I ran onset detection on a recording of myself reading a passage from one of Luc Ferrari's imaginary autobiographies in "almost nothing with Luc Ferrari" by Jacqueline Caux (recording here: https://soundcloud.com/4082studio/luc-ferrari-fictional-autobiography-reading). I then ran pitch estimation on each segment detected by onset detection and rearranged the segments in order of lowest to highest pitch.

I added some reverb and delay for fun.

Image source: http://www.quotessays.com/gallery/luc-ferrari-5.jpg

ababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk!

oko mayonnaise

live synth jam on a prototype of a new modular synth made by Mark Feldmeier / Open Music Labs http://www.openmusiclabs.com/

flight of a small motor creature

One Sample Project - Arati

florestan and eusebius

‘Sold Out’ Out Now - 
Brainfeeder: http://found.ee/soldout
iTunes: http://found.ee/soldout-it
Google Play: http://found.ee/soldout-gp
Spotify: http://found.ee/soldout-sp

Taken from the mini-album 'Sold Out' released 13th November 2015 on Brainfeeder.

Follow DJ Paypal - 
Facebook: found.ee/djpaypal-fb
Twitter: found.ee/djpaypal-tw
Soundcloud: found.ee/djpaypal-sc
Spotify: found.ee/djpaypal-sp

http://djpaypal.com/
http://brainfeedersite.com/

Out Now

DJ Paypal - 'Awakening'

Its been a long time coming and finally after 5 years in the making we are very proud to have the chance to present to you instrumental music of a different kind created by the iconic Brazilian musician - Camarão.      

One of the very first Forró songs I ever heard was Camarão’s “Retrato de um Forró,” courtesy of a mix that Fred Thiphagne – founder of the Goma-Gringa label – had made for the music blog Les Mains Noires. But it wasn’t until my friend, the Australian DJ Carlo Xavier, dragged me to Brazil that I got hooked.

Our Brazilian record safari started in Belém, the capital of the Pará state in the north of the country, and although Forró music originated in the northeast of Brasil, it was here in Belém that my Forró education began. 

In the first two days of our trip we had the good luck to bump into a record stand at Praça das Mercês, in the old part of the city; its owner, known as Max Alvim, is considered to be one of Belém best record dealers, and he certainly lived up to his reputation. We found many records of interest almost immediately, but Max advised us to leave a want-list and come back a few days later. When we returned, Max had manage to lay his hands on many of the Carimbó and Siriá LPs we had been looking for. But what surprised us most about Max was his extensive knowledge of Forró music and where to find it. Two weeks into our adventure, not only had we managed to find most of the Pará music we were after, but we also ended up with about half of Camarão’s musical output. 

Some of Camarão’s tunes had a wonderful sense of humour, while others sounded as if they had come from the soundtrack to some imaginary Brazilian Western movie, but all of them were united by a special drive and positive energy. The music surprised me, and anything that tickles my curiosity is destined to be thoroughly scrutinised.

We started toying with the idea of a compilation and decided to travel to Recife, not only to continue our Forró education but also to meet Camarão himself. 

During our stay in Recife, whenever the word Forró was spoken there was always someone coming out of nowhere eager to explain how the word came to be. Apparently in the 1940s, so the popular story goes,  British train-line manufacturing companies based in northeastern Brazil would throw parties for their employees and the best thing about these parties was that everyone was invited. These events were advertised on the radio and in the newspapers as being “for all” which, when spoken with a Brazilian spin, became “Forró”.

But according to historians this explanation is nothing more than humorous folklore. The term Forró, so they say, comes from the bantú word Forrobodó and had already been used in a song called  “Forró Na Roça” composed by Manuel Queirós and Xerém in 1937, five years before the British had arrived. Even before that, in 1912, Chiquinha Gonzaga composed the song Forrobodó, which was classified as a burlesque piece and earned her the Mambembe Prize in 1915.

No matter which version you decide to believe, Forró developed into a general term referring to a group of musical styles, including Xote, Marchinha, Coco de Roda, Baião and other mixtures of African, European and indigenous rhythms. 

We had manage to arrange for an interview with Camarão who was notorious for being a man of few words. His peers would say that “his accordion speaks for him”. We had high hopes that Camarão would not only shed some light on his own legacy but also give us a sense of the vibe in Pernambuco during the heydays of Forró music. We met Camarão at his house in Recife and found him in excellent spirits.

Interviewed by Carlos Xavier himself on the 29th of November 2012, Camarão gave us an in-depth look at his own musical story in the context of the state of Pernambuco during the 60s and 70s. We also received about 50 pictures, half of which have been used to craft the beautiful LP/CD booklet that will come with the music.

Camarão - Ma Nah Ma Nah

lo-fi boogie mix for 2011 tour w. dam-funk and master blaster. wax cut to tape and processed through sp-303 compression <3 a vibe.

cover art from jesselisa moretti

One Sample Project - Arati

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