Third Coast Percussion's second full-length album, "Unknown Symmetry," describes a very personal history of the Chicago-based ensemble from their founding in 2005 to today. The album includes the first recording of the percussion quartet arrangement of Arvo Pärt's iconic work, "Fratres;" beautiful, rarely-heard works by Peter Garland and Christopher Deane, and new music from Third Coast Percussion's own David Skidmore and former member of TCP, Owen Clayton Condon.

Skidmore's multi-movement work, "Common Patterns in Uncommon Time," was commissioned for the celebration of the 100th anniversary of Taliesin, Frank Lloyd Wright's home and architectural studio in rural Wisconsin.

Fratres - by Arvo Pärt

حدود یک سال و نیمه که به موسیقی آمبینت علاقه ی خاصی پیدا کردم و هشت ماهی هم هست که با این هنرمند بزرگ (برایان اینو) آشنا شدم و مدتیه که خیلی به موزیکهاش گوش می دم.

امروز به این فکر می کردم که اگه بتونم کسانی رو پیدا کنم که موزیکهای برایان اینو رو درک می کنن و با اون به وجد میان و خودشون رو لا به لای نوتهاش گم می کنن، یعنی کسانی رو پیدا کردم که به بینش عظیمی رسیدن، اون افراد کسانی هستند که موسیقی سوکوت رو می فهمن. صدای زیبایی که مدتهاست پشت دیوار آهنی شهرهامون گم شده.

همین امروز بعد از این افکار بود که این فایل رو پیدا کردم، تِرَکی که برایان اینو توش حرف می زنه، و حرفهایی که می زد واقعا هرچی خواب و درس بود از سرم پروند. حرفهاش از حرفهای خیلی از نویسنده ها و عارفهایی که شاید سالهای سال با کتابهای قطور وراجی کردن عمیقتره. 

گفتم عارف چون حرفهاش عرفانی بود و برای همین هم می دونم که بیشتر آدمها نه می تونند حرفهاش رو درک کنند نه موسیقیش رو. کافیه بجای کلمه فیگور، ایگو یا (خود) رو بذارید، و حتا جایی مستقیمتر به شخصیت (همون ایگو) و تلاشش برای از بین بردنش ( ایگو دِث اکسپرینس که باعث ایجاد حالت بی خودی یا ایگو لِسنِس می شه ) صحبت می کنه. و تشبیه فوق العاده زیبای این حالت با نقاشی و طبیعت که اونجایی که از طبیعت می گه به نظر من پاش رو از محدوده ی تشبیه بیرون می ذاره و به واقعیت اشاره می کنه.

اول قسمتهایی از حرفاش رو می ذارم که مور علاقم بود و بعد کل متن این تِرَک رو. لینک کامل مصاحبه هم پایین هست.



My Favorites:

Then I lost interest in that, I didn't want myself to be in the center of the music anymore. So I began experimenting a lot with trying to remove the personality in some ways, for example by making more than one voice so that it stops being a simple figure in the middle of the picture.

Then I tried singing using nonsense words, using words backwards, putting strange sounds on my voice...

What I was starting to get interested in was not the figure, but the landscape behind the figure; I found the figure more and more of a problem.

The same is true in a painting: if you have a picture of a landscape, you look at it and your eye moves freely over the landscape; if you put a human figure in there, even if it's a tiny little one, it becomes the center of your attention, it's very difficult to ignore, because humans relate to other humans.

Now if I took myself out of that picture, this left a kind of open field, a sound-field of some kind, which invited you in; and I felt that by removing my own personality…

When you're hearing a grand piano you're hearing the movement of billions of molecules, everything is active: the wood, the strings, the metal, the temperature in the room, all these elements change the way that thing sounds.

Whole interview (in this track) :

In 1975 you founded the Obscure label and released Discreet Music, which can be defined as the first ambient-music work. On this record you changed your way of making music and your image as a musician as well, openly rejecting the role of pop star.
Can you talk to us about this important turning point?
Well I guess in my mind I've always wanted music to do something to me. And maybe I've always wanted it to do almost the same thing, but to make the music do the same thing you have to keep making different music. When I first started making music I was interested in the personalities I could play, the different figures I could be. Then I lost interest in that, I didn't want myself to be in the center of the music anymore. So I began experimenting a lot with trying to remove the personality in some ways, for example by making more than one voice so that it stops being a simple figure in the middle of the picture.
Then I tried singing using nonsense words, using words backwards, putting strange sounds on my voice... finding different ways of reducing the importance of the figure in the picture. What I was starting to get interested in was not the figure, but the landscape behind the figure; I found the figure more and more of a problem.
The same is true in a painting: if you have a picture of a landscape, you look at it and your eye moves freely over the landscape; if you put a human figure in there, even if it's a tiny little one, it becomes the center of your attention, it's very difficult to ignore, because humans relate to other humans. With music it became a problem, because I felt that as long as I was in the center of the picture this kept you, as the listener, outside the picture. Now if I took myself out of that picture, this left a kind of open field, a sound-field of some kind, which invited you in; and I felt that by removing my own personality - as represented by my voice - I opened up the music in a new way, I made a space that people could come into. Just that single act made the music much more "environmental".
Years ago you said "I'm a non-musician, the tape is the music". In your opinion is it still possible to do research in music without using electronics, using for instance a piano or a classicaI guitar, or is the acoustic era definitely over?
No, I don't think it's over. In a strange way, electronics have re-opened that area, for two reasons. First of all, recording techniques are so much better now that acoustic instruments suddenly stort to sound interesting again. For a long time acoustic instruments were compromised by recordings; electronic instruments were developed for recording, and worked better on records for a long time; but now recording has started to catch up again, so suddenly acoustic instruments sound interesting. The other reason of course is that sampling has suddenly reinterested people in acoustic sources, they feel that there is something very moving about the "humanity", the material quality of a real instrument.
I was thinking about this a lot over the last few years, because I prevalently work with synthesizers but I also make loudspeakers and create strange constructions, to make the sound more complicated.
It occurred to me that the real problem with synthesizers is that what you are hearing in the end is the movement of a few atoms amplified, really it's just a few atoms. When you're hearing a grand piano you're hearing the movement of billions of molecules, everything is active: the wood, the strings, the metal, the temperature in the room, all these elements change the way that thing sounds. For this reason those instruments remain interesting because they are never the same twice. If you play this piano today, it isn't the same piano that you play tomorrow.
So I think that actually the "novelty" of electronics has slightly worn off, and people are starting to look to those instruments again. The same movement happened in painting, there was a period when everybody wanted their colours to be totally flat and with very hard edges. Towards the middle of the '70s people started to get messy again, you started to see brush strokes, evidences of the human hand and of the materials.
I think the same thing is happening in music, and once again it's exciting to realise that this thing has a history, it's not just something that was invented in a factory in Japan last year. There are a whole history and a tradition which become part of the performance: you can't listen to a piano without listening to the whole history of piano music as well.

Whole interview :
http://www.moredarkthanshark.org/eno_int_rai-jun90.html

Brian Eno Speaks

Track by Squazoid , Kick Bong and Terra Nine 
Produced @ Studio 23 des Lilas 
Mastering by Cedric Champalou
Enjoy !!

Beatport

Garden Of Earthly Delights - Terra Nine , Kick Bong and Squazoid

Aes Dana - Opalin

laid back in the summertime...

⬇ FREE DOWNLOAD: http://smarturl.it/GR_Summer?IQid=sc2

Red Rocks + Tour Dates: http://smarturl.it/GR_TourDates?IQid=sc2

felt like spreading the love and dropping a summer vibes tune for everyone today. this was a song that i started last summer but by the time i finished it it was almost winter and the timing was a bit weird so I continued to refine it and waited. muzzy bearr on the guitar

⬇ FREE DOWNLOAD

Summer '97 ft. Muzzy Bearr

KICK BONG – Spring Mix Vol. 2 |  08/07/2015

Carbon Based Lifeforms - MOS 6581

New remix for Kaya Project Out now!

https://sebtaylor.bandcamp.com/album/the-dust-remixes

The Dust Remixes

Kaya Project - Taki Ura Matts (Kick Bong Remix)

My dance remix for great Kaya Project song!

Kaya Project feat. Irina Mikhailova - Lele Yane (AstroPilot Remix )

From the album Oort Cloud, http://phobium.bandcamp.com/album/oort-cloud
Stooodio mastering by Colin Bennun

Bandcamp

Phobium - Towards Proxima Centauri

Download A Color Map of the Sun, including 3 bonus tracks and the companion album Live Studio Sessions From A Color Map of the Sun, at www.prettylightsmusic.com

This is the first time I am releasing an album as a physical product at the same time as a digital version. The second disc of the double CD set contains 13 additional tracks straight off the vinyl acetates that I composed and created in order to make legit sounding samples for A Color Map of The Sun.

Like always, the album is available in its entirety as a free download via prettylightsmusic.com. For the first time however, I encourage you to purchase a copy of the album. There are two honest reasons for this. The main reason is that as an artist I have always reinvested any success I have directly back into the music, the show and the art that goes along with it. Secondly, this isn't just an album; it is a massive collection of music beyond what is on the CDs that I will continue to put out after the album release. There is an insightful documentary film on the making of this project to be released alongside the launch of the album, as well as a music video for every song. They are all beautiful and uniquely unusual pieces of art.

This "album" is a multi-medium map of my mind and my self. It is personal and honest and I put everything into it. I have stayed on the path of being a completely independent musician and with the help of every supporter and friend, we have transformed a simple idea into a movement, a cultural beacon of light. If you can, I encourage you to purchase a digital or physical copy of A Color Map of the Sun. If not simply support by sharing the music and sharing the idea. If there is any success to be had from this album, it will go back into my rule bending, never ending quest to channel beauty and taste through music and art.

Either way, I made this music for everyone. Support this release and let's show the world how we do. The time is now. - Derek Vincent Smith

Brian Eno Speaks

DEopen

Related tracks