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Showing most liked content since 10/17/2017 in all areas

  1. 1 point
    A Single Hub For All Of Thomas Park's Media: "Benchmark: Hub": https://archive.org/details/ThomasParkBenchmarkHub
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    Great to have another mallet controller on the market...and especially the price! wow! Huge undercut on Alternate Mode (and Buchla... not sure if they still make their mallet instrument). Ive been playing a malletkat since the 90s. Unfortunately they are a bit susceptible to humidity and I'm in a high humidity area. Ive had to send it in to AM a couple times and it's currently not working properly again. Hopefully this model will have better defences against humidity. I like the extra (optional) bars in the accidental keys. A very cool option to have...though I might color it or mark it to avoid confusion. Would be cool for triggering other sounds or chords while soloing, and lotsa other possibilities. Also the extra controls on the right are a huge plus too. I kinda dislike the look of using the drum cymbal stands as a stand. I think Pearl should have used that system for mounting, which is great for adding to a rack like the vibes above, but created something a little more aesthetically pleasing and unique that complements this great creation.. of course just my .02$. But it could easily be mounted (I think) on any kind of keyboard stand laying flat..so not a deal buster or anything. The playing surface will be crucial. Looks like a hard surface. Couldn't imagine it would be though. But at any rate, the feel and action will be a crucial point. Some people mention it didnt have all the midi inputs. I haven't seen the specs. But I personally love the USB option. That's another sweet feature the others don't have. I think this is going to put a dent on Alternate Mode's malletkat. More competition is a good thing though.
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    I recently found one of these at a thrift sale held for a local church. https://www.discogs.com/Kecak-Kecak/release/9559867 It appears to have been produced in the 1960's, but unsure. There's no album notes at all, not even a mention that Kecak is Balinese music. It features some extremely complex vocal arrangements from a huge group of people. If anyone knows anything about this tape, I'd love more info.
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    This one and Lennon/Ono's Two Virgins were some of my first exposures to electronic/experimental music. I was a 10 year old SF Bay Area kid back then, and while I was initially seeking out something a bit more "familiar" from these albums, the exposure I got to the avant garde mystified and intrigued me enough to eventually lead me to becoming a creator of unique sonic experiments myself. I should add that Revolution 9 was a big part of this exposure too. I've heard a lot of stories about how Beaver and Krause felt like they'd been Harrison's robbery victims with the release of this album. I'll just say that whatever dirty stuff that may have gone on regarding its production, the album's sounds got to my young ears and affected my brain permanently, and for this I'm indebted to everyone involved. The 5 stars indicate more my feeling about the whole than perhaps the "quality" of the sounds, but both make up a well-driven road on my synapses.
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    Recorded in November 1968 and February 1969 George’s Electronic Sound was released in May 1969, it was the second, and final, record released on The Beatles’ Apple Records subsidiary label, Zapple Records. It was yet more proof that George was ahead of his time and in many respects the most musically enquiring of the four Beatles. Electronic Sound is made up of two long pieces of music, originally one on each side of the LP, that are performed on the Moog synthesizer; the Moog IIIc modular system was purchased by George from its inventor, Robert Moog. The record was made against a background of musical exploration that characterised London and Los Angeles in 1968 …Avant-garde was everywhere. Side 2 of the album ‘No Time or Space’ was the first to be recorded and was done in Los Angeles in November 1968. George had finished work on The Beatles (White Album) and had flown to America’s West Coast to produce Jackie Lomax’s Apple album, Is This What You Want? at Sound Recorders Studio in Hollywood. Lomax’s album featured a Moog that had been brought to the studio by Bernie Krause, who along with musical partner, Paul Beaver, had recorded The Nonsuch Guide to Electronic Music, and was acting as something of a ‘salesman’ for Robert Moog’s invention. It was following work on the Lomax album that George, with Krause’s help, recorded the 25 minute piece. Side one of the LP is ‘Under the Mersey Wall’, an 18 minute piece that references the river on which Liverpool is built and it was recorded at Kinfauns, George’s home in Esher, Surrey, in February 1969. The title also refers to a weekly column in The Liverpool Echo, written by another George Harrison (no relation), entitled ‘Over the Mersey Wall’. In 1970 white noise from this track was used on ‘I Remember Jeep’, one of the jams included on All Things Must Pass. The album’s cover was a painting done by George and many years later his son Dhani asked his father if he could have the painting that was leaning against a wall, somewhat neglected, at home in Henley, to hang in his bedroom. A few years later George explained to Dhani what the painting was all about, “That’s Derek (Taylor) holding on to all of Apple’s aggravation and problems that are looming over everyone. That’s Neil (Aspinall) frowning and Mal (Evans) smiling with him in the chair. That’s Eric (Clapton) on the right there and the green guy on the front is Bernie (Krause), with his bow tie and pocket square, patching everything through the board. That’s me making the tea (small blue face smiling) and that’s the cat, Jostick, the small green demon like figure on the front cover.” The album and George’s Moog itself play an important part in The Beatles story as it was taken to Abbey Road studios in the summer of 1969 and used in the recording of The Beatles’ Abbey Road. As George later recalled, “The Moog synthesiser was enormous, with hundreds of jack plugs and two keyboards. But it was one thing having one, it was another thing making it work. When you listen to the sounds on songs like, ‘Here Comes The Sun’, it does some good things, but they’re all very kind of infant sounds.” Electronic Sound is a musical marker, one that George laid down during a period of intense inventiveness and in a world where everything and anything were possible.
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    The story of Nonsuch's world music albums can be best summed up by David Lewiston's life story. One of the early producers of World music. He passed away in May of this year. There's an excellent memorial to him on the Nonsuch site: http://www.nonesuch.com/journal/david-lewiston-musical-explorer-dies-88-2017-05-30 For me, growing up in suburban Maryland. Nonesuch was one of the few labels that released stuff I knew I never heard before. Believe it or not, I found "Silver Apples of a Moon" at a shopping mall record store.
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    We invited all musicians & sound artists to produce a three to seven minutes works based on Shamanism & Pagan traditions from all over the world. We believe the knowledge of our ancestors to be relevant for our contemporary understanding of nature and human life.
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    " In World War I, no man's land often ranged from several hundred yards to in some cases less than 10 yards. Heavily defended by machine guns, mortars, artillery and riflemen on both sides, it was often riddled with barbed wire and rudimentary improvised land mines, as well as corpses and wounded soldiers who were not able to make it across the sea of explosions and fire. The area was usually devastated by the warfare, carnage and remains of the artillery. It was open to fire from the opposing trenches and hard going generally slowed down any attempted advance. However, not only were soldiers forced to cross no man's land when advancing, and as the case might be when retreating, but after an attack the stretcher bearers would need to go out into it to bring in the wounded. No man's land remained a regular feature of the battlefield until near the end of World War I, when mechanized weapons (ie. tanks) made entrenched lines less of an obstacle. "
  10. 1 point
    Excellent. Just what I am looking for.
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    A great resource for music from Indonesia and surrounding islands in the South Pacific. http://www.auralarchipelago.com/
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    Any djs or broadcasters out there interesting in audio copies of my project documentaries? If so, here they are: https://archive.org/details/ThomasParkDocumentaryAudio
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    By their own reckoning, members of the Bay Area recording and performance group Negativland got themselves into trouble by having too much fun. Their prank began with a pirated audiotape of Casey Kasem, the normally boosterish-sounding disk jockey and radio personality, as he cursed a blue streak while trying to record a spot about the band U2. Sensing opportunity at hand, Negativland enthusiastically mixed these mutterings with samples from a U2 song, then put out a 1991 single on the SST label with a picture of the U-2 spy plane on its cover. "We didn't know how prophetic it was that the plane was shot down," one member of Negativland says now." Sonic Outlaws, a fragmented, gleefully anarchic documentary by Craig Baldwin, approaches this incident from several directions. Some of the film is about the legal nightmare that ensued from Negativland's little joke. In a highly publicized case, U2's label, Island Records, charged Negativland with copyright and trademark infringement for appropriating the letter U and the number 2, even though U2 had in turn borrowed its name from the Central Intelligence Agency. SST then dropped Negativland, suppressed the record and demanded that the group pay legal fees. Trying to remain solvent, Negativland sent out a barrage of letters and legal documents that are now collected in "Fair Use", an exhaustive, weirdly fascinating scrapbook about the case. Sonic Outlaws covers some of the same territory while also expanding upon the ideas behind Negativland's guerilla recording tactics. Guerilla is indeed the word, since these and other appropriation artists see themselves as engaged in real warfare, inundated by the commercial airwaves, infuriated by the propaganda content of much of what they hear and see, these artists strike back by rearranging contexts as irreverently as possible. Their technological capabilities are awesome enough to mean no sound or image is tamper-proof today. Mr. Baldwin who expressed his own interest in culture-jamming and recontextualization through practices like altering billboards before making this documentary collage, explores the implications of this approach. These sonic outlaws specialize, according to one of them, in "capturing the corporate-controllec subjects of the one way media barrage, reorganizing them to be a comment upon themselves and spitting them back into the barrage for cultural consideration." Those interviewed here, including members of Negativland, John Oswald and the Tape-Beatles, speak of such tactics as both cultural criticism and subversive fun. Sonic Outlaws does some recontextualization of its own by connecting such appropriation art to its antecedents: anything from Cubism or Dada to using Silly Putty to copy comic-book drawings. Using quick snippets and flashes that often emphasize the film maker's taste for proudly tacky sci-fi movies of the 1950's, Sonic Outlaws captures the wide range of effectiveness that such tactics can have. Sometimes the results are authentically witty and illustrate Mr. Baldwin's ideas. But the ingenuity of toying with a Brylcreem commercial or putting words in the mouth of a video Ronald Reagan("After all, I was the nightmare of America and the human race") trivializes the thoughts being discussed. What Sonic Outlaws makes intriguingly clear is that it's a free-for-all out there on the airwaves, as piracy becomes increasingly easy and the law remains vague. Ranging from a discussion of the Fair Use concept to illicily monitoring a gay lovers' quarrel conducted by cellular phone, the film presents a provocative range of image-tampering possibilities. And it makes clear that Negativland is hardly alone in wanting to exploit those possibilities in both reckless and esthetically daring ways. Baldwin deftly cannibalizes anything that'll help get his point across, whether it's a caveman pic, the Lone Ranger, Gulliver's Travels, or Corman's The Pit and the Pendulum. In addition, to being a sly commentary on bone-dry educational films, Craig also makes it all relevant to current day events by comparing Coronado's bloodthirsty legacy to today's nuclear waste industry and its similar disregard for those very same lands. But don't get the wrong idea about this bleak look at man's arrogance and lust for conquest--believe it or not, it's also funny as hell! Especially during Coronado's final, brain-damaged days, as he hallucinates his face off and stumbles about in full Conquistador regalia (with modern cities blatantly behind him). All in all, further proof that Craig Baldwin is one of the most wildly inventive indie filmmakers working today.
  15. 1 point
    I was very lucky in 1995 to spend a weekend with Mamady Keita and troupe studying traditional West African djembe music. After just two days, my lead djembe playing went to the next level. Mamady has become quite the ambassador for the djembe worldwide.
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    Not a bad idea. I should look into taking some lessons.
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    A Documentary Of The New Industrial Movement-- Short But Active:
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    This week will be released the album „Smile With An Ambience“ and a videoclip, for the track „Empty Room“ by Christian Fiesel. The video was produced again by the video artists „Where Death Is Most Alive“, from Greece. „Smile With An Ambience“ always planned as a complete ambient record. Miniatures made from time running backwards. During the recording sessions things shifted more and more from dark plains to pulsating fix stars of melodies, sending out from the distance. Also here you can notice Christian Fiesel´s compassion for space and its audible possibilties.
  19. 1 point
    A mini-dcoumentary about my netlabel, "Treetrunk Records", with some examples of the music there: The documentary is available for streaming now, and is scheduled to appear in downloadable form in the forthcoming 400th Release on Treetrunk Records. Special thanks to all who have contributed and listened over the years.
  20. 1 point
    End of 2016, shortly before the release of the two double albums "The Continuous River" and "Hagen's Delight" had both Musicians Hagen von Bergen and Christian Fiesel come up with the idea To design a JOINT project. Starting point were numerous samples, the Hagen predominantly had taken on air travel but also in the domestic context and the two musicians process according to their own taste and into one should make musical context. # The music is full of breaks, full of samples (especially from the flight area) and is a trip via headphones, hence the title. The result are two long pieces of the Hunsrück school, the brushed against many common EM stereotypes and also a kind musical bridge between the two double albums should be.
  21. 1 point
    Dark Ambient meets Berlin School. With tons of Mellotron sounds and drone
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    The duo of Dieter Moebius and Hans-Joachim Roedelius deliver nothing in the way of tunes or melodic moments on their second Cluster album from 1972, `Cluster II', nor is it particularly similar to the subdued spacey drifts of the frequently near-ambient debut. Instead, noisy experiments, druggy improvisations and cryptic instrumental collages of guitar, organ and electronics are the order of the day here, closer to the darker atmospheres of the early Krautrock-era works of Kraftwerk, Tangerine Dream and Klaus Schulze. Opener `Plas' is a churning stormy drone that grows in stature amidst a heartbeat-like wavering klaxon and harsh ebbing and flowing serrated slivers. A snarling and grumbling electric guitar line repeats over and over into infinity throughout `Im Suden' with ambient distortion washes shimmering to the surface behind them, everything swamped in an unceasing brewing rumble of feedback. Chiming guitar tendrils try to snake their way through an air of shuffling electronic spirals and pulsing machine hisses that slowly abate to allow the briefest of light to enter, and `Fur Die Katz's alien-like twitches and scratchy distortion close the first side, a piece that could have easily found a home on Tangerine Dream's proto-dark ambient `Zeit'. The suffocating `Live In Der Fabrik' on the flip side is a cavernous environment of chugging machine oscillations feverishly ripped apart by delirious electronic ripples, and the growing menace of `Georgel's sombre droning organ with the lightest of crystalline airy wisps flitting about could have easily worked its way out of the spacey improvised section of Pink Floyd's `A Saucerful of Secrets' and `Set the Controls for the Heart of the Sun' live performances from the late Sixties. Closer `Nabitte' wraps the disc on smiles and sunshine...no, wait, make that mucky clanging nightmares of brooding jagged piano and groaning eerie voices makes for deeply unpleasant stuff, pretty much the perfect soundtrack to the seediest snuff tape. `Cluster II' really gets under the skin with grubby fingernails, making for supremely uneasy listening but also one that remains wickedly addictive and completely consuming, laced beginning to end with that dirty sense of danger that permeates all the most satisfying Krautrock works. Four stars. (This review first appeared on the Prog Archives website on April 2ns, 2017.
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    An eight track, dark to experimental ambient, album, it is an array of modern world aural landscapes. From audio interpretations of an Amazonian world filled with cawing birds, dripping rain, and reptilian creatures, resonating throughout the forest (liqb, haunted and ominous), to the sounds of modern worlds both chaotic (faces, sizzle) and subdued (ghosts, umbra, curtains), the album is a perfect blend of powerful sound against minimal music!
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    When good synths go bad, things can only get rrrrrrandomerrrrr. Play this at differrrrrrrrrent speeds for morrrrrrrre.
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    Aural Films celebrates our 5th anniversary with a special Halloween Collection of deep, dark, spooky, sounds culled from the 200+ albums we have released over the years. Lock your doors and shutter your windows for this collection of 50 tracks, over 7 hours of music, that are the perfect soundtracks for a haunting Halloween!
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    embral hits the road, playing new music in new and old places. With our pal Tim Kaiser on most shows. And we'll have some new merch and stuff. Come say hi. FRIDAY, NOVEMBER 3 Detroit, MI @ Trinosophes w/ Devotional, Lyrans https://www.facebook.com/events/2015944361997325/ SATURDAY, NOVEMBER 4 Chicago, IL @ Slate Arts w/ Rasplyn, Derek Allen, Curt Oren / Rose Bouboushian duo... https://www.facebook.com/events/148659335872490/ SUNDAY, NOVEMBER 5 St. Louis, MO @ Foam w/ Moonrace, Eric Hall, Alex Cunningham https://www.facebook.com/events/1754346498206855/ MONDAY, NOVEMBER 6 Lawrence, KS @ Percolator w/ Tim Kaiser, Battalion of Cloudships, Tensor Sensellation https://www.facebook.com/events/1601011099963347/ TUESDAY, NOVEMBER 7 Kansas City, MO @ Awful House w/ Tim Kaiser, Battalion of Cloudships, adamon, TBA facebook.com/awfulhouse69 WEDNESDAY, NOVEMBER 8 Lincoln, NE @ Toothblack House w/ Tim Kaiser, The Mighty Vitamins https://www.facebook.com/events/2001716990100543/ THURSDAY, NOVEMBER 9 Des Moines, IA @ The Fremont w/ Tim Kaiser, Osario https://www.facebook.com/events/1569767893069695/ FRIDAY, NOVEMBER 10 Minneapolis, MN @ Eagles 34 w/ Tim Kaiser, Dahlheimer, Mount Curve https://www.facebook.com/events/1398018563644138/ SATURDAY, NOVEMBER 11 1PM La Crosse, WI @ Old Towne Strings oldtownestrings.com SATURDAY, NOVEMBER 11 8PM La Crosse, WI @ Cavalier Theater cavaliertheater.com SUNDAY, NOVEMBER 12 Lafayette, IN @ Spot Tavern w/ Health & Beauty, Matt Schneider, Wooden Highway http://www.spottavern.com/new-shows/nov-12-health-and-beauty-matt-schneider-embral-wooden-highway
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    Electronic Trick Or Treat All Hallows Eve Sound Collage Improvs... Got a desire to disorient your guests with disturbing sounds while ringing in this year's ghoul tide? These recordings from Herd Of The Ether Space, Turkey Makes Me Sleepy, Disism, Goff, are free tickets to the fun house: Lacing The Candy Disquietude Cute Little Devils Explosion Of Pedigreed Bunk Locust Hocus Pocus Plenty more here: Taped Rugs Halloween Candy
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    Now and then, someone asks me, "What kind of music do you make"? I have taken some time to create an 8-minute documentary detailing many of my main achievements as mystified, my 15-year ambient drone project. What can be accomplished in 15 years of hard work? Have a watch and a listen:
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    The next revolution in Synthesis - Delayed implementation of effects (as occurs in vibrato effects) and it's extension into a manifestation of attack and release functions on every synthesis process. ... Design the virtual synths and I will test them
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    E-mu Systems Vintage Keys 64 Voice Classic Keyboard