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Showing most liked content since 11/18/2017 in all areas

  1. 2 points
    (Warning - contains flashing images) Finally made a reasonable video for my 'Half Live on the Bed' thing of July 2016, based on a Mixcraft 7 performance panel test from December 2015 (which makes up the 2nd half, the 1st half is me improvising on the YRG, playing the original at different improvised pitches). I only got it done on Thursday when I stumbled across an offer for Sony Vegas Movie Suite which is the first thing I've come across that enables more than one video line to be edited at a time I was able to edit the video in a couple of hours. Unfortunately it took 5 and a half hours to render it into a file and 13 hours to upload it to Youtube . Anyway, enjoy.
  2. 1 point
    What a surprise to see my Computer Music Collection album nominated in the 2017 Schallwelle Awards. That is enough of an award to know people are listening to my challenging releases. Please download the album now at https://auralfilms.bandcamp.com/album/computer-music
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    In a parallel to his solo career, Thomas Meier highlights other musical visions within the trio MTA LAB which includes the musicians Marcel Margis (Synth, Sequencer and Drumcomputer) and Andre Danker (Synth and guitars) since 2016. Walking a little on ashes of Synthetica, especially for these dances of Zombies snorting ether, “In Luv” still exploits these evolutionary structures of rhythms where the sequences and the percussions confront or complete each other in a pond of percussive effects even more striking. Available in a download format on the Bandcamp site of SynGate, “In Luv” shows proudly its 80 minutes in a very good mosaic of rhythms and of ambiences where every title is linked within their differences. And there are! I discovered a very beautiful album where I had the feeling, and more than once, to hear some very good Pyramid Peak. "In Luv" starts with sinister waves where voices and vocal effects, as well as shadowy lines forge a nebulous introduction. Fragments of waves get loose to form sound strands a bit more melodious which float in this electronic decoration haloed of murmurs and of layers of voices. A sequence escapes from the attention of the sequencer to skip like a dolphin which pierces the horizon of waters while begin to stream some percussive ornaments as much pleasant to the ears as these songs of astral flutes begin to take forms more and more harmonious. A line of bass snores in this setting, spreading reverberating layers which give more depth to the slow evolution of "In Luv". Even with its very good effects of percussions, the structure of rhythm remains as so little conventional as the multiple capacities of the instruments which uses the German trio. If a synth charms with sharpened songs of flutes, another casts lines of bass reverberations which sculpt solos of which the origins seem to arise from the vintage years. The percussions, the oscillating sequences and the very good line of bass forge the base of a progressive rhythm which is slightly more livened up than ambient. The finale is melting in the immense jingles of "Timeless", where the synth layers are necessarily from the Backdance era. The rhythm is more livened up with an eternal ascent of the sequencer movement, sculpting even the movement of a train on the way towards mountains. It's a good title which sounds very Pyramid Peak (the splendid "Industrial Pulse" sounds even more) with good cosmic effects, a captivating rhythm and a sequencer which strews the road of jumping keys a bit uncontrollable. A very good piece of music which unloads its last beatings, a bit more muted, in the introductory tumult of "Synergy", a title heat up by multiple lines of sequences which bind themselves in automated percussions. This rhythm sparkles between our ears with a good liveliness, leaving little place to the synths which stand back, casting here and there reverberations of singing waves and very vintage electronic effects. Except towards the finale where a synth blows a little more dramatic, kind of apocalyptic, approach. So far, I like what I hear. It's a very good fusion between the retro and the new Berlin School styles. "Analogus" highlights this spasmodic movement of the sequencer which makes its keys oscillate in beautiful aerial effects and chirping solos. It's no big deal, but it passes very well because of the nuances in the structure of rhythm rather motorik. I also like the wealth of the anesthetic layers. Please adjust your earphones because "SynthFctry" proposes several little noisy and percussive effects. The rhythm is knotted in jerky spasms which parade like cutting knocks under the chants of a rather passive synth. Very good effects of organic percussions manhandle this convoluted structure in the 2nd part, so giving the taste to listen again to " SynthFctry " immediately. Except that the anarchy of the movement of crystal the balls is swallowed by a more fluid movement of the sequencer, of the bass percussions and of another movement which sounds like these old rock dances of the 70's and of the 80's. Between "SynthFctry" and "Timeless", "Industrial Pulse" screws us to our earphones with a so great electronic rock where the jingles of the percussions and the twinkling movement of the sequencer get a hold onto the elastic effect of the bass line. The solos are immense and intense. They give a little break to a rhythm which needs to breath before taking this shape of snakes fleeing a forest fire such as imagined by Chris Franke at the end of the 70's. Even the synth sometimes breathes of these perfumes of Tangerine Dream with very nice harmonious phases. It's a great track which invites us in a dance of fingers and to roll of the neck with great solos and fragments of harmonies in a setting richly vaporized of multiple effects in all sorts. And if we thought that we have hit the jackpot, "Sequenz Isolation" screws us even more profoundly in the universe of “In Luv” with another rich phase built on the ambiguities between the sequencer and the bludgeoning of the percussions, I hear Jarre here, while the synths, rich in harmonious solos, are apparently intimidated by the robustness and the creativity of Marcel Margis. As much good my friends as the best of Pyramid Peak! Sylvain Lupari (December 11th, 2017) ****½*
  4. 1 point
    Hi there, at the moment, my electronic music work is found on http://animoog.org/satri Cheers -- Alex / Satri
  5. 1 point
    Ambient guitar looping with an assortment of stomp boxes, two valve amps, two 2x12 cabs, recorded via SM57's onto a Zoom H1. Tracks sent to Melbourne for Dean Richards where he adds his magic touch. They return here, I master them using T-Racks and hey presto, we have an album of delightful relaxing music that you can listen to or have as a background sound source for helping you sleep, study, work....
  6. 1 point
    I hope you are all well and preparing for a special festive season ahead, hot n sunny for us, maybe cold and snowy for others.
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    Carols To Challenge Your Ears? Need an alternative this season? Try these: https://archive.org/details/NoelPortersHolidayCollectionVolume2
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    In celebration of electronic music pioneer Pierre Henry's (1927 - 2017) 90th birthday. Acousmatique is happy to present our first release officially launching the label on this day, for which we will celebrate every year with a new tribute release.
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    Robert Fripp (born 16 May 1946) is an English guitarist, composer and record producer. As a guitarist for the progressive rock band King Crimson, Fripp has been the only member to have played in all of King Crimson's line-ups from their inception in the late 1960s to the present. He has also worked extensively as a studio musician, notably with singer David Bowie on the albums "Heroes" and Scary Monsters (And Super Creeps), Brian Eno, David Sylvian and contributed sounds to the Windows Vista operating system. His complete discography lists more than seven hundred releases over four decades. He is ranked 62nd on Rolling Stone magazine's 2011 list of the 100 Greatest Guitarists of All Time after having been ranked by David Fricke 42nd on its 2003 list. Tied with Andrés Segovia, he also is ranked 47th on Gibson's Top 50 guitarists of all time. His compositions often feature unusual time signatures, which have been influenced by classical and folk traditions. His innovations include Frippertronics, soundscapes, and new standard tuning. Read more - https://www.dgmlive.com/robert-fripp
  12. 1 point
    Two whole days off facebook - a Chinese finger trap for the ego. I can feel the happiness coming back already. Less fake, more real is good for the soul.
  13. 1 point
    These are so far my best tracks, which some of them where released in several labels,
  14. 1 point
    I think that standard MIDI (serial, 31250 bps) is OK for melodic percussion instruments like mallets / keyboards, particularly for players (like me) who don't play like Gary Burton / Oscar Peterson, but more like Milt Jackson / John Lewis...for other kinds of percussion, I can see that even delays measured in milliseconds might be a problem...7 bits, 128 levels, is probably enough resolution for volume (the ear's perception of volume is less than that) but maybe not for some other parameters... df
  15. 1 point
    Another mallet controller that has been around for awhile is the Wernick Xylosynth - see http://www.wernick.net/ ...I've been using one for the past 12 years or so without any problems, with a variety of synths, as an easy-to-transport / loud-enough-to-play-with-electric-instruments vibraphone...my early XS has limited MIDI capability, but external MIDI processors (MIDI Solutions EPP, MIDICpu, etc.) take care of that...one of the reasons I went with the XS is that the bars are hardwood and can be used with conventional (soft) mallets, and play just like standard mallet percussion instruments...Matt Jordan at Pearl tells me that the malletSTATION can be used with any kind of mallet, too; that and it's more extensive MIDI capability and controls (including mallet dampening, yes!) make it pretty attractive - I've got one on pre-order... df
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    12th album by Ray Kosmische. Ambient, electronic, psychedelic, soundscapes.
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    The Live Performance (Ambient/Spacebient/Berlin) which I have executed on October 4, 2017 in the DOM Cultural Center (Moscow, Russia) within the concert "4.10 Signal from Space" devoted to the 60 anniversary from the date of start of the first artificial Sputnirk of Earth
  21. 1 point
    „Signals For Fire“ is his most current creation. A compilation of electronic moods, small brainstorms and bizarre gimmicks with sounds/noises. A kind of musical dairy which was orignally conceived by Hans-Joachim Roedelius, whom he´d like to dedicate this album, besides some of his other big role models
  22. 1 point