Name: Nothing Human by Field Of View
Duration: 6 min 42 s
Description: There's nothing really human required of us.

I grew up in Kaliningrad, ex Konigsberg. It was a german city near the sea, which was taken by the Russians after WW2. 
It is a city where past and present collide. Where Europe and Russia clash. You can see it everywhere. German architecture is close to the soviet style Xruschevkas and with modern malls and cafes. 
As in every resort city, near the sea, people are relaxed there. They are not in a rush. They like to enjoy themselves and nature. They are quite hedonistic. It become a part of my nature too. 
Something I need to deal with it and balance my ambition and pleasure-seeking tendencies that I have. It is not an easy task. I had many friends there, and I miss them. Now, most of them are spread around the globe. I wish I can see them one day, and walk together by the Baltic sea.

«The Diary 2019 - 2023» is a collection of memories and impressions from the last 4 years. It consists of art, music, AI-replicated memories, generative impressions, photo documentation, and true stories.  Full Diaty experience here — https://www.imanou.art/diary

Diary 2019 — 2023

Балтийский Гедонизм

On November 18 of 2020, Vladivostok was hit by a Blizzard. I was studying that day. I had the plan to record a video podcast with my tutor at the time, Dmitry Morozov (vtol). The studio was set up and people were waiting for us. The producer called and said there is no electricity, and we can't make it today. So I decided to go home. The weather was brutal. The road usually takes me 10 minutes take almost half an hour. I was constantly falling. I was wet, cold, and bruised from falling on the ice. The wind was insane. 
When I was home, I was shaking from adrenaline and was grateful I survived. The next morning I woke up from crackling noises. I open up the shades and I saw massive branches fall from the trees one by one. The ice on the branches was too heavy. Every piece of grass becomes an ice obelisk. As terrifying the experience was, as beautiful as it looks after it was over.

Blizzard

This track is dedicated to going back home. To the apartment, my mom and I grew up in. The feeling of safety. The birthplace.
I left it to study in the MA program for 2 years, and then again after the war in Ukraine started.
It doesn’t feel safe anymore. But I always wanted to leave my town. So I am in a weird way grateful for this push. Will I find a home again? And what home means? These are open questions.

«The Diary 2019 - 2023» is a collection of memories and impressions from the last 4 years. It consists of art, music, AI-replicated memories, generative impressions, photo documentation, and true stories. Full Diaty experience here — www.imanou.art/diary

Гнездо

When it comes to early forms of ambient used in a musical context, the roots can be traced back to early 20th century French composer and pianist Erik Satir – albeit not in the manner we know today. His work is considered a precursor to Ambient and other styles of minimalism through his modest ‘furniture music’. This is a form of music that serves the purpose of creating a background atmosphere during dinner parties. Satir didn’t produce these compositions in order to hog the attention of the listener, and that sentiment already sets the foundation of what would later become ambient music.
On the subject of compositions, it’s safe to say that classical avant-garde and experimental music were heavily influential in the formation of ambient as composers from these genres embraced minimalism and unorthodoxy.

Text source: https://www.stereofox.com/articles/ambient-music-explained/

I thought it would be interesting to see how Erik's music may have sounded today if he was still alive, with access to technology we take for granted. 

The original length of the piece at 28mins is also interesting, as who has 28 minutes to relax and listen to a whole composition of music these days?

The image was made using www.dreamstudio.ai
 
Kit used:

MacBook Pro M1

Ableton Live 11 Standard

Arp Groove Oddysey - VST Synthesiser

Valhalla Shimmer - VST Reverb Filter

Voxengo Stereo Touch - VST Effects Unit

Isotope Iris 2 - VST Sample Synthesiser

Erik Satie - Gnossienne No.1 (Extended) - FOV Re work

Mysteries of the Deep Podcast, Chapter CXLVIII by Jin [靜] (@jinsynth). DJ set recorded live at Liminal Dreams [Tokyo]. Cover photo courtesy of Candace Price.

CXLVIII

Mysteries of the Deep CXLVIII – Jin [靜] at Liminal Dreams

A Week Is Too Long

A Higher Meaning

There's nothing really human required of us.

Nothing Human

Wavy Horizontal Lines

This is my first ever computer-free synth jam. The goal for my hardware-only setup was to jam, getting lost in making music, enjoying the process not only of making music but also getting everything working together, figuring out how the machines work, how to create things I enjoyed in other peoples music. After about one year, I got all machines working together, pattern and sounds designed, me pushing faders, turning knobs to create something like a conventional track. My free Soundcloud storage is eaten up now, so no worries that I post more of this.

For the music nerds, only one sample is used (a recording of a synth, reversed and put through a reverb), everything else is created by the machines. A Squarp Pyramid is the master clock and MIDI pattern provider for longer and melodic elements. The Hypersynth Xenophone is sequenced from the Octatrack, which does nothing else here. Elektron Analog Rytm for drums and percussion, Analog Four MKI for deep bass, Moog Subsequent 37 and Analog Four MKII for lead bassline, Waldorf Blofeld and Access Virus TI2 for atmospheric elements, pads, string sounds and higher pitched lead support. Everything feeds into an Allen & Heath QuPac for grouping and recording. The groups are fed into a XONE:PX5 and a Pioneer RMX 1000, before going through and Elektron Analog Heat. The four parts on the TI, three parts on the Blofeld and the four voices of the A4s are regulated via Faderfox MX12. The large number of sounds and parameters ensures that I myself cannot remember everything and therefore have my jam experience with prepared pattern and sounds.

Olaf

Cape Point STIAS

STIAS 124 BPM Gmin (Live Synth Jam)

As Field of View, my electronic music persona, I channel emotions and experiences into soundscapes, inviting listeners to immerse themselves in a journey of introspection through evolving melodies and intricate rhythms.

Nothing Human

Field Of View

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Maxim Imanou Fadeev

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