used three bass sounds. The first from Kinetic Metal - I love the whole kit. It's deep, industrial, texturized and spacey. The second was Massive - I've been using it for a while now. The third bass comes from Reaktor 6's Lazerbass which is really rewarding with very few tweaks – it's sharp and always evolving. I combined it with the Enhanced EQ. The drums are from Battery and Action Strikes with effects from Replika and Driver." - Aïsha Devi

KOMPLETE 11 Instruments and Effects used: SOLID DYNAMICS, REPLIKA, REFLEKTOR, REAKTOR PRISM, KINETIC METAL, MASSIVE, REAKTOR 6, ENHANCED EQ, BATTERY 4, ACTION STRIKES, DAMAGE, DRIVER

For more visit www.native-instruments.com/kompletesketches

Sketches 003 - Aïsha Devi

"I made this sketch using a selection of presets in Massive: 1991, Astral Saw, and Slightly 5th. Some are quite bassy whilst others are more focused in the top end, with a kind of ethereal pad-like sound. The idea was to create a piece with lots of space in it by utilizing a wide frequency range, emphasized further by track panning. For each synth sound I adjusted the filters in Massive. By adjusting the cutoff and resonance, you can create nuanced changes in the sound and feel which helps to give a fluid, ever-shifting character to the music.

To make the whole piece sound together and even 'bigger', I added the built-in reverb to each Massive synth, then I worked on the track panning. The low bassline synth is panned to centre, and each layer of sound above that is panned wider as it gets higher, with the highest sounds panned hard to the right and left." - Throwing Shade

KOMPLETE 11 Instruments and Effects used: MASSIVE

For more visit www.native-instruments.com/kompletesketches

Sketches 002 - Throwing Shade

"In this track I focused on percussion. I used several percussion sections of Komplete Ultimate, which consisted of West Africa, Cuba, and India. I decided to use timbales from the Cuba pack because the sound slaps so hard. Impact is everything to me but knowing what to do with that impact means so much more. The different versions of the djembe in the West Africa pack are amazing. I decided to use djembe 1 and 3, as they were the two that gave me chills. I enjoy making up my own sequences and what better way to do than to do that using India. The entire India pack gives you so much room to be flexible." - Jlin

KOMPLETE 11 Instruments and Effects used: WEST AFRICA, CUBA, INDIA

For more visit www.native-instruments.com/kompletesketches

Sketches 001 - Jlin

Kara-Lis Coverdale’s ethereal, sample-based music is a product of her rigorous classical training as well as her interest in minimalism, ambient, computer music and the history of synthesis and sampling. Growing up in rural Ontario, she became the organist and music director at her Estonian church when she was just 14, and her interest in the technology of the pipe organ continues to inspire her experiments in blending electronic and acoustic elements. As well as several solo records on experimental labels like Umor Rex and Boomkat Editions, Coverdale’s catalogue includes collaborations with an Estonian choir, pop artist How To Dress Well and drone maestro Tim Hecker. Currently based in Montreal, her latest solo release is 2017’s Grafts, which blends glowing keys and modal improvisations with subtly shifting textures.

Making use of her own sample libraries, Coverdale’s sketch reveals some of the fundamentals of her practice. Opening with groaning, guttural pipe sounds, she manipulates her source with subtle use of EQ and delay, blurring the boundary between real and synthetic. Soft, drifting tones slowly gather momentum, fomenting into a heavy cloud of harmonics and splattered, flute-like phrases. Avoiding simple melodies or resolutions, Coverdale sets the scene for a deep and meditative piece.

Find out more: blog.native-instruments.com/kara-lis-coverdale/

Sketches 057 - Kara Lis Coverdale

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