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Showing most liked content since 03/20/2018 in all areas

  1. 1 point
    On February 4, 2017, Michael LaGrega and C. Goff III got together at LaGrega's studio in Leawood, Kansas, to record some percussion improvisations. They planned to refine these recordings into edits akin to sonic skeletal supports, on which musical accompaniments could be hung at a later date. The battery of instrumentation used in this session included a wide variety of percussion instruments and non-instruments, some synthesized percussive sound generators, and a few electronic sound modifiers. Of all the recordings produced that day, only the one offered here possessed qualities that distinguished it as a complete work that could stand on its own. An edit of this piece was provided to Scott Raymond in June, 2017, for airplay on WVKR in Fishkill, New York. Goff produced the version presented here in April, 2018. Is this Fourth World music? Or perhaps Fifth World music? Only the listener will know...
  2. 1 point
    What a fantastic and beautiful piece of synth history. The keyboard in the black and white picture is a Casiotone CT-6000, an instrument I'm familiar with as I own one and enjoy it quite much. Besides being MIDI compatible, its keys are velocity-sensitive and it even has aftertouch. It's a heavy keyboard, with a metal chassis like those of professional synthesizers. Around 14,5kg, I think, similar to a DX7. If I'm not mistaken, this Cosmo Synthesizer was made around 1984 for Tomita, so it makes sense that the CT-6000 would be the controller, I guess.
  3. 1 point
    In 2017, Spotted Peccary Music released an electro-acoustic work by mystified called “Morning City”. Morning City was about the use of urban field recordings, together with select instrumental sounds, to explore “The City” in a mythic sense. For a limited time, “Morning City” is now free (or “name your price”) at Bandcamp.com: https://ambientelectronic.bandcamp.com/album/morning-city More people are living in urban centers every year. Experiences like standing on a fire escape or driving near a truck on the expressway are common for many people. “Morning City” is different than many ambient albums, in that it contains a lot of “sound”. This is sound, rather than music. Yet, the sounds in the work are very musical. They are, for the most part, actual recordings of mystified’s home city, which he collected during a pivotal time in his life and career, during the early ‘oughts. The effect of listening to the work seems somewhat chaotic, at first, but gradually a method appears behind the compositions. The use of recordings, especially the various metallic, concrete and other sound textures has an pronounced “three-dimensional” effect-- the music seems to project towards the listener-- who finds themselves inside the city, sonically. “Morning City” has its romantic attributes, but mystified feels it more closely resembles a musical realism. It connotes places a person might actually experience. It lifts up that which really is, and in doing so, provides a redemptive listening experience for those who live in cities and for those who love them. Now that the release is free, mystified urges music fans to stop by Spotted Peccary’s Bandcamp page and pick up a copy. There’s no time like the present!
  4. 1 point
    Yes, lots of space, lots of time, is it worth it? When I moved to KS from CA back in 96, I left nearly every reel-to-reel tape (hundreds) and my reel-to-reel recorders with my CA collaborators -- big mistake... One died, sadly, and I don't know what happened to his collection. Another sold his set at a flea market... Sheesh... Anyway, I've still got many large boxes full of cassettes, including tapes with most of the raw materials from which albums were hatched. I still go back and find hidden gems in these, so YES, this is worth it. As for digital recordings, I do have disks with some raw materials on them, but most of that stuff now gets deleted once master edits are created from them. I have made about 300 albums over the years. All the master files, including cover art, out takes, etc., are stored on external hard drives and on DVDs (both places for each item). The albums themselves are also all backed up on CDRs. Same is true for videos and photographs/graphics and literature (I do a lot of types of art). Every year I go through my computer to make disk copies of everything I did over the previous 12 months or so. I'm actually working on this year's collection right now. It usually takes several hours of several days to complete. Also, most of my recordings and videos are available on the internet at archive.org in some form, so if the tornado hits my house, that's another safeguard for preserving my work in some way. I figure of all the places on the internet, the archive has been around the longest and seems like the best that the net offers in terms of longevity (it's also free to use, YEAH!). Yes, all the disks and tapes take up space, and sometimes I get confused about where things are, but I've got peace of mind about all this. I'm guessing that all the hard copies will be trashed after my passing, and some day the internet archive will become obsolete -- but I also know that in the big picture, the sun's gonna blow up like a balloon and swallow the earth one day, and I'm guessing the rest of the universe might be thinking "good riddance" when that happens. Good luck with your archiving! I hope whatever solution you come up with gives you peace of mind and leaves a little space in your house for you to live in too...
  5. 1 point
    Recorded and Mixed at Duncan MacKay's private studio on Allen & Heath Studio equipment during August 1980.
  6. 1 point


    Huh... synergy here... just last Friday I contacted the curator folks at the Raymond Scott collection in Kansas City to find out how I could make a visit to hear some rare recordings of his... I had no idea about the 110 birthday thing. September is a long way off. I hope to make a visit to the KC collection long before that. Very doubtful I'll make it to festival though, unfortunately, although it sounds like fun!
  7. 1 point
    " 1. Galdrastafir are Icelandic and appear from around 1400 through to 1800 (late middle-age to early modern period). Most are from the 17th century, and there are hundreds of them. 2. They borrow concepts from pagan times, from Vikings, from Norse / Nordic gods, myths and folklore, and from runic characters, but they also reflect issues current for their times and both pagan and Christian beliefs. It is likely that Galdrastafir gained popularity in Iceland after other symbols were seen in middle-age grimoires from mainland Europe. 3. Since 1800 CE, Galdrastafir have been drawn and redrawn, often in compilations, and on many occasions done with missing or added elements that change how they originally looked. "
  8. 1 point
    The title “Vibrate Higher” taken from a Thelonious Monk quote. Celebrates his 100th anniversary of individualistic creativity and progressive vision for new horizons in music. While, am I not comparing myself to Monk, or looking to present work in his style. I do find myself compelled to explore the question - What can we be doing in this spirit as artists today? Continuing with the process I began on the MODULATOR album. This suite of new recordings is part of an on-going journey to explore this question.
  9. 1 point
    Both Jack Hertz and Christian Fiesel are prolific experimental electronic artists in their own solo works with multiple releases every year, but their occasional collaborations together have resulted in some very special music, with the mellow prog- electronic ambiance of 2016's `Fast Rails' being particularly memorable. The two are at it again here in a very different manner, with m00m being the name given to a project inspired by their love for Moog synthesizers and Krautrock music. It's a vinyl-length collection of ten schizophrenic and feverish electronic distortions and trippy sound collages, mostly twisted into short bursts with some prog-electronic arrangements and subtle ambient touches as well. `For a Snowflake' makes for an intangible, gargling and bubbling electronic opener. `Klick und Kluck' offers skittering looping programming over gentle ambient synth washes, `Walking in the Shade of Giants' is a drowsy electronic trickle laced with chiming unease, and `4 Fat Guys in a VW Bug' is a rough jangle of Heldon-like scuzzy and serrated electronic manipulation. The dreamy electronics of `Run Aground' take a calmer meditative hold, and the relentless `Stranger on Second Thought' pulses with a near industrial-like imposing machine coldness looming over fizzy colourful eruptions. The menacing `A Box of Marbles' reverberates with gurgling electronic bleedings as flighty shuffling slivers blissfully rise around to bring light, and the Harmonia-like `Scavenging for Trouble' is wistful and life-affirming with its shimmering cooing caresses. Reflective and achingly beautiful, `Every Tuesday Morning' opens as a submerged crystalline ambient drone that lifts to life with slinking pulsing programming and light symphonic Mellotron-flecked touches carefully infiltrating, and `No More Clouds' closes with twitching n' glitching machine tantrums over an unceasing pattering of low-key stalking beats that almost flirt with dance/trance touches. Get into the guts of the album and it takes a very disorientating, mesmerizing hold with its mix of edgier trippy dazes, kaleidoscopic dreamscape atmospheres and embracing ambiance. It proves to be a seductive and colourful Krautrock-modelled prog-electronic work, so let's hope for more team-ups between Fiesel and Hertz in the near future, especially in regards to this new m00m project, as there's so many ideas emerging and already on display on this vibrant and hypnotic debut. Four stars. (this review first appeared on the Prog Archives website on 26th March 2018).
  10. 1 point
    The name of this album translates to "God Bless America" in English. Each piece is an unrehearsed improvisation. The United States currently allows its citizens to create and share experimental audio artworks. One and all are encouraged to celebrate this album today, because who knows what might happen to it tomorrow? Track 1, English Translation: "the biggest crowd ever" Recorded January 2, 2018 Kansas City, Kansas, USA Track 2, English Translation: "very stable genius" Recorded January 17, 2018 Kansas City, Kansas, USA Track 3, English Translation: "no collusion" Recorded January 2, 2018 Kansas City, Kansas, USA Track 4, English Translation: "grab them by the pussy" Recorded January 5, 2018 Kansas City, Kansas, USA Instruments And Electronics: Korg R3 Vocoder/Synthesizer Micro Moog Analog Synthesizer Voice Five Below Modified Electronic Sound Generator Ibanez DM 1000 Digital Delay Boss RC-20XL Loop Station Loop Duplicator Diane The Mannequin Hand Copyright 2018 by Taped Rugs Productions www.tapedrugs.com
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  12. 1 point


    Is the Master Clock going to be synchronized with the End Of Time One Second From Now?