Wed, August 16, 2017
5:00 PM – 7:00 PM PDT
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Perfect Circuit Audio
2405 W Empire Ave
Burbank, CA 91504
Wed, August 16, 2017
5:00 PM – 7:00 PM PDT
Add to Calendar
Perfect Circuit Audio
2405 W Empire Ave
Burbank, CA 91504
One of the year’s biggest events on the synthesizer calendar isn’t in the US or Germany or the UK. It’s an event called Synthposium, in Moscow next week.
And where better? The city is dotted with monuments to cosmonauts; the country gave birth to Theremin and Polivoks, to ANS and optical synthesis, and spun fantastic science fiction tales that inspired the invention of the laser and dreamed of futuristic utopias.
Now, a younger, post-Communist generation is taking up the task of generating new futuristic musical energies. They’re mixing an enthusiasm for the avant-garde of the past and its heroes with a the latest technologies, patching connections between their countries and the world.
Well, the world seems to be taking notice. Synthposium, a packed art festival cum expo/conference next week, balances Russia’s own industrious community of artists and builders with counterparts from around the world. Alongside Berlin’s SuperBooth and Anaheim’s NAMM show, it might just be one of the big events on this year’s calendar in adventurous music technology.
The annual event hits next week, 24-27 August, at WINZAVOD Contemporary Art Center and Moscow Film School.
East coast and west coast synthesis? Try Eastern Bloc. On the hardware side, you get makers like the reborn Polivoks, the former brand reborn as a coveted 21st century brand, one that retains its original character but can be breathed in the same sentence with Moog and Buchla. But you also get an introduction to other makes, like Sputnik Modular, SSSR Labs, or Latvia’s Erica Synths (which inherits some of Polivoks’ former Riga legacy). There’s America’s TipTop Audio, too, plus MDR.modular, VG-Line, L-1 Synthesizer, Pribore Electronics, DNGR:TECH, Svarog Audio, and Uoki-Toki. Experimentalists and educators Playtronica join in, too.
Engineer Roman Filippov of Sputnik Modular will premiere his “Deckard’s Dream,” a Blade Runner-esque 8-voice polyphonic analog synth. Talks and workshops from the likes of BBC’s Matthew Sweet and Robert Aiki Aubrey Lowe (Lichens) and former KORG analog maven Tatsuya Takahashi will add to the discussion.
There are also a whole lot of artists, mixing local and international personalities. The lineup looks like headliners from a major electronic festival, if that electronic festival were, well, sort of hyper-nerdy. Ulrich Schnauss and Thomas P. Heckmann join Max Cooper and Richard Devine and many others. (Yes, that also includes me – and of course expect plenty of CDM coverage of the event.)
See the full list below, plus some images of what’s coming.
Music — Expo — Conference — Interactive — Art — Festival
Tickets — https://goo.gl/0aLc9M
101 — LT
Alden Tyrell — NL
Ave Eva aka Ghostape — CH
Barker — DE
Baseck — US
Biodread — FIN
Conforce — NL
Denis Kaznacheev & Fake Electronics — RU/DE
Denny Kay — UK
Ekke Västrik — EST
Frank Muller aka Beroshima — DE
Felix K — DE
Interval — US
Jacek Sienkiewicz — PL
Kadaver — CZ
Karsten Pflum — DK
Konakov — UA
London Modular — UK
Max Cooper — UK
Mehmet Aslan — CH
Morgan Fisher — JP/UK
Morphology — FIN
Mustelide — BLR
Opuswerk — CH
OGJ — CZ
Peter Kirn — DE
Plast — CZ
PRCDRL aka Procedural — DE
Richard Devine — US
Richard Fearless of Death in Vegas — UK
Robert Aiki Aubrey Lowe — US
Solar X — UK
Synxron — UA
Taeji Sawai — JP
Thomas P Heckmann — DE
Throwing Shade — UK
Todd Sines — US
Ulrich Schnauss — DE
Vertical Silence — US
Boorane aka Boora & Krane
Boris Belenki aka C-Rob
Dessin & Peterkan
Dyad and the Sleepers Club
Egor Sukharev aka Khz
Fung Bui Lao
Id303 & FMSAO
Midimode aka MDMD
Places and Stuff
Rhizome aka Nikita Zabelin
Roman Filippov aka Filq
Secrets of the Third Planet
Shadowax aka Ishome
Sickdisco aka Cross
Slow Life Program
Expo — music tech interactive exhibition and showcase:
ASD — Analog Sound Devices
Bastl Instruments — CZ
Erica Synths — LV
Eternal Engine EMI
Gieskes — NL
Keen Association Moscow
L-1 Synthesizer — BLR
Logich Synth Service
Motovilo Audio Lab
Steampunk WSG synth
Synthstrom Audible — NZ
Zvukofor Sound Labs
On Air — lectures, workshops, public talks, various educational events:
Alexander Grigoriev (Pribore Electronics)
Alexander Serechenko (Solo Operator)
Beroshima (Frank Muller)
Dmitry Morozov (::vtol::)
Maxim Zaharchenko (Svarog Audio)
Nick Zavriev (Ambidextrous)
Philipp Alexandrov (Bad Zu)
Robert Aiki Aubrey Lowe
Stanislav Charifoulline (HMOT)
Thomas P Heckmann
Valentin Zvukofor Victorovich (Zvukofor Sound Labs)
Art — installations, a/v performances & experiments, objects:
Alexey Rudenko aka arhew0
Vahram Akimyan — ARM
Winzavod Contemporary Art Center
Moscow Film School
— more TBA
Initiative – Main In Main
https://synthposium.ru/ [in Russian]
The post In Moscow, a major convergence of synth makers and lovers appeared first on CDM Create Digital Music.
Published on Aug 13, 2017
日付 / 2017年8月11日(金/祝)
場所 / 電氣蕎麦
撮影/編集 : Akira Yamasaki
【電音ハッカーズ vol.6 SPECIAL!!】開催決定
Published on Aug 9, 2017
This one in via Brian Comnes who had the following to say:
“This is a video summary of the August 5 Southern Oregon Synth Meetup in the VIP lounge of the old Ashland Armory, There were nine attendees with a wide range of synth sounds. This was a first meetup and was considered a success by all. We will meet again in early November.
Video produced with
Analogue Zone Showroom / Synths and Studio
Streamed live 3 hours ago
“Live classic techno with Ramin Sayyah and his modular rig..!!
And this time my fave Roocha is here too!!!
AnalogueZone ► http://www.analoguezone.com”
“Great time last night @SnazzyFX demo, thx to all who made it out! Stay tuned Aug 30th Paul Schreiber of Synth Tech will talk about the E352!”
Knobcon Number Six
September 8-10, 2017
“We are pleased to announce Tom Oberheim as guest of honour for Knobcon Number Six.
Mr Oberheim is the progenitor of the American polyphonic analogue synthesiser and designer of electronic music devices ranging from the Maestro Phase Shifter to the Oberheim DX drum machine. If you have listened to the radio in the
“Torino, Agosto 2017
Thanks to the success of the previous editions of TORINO SYNTH MEETING, we are collecting the memberships of many national and international exhibitors. SOUNDMIT is, with its specialization, the largest sector event in Southern Europe.
There are almost 40 brands that have joined the initiative, either directly or through Italian distributors, and many others
Berlin’s idea of a summer holiday is a bit different: shroud yourself in black, retreat into a giant concrete bunker, and prepare for an onslaught of experimental sound and light.
But that’s Berlin Atonal Festival in a nutshell. It’s what Tresor entrepreneur Dimitri Hegemann calls “a platform for radical ways in electronic music … in an industrial cathedral,” a packed-solid schedule of music and media art in the hulking abandoned shell of the power plant above the techno club.
This film affords probably the best insight into that
And now, Atonal is at an interesting inflection point. While the festival had its roots in the former West Berlin, 1982-90, it got a fairly significant reboot after a 13-year hiatus. So, sure, Hegemann himself carried over from the festival he first started. But a new curatorial team, a new context, this whole, uh, computer thing that happened, the reunification of Germany, the transformation of Berlin into international capital, the explosion of techno – these are non-trivial changes. That’s to say nothing of the move from a fairly conventional club (SO36) to a DDR-constructed behemoth that is literally used to record reverb impulse responses.
And the festival that once hosted the likes of Einstürzende Neubauten now treats listeners to a brand of experimental music that, while still adventurous, is starting to become commonplace in the festival circuit.
But maybe that’s the state of “radical” electronic music in general, certainly in Europe and the islands of media art chic around the globe. A fifth year festival isn’t going to be a shock that the first-year one is. But more than that, there’s a brand of violently sensory, retina- and eardrum-blasting but intelligent and high-concept experimental festival fare. And it’s grown popular. That popularity also transforms at least a circle of people making it. Their sound may be distorted and aggressive, but now it’s out of the tiny basements and blown-out crap PAs, and onto expensive speaker arrays, surround sound. There are sound technicians, even.
I’m of the opinion this doesn’t make experimental sound less experimental – on the contrary, it ups the acoustic and optical firepower and precision available to artists, which gives them a wider spectrum to exploit. It inarguably makes it less underground, but it also need not destroy underground aesthetics – and I think artists being able to eat is a good thing.
Of course, the future is already here, it’s just not very evenly distributed yet. So I’ve watched curators cherry-pick their favorite acts from past Atonal, then import them to their own festival the following year. But that’s in something of a bubble, centering around Berlin (and London, and Amsterdam, and other capitals) in Europe, and festivals like MUTEK in the Americas (now a kind of pan-American festival franchise, in fact). It’s to the point where I can’t recall which festival discovered whom.
That consistency is easy to criticize, particularly for anyone jealous of Atonal’s grand spectacle (as a curator), cool crowds (as an audience member), or artist opportunities (for music and media art makers). But on the other hand, for this circle, it can begin to allow refinement. Audiovisual works in particular benefit from repetition and iteration, as you rely on multiple media to mature in parallel, collaborations to deepen. And a certain oneupmanship among lineups can drive artists to hone their craft.
This leaves us the question, what makes Atonal special?
Well, the obvious edge is its space. The artists interviewed aren’t kidding: you can’t imagine how big Kraftwerk is until you enter. It’s bigger than cameras can capture, vaster than words can convey. The Atonal organizers have found a way to tune the experience for listeners center stage, amazingly stopping it from turning into mud. And artists are adjusting their sets, too. But I agree with Sam Kerridge – it’s a unique pleasure to wander the space. Festivals are so often a pre-packaged, linear experience, a proscenium blasting a pre-determined significance to a packed crowd. In Kraftwerk, you can explore a set the way you would an art museum after closing. You can stand under the stage. You can find a sweet spot by a wall where reflections transform your perspective. You can find yourself gazing in complete stillness at some installation. And Atonal combines this with Ohm (the former battery room of the power plant, an intimate tile-walled affair) and Tresor (the basement, with its famous metal-bar booth).
That says something about Berlin as it is now, citywide, year-round. It’s too much music, and it’s dark and industrial and sometimes monotonous. But you’re free in that overabundance to chart your own way, to come and go in a music culture that seems to have no beginning, middle, or end.
And this year, Atonal seems poised to build on what the festival has constructed after four editions. In short:
Back to experimental music’s roots. I always have a historical bias, so this is what I’m excited about. For both Atonal and The Long Now (two Kraftwerk-based festivals sharing some of the same curators), attendees are treated to a mix of historical concert music / new music / historical works and new commissions. In this year’s Atonal, it’s Stockhausen‘s turn. His 8-channel spatial OKTOPHONIE is inspired by the sounds of warfare (a tradition itself with threads back to Italian futurists). Stockhausen collaborator and director of the Stockhausen Foundation for Music, Kathinka Pasveer, leads that recreation, and younger composers will try out the system, too.
Rashad Becker + Ena on those eight channels should be especially good. But it’s nice to be treated to Karlheinz, too – having heard Cage and Reich recalled in this space, I can’t wait.
New stuff. There’s too much here to mention, but it’s fair to say this year’s Atonal promises more emerging artists and premieres, and might be one of the breakthrough festivals in 2017 generally. I’m curious about the “composed live act” of Chinese performance artist and composer Pan Daijing, the collaboration of Renick Bell (live coder) and Fis (sound designer). Sophie Schnell (PYUR) I’ve followed since her first AV show, and she has a unique and sensitive approach to her solo audiovisual work – this seems one to watch. Turkish-born Nene Hatun has a Rumi-inspired work.
I’m keen to see LCC (Ana Quiroga and Uge Pañeda) plus Pedro Maia; these Editions Mego-recorded artists are at the top of their synth game, and it’ll be spectacular to see them on this grander scale.
One sure-to-be-poingnant moment is Argentine-born installation artist, instrument builder and clarinetist Lucio Capace, who will have a trio doing a remembrance of the late experimental legend Mika Vainio.
There are also just a lot of new live shows. There’s a reason curators scout out Atonal for talent; there are few chances to see this many new AV works anywhere. (Another chance this fall will be Prague’s Lunch Meat; I’ll be there, too.)
Another easy bet: go see anyone Japanese. Thanks to collaborating with the New Assembly festival in Tokyo, Atonal is fresh with a bunch of legendary Japanese talent not normally seen in Europe. (I’d like CDM in general to get a little closer to the Japanese scene, and since I can’t always jet over to Japan, this will be a nice shortcut.)
All stars. Okay, and there’s more Puce Mary, more Roly Porter, more Shackleton, more Emptyset, etc. etc.. But with new premieres and such from these artists, there’s a reason to bring the all-star quasi-residents back. Some possible highlights – the combination of Shackleton’s music, Anika‘s voice over, Berlin artist Strawalde, and live visualist Pedro Maia is on my must-see list – partly because that combination sounds like it’ll either be transcendent or a cluttered mess, and that uncertainty ought to be why we go see stuff. Emptyset is doing something with architecture – and architecture is what Kraftwerk is about.
We’re Northern Electronics fans around these parts, so a program by the label’s Jonas Rönnberg aka Varg is a must on Sunday.
I’m skipping the DJ lineup, but it’s also really robust.
Can’t fly to Berlin? (or, uh, walk across the river as you don’t work for Ableton or Native Instruments?) Fret not.
The Wire has a special, free download of a number of wonderful live recordings from 2014, 2015, and 2016.
And, okay, basically these are all favorites here – note Peder Mannerfelt, PYUR, Ena, and so on returning in 2017.
It’s their Below The Radar Special Edition
Alessandro Cortini “Perdonare” 0:04:56
A Vision Of Love “Rose Transept” 0:06:49
Marshstepper “When Misfortune Confounds Us” 0:10:23
Felix K + Ena “Live At Berlin Atonal 2016” 0:03:55
Pan Daijing + JASSS “April” 0:05:23
Abdulla Rashim “Live At Berlin Atonal 2014” 0:04:49
SUMS “Budapest” 0:04:52
Peder Mannerfelt “The Theory” 0:04:41
Orphx + JK Flesh “Light Bringer” 0:04:42
Caterina Barbieri “Human Developers” 0:12:41
PYUR + Fis “The Pact”
The post Radical electronics on a grand scale: Berlin Atonal in its fifth reboot year appeared first on CDM Create Digital Music.
This one sent my way via Ross Healy of Vicmod Records, who is offering a workshop on getting started with Buchla.
The following is the list of workshops:
Getting started with Eurorack modules with Keith Fullerton Whitman
Introduction to EMS and pin board patching with Robin Fox
Introduction to synthesis for women and GNC people
Getting started with Buchla by Ross Healy
Introduction to DIY