Welcome zion!
And I had a good sauna experience some 100 km north of Helsinki some years ago...
// C
Fuck innovation...where is the soul?
PC Laptop Acer, XP Home SP2, build in crappy sound card.
Bleeps and Blops!
http://bluemoose.greatnow.com/
Bleeps and Blops!
http://bluemoose.greatnow.com/
Re: Fuck innovation...where is the soul?
Erm, no, I didn´t. I find I grow more critical but there is still plenty of stuff that profoundly moves me.disco45 wrote:Have you noticed how as the years go by music moves you less than ever....
It is very difficult for me to fulfill my goals as a musician with a computer alone. The same goes for when I am the audience, and have expectations. Perhaps I have built up a resistance. Perhaps I have spent too much time listening to similiar inorganic treadmills. Perhaps I even let my feelings of competitiveness get in the way from enjoy the work of others.
The computere is an instrument. When you are triggering loops, it is sometimes harder to hide an artificial quality. Lot's of different reverbs and delays helps a lot though.
While I can listen to Aphex twin on repeat, cooking dinner, writing papers, drawing, dancing,etc, I have to admit that I am not digging on the soul. Soul is not important in Aphex Twins music. (For me) It is a very cynical, intellectual pursuit to break down on'es extrasensory reponses to stimula, and thus reach temporary moments of exagerated, serene, calm (Then again, I grew up in NYC and had control issues my whole life competing with the noise and level of 2nd ave traffic). One could argue though that Hendrix reached a very similar level of expression via abstraction with soul, so perhaps they you can't remove the S word from Richard D. James concoctions. P's and Q's keep me in check...
What I really want to say, howver, is that despite all of the repeaters, supatriggas, randomizations, saturators, and reverbs, I personally find that the comaraderie of two or more musicians, linked at the third eye, is capable of a magically more intense groove than a collection of rebellious 16 yearold trustfund kids, glitching away at their brand new AMD laptops to a midi clock. However, I hold no resentment towards "The New Flesh." I have been a hardcore Footbag player now for ten years, and I have lived to except that adolescants are always just around the corner, living to reinvent the parameters by which we live our lives. I sacrificed my knees to help promote tricks that they master now within days. Part of embracing the soul of electric music, analogously his by empowering one's self with the magnitudes of effort that went into sculpting electronic music into the form it is in today. The technology is new, and many of us who are still very passionate about it are still either taking baby steps, or overzealoously pushing things to extremes. Live is an instrument. The guitar was around for thousands of years before Django, Jimi, or (cough) Eddie Van Halen. Live 5 is still in it's beta.
I saw Funksturung (spelling!?!?) play live. Just the two of them with a bassist. There is no going back. Regardless of the difficulty level of what they are doing (subjective, and relative to one's experience in electronic music) on their computers, and what technolgy they had, everything sound REAL. They had a singer who jumped in and was embracing feedback as he resampled his vox input in realtime and resampled it through a myriad of effects processes.
The way that different tasks were distributed between each member, and the way that everyone communicated helped them to reinterpret their "studio" releases in realtime, while incorporating a impression of the venue that we were in.
I think it must have been interesting for these gents to play in a economically strapped, former industrial town. Pittsburgh has a very unique quality, similiar I hear to Berlin, and from my own experience, very similiar to Brooklyn (especially it's industrial yards) in the early to mid eighties. The way that these musicians took in the makeshift gallery space we were in and reinterpretted it through their music was haunting, inspiring, stimulating and beautiful. Their sound was abstract and soulful. Technology and natural acoustics, consciously interwoven with skill witt, craft and soul.
Anyway. Since then I have been schooling my drums, guitar, vox, keys, and LIVE chops, waiting till I can find fellow electronic musicians that are concerned about pursuing such an inventful, spontaneous, soulful dynamic. Till then, I have to put any recorded music I hear in a different category. It can still be beautiful but (especially after studying some architecture) it will never replace the presence that
multiple musicians in a live setting can accomplish.
Many artists and musicians are flocking to pittsburgh these days, what with it's incredibly low rent, status as a blue state, and relative size for networking. While I happy producing solo material on the fly, and limiting myself to strickly techno sets and noodling, I will not be content, personally with music until I am engaged with others in a project that embraces the technology of Ableton Live and the concept of Soul. I am kind of in one right now but the dude is to busy making robots in other countries too hang out. When we do get to jam we use two computers, a b-flat trumpet (him) and my drums. I find it more enjoyable than triggering loops alone personally, but that isn't stopping me while I'm by myself!
Here sounflower! Here midi pipe! Come here rewire! Aw... virtual interface, agregate device! HOW ARE YOU!
It's been a while since I've had the chance to go off an a real tangent (or at least press send afterwards). Thanks for listening.
The computere is an instrument. When you are triggering loops, it is sometimes harder to hide an artificial quality. Lot's of different reverbs and delays helps a lot though.
While I can listen to Aphex twin on repeat, cooking dinner, writing papers, drawing, dancing,etc, I have to admit that I am not digging on the soul. Soul is not important in Aphex Twins music. (For me) It is a very cynical, intellectual pursuit to break down on'es extrasensory reponses to stimula, and thus reach temporary moments of exagerated, serene, calm (Then again, I grew up in NYC and had control issues my whole life competing with the noise and level of 2nd ave traffic). One could argue though that Hendrix reached a very similar level of expression via abstraction with soul, so perhaps they you can't remove the S word from Richard D. James concoctions. P's and Q's keep me in check...
What I really want to say, howver, is that despite all of the repeaters, supatriggas, randomizations, saturators, and reverbs, I personally find that the comaraderie of two or more musicians, linked at the third eye, is capable of a magically more intense groove than a collection of rebellious 16 yearold trustfund kids, glitching away at their brand new AMD laptops to a midi clock. However, I hold no resentment towards "The New Flesh." I have been a hardcore Footbag player now for ten years, and I have lived to except that adolescants are always just around the corner, living to reinvent the parameters by which we live our lives. I sacrificed my knees to help promote tricks that they master now within days. Part of embracing the soul of electric music, analogously his by empowering one's self with the magnitudes of effort that went into sculpting electronic music into the form it is in today. The technology is new, and many of us who are still very passionate about it are still either taking baby steps, or overzealoously pushing things to extremes. Live is an instrument. The guitar was around for thousands of years before Django, Jimi, or (cough) Eddie Van Halen. Live 5 is still in it's beta.
I saw Funksturung (spelling!?!?) play live. Just the two of them with a bassist. There is no going back. Regardless of the difficulty level of what they are doing (subjective, and relative to one's experience in electronic music) on their computers, and what technolgy they had, everything sound REAL. They had a singer who jumped in and was embracing feedback as he resampled his vox input in realtime and resampled it through a myriad of effects processes.
The way that different tasks were distributed between each member, and the way that everyone communicated helped them to reinterpret their "studio" releases in realtime, while incorporating a impression of the venue that we were in.
I think it must have been interesting for these gents to play in a economically strapped, former industrial town. Pittsburgh has a very unique quality, similiar I hear to Berlin, and from my own experience, very similiar to Brooklyn (especially it's industrial yards) in the early to mid eighties. The way that these musicians took in the makeshift gallery space we were in and reinterpretted it through their music was haunting, inspiring, stimulating and beautiful. Their sound was abstract and soulful. Technology and natural acoustics, consciously interwoven with skill witt, craft and soul.
Anyway. Since then I have been schooling my drums, guitar, vox, keys, and LIVE chops, waiting till I can find fellow electronic musicians that are concerned about pursuing such an inventful, spontaneous, soulful dynamic. Till then, I have to put any recorded music I hear in a different category. It can still be beautiful but (especially after studying some architecture) it will never replace the presence that
multiple musicians in a live setting can accomplish.
Many artists and musicians are flocking to pittsburgh these days, what with it's incredibly low rent, status as a blue state, and relative size for networking. While I happy producing solo material on the fly, and limiting myself to strickly techno sets and noodling, I will not be content, personally with music until I am engaged with others in a project that embraces the technology of Ableton Live and the concept of Soul. I am kind of in one right now but the dude is to busy making robots in other countries too hang out. When we do get to jam we use two computers, a b-flat trumpet (him) and my drums. I find it more enjoyable than triggering loops alone personally, but that isn't stopping me while I'm by myself!
Here sounflower! Here midi pipe! Come here rewire! Aw... virtual interface, agregate device! HOW ARE YOU!
It's been a while since I've had the chance to go off an a real tangent (or at least press send afterwards). Thanks for listening.
"Where is the soul?"
I think the soul is in between all the people who are participating in the musical process. Musicians, producers remixers, listeners, hell even djs! Something happens between performers and an audience (sadly, sometimes NOTHING happens...
) which makes live music different from recorded... that's where the soul is. And that's in all kinds of music, not just "soul music".
Another 2p...
I think the soul is in between all the people who are participating in the musical process. Musicians, producers remixers, listeners, hell even djs! Something happens between performers and an audience (sadly, sometimes NOTHING happens...
) which makes live music different from recorded... that's where the soul is. And that's in all kinds of music, not just "soul music".Another 2p...
MacBook Pro Retina, Live 9.5, Reason, UC33, KRK RP5s, Teenage Engineering OP1, Korg ESX2, Korg Prophecy, Clavia Nord Lead, Bass, Guitars.
http://soundcloud.com/motorradkinophone
http://soundcloud.com/motorradkinophone
LOFA, excellent post, made me wish I was in Pittsburgh, jamming away! Good stuff!
You really hit the nail on the head with the third-eye stuff. I saw glimpses of this in a vocals+guitar duo set a few days back - the stuff that makes you want to get up and join in the noisemaking.
You really hit the nail on the head with the third-eye stuff. I saw glimpses of this in a vocals+guitar duo set a few days back - the stuff that makes you want to get up and join in the noisemaking.
mbp 2.66, osx 10.6.8, 8GB ram.