Senses/processing

Lucy is back on CLR with another one of his mind-bending, deep and hypnotic Techno productions. Those who have already appreciated his unique approach to modern Techno in previous tracks will surely like the “201 Phasing“ EP by the Berlin based, Italian DJ/producer. It contains Lucy´s slow burning original version, an excellent remix by Dadub and a skillfully crafted edit by Chris Liebing.

Lucy - 201 Phasing(Original Mix) [CLR]

this is a 16 seconds loop extended to three minutes.
an experiment on phasing or phase drifting using the serge, not so far from steve reich's experiments.
there were no concept or pre-conception before or while making this. Just enjoyment.

here is a description of the patch if anyone is interested. (it will at least serve as a block note)

a main clock is generated using the computer, every 8th of a second.
this clock goes into a transient generator, that can divide this clock, it then goes to an N-comp, the bottom knob allows to add some phase drifting, then the top knob allows integer divisions of the clock.
this generated gate goes into an extended adsr, it's output goes into an attenuator, then to a lowpass gate CV and back into the delay CV of the adsr, this allow some other phase drifting/rhythms
the sound is generated by an oscillator into a resonant filter. its frequency cutoff is modulated by the other transient generator, triggered by the N-comp output.
the bottom section of the smoothed/stepped generator is used as a sample and hold, which sample the transient generator output every-time a new envelope is generated, to modulate the filter's frequency cutoff.

this is the first experiment with it, it's in a raw state as is, but I will record something soon or later with this system again.
As I enjoyed making this, I thought some of you would enjoy listening.

some pulsating short sounds are too loud, but no way to mix it, it was recorded layer after layer with the looper, no edit...

image by Akiyoshi Kitaoka. 


serge experimentations _ phasing

from 'Nomad Frequencies' [CD|2xLP|DIGITAL]
Denovali Records · den237
available on all formats at [http://denovali.com/johnlemke]

An ardent moulder of sound, John Lemke began carving out a very unique music blend on his debut album 'People Do' (2013) and its follow up EP 'Walizka' (2014). Informed by his work as a sound designer & composer for documentary films and his natural inclination towards fusing rhythm with rich textures and emotive melodies, he set out on a musical path that had been long in the making and is ever evolving.

The quest for unusual, inspiring sound sources has always been at the heart of John's process, however the genesis of his second album 'Nomad Frequencies' was rooted in much more inadvertent circumstances. In the summer of 2014, forced to indefinitely evacuate his Glasgow flat and studio due to structural damage from one hour to the next, with nothing more than a laptop and a bag of clothes, John embarked on a six month odyssey of soul searching, couch surfing and spending an extended period of time in his old hometown of Berlin for the first time in years - it was to be an odyssey that would help ferment and distill the ideas of his second album on which work had just begun. 

A year of particular global turmoil and upheaval, combined with John's personal, albeit very minor, 'displacement', caused a lot of questioning, frustration and anger, which somehow found its way onto the new material: a more confrontational, at times aggressive sound, paired on the other hand with a yearning for harmony, balance and space. Other influences came less from the world of music, but rather in visual form, through the densely textural art of Anselm Kiefer and the political, yet poetic musings of film maker Adam Curtis.

Intent on refining his sound toward a more minimal, bolder style, John set out to limit his sonic palate to a handful of carefully chosen elements. At the centre of this new direction remains the muted piano already introduced on his debut, but in a much more purified and raw form. This organic base is adorned by the warm fuzzing and wavering of analogue synthesisers, tape echoes, meditative tuning forks, field recordings from John's 'exile' period and percussion based on his rigid approach to sampling, which started developing on 'Walizka'. The guiding principle of his orthodox style of recording and sampling is to only use home-made sounds by utilising his own field recordings, applying contact microphones or hydrophones to objects and instruments, running them through different kinds of speakers and re-recording the sounds to arrive at a 'lived in' quality, often misunderstood as plainly 'lo-fi'. Touches of viola and woodwinds parts (Kim Moore of WOLF and Andrew Baker respectively) provide melody fragments and subtle details throughout the journey.

With John's healthy disregard for genre boundaries, the array of influences on 'Nomad Frequencies' is vast, but never over-powering. From the meditative tuning fork that starts proceedings on 'Of Elsewhere', the dub echoes to the hints of minimalism, free jazz explosions to the Lynchian atmospherics, all elements serve nothing more than the album's narrative journey between friction and harmony, best appreciated in its entirety. A rhythmic backbone collides with rich ambience and melody, often infectious and jarring at the same time, forging a soulful whole which most likely only reveals its true self after multiple spins.

Nomad Frequencies

John Lemke - Vessel

Phasing Bell Pattern

Here we have 3 against 4 in a sequence. Increase the tempo enough and two pitches emerge, a perfect 4th apart. You'll notice that at he end of this one the rhythms are displaced. That occurred in the middle of the piece when I stopped and started each voice to give you a clear hearing of each note. WHen I bought them back together for the big gliss down, they were displaced - which doesn't affect the interval as the ratio is still the same, and explains why we only notice the displacement when the rhythm emerges as the tempo gets slow enough.

Perfect 4th Ratio 4:3

Wata Igarashi - Ciphers EP
Vinyl Release date : End February

Midgar is very happy to deliver a new release by Wata Igarashi!!! Anticipated since few weeks already, with the two bonus digital tracks ´Mantle´ and ´Displacement´ (both available for free download), Ciphers EP is a rich assemblage of deep sonic excursions showing throughout a strong coexistence of organic and virtual elements. The record opens with ´Ciphers´, where a fast paced sandy groove is driving high on drones via sparking ambiances. Second track, ´Hailstones´ is basically a beat knocking its way outside, under a heavy hi-hat hail, slashed by snares and haunted by holographic spirits. On the B-side ´Lucifero´ carries a mellow but powerful mood, sounds like a morning star that gradually transforms into a supernova, is definitely the more dancefloor oriented cut of the release. Closing the vinyl, the slow-footed ´Cocytus´ is the complete opposite of its previous track, because of a cold, grave rhythm, treated like a windswept tree. Finally, the only digital tracks, ´Mantle´ and ´Displacement´ are perfectly resuming Wata Igarashi sound signature, as trippy gatherings of crafted beats joining drones and deformed soundscapes, the first is mind stressing and epic at certain stages, while the second vibrates so dreamy as it´s made of percussions and supernatural blows.

Breaking Through feature with Wata Igarashi
www.residentadvisor.net/feature.aspx?2611

Buy 12"

Wata Igarashi - B2. Cocytus

Wata Igarashi - A1. Ciphers

Synthesis & Phasing

prototype gorge using phasing pattern with homogeneous separate loops

NREP015 - DYKORE - PROCESSUS [EP]

Label: Nashton Records 
Artist: Dykore (@dykoretechnoproject)
Release: Processus
Catalog No: NREP015
Format: Digital


Deuxième parution de l’artiste sur notre label, « Processus EP » s’inspire de Lyon et de sa scène musicale foisonnante, avec une volonté profonde de faire le lien entre systémiques modernes d’une Techno industrielle dure et des mélodies envoûtantes de la vieille école.

Composé de 3 tracks originales et d’un Remix de MLSN (mlsn-offcial), le travail de Dykore s’articule autour de l’utilisation toujours plus précise de nombreux pads et synthétiseurs.


Toutes les pistes sont écrites et produites par Dykore | Mixées par Dykore | Publiées par Nashton Records.

Mastering : Piotr Figiel (@dcm) au Studio Sound Essence, Pologne
Artwork : Brice Alonso (@brice-alonso)

________________
Téléchargement ⏏
Beatport : beatport.com/release/processus-ep/1853732
Juno : junodownload.com/products/dykore-processus-ep/3213129-02/
Traxsource : traxsource.com/title/687490/processus-ep
iTunes : itun.es/fr/5dr0eb

Les dernières infos de Nashton Records : facebook.com/Nashton-Records-714714358549580

Tout sur Dykore : facebook.com/dykoretechnoproject


Processus EP

Buy now

Dykore - Phasing Process

the translation movement between the body and rhythm, a fight between the calm and the storm, the displacement and immobility, search the acoustic hierarchy of a deep and esoteric low...

Vuul

Mod21 - Phasing / PoleGroup 42  Unknow Landscapes Vol 4

Phasing Harp

Phasing Between The Planes Of Existance

phasing through layers

Artist:  Peepholes
Title:  The Overspill

Catalogue Number: UTR056
Formats:  CD /LP /MP3

Track listing:
1. Ah Ah Ah
2. Conversation
3. Pinnacles
4. Lion
5. Keychain
6. Marimba 
7. We Don’t Like Anyone
8. The Overspill
9. Living In Qatar

PEEPHOLES are Katia Barrett and Nick Carlisle; a synth/drums duo defining their unique sound with both discipline and disorder. Barrett and Carlisle originally from Bahrain and Northern Ireland respectively met in Brighton in 2006 after bonding over a Chinese violin and the quietest of music. They quickly turned the volume up and hit on their winning strategy of soaring, stammering synth lines, primal drumming and low-slung vocals. Treading a tightrope between underground punk and dance music, Peepholes write cloaked anthems as likely to open celestial gates with keys of repetition as to soundtrack a Dark Age future. Their music is otherworldly, aching with wild beats, echoing with cavernous atmospheres.

After a series of well-received mini-albums, EPs and some earth-shaking live performances, Peepholes have finally finished their debut album proper for Upset The Rhythm entitled “The Overspill”. “The Overspill” continues on from last record “Caligula” with its rejection of traditional song form, allowing each track to follow it’s own fluid course, to hunt down its essential cadence. The initial material for the album was improvised and recorded over two days earlier this year at London DIY hub Power Lunches. This was then followed by a lengthy six month edit whereby additional vocals, synth and percussion were introduced or reworked, pulling the album into a coherent and impressive whole. 

With “The Overspill”, Peepholes have realised a long ambition of theirs; trusting many first take vocals, following hunches, concentrating on the flow. You can hear that on opener ‘Ah Ah Ah’ with its insistent motorik feel and pleading vocal of masked sounds. Carlisle’s synth stalks Barrett’s blurred voice into a formless coda of tumbling toms whilst some nihilistic Fairlight pipes join the pursuit, only to resurface later on Fourth World melodic rush ‘Keychain’. 

“The Overspill” is less noisy than its predecessor "Caligula", finding Peepholes replace their Monotron blitzkrieg of old with an indistinct language of wordlessness and unsettling melodics. Although there are moments of light as with tender treatment given to ‘Lion’, this album feels dark, not so much in an over-prescribed depressive way, more along the lines of gleefully destructive, heavy with a celebratory, upbeat focus. ‘Pinnacles’ rolls out in confident fashion, slowly but surely drawing us into a stark landscape of devolving rhythms. ‘We Don’t Like Anyone’ is resolutely an anthem of displacement augmented by steel drums, handclaps and jubilant snare thunders. It’s this unexpected embrace of the pop hook that informs title track ‘The Overspill’ too, letting the whooped vocals and queasy keyboard lines play over the disconcerting back-drones, allowing a greater punch to be packed. 

‘Conversation’ perhaps best encapsulates this idea of matching up the melodic with the everyday malaise and relentlessness. This short song of swaggering, burnished synth tones, faded claps and echoed ambience is joyously confined by Barrett’s almost mantra-like commitment to the song’s only lyric ‘hustler, gaylord, his law, conversation”. Reaching a repeated perfection, ‘Conversation’ salutes the disconnect, urges at the leap of faith. It’s fitting that final track ‘Living In Qatar’ exceeds in leaking out from the edges of the “we go out every night, we try out every car” pop realm into a vast somber void of tracing synthesizers, exclamations and hallucinations. The last ten minutes of the song forego gods, deny the human and escape storytelling and this is what Peepholes have done with this album. 

The cover artwork for “The Overspill” is by Barrett’s friend Ksenia Pedan and depicts a blurred face coming out of the darkness, what better image could there be for this album? With “The Overspill”, Peepholes have not only escaped the story, they’ve escaped the narrator, leaving something beautiful yet profoundly ambiguous in its absence. Now it’s up to us to decide whether we should trust our own instincts.




Peepholes - Conversation

04. Lion

This idea came about from listening to some of Steve Reich's Phasing pieces like Piano Phase or Violin Phase.  Performed on 31-tone guitar with a Boomerang looper. Using the looper in free (not sync) mode I created a repeating just-minor 9 pattern in the first track and then added the same phrase to the second track. Of course they slowly drift out sync from each other and create some really cool interlocking sounds. Then I added some ebow pads over the top to highlight some of the harmonics happening.

Senses/processing

CB