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Move

Oh my my

A blistering techno mix from German experimental mainstay Alva Noto, aka Carsten Nicolai.

For more information and tracklist, head here: http://www.factmag.com/2018/02/26/alva-noto-carsten-nicolai-fact-mix/

FACT Mixes

FACT mix 641 - Alva Noto (Feb '18)

Beige is the true color of melancholy is a multi-channel installation presented on Re.Sound a two day event in Huddersfield, UK on May 2018. The piece points out to the importance of the culinary culture in the establishment of immigrant cultures in Northern England over the past two centuries. The piece was produced with sounds recorded in the kitchen of Thai traditional cook Lag in Huddersfield, interviews made to second generation immigrants, and archive material that presents the role of cooking in the discrimination suffered by some immigrants that moved to West Yorkshire and Greater Manchester in the 1950s and 60s.

Special thanks to:
Kalim Siddiqui, Nat, Lang,
Ching-Fang Wu and Monty Adkins.

Beige is the true color of melancholy (fragment in stereo)

Ünnaii

Providencia

beauty, and dissonance” in her slow-burning compositions. Since taking her first steps into experimental music as a member of the The Dead Texan, an audio-visual duo completed by Stars of the Lid’s Adam Wiltzie, Vantzou has released five albums of transportive modern ambient for labels like Kranky and Shelter Press, along with several short films making use of her slow-motion photography.
Originally from Kansas City, Missouri, and now a long-term resident of Brussels, Vantzou often carves out her minimalist soundscapes in collaboration with other musicians, adding vibraphone, bells, marimba, harp and synthesizers with the assistance of artists like Steve Hauschildt and Angel Deradoorian. On her latest solo album, this year’s Multi Natural, she layers field recordings and shimmering drones into a disorienting evocation of a disappearing world. 
Though acoustic instruments are often the bedrock of her compositions, Vantzou takes the opportunity to explore pitch-shifted layers of synthesized strings and drones in her NI sketch. Built around a long, moaning note which she bends into different harmonic possibilities, the sketch plays with the contrast between ancient moods and sci-fi futurism, shooting laser beams over mournful strings. In the final third, a huge tectonic rumble gives way to a choir of abstract voices.

“I started in the middle of this piece with the strings and Mysteria choir sounds. Through layering strings from the Symphony Series, I found that four layers and a big reverb on one of those layers did the trick. I pitch-shifted one of the steady drone layers for a more human sound and used the pitch wheel on my MIDI keyboard to create the glissandos. I used the Violins and String Ensemble presets, intuitively searching for the sound I achieved with an actual string quartet in a piece called “Glissando for Bodies and Machines in Space.” 

“Next I worked with the vocal instrument Mysteria using the Above Abyss preset. I did some additional EQing to stretch the possibilities. Massive played a role with its sound effects: Landslide, Laser Splash and Laser Dust are all utilized. This is partly in response to the large amount of anime I’ve watched during the last weeks in lockdown in Brussels. Retro Machines added the final touch, like a blanket for the strings. I used String Melody II, Matrix-12 and Arp Quadra for pure warmth.”

NI products used: Mysteria, Symphony Series, Massive, Retro Machines

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