Name: COTTON MUSEUM - HORRID ORGAN (WEB SAMPLE) by tastysoil
Duration: 2 min 54 s
Description: Sample track from COTTON MUSEUM's LP called "HATCHING EXTRACTION" www.TASTYSOIL.com

This is a edited down sample of the full track available on the LP

An idea for a track I wanted to develop but time passed by and I never went back to it. The idea became a track on its own... So be it.

Batchas - Berlin

Batchas - État Vague 002

Cassette/digital available from Imprec.com

“The Generous Law,” a new album by organist Jack Langdon and guitarist Anthony Vine, presents a glimpse of the inner voices and acoustical splendor of the Fisk Organ at Wellesley College, enlivened by the intuition of two improvisers. At the keyboards, Langdon crafts geometries of patiently braided lines and incisions, configuring the hues and shades of organ stops with an ear to the materiality of sound. Vine seizes on this, tuning his guitar to the organ and bringing his strings into alignment with the harmonics of the reeds and pipes, becoming an extension of the instrument, an organ stop of sorts. The guitar flows in and around Langdon’s angular counterpoint, like the shimmer between the divots of a jigsaw puzzle, illuminating its matrix. 

The tonal design of the Fisk Organ brings these interactions into vibrant relief through its quarter-comma meantone tuning and 17th c. Danish and German stops—giving organists access to sonorities only found in historic North European churches. Resurrecting a distant sonorous past echoes the design of Wellesley College's Houghton Chapel itself, a braiding of ecclesiastical motifs with no historical center, designed to impart a sense of old-world sacredness. Fisk’s ahistorical mélange yielded something extraordinary, not a cheap replica or period imitation, but an instrument of sui generis chroma and expressivity.

The musical idioverse of Langdon and Vine is defined less by interior imaginations, established style, and compositional formality, and more by the inexplicable pull of the organ, its guiding and grounding voice. In a letter to Ross Feld, Philip Guston speaks to this abstract, yet ubiquitous dynamic in artmaking with his notion of the “generous law,” the namesake for this collection:

“I think you are writing about the generous law that exists in art. A law which can never be given but only found anew each time in the making of the work. It is a law, too, which allows your forms (characters) to spin away, take off, as if they have their own lives to lead—unexpected too—as if you cannot completely control it all. I wonder why we seek this generous law as I call it. For we do not not know how it governs—and under what special conditions it comes into being. I don’t think we are permitted to know other than temporarily. A disappearance act. The only problem is how to keep away from the minds that close in and itch (God knows why) to define it.” -Philip Guston to Ross Feld

This music is not driven by concept, process, or system, but by the wanderlust of sound, time, and listening.

Jack Langdon & Anthony Vine - The Generous Law - 1  July 27, 2022 - 1pm

Gabriele Gasparotti’s second full length album, Tropismi, is a collection of mesmerizing compositions with masterful polyrhythmical textures and harmonies, strings, prepared piano, magnetic tape and field recordings. Gasparotti's unique style uses classical composition techniques such as counterpoint, canone inverso and serialism to create morphing expanding harmonies continuously.

Tropismi features stunning cellotronics by Benedetta Dazzi, cellist and sound designer with which Gasparotti established an intense collaboration during the past years. The album has been recorded on a full analog reel-to-reel setup and mastered by Rashad Becker at Clunk (Berlin).

“In my latest release I tried to seize the instant moment, the kairos or Greek kairological time: "shooting" the instant with an on-the-fly recording of the performance on magnetic tape. While recording, I noticed that in several instances the compositions grew beyond the idea I had set out with: for example, some unforeseen elements started to emerge due to the interaction of the sound with the surrounding space. Though they were seemingly uninfluential, they made the compositional idea gradually slide into unexpected territories, arousing certain sensations in me that would suggest a particular atmosphere, image or state of mind – a judgement that moved my way of manipulating the sound and at times suggesting even a possible title for a sonic idea that was meant to represent nothing but itself. 
This interaction between the sound and my mind reminded me of the biological phenomenon of tropism: “The turning of an organism, or part of it, in a particular direction in response to an external stimulus”. So, in this work I expressly entitled Tropismi, I investigated those movements which appear to me as being the engine of existence and of expansion of the Universe”.

Gabriele Gasparotti is a composer based in Italy who specializes in electroacoustic music on analog gear. A classical trained pianist and violist, Gasparotti studied composition and electronic music with Riccardo Sinigaglia and Giuseppe Giuliano at the Conservatorio Verdi in Milan and the West Coast synthesis with Todd Barton.

Gabriele Gasparotti - Anabasi - from Tropismi Tape

Oscillator detune added using constant CV to a row in the CSR with randomized node levels.

Ron's Sequencer Demo Detuned

A 251e provides two sequences that are mixed in a Studio H Software CSR. The sound source is a pair of DPOs. The 291e frequency is slowly modulated with random CV from the 266e.

Ron's Sequencer Demo with Automated 291e

Two Studio H DPO oscillators with wave modulation are controlled by three channels of the 251e, summed in the Control and Signal Router. The pulse outputs on the 251e are patched together to produce varying pulse spacing. The pulses are fed into the 255e to produce a varying envelope. Pulses with more space between them get shorter envelopes. The envelopes are mixed with the original pulses in the 254e and used to control the 292e. The audio uses two channels of the 292e. One channel is in LPF and the other is in GATE. The two are mixed in the 207e to provide a combination of high and low frequencies.

2xDPO

Sample track from COTTON MUSEUM's LP called "HATCHING EXTRACTION" www.TASTYSOIL.com

COTTON MUSEUM - HORRID ORGAN (WEB SAMPLE)

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