Thursday, December 15, 2011
Tuesday, December 13, 2011
BEN VIDA/ ANDY ORTMANN - ELECTRONIC MUSIC LP (NHILLIST)
Warren is using Art Wonk using DNA and Protein computation as 31 notes per octave.
Here is an interview I did with Warren back in 2008.
Han is playing guitar and Richard played Buchla Lightning/WiGi, Chimera BCX, Blippoo Box and LiSa and Max MSP software.
Wednesday, November 16, 2011
by Sam Davis
Who is Roland Obeheim?
I am Roland Oberheim (Ross Healy)
Why the artist name Roland Oberheim?
Some of my favourite synths have been from Roland, the Jupiter 6, 8, SH101 etc and with Oberheim it was the OBXA, Xpander etc. Also it made an interesting artist name. I could imagine a kid who was totally into synths. I also chose the name because whilst I have been focusing on the Cray name and style, at the time the Zen album was too different so Roland Oberheim was born.
Did you use Roand or Oberheim synths on the Zen release?
It was all done on a Pentium 1 probably running Windows 98 or even Windows ME back in the day. I mainly used Soundforge and Fruity Loops and cut everything up in SoundForge. I totally loved SoundForge. You must remember at the time SoundForge and hard disc recording was fairly new. I had sold my Atari 1040ste and bought the Pentium. I soon discovered that the Pentium had absolutely terrible MIDI timing and as I was getting fed up programming beats I decided to do an album where everything was in its own time and space. The only synth I had with me then was a Kurzweil K2600R and that was only ever used sparingly.
How long did it take you to complete the album?
I would start at 9am and work through until 9pm most days, so about 30 days. This was all recorded and cut up in SoundForge, each individual kick and snare, hihat and clap was taken from 1 loop I created and then madly edited each individual sound. It was closer to editing tape than anything.
I can hear room acoustics as well as electronic sounds. What recording devices did you use?
You should be able to hear my squeaky chair and the shower recorded through a wall, the odd breath etc I used a cheap computer mic that came for free with the computer.
What other names have you recorded under?
Amnesia was my dance music name. I released "A Brief History of Amnesia 2056 - 2068" album It was leftfield breakbeat and techno. I also release a leftfield drum n bass e.p in the UK called "Red Tank". Horaku was the name I used as a one off on a compilation, that was an experimental drum n bass track. This was all about 1995 - 1998. I never released a beat album after that as I felt I had gone as far as I could with dance music. I have used about 10 different artist names since 1993.
Why all the different artist names?
I am an electronic musician. Electronic music and the instruments allow me to be anything I want to be in sound. There is nothing worse than being considered a "boxed sound, i.e house, jungle, funk etc" In the old days when synths and computers were not around I can understand a band being one style for comercial reasons and also lack of interest in anything outside what they know but that just doesnt equate when you are an electronic musician living in the world now. I have no obligation other than to myself musically. I do understand that by using so many different names it is hard for people to latch onto me but to me music is all about searching for something new. Saying that I really have decided to only use the name Cray pretty much since the year 2000.
What is it about electronic music you love?
I really love the fact that electronic music has given the individual the power to create their own music without having to resort to a band scenario. Also electronic music is about the pushing of boundaries in composition and sound, it really is our imagination in an audible form. I find nothing more boring that a straight 4 on the floor beat. I can appreciate it in the context of a recording but I feel that most people are cheating themselves by not pushing the boundaries of composition.
Will there be any further Roland Oberheim releases?
I have no plans on doing anymore R.O. releases I would like to work with Ryou Oonishi though:-)
Roland Oberheim's Zen and the Art of Hard Disc Recording is available for free or donation on VICMOD Records. http://www.vicmod.net/music/zen%20&%20the%20art%20of%20hard%20disc%20recording/zen%20and%20the%20art%20of%20hard%20disc%20recordings.html
Wednesday, November 9, 2011
It is very different to every other Cray release past, present and future.
Keep an eye out for another Cray album on VICMOD due Feb 2012 and another album by Cray called "Delta Whan" on Digitalis Ltd in Feb 2012.
Wednesday, November 2, 2011
Saturday, October 29, 2011
Friday, October 28, 2011
Sunday, October 23, 2011
Tell us about yourself.
I’ve had the 200e for about seven years but in the past year I have devoted daily practice to exploring and deepening my understanding and technique of this amazingly open-ended, complex instrument. The hope was to finally be able to at least harness a bit of this instrument in service of my express needs and desires. This new album, analogie, is a step in that direction.
Do you use computer programs to create sounds or just modular synths?
What do you like to listen to?
Do you have a favourite sound, natural or synthetic?
Is there anything you wish for that has not been made yet?
Saturday, October 22, 2011
vicmod ensemble on the night were :
simon birds, stephen richards, ross healy, owen harris,gerrard jenne and blake stickland.
Saturday, October 15, 2011
Friday, September 30, 2011
Greg Davis - States 1-4 ( various labels)
Ben Vida & Andy Ortmann split - (Nihilist)
Red Electric Rainbow - Fluorescent Landscape Vol 1 and 2 (Rocket Machine Tapes)
Daria Semegen/ Brulent Arel - Electronic Music For Dance (Creel Pone)
Todd Barton - Analog Textures ( digital download)
Photek - Closer (Tectonic)
Pita - Mesmer (The Tapeworm)
Matt Carlson - Live at the Chapel ( Vimeo)
Outer Space - Last Vacuum Demos Vol 1 (Wagon)
Max Eisenberg - The Dog Synth (Tusco Embassy)
Thursday, September 1, 2011
You can download all previous releases by Cray, Ryou Oonishi, VICMOD Ensemble, Richard Lainhart, Healy/Hassler, Rod Cooper, Steve Law etc
So what are you waiting for start downloading and listening! http://www.vicmod.net
Don't forget 21 September is an amazing night of abstract electronics featuring
WILLIAMS AND HAYES
Tickets on sale via Fringe Melbourne
Tuesday, August 23, 2011
Tickets are now on sale for the brilliant Fringe Festival night Electronic Abstractions.
Show starts at 8pm, 21 September 2011, Bar Open Fitzroy.
TICKETS PURCHASED VIA FRINGE FESTIVAL MELBOURNE.
TICKETS WILL SELL FAST SO BOOK ASAP!
Promising a night of extreme electronic abstraction, pushing the boundaries of composition and sound design.
WILLIAMS & HAYES
Join Electronic Abstractions blog http://electronicabstractions2.blogspot.com/
- Browse the program and buy tickets online at melbournefringe.com.au
- Call our ticketing hotline on 03 9660 9666
- Download our free iPhone app MelbFringe11 from iTunes
Wednesday, August 10, 2011
Interview with Jason E. Anderson of Brother Raven, Spare Death Icon etc
I see you began as Brother Raven in 2008, were you recording music before that?
My background was a little different - I played in improv/noise trio for awhile called BNSF (a disc on Locust Music), I was playing various free improv gigs, performing music for contemporary dance, and doing solo abstract noise shows.
How did you meet?
I think I read that you own a Korg MS2000. What other synths do you use?
With you solo releases did you use different equipment and approach writing/recording differently? Millions Mist sounds more digital where Brother Raven sounds more analog.
Are there any synths that you currently lust after?
Spare Death Icon - Survival has a very 80's movie/ TV and computer game feel about it, quite different to your track Foreign Relaxation Technique. With Survival where you trying to create a theme?
The Brother Raven release Diving into a Pineapple Portal sounds like it has been recorded onto tape. Do you always record to tape?
What is next for Bother Raven?
An interview with Rastko from Geneva.
1. Tell us about your beginnings with music.
My grandmother was a piano player at the local ballet school. As a toddler I used to crawl under the piano and listen to her playing. I went to primary music school learning the piano but I hated the rigidness of the school and the endless repetition. But I was always surrounded by music not least from my childhood in Zambia where there where so many sounds and listening to my parents and my older brother's records. Although I ended up doing a lot of physics and math during my early education I always had music in my life either by organizing concerts or making mix tapes for parties. I started going out to the , at that time , only underground club in Belgrade at an incredibly young age and loved the weird people and the new music I was discovering there. My first real encounter with experimental electronic music was in London in the nineties where I studied to become an audio engineer. It was a revelation to listen to pirate radios for the first time and then endless nights of listening to the FSOL transmissions and recordings. While working as a sound editor in Denmark I started composing sound collages for performances and experimental films. I did not even know that there are academic names for the things I was doing but it just felt right to chop field recordings and make rhythms and sound patterns out of them. After a lot of traveling I came back to Belgrade and started doing impro concerts and recordings. First I used a computer in my performance but I got really tired of all the complexity while in the end I felt I was not so free to play. Although I did try to change this and became good at using midi controllers still I could not make radical changes in the sound and it was hard to improvise playing duets with acoustic instruments. So I begun working with a much simpler setup with some home made devices and a circuit bent SK1. In this way I felt much better while performing and I was always giving something unique to the audience. Performance is important to me as that is how I record and compose. By live playing or manipulating the sound, I do very little edits and almost never overdub.
2. Is the Serge modular your first modular? What made you decide to choose it?
Upon my arrival to Geneva I started listening to and reading a lot about the electronic and avant-garde music from the 60'ies. I was especially impressed by the so-called west coast sound from the US. I had a Korg MS-20 and I worked a lot with software modulars so I had some experience with modulars, but I thought that Serge would bring me closer to this sound I liked so much. Not as to copy the sound but just to take that as a starting point. Then I got a very fair offer on a second hand Serge panel and I bought it almost like a "shot in the dark". I could not try it anywhere and I could not imagine how it worked nor really sounded. Now that I have Serge I love the sound of it and the functionality or rather the density of the modules is amassing. It is really a beautiful instrument and it gives me so much joy when I play it. I love the banana plugs as well and I think that all modular formats should have them.
3. What is the Geneve experimental scene like? Any artists we should check out?
The Geneva scene is very rich for such a small city. The concert scene is very good and the organization Cave12 (http://www.cave12.org) brings really good experimental musicians to perform. I like going to most of these concerts. The things they bring to the town is all recommended and there are some local artists who perform as well. My favorite electronic music festival in Geneva is Archipel http://www.archipel.org/.
4. On your new album Plink Plonk you use the Serge and the Sidrassi Organ is that correct? what are the differences in approach for these instruments?
It is actually the Sidrazzi Organ which is a new version of the Sidrassi Organ and it is an instrument built by Peter Blasser from Baltimore US. His instruments are amazing! Sidrazzi Organ is already a instrument you can play straight away while the Serge has to be patched to be able to become an instrument. I am thinking a lot right now about this difference and I am not sure that the act of patching and building an instrument is a legitimate part of a live performance. At least I do not feel good about that. I am now working on a different approach to my live performances and the ideas that Sidrazzi has given will be a part of that. As for "Plink Plonk" I actually added the Sidrazzi Organ to the recording of the Serge. I do not overdub on my other Serge recordings but this time it just felt right and the Sidrazzi Organ added something I really liked to the recordings.
5. I know you frequent Muff Wiggler's forum, are there any other forums you think worthy of mentioning?
I love Muff Wiggler and have learned a lot from the info there and have met some really nice people there. Browsing the Muff takes enough time so I do not frequent many more sites, but I recommend UBU which I visit as well and which is a great resource for the strange and beautiful http://www.ubu.com/. http://www.quadslope.com/ is a Serge user site and forum which is very good and has produced 2 compilations of Serge users music.
6. Do you see your music in images/ shapes or just sound?
You know the childhood dream many have of floating around in air or flying? Well sometimes I get that feeling while playing and listening to my music. It is more the tensions that I feel in the music and less images and shapes.
7. Have you any other recordings released?
I have nine "releases" on my web site.
Tuesday, August 9, 2011
RIP CONRAD SCHNITZLER
Such an underrated hero of electronic music.
Conrad Schnitzler (1937 - 4th August 2011) was an institution in the German electronic music scene for thirty years. He studied with Joseph Beuys in the mid 1960’s, and in the late sixties joined the then fledgling German rock band Tangerine Dream. He added a bizarre, conceptual approach to Tangerine Dream that catapulted the band to legendary status, documented on the bands first album “Electronic Meditation”. Schnitzler left after that first album, forming with his friends Moebius and Roedelius the band Kluster. Kluster recorded and released three albums before Schnitzler again left, this time to pursue his own work under his own name. Kluster continued with just Roedelius and Moebius under the name Cluster. Since the demise of Kluster, Schnitzler released hundreds of albums, cassettes, and CDs, both on his own, and on various labels around the world. Schnitzler passed away in 2011, victim of stomach cancer. Hist last work was made just 4 days before his passing.
Conrad Schnitzler recordings to buy....
hell all of them are amazing!
If you want to be totally blown away track down the Japanese boxset The 80's works - 8 CDS of all the early classics!
Wednesday, July 27, 2011
Florian Hecker suggests an amalgamation of two seminal collections of psychoacoustic works, which demand from its audience a selective piecing-together of distinct units into an overall Gestalt, one that culminates in a chimerical auditory experience.
In the last month I have come across these fine abstract electronic releases.....
Gustavo Becerra-Schmidt - self titled (Orba Electroacoustica)
Jose Vicente Asuar - self titled (Orba Electroacoustica)
Temporal Maurauder- Temporal Maurauder Makes You Feel (Spectrum Spools)
Cray - Show Fades (Digitalis Ltd)
Henri Pousseur - Parabolique D'enter (Sub Rosa)
Dub Taylor - Lumiere for Synthesizer and Concrete Sound (Sub Rosa)
Ghostrider - Light Pulse (Digitalis Ltd)
Alexander Rishaug - Shadow of Events (Dekoder)
Caboladies - Renewable Destination ( Students of Decay)
Rene Hell - The Canon ( Agents of Chaos)
Charlatan - Trinagles (Digitalis Ltd)
Xiphiidae - Science Everywhere (Housecraft Records)
Raskto - Plink Plonk (VICMOD Records)
Sunday, July 17, 2011
5. how it should be
7. clean part1
8. clean part 2
9. clean part 3
Plink Plonk is a collection of improvisations recorded live on the Serge modular synthesizer and the Sidrassi Organus at the beginning of 2011
Wednesday, June 29, 2011
Friday, May 20, 2011
9 Casettes to grab so far this year
Ben Vida – Music For Soft Epic (Roots Strata)
Million Mist – Original Motion (Gift Tapes)
J. Hanson – New Ruined Maps (Draft)
Various - Pacific Support (Draft)
A Diller – Still Life (Draft)
M. Geddes Gengras – This Could Be The Last Time (Stunned)
Watersports - Natural History (Dog Daze Tapes)
Samantha Glass – Synthetic Daydreams (Digitalis Ltd)
U Made Ship – Eclectronics (Digitalis Ltd)
Wednesday, May 11, 2011
A night of Delia Derbyshire!
Join us for a night of sounds extraordinaire and film as we pay homage to an unsung pioneering genius of electronic music. Performing will be three of Melbournes sound-art maestro's playing Delia inspired pieces as well as super 8 visuals and a short film.
The Delian Mode - 25 min doco about D.D
Eko Eko Azarak - Voice, loops and collected objects.
The Bleach Boys - Proccessed tape loops.
Orang Punjabi - Cracked tape loops, found object manipulation
Sunday, May 22 · 7:30pm - 11:00pm
22 Ovens St (next to Anytime Place)
Brunswick, Melbourne $5
Monday, May 9, 2011
I think we forget at times that a synth doesnt have to play bass, strings etc.
Sunday, May 1, 2011
Roland Oberheim – Zen and the art of Hard Disc Recording.
Roland Oberheim , great name, is his actual name!
Another hidden treasure, this time from 2001.
Zen and the art of….could well be the sounds of the last day on earth.
A world of space, destruction, chaos and beauty. Broken/fractured drum machine against a dark horizon of synthesis, pre dsp mangling etc.
A future classic.
Monday, April 4, 2011
Tone's Analog Synthesizer Projects and Products: CV Tools Modules are now in production: "It's been a while in coming but CV Tools Modules are now coming off the production line and going through a burn-in and test process to weed..."