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  1. 2 points
    (No Pussyfooting) is the debut studio album by the British musicians Robert Fripp and Brian Eno (credited as Fripp & Eno). The album was released in 1973. (No Pussyfooting) was the first of three major collaborations between the musicians, growing out of Eno's early tape recording loop experiments and Fripp's "Frippertronics" electric guitar technique. Brian Eno invited Robert Fripp to his London home studio in September 1972. Eno was experimenting with a tape system developed by Terry Riley and Pauline Oliveros where two reel-to-reel tape recorders were set up side-by side. Sounds recorded on the first deck would be played back by the second deck, and then routed back into the first deck to create a long looping tape delay. Fripp played guitar over Eno's loops, while Eno selectively looped or recorded Fripp's guitar without looping it. The result is a dense, multi-layered piece of ambient music. This technique later came to be known as "Frippertronics". (No Pussyfooting) 's first track, which fills one side, is a 21-minute piece titled "The Heavenly Music Corporation". Fripp originally wanted the track titled "The Transcendental Music Corporation", which Eno didn't allow as he feared it would make people "think they were serious". It was recorded in two takes, first creating the background looping track, then adding an extended non-looped guitar solo over the backing track. This track features Fripp's electric guitar as the sole sound source. The second track "Swastika Girls", which fills the other side, was recorded almost a year after "The Heavenly Music Corporation" in August 1973 at Command Studios at 201 Piccadilly in London. The track employed the same technique as "The Heavenly Music Corporation" except Fripp played to a background electronic loop created by Eno on VCS3. Fripp and Eno took the tapes of "Swastika Girls" to British record producer George Martin's Air Studios at Oxford Circus to continue mixing and assembling the track there.[6] The track's title refers to an image of nude women performing a Nazi salute that was ripped from a discarded pornographic film magazine found by Eno at AIR studios. Eno stuck the image on the recording console while recording the track with Fripp and it became the title of the track. (No Pussyfooting) was released in November 1973 and failed to chart on either the American or British charts. It was met with negative reaction from the record label itself, Island Records, who were actively opposed to it. The album was released in the same year as Eno's more rock-based solo album Here Come the Warm Jets. Eno was attempting to launch a solo career, having just left Roxy Music, and his management bemoaned the confusion caused by the release of two albums with such different styles. Robert Fripp's bandmates in King Crimson also disliked the album. The mainstream rock press also did not pay the album much attention compared to Fripp's work with King Crimson and to Eno's solo album. In the UK, the album was released at a large discount compared to normal album prices and was regarded as something of a musical novelty.
  2. 1 point
    Eliminating The Competition by Charles Rice Goff III "Eliminating The Competition" is Volume Forty-Six of the Taped Rugs "Uncooked" series of productions. All sounds on this album were recorded by Charles Rice Goff III alone and alive in the Taped Rugs studio in Kansas City, Kansas. Each piece is an unrehearsed improvisation. They are presented here without the addition of effects nor overdubbed materials. Some portions of the original recordings were deleted. Manipulations of voices and language are looped and effected throughout, creating not only atmospheric moods, but also offering enough coherent verbiage to lead listeners on imaginative audio adventures. No chemical enhancements were employed in the creation of this work, but they may enhance the experience for listeners. Recording Dates: Track 1: August 4, 2017 Track 2: August 14, 2017 The audio tools employed to create these recordings include: Korg R3 Vocoder/Synthesizer Hello Kitty Stratocaster Electronic Guitar Micro Moog Analog Synthesizer Five Below Modified Electronic Sound Generator Voice Sony Walkman Portable Cassette Player Pre-Recorded Cassettes Ibanez DM 1000 Digital Delay Boss PH-1 Phaser Boss DB-5 Driver Distortion DOD FX56 American Metal Distortion MXR Distortion + (Plus) Distortion Morley Power Wah Boost Ernie Ball Wah Pedal Boss RC-20XL Loop Station Loop Duplicator Diane The Mannequin Hand The following devices were input into the sound mix through the guitar pick-ups: Electronic Toys, Vibrators The following were used as guitar string preparations: Metal Slide, Beaver Jaw/Teeth, Plectrums (Acetate, Felt, Metal), Vibrators
  3. 1 point
    THE LAST CITY A city almost like any other on the planet, if not the atmosphere that prevails ... And the laughter, children's games punctuate the course of days. Life is peaceful, pleasant. Between people and nature is a real communion. Nothing could change that fullness coming .... The horror abruptly degrades the exhilaration, all around, city after city the destruction becomes fruitful. Across the Invader took power, one word manages the world: ... Destruction! The sky is black ash on the ground run rivers of blood. What seems to be the remains of bodies scattered litter the earth ... This is the most total desolation ... Miraculously only one last city to resist such atrocities: "The last city ..." as people call him ... They are certain to be alone on this planet, they bind themselves to protect themselves. They have never been welded. But what will happen to them, them the last survivors? How to deal with this fear is no longer their air ... Do they still believe in a tomorrow? Despair becomes a force as if to say that we must believe whatever the cost. But doubt is powerful. Think, try to think they were spared ... as protected by someone or something intangible almost unreal ... Meanwhile, children play with simple stones, one says laughing ... Life is stronger ...! The adults look, meet ... we see as a breath to rise more and more dense in a complete meditation. They must believe in a future in them. Rebuild to move ... Yes, but differently. To stop living the horror. Unite in the true values. That of being for and with the Other. Everyone is aware of the new opportunity they have given them. The future becomes possible ... step by step, minute by minute, day after day the fly ash, dry blood, a new World is born ...! (Catherine Deschamps de Boishébert 2012)
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  5. 1 point
    Now that most of Thomas Park's solo audio projects have been officially closed, including Mystified, Mister Vapor, AutoCad and others, Thomas has embarked on a multi-phase archiving process. First, Thomas amassed and created copies of his complete collection of files-- nearly 1 TB of data. Second, Thomas has made available in one convenient place high-quality selections of his various works. Thomas calls these "Archival Selections". They are available at the site that was so pivotal to his career-- The Internet Archive. Archival Selections 1-28 appear as a sub-collection of Treetrunk Records, a netlabel at The Internet Archive. You can access these selections at the online hub for Treetrunk Records: https://archive.org/details/treetrunk Here are direct links to the selected releases: Aluminum Fly (mystified): http://www.archive.org/details/ArchivalSelections001 AutoCad Reclaimed Disc One (AutoCad): http://www.archive.org/details/ArchivalSelections002 AutoCad Reclaimed Disc Two (AutoCad): http://www.archive.org/details/ArchivalSelections003 Cereal For Dinner (mystified): http://www.archive.org/details/ArchivalSelections004 Coming Days (mystified): http://www.archive.org/details/ArchivalSelections005 D-Program (mystified): http://www.archive.org/details/ArchivalSelections006 Eldritch Steps (mystified): http://www.archive.org/details/ArchivalSelections007 Elemental Dub (mystified): http://www.archive.org/details/ArchivalSelections008 Fragment, Compress (mystified): http://www.archive.org/details/ArchivalSelections009 Haiku 01 (mystified): http://www.archive.org/details/ArchivalSelections010 Knowing Memphis (mystified): http://www.archive.org/details/ArchivalSelections011 Machines 2 (mystified): http://www.archive.org/details/ArchivalSelections012 Night Wheel (mystified): http://www.archive.org/details/ArchivalSelections013 Overtone Drones (mystified): http://www.archive.org/details/ArchivalSelections014 Skywatchers 2 (mystified): http://www.archive.org/details/ArchivalSelections015 Stellar Fugue (Thomas Park): http://www.archive.org/details/ArchivalSelections016 The U.F.O. Hoax (mystified): http://www.archive.org/details/ArchivalSelections017 Tropical Depression (mystified): http://www.archive.org/details/ArchivalSelections018 Urbscape (mystified): http://www.archive.org/details/ArchivalSelections019 Urgent Cells (mystified): http://www.archive.org/details/ArchivalSelections020 Endless Flutter (mystified): http://www.archive.org/details/ArchivalSelections021 In A Haze (mystified): http://www.archive.org/details/ArchivalSelections022 Moonshine (mystified): http://www.archive.org/details/ArchivalSelections023 Still Dreaming (mystified): http://www.archive.org/details/ArchivalSelections024 The Luminous Deep (mystified): http://www.archive.org/details/ArchivalSelections025 The Murk (Digital Mass): http://www.archive.org/details/ArchivalSelections026 Constant (Mystified): http://www.archive.org/details/ArchivalSelections027 Thomas Park and Various Artists- Full Album Videos: http://www.archive.org/details/ArchivalSelections028 Especially of note is this last selection, number 028. Number 028 contains a large set of high-definition videos that each contain an entire album. These are not all of Thomas' albums or videos, but they represent a good portion of the releases that featured Thomas as composer-in-chief. Archive.org, and these collections, represent the best available set of archived material by Thomas Park over the last 2 decades. There are a few other collections to note: YouTube features 2 archival playlists, the "Full Albums" Playlist, and the "Longform Videos" Playlist: https://www.youtube.com/playlist?list=PL9TuK-wqyd1Sh1sLWWmkoWhjYpV7XGuVf https://www.youtube.com/playlist?list=PL9TuK-wqyd1Tm3GQXAn_3n4bHIbPzsKuM Another site useful for finding Thomas' music is his Bandcamp Page: https://mystified.bandcamp.com/ Finally, looking up information or release links on Discogs.com and/or Google.com can be very useful. Thank you for your interest in Thomas' creative projects! It is appreciated.
  6. 1 point
    MBS-100 - is a monophonic bass synthesizer inspired by synthesizers produced in the soviet era times while having the flexibility, MIDI control and compact package of the 21st century. It has 19 knobs, 3 switches and 4 buttons with which you can control the parameters of the sound and MIDI. Specification: - Method of synthesis – hybrid analog-digital synthesis; - Voltage-controlled digital oscillators (VCDO) - two, each with four waveforms: saw, square, pulse 1 (25% rate), pulse 2 (10% rate). Note: Pulse 1 and 2 are similar to PMW but are fixed similar to «Aelita», «Polivoks» synthesizers for e.g. Octave ranges - 3 octaves for OSC1 and 5 octaves for OSC2. - Voltage Controlled Filter (VCF) - fully analog 12 db/oct low pass filter with cutoff and resonance parameters; - Envelope Generators (ADSR) – two; - Voltage Controlled Amplifier (VCA) – one, fully analog distortion effect selection switch; - Low frequency oscillator (LFO) - one with two waveform options (square and triangle) to control the VCF. - MIDI interface - MIDI In, MIDI Thru (16 channels + Omni); - Audio output - one mix output (mono 6.3 mm jack); - Controls - 19 knobs, 3 switches, 4 buttons and 11 LED indicators; - Case: durable steel case with wooden cheeks;
  7. 1 point
    Rebekkah Hilgraves brings her show to RadioSpiral on Saturdays at 1pm. The basic premise of the show is that music is everywhere, in everything: in the hum of a city, in the pulse of construction machinery or a heartbeat, in footsteps, in laughter, in breath, in the shuffling of an impatient audience… and, like John Cage’s “Four minutes and thirty-three seconds”, all you have to do is sit and listen. Tune in to At Water's Edge on RadioSpiral on Saturdays at 1pm, via the direct link, or via TuneIn (and RadioSpiral broadcasts 24/7). or listen to the podcast either directly from our website, or from the official iTunes podcast.
  8. 1 point
    `Slow TV' is a term used for a type of live `marathon' television coverage of an ordinary event in its complete length, popularised in the 2000s by the Norwegian Broadcasting Corporation (NRK), beginning with the broadcast of a 7-hour train journey in 2009. It is from this event that sound experimentalist Jack Hertz, collaborating with fellow electronic artist Christian Fiesel, draw inspiration, and the duo (following up their terrific earlier related work `End of the Steam Age' from April 2016) have crafted a fascinating album of both vintage and modern influenced expansive progressive/ambient atmospheres, cool electronica and experimental soundscapes, `Fast Rails', and there's the option to purchase an additional DVD of the above described stock NRK footage that runs the 77 minute length of the disc as part of a `crossover' package to compliment the album, which works to beautiful effect. `Crossing the Horizon' opens with subdued pulsing beats that grow and retreat in stature over reverberating sustaining electric drones and fizzing panning washes, subtle slinking electronica-flavoured grooves emerging subtly throughout. Both `Around the Bend' and `Glimmer on the Tracks' have a flowing Steve Roach-like shimmering aura teeming with mystery, with the latter almost able to pass for a lost Tangerine Dream soundtrack piece, and the lightly danger-laced `Bergen' fuses expansive Berlin School moods with shadowy electronic beats, electric guitar distortion, Mellotron-like choirs and ruminative acoustic guitar flecks that remind of Robert Schroeder's `Harmonic Ascendant' in fleeting moments. The strident guitar strums weaving in and out of the hovering electronics of `Station' hold a faint bluesy tone (and just listen for that lovely if brief Mellotron passage in the final moments), the psychedelic `Park Sides' is both playful and mysterious with a mellow The Orb-like lurching cool drowsiness to its slowly revealing slithering beats and sequenced trickles that perfect fuses old and new sounds, and the distorted electric guitar strains over wavering overwhelming electronics backed to a constant driving beat of the closing title track `Fast Rails' build to a wild and disorientating finale. It sounds like it could be completely dull, but the gently hypnotic visuals and the frequently floating music accompaniment work to sublime effect on this Aural Films netlabel release, and this is very far removed from placid slow-moving generic ambience or tired progressive-electronic clichés. Completely removed of the visuals on the DVD, the `Fast Rails' album in itself is a diverse and deeply immersive electronic collection of extended works, but together the two mediums achieve a mesmeric cohesion. It's also not a slight in any way to consider the disc a fascinating and cool background listen, and it turns out to be an unexpectedly lovely musical surprise that can be enjoyed on a number of levels from two intelligent and unpredictable artists. Four stars out of five. (This review also appears on the Prog Archives website)