Mixlr is an independent tool for live streaming, with broadcast tools for Windows, macOS, Android, and iOS. I wasn’t tuned in on Sunday when this happened, but it seems there was live chat with (presumably Sean).
The company is based in Shoreditch, London, and is itself an interesting story – still private, still independent since its 2010 launch, even as many other audio and music startups have come and gone and even mighty SoundCloud has seen its founders depart the leadership team. So it’s kind of encouraging to see Autechre show up there.
There’s some fun chatter on Reddit to follow:
Thanks to Mike of Wunderblock Records for the tip, as I shake jetlag from 10,000 km of travel yesterday! Feel free to chime in on comments with a) track IDs, b) your own live streaming experience/station, or anything else.
Hainbach may be known to most as the YouTuber with a bespectacled gaze, talking to you about weird old sound gear. But his ambient music is absolutely beguiling.
“Gestures,” his new LP this month, is a gauzy, sensitive reverie, as ghosts of piano loops slip between washes of delicate oscillator tones. Nothing is overthought or precious; there’s a gentle openness to each sound.
From the description:
Gestures is an album of disappearing and acceptance. The sense of loss is lifted by interweaving piano phrases, harmonized by fragile oscillators. Gentle movements above radio antennas guided the recording process, adding an incorporeal, dreamlike feel.
Cassettes are sold out, but vinyl is still available.
Digital is through today only name what you want, because the artist says he just wants it to be widely heard.
But maybe there’s the resonance between Hainbach’s art and his YouTube channel – he’s someone who is simply glad to welcome you into his home and share what he’s doing. So that transparency is there in his labor-of-love discussions of his tools, but also there in the easy intimacy of his mixes and compositions, too.
Here’s a new music jam from him, as well:
In art it is possible to create a sense of clarity that is difficult to attain in everyday life. That is a huge attraction to me. Here I am playing the Bellinger eKalimba and OP1 into the Ciat-Lonbarde Plumbutter, with Thyme generating lovely rhythms.
And in case you missed it, our last stop by Hainbach with our new MeeBlip geode:
What happens when you apply machine learning research to experimental sound – and then play live in front of a festival crowd? Recently, in St. Petersburg, RU, we got to find out.
Our team for Gamma_LAB AI gathered a diverse international team of artists, musicians, musicologists, coders, and researchers, including people who are deep in the field of data science work outside of the arts. (One of our co-hosts was juggling her work in path finding for drones – so not the usual media art approach to AI!) Organizing team (of which I was the only non-Russian member this time):
Natalia Fuchs, Curator
Julia Reushenova, Curatorial assistant
Helena Nikonole, Conceptual artist
Peter Kirn, Facilitator
Natalia Soboleva, Facilitator
Dr. Konstantin Yakovlev, Scientific advisor
… plus our partners, including tech partner Mail.ru Cloud Solutions.
Step one: come together for a 12-day laboratory, bringing us to St. Petersburg in May. That was our chance to learn from one another, take in some lectures, and get started with experiments – everything from digging through how to reconstruct baroque music to generating new sounds for techno and experimental improvisational performance. Participants came from everywhere from Kenya to just around the corner:
Ksenia Guznova (RU), Ilya Selikhov (DE), Anastasia Tolchneva (RU), Michal Mitro (SK), Mar Canet (ESP), Ilia Symphocat (RU), Thomas Disley (USA), Nikita Prudnikov (RU), Tatiana Zobnina (RU), Joseph Kamaru (KE), Egor Zvezdin (RU), Alexander Kiryanko (RU), Katarina Melik-Ovsepian (RU)
Step two – the big leap – come back to St. Petersburg in July, and in a raw industrial space, make the whole thing work for an audience of festival goers. That led to a full program:
A live media art performance by co-host Helena Nikonole (hacking into Internet of Things devices in real-time from the stage)
An instrumental group of baroque musicians mixing together historical scores and freshly-generated AI libretto and melodies (led by harpsichordist Katarina Melik-Ovsepyan)
A mixed acoustic-electronic improv group working with machine learning-produced sounds trained on various experimental sound sources (Ilya Selikhov, Michal Mitro, Symphocat, and KMRU)
Live-coding duo with an original AI-powered encoder/decoder, built on the artists’ own recordings (Monekeer + Lovozero)
Yours truly making live techno from generative text, AI-generated loops, and style transfer
And all of this took place in a peak-time, Saturday night festival program, set in an apocalyptic looking ex brewery just before its demolition, complete with immersive, responsive lasers and light by Stanislav Glazov (Licht Pfad studio, Berlin).
Here’s the improv group, working live with their materials:
Some audio examples:
I spoke with curator Natalia Fuchs (ARTYPICAL), who put together the program with us. Natalia is right now presenting the project to MUTEK Festival in Montreal, and has worked not only as a curator and co-producer of GAMMA, but as an advisor to the current AI show at the Barbican Centre.
CDM: First, let’s put the lab in context – there’s Surgeon on one stage, pounding out techno, but then there’s the results of this laboratory, too. What’s the place of GAMMA_LAB inside Gamma Festival?
Natalia: Gamma_LAB is the heart of experimentation at the festival. We launched the LAB in May 2019 – that was a [big reponsibility] for us, because the LAB was self-funded, without any institutional or technological support. Only after the international open-call was announced, we started to get attention from the different partners that [have now] joined the project. By “responsibility” here I mean our relationship with the artists and the audience – we knew that experimental lab is just the first chapter, and the main message will be the conceptual AI stage at the festival.
What does it mean to have a lab inside a festival, to have a place that is making new stuff?
When programming the festival, we always feel like we want to represent local artists and quality local production. And Gamma_LAB is the cultural production unit for us. We focus the project on new artistic and curatorial solutions, on international collaborations – and that means we keep on track, stay connected, and help the community develop.
What has been your relationship to AI as a curator – how would you relate your experience in GAMMA_LAB to your involvement with the Barbican show? CTM Festival? Other projects?
My connection to AI is coming from my general research interests: I am a media art historian and I am deeply concerned by the new media research in relation with AI nowadays. I find it extremely stimulating and exciting – this enormous philosophical quest towards finding the big “other.” So as soon as I started to work closely with Helena Nikonole, conceptual artist of Gamma_LAB, being a peer for her “deus x mchn” project at Rodchenko School in Moscow and advising this artwork to the “Open Codes” exhibition at ZKM Centre for Art and Media in Karlsruhe, I was developing my curatorial approaches to art and AI. Then there were AI-related projects for the Barbican and CTM, but Gamma_LAB for me conceptually throwing my practice back to the Polytech.Science.Art program that I [previously was] curating at the Polytechnic Museum in Moscow. The way we build the processes here including theory, applied studies, performative aspects, it brings same strategy to the next level. In terms of the scale, Gamma_LAB with its connection to the Gamma Festival ([with its] 12000 visitors) has definitely jumped much higher.
Obviously, we know AI is buzzing. But do you feel there’s something unique about this particular set of collaborations – was there a sense that something different happened? In the process itself? In the results?
The engagement of the technical team was very different at the LAB. I think that we found the way to collaborate between disciplines in a way that is interesting for both – technology professionals and media artists. It makes the project very strong, I believe.
There’s lots of curiosity as always about doing projects in Russia. What would you say the relationship of the Russian scene to the international scene is like? I’m certainly grateful for the unique expertise we had; maybe people aren’t so aware of how much technical skill and talent is in our Russian network?
We have had the long period of time when Russian science and technology was subject to control by the government. So internationalization of science is still happening very slowly in Russia. So I don’t think it’s a question of belief, but a question of historical memory. International interest in the technical skill and talent in the Russian network is definitely very strong , but people outside the country know that it was rather impossible to have successful collaboration due to political restrictions. So at the moment, we all have to go through these borders. And Gamma-LAB also supports open communication in the field of science, technology and arts.
The AI workshop began life with the exhibition and the workshop in Berlin – and now you’ve continued on to MUTEK. What’s the longer narrative there? And anything you can talk about as far as where this will go next, or what you hope will happen next with these projects?
The longer narrative is conducting proper artistic research on AI – but with curatorial supervision. Every international festival is interested in the development of cultural production, to expand contemporary culture strategies and be constantly engaged with audience feedback. The more serious collaborative experiences we have, the more profound cultural production is, the more meaningful art experiences can be delivered to the audience. We’re bringing this to the level of collaboration of the festival not only with artistic communities or applied technology makers, but with academic and scientific circles.
My hope is not related to any “next level,” though. I hope it will be the chance to develop a critical approach to AI and the arts. I think there’s no space where people can freely discover and form their own opinions on the AI matters [that compares with] the media art world and festival environments.
Helena, you got to approach joining our team from a different perspective, also haveing worked as a solo media artist. What was your experience?
Helena: The AI Stage… became, from my perspective, one of the most experimental and multi-genre stages at the festival. I showed my piece deus X mchn in the form of performance, which was presented before in a museum in an extremely different environment. Therefore, I thought it was interesting that showing this piece at the festival, I wasn’t planning to serve the expectations of some part of the audience, but then I realized that actually it was the feature of the stage.
All performances, from baroque to noisy improvisation, from digital art to live coding performance could be shown in a museum, as well, and for me, the AI Stage was the best example of how a music festival can become a space for new media art and sophisticated experiments in sound and music. And yes, the audience was just awesome! Of course, some part of it were more used to going to raves than centers for contemporary art, but even these people were genuinely interested in what was happening at the stage, so finally, I was really surprised that sometimes a rave can also educate the audience.
In Poland, as queer groups and allies face a rising threat of violence and hate, the Oramics collective chose to respond with music. The result: a sprawling compilation of 121 tracks and international outpouring of support.
I definitely want to encourage you to grab the compilation, but also want to take this opportunity to give you a tour through some of the music here – including from some lesser-known and underground and Polish artists. So alongside some known international figures, like Peder Mannerfelt, Object Blue, Borusaide, Lee Gamble, Electric Indigo, and Rrose, you’ll get an excellent sampling of artists involved in Poland’s underground and queer communities. We’re fortunate that in dark and challenging times, we have music and emotion and celebratory and powerful sound, and not just, you know, the news.
This is not an abstract battle or “culture war”: in Poland as in an alarming number of places, basic rights of expression and safety are under assault, backed even by mainstream media and religious and governmental leaders. That’s put artists who I’ve worked with personally under real pressure and danger, among many others. It’s something you feel on a visceral level not only in Poland but in the fabric of the electronic music scene outside of the country, as well.
Out now, the “Total Solidarity” compilation gives sonic, musical form to a growing chorus of solidarity and protest. That network has brought together collectives, artists, curators, press, activist organizations, and concerned friends in a network inside and outside of the country. Total Solidarity demonstrates how deep that network is, and how many people have been touched by the political struggle and by these artists.
Over 100 tracks from the Polish underground and international electronic music scene come together on the digital release, available for fifty bucks on Bandcamp (or individually, by track). Poland’s Oramics collective joins Tilburg, Netherlands’ Drvg Cvltvre, who runs the label New York Haunted. The funds raised go directly to organizations battling homophobia and supporting queer communities.
“I think it is very important to show that music scene and culture will never accept hatred,” Justyna from Oramics tells us. “This was one of the main goals of this compilation – to gather people from all over the world and show support,” she says. “This symbolic support, kind of artistic / curatorial gesture of solidarity was the main goal I guess – all this which lies beyond fame, mainstream, underground and genre borders. This is the biggest success.”
Here are some highlights, and places to find more.
Justyna also shared some picks. “It was one of the goals to combine artists from literally everywhere,” she says. “Of course, it is important that we have so many amazing internationally acclaimed artists, because they are giving us all the incredible press — but how amazing it is to give some more visibility to those less known, but also super-talented.” Hell, yeah.
Here are a few of those picks – and I have to second these nominations.
Mchy i Porosty:
Satin de Compostela:
I have listened to the whole compilation and love the whole thing, but to highlight even some more people, particularly those close to this scene, whose tracks really moved me:
3-3-3 is a punk-ish banger from Dyktanto of Brutaz:
FOQL’s aptly named “Colony Collapse” is some delicious oddball mayhem from Justyna herself:
There’s some genius, futuristic apocalypse going on in the music of Oramics’ Mala Herba:
RSS BOYS and Eltron will be familiar to anyone following the Polish scene, but if not – know them!
Electric Indigo added a smartly constructed electronic opus that CDM readers shouldn’t miss – Susanne being both a legend in the scene as an artist and founder of female pressure, which has been a template for many female/femme/activist groups since:
Isabella’s chimey, crystalline creation sounds a bit like that cover art looks:
Dr. Rey mastered over a hundred tracks to make this compilation happen, and their contribution is eerie and beautiful:
All proceeds from the digital sales will support Polish queer organizations: Kampania Przeciw Homofobii and Miłość Nie Wyklucza, who monitor homophobia, provide all kind of support for queer people and have agreed to help us redistribute the proceeds throughout LGBTQIA+ organizations in smaller cities and towns of Poland, who need them the most.
We will be in touch with Oramics to hear how these organizing efforts are going, and what else the electronic music community can do there – and worldwide – to support people’s safety. It’s expressive freedom that has brought us to music and music technology, so if that’s not what we’re in the business of supporting, I’m not sure what we are doing.
For those near Berlin – Polish-born Rey for their part will also be leading their project The Womb, with a summer symposium for female-identified, non-binary and queer creatives and entrepreneurs, on 31 August. Kudos to Rey for this epic mastering job; see Uferlos Studios for more.
For more Oramics action, here’s the latest Behind The Stage podcast, with Szkoda:
I got to write about Oramics a couple of times before:
And see also my chat with Dyktando, who also contributed to this compilation, from when I got to play with him last summer:
It started as an artist tool, but it could become yours, as well. Grainstation-C is a free and open source sound creation workstation that’s playable live and supports ambisonic spatial sound. And the music its creators makes is ethereal and wonderful.
Micah Frank, noted sound designer and toolmaker as well as composer/musician, produced Grainstation-C for his own work but has expanded it to an open source offering for everybody. I’ve been waiting for this one for a while, and I think it could appeal both to people looking for a unique tool as well as those wanting to learn a bit more about granular sound in Csound.
The engine: 4 streams from disk, 3 streams from live input. Live audio looping, multiple grain controls, six independent pitch delay lines, six switchable low- and high-pass filters. Snapshot saving.
Powered by: Csound, the modern free and open source sound creation tool that evolved from the grandparent of all digital audio tools.
Live control: It’s pre-mapped to the eminently useful Novation LaunchControl XL MK2, but you could easily remap it to other MIDI controllers if you prefer.
Ambisonics: This optional spatial audio processing lets you use a standard format to adapt to immersive sound environments – in three-dee! Or not, as you like.
It’s deep stuff – even with different granular modes and controls (time stretching, frame animation, pitch shifting). The inspiration, says Micah, was the now-discontinued System Concrète, a complete MakeNoise modular rig that combined grains with modulation, filtering, and delays. But – as is easily possible with software, unconstrained by knobs and space and money – he kept going from there.
Equally notable is the ethereal, beautiful album Quetico that also debuts this week, on Micah’s own Puremagnetik record label. Once, the line between toolmakers and musicians, engineers and composers was thought sacred – even with elaborate explanations about why the two couldn’t be compared. But just as electronic artists have demolished other sacred walls (club and concert, for instance), Micah is part of a generation doing away with those old prejudices.
And the results are richly sensual – warm waves of sound processed from Yellowstone geysers and Big Sur nights, Micah says. It’s classic ambient music, and the tool simply melts away, the essential craft of delivering a palette of sound. At the same time, being transparent with the tools is the ultimate confidence in one’s own musical invention. Micah’s Puremagnetik was a business built in making sounds for others, and yet both the album and free tool suggest the limitless possibility of that act of sharing.
In any event, this is acousmatic creation of the finest quality, with or without the GitHub link. And Micah is getting some deserved recognition, too, with a 2019 New York Foundation award for the Arts Fellow in Music and Sound.
With so much of the sound out of my country of origin the United States ugly, it’s wonderful to hear beautiful algorithmic sounds derived from the nation’s national parks instead.
Before modulars became a product, some of the first electronic synthesis experiments made use of test equipment – gear intended to make sound, but not necessarily musically. And now that approach is making a comeback.
Hainbach, the Berlin-based experimental artist, has been helping this time-tested approach to sound reach new audiences.
I actually have never seen a complete, satisfying explanation of the relationship of abstract synthesis, as developed by engineers and composers, to test gear. Maybe it’s not even possible to separate the two. But suffice to say, early in the development of synthesis, you could pick up a piece of gear intended for calibration and testing of telecommunications and audio systems, and use it to make noise.
Why the heck would you do that now, given the availability of so many options for synthesis? Well, for one – until folks like Hainbach and me make a bunch of people search the used market – a lot of this gear is simply being scrapped. Since it’s heavy and bulky, it ranges from cheap to “if you get this out of my garage, you can have it” pricing. And the sound quality of a lot of it is also exceptional. Sold to big industry back in a time when slicing prices of this sort of equipment wasn’t essential, a lot of it feels and sounds great. And just like any other sound design or composition exercise that begins with finding something unexpected, the strange wonderfulness of these devices can inspire.
I got a chance to play a few days with the Waveform Research Centre in Rotterdam’s WORM, a strange and wild collection of these orphaned devices lovingly curated by Dennis Verschoor. And I got sounds unlike anything I was used to. It wasn’t just the devices and their lovely dials that made that possible – it was also the unique approach required when the normal envelope generators and such aren’t available. Human creativity does tend to respond well to obstacles.
Whether or not you go that route, it is worth delving into the history and possibilities – and Hainbach’s video is a great start. It might at the very least change how you approach your next Reaktor patch, SuperCollider code, synth preset, or Eurorack rig.
In glitching collisions of faces, percussive bolts of lightning, Lorem has ripped open machine learning’s generative powers in a new audiovisual work. Here’s the artist on what he’s doing, as he’s about to join a new inquisitive club series in Berlin.
Machine learning that derives gestures from System Exclusive MIDI data … surprising spectacles of unnatural adversarial neural nets … Lorem’s latest AV work has it all.
And by pairing producer Francesco D’Abbraccio with a team of creators across media, it brings together a serious think tank of artist-engineers pushing machine learning and neural nets to new places. The project, as he describes it:
Lorem is a music-driven mutidisciplinary project working with neural networks and AI systems to produce sounds, visuals and texts. In the last three years I had the opportunity to collaborate with AI artists (Mario Klingemann, Yuma Kishi), AI researchers (Damien Henry, Nicola Cattabiani), Videoartists (Karol Sudolski, Mirek Hardiker) and music intruments designers (Luca Pagan, Paolo Ferrari) to produce original materials.
Adversarial Feelings is the first release by Lorem, and it’s a 22 min AV piece + 9 music tracks and a book. The record will be released on APR 19th on Krisis via Cargo Music.
And what about achieving intimacy with nets? He explains:
Neural Networks are nowadays widely used to detect, classify and reconstruct emotions, mainly in order to map users behaviours and to affect them in effective ways. But what happens when we use Machine Learning to perform human feelings? And what if we use it to produce autonomous behaviours, rather then to affect consumers? Adversarial Feelings is an attempt to inform non-human intelligence with “emotional data sets”, in order to build an “algorithmic intimacy” through those intelligent devices. The goal is to observe subjective/affective dimension of intimacy from the outside, to speak about human emotions as perceived by non-human eyes. Transposing them into a new shape helps Lorem to embrace a new perspective, and to recognise fractured experiences.
I spoke with Francesco as he made the plane trip toward Berlin. Friday night, he joins a new series called KEYS, which injects new inquiry into the club space – AV performance, talks, all mixed up with nightlife. It’s the sort of thing you get in festivals, but in festivals all those ideas have been packaged and finished. KEYS, at a new post-industrial space called Trauma Bar near Hauptbahnhof, is a laboratory. And, of course, I like laboratories. So I was pleased to hear what mad science was generating all of this – the team of humans and machines alike.
So I understand the ‘AI’ theme – am I correct in understanding that the focus to derive this emotional meaning was on text? Did it figure into the work in any other ways, too?
Neural Networks and AI were involved in almost every step of the project. On the musical side, they were used mainly to generate MIDI patterns, to deal with SysEx from a digital sampler and to manage recursive re-sampling and intelligent timestretch. Rather then generating the final audio, the goal here was to simulate musician’s behaviors and his creative processes.
On the video side, [neural networks] (especially GANs [generative adverserial networks]) were employed both to generate images and to explore the latent spaces through custom tailored algorithms, in order to let the system edit the video autonomously, according with the audio source.
What data were you training on for the musical patterns?
MIDI – basically I trained the NN on patterns I create.
And wait, SysEx, what? What were you doing with that?
Basically I record every change of state of a sampler (i.e. the automations on a knob), and I ask the machine to “play” the same patch of the sampler according to what it learned from my behavior.
What led you to getting involved in this area? And was there some education involved just given the technical complexity of machine learning, for instance?
I always tried to express my work through multidisciplinary projects. I am very fascinated by the way AI approaches data, allowing us to work across different media with the same perspective. Intelligent devices are really a great tool to melt languages. On the other hand, AI emergency discloses political questions we try to face since some years at Krisis Publishing.
I started working through the Lorem project three years ago, and I was really a newbie on the technical side. I am not a hyper-skilled programmer, and building a collaborative platform has been really important to Lorem’s development. I had the chance to collaborate with AI artists (Klingemann, Kishi), researchers (Henry, Cattabiani, Ferrari), digital artists (Sudolski, Hardiker)…
How did the collaborations work – Mario I’ve known for a while; how did you work with such a diverse team; who did what? What kind of feedback did you get from them?
To be honest, I was very surprised about how open and responsive is the AI community! Some of the people involved are really huge points of reference for me (like Mario, for instance), and I didn’t expect to really get them on Adversarial Feelings. Some of the people involved prepared original contents for the release (Mario, for instance, realised a video on “The Sky would Clear What the …”, Yuma Kishi realized the girl/flower on “Sonnet#002” and Damien Henry did the train hallucination on “Shonx – Canton” remix. With other people involved, the collaboration was more based on producing something together, such a video, a piece of code or a way to explore Latent Spaces.
What was the role of instrument builders – what are we hearing in the sound, then?
Some of the artists and researchers involved realized some videos from the audio tracks (Mario Klingemann, Yuma Kishi). Damien Henry gave me the right to use a video he made with his Next Frame Prediction model. Karol Sudolski and Nicola Cattabiani worked with me in developing respectively “Are Eyes invisible Socket Contenders” + “Natural Readers” and “3402 Selves”. Karol Sudolski also realized the video part on “Trying to Speak”. Nicola Cattabiani developed the ELERP algorithm with me (to let the network edit videos according with the music) and GRUMIDI (the network working with my midi files). Mirek Hardiker built the data set for the third chapter of the book.
I wonder what it means for you to make this an immersive performance. What’s the experience you want for that audience; how does that fit into your theme?
I would say Adversarial Feelings is a AV show totally based on emotions. I always try to prepare the most intense, emotional and direct experience I can.
You talk about the emotional content here and its role in the machine learning. How are you relating emotionally to that content; what’s your feeling as you’re performing this? And did the algorithmic material produce a different emotional investment or connection for you?
It’s a bit like when I was a kid and I was listening at my recorded voice… it was always strange: I wasn’t fully able to recognize my voice as it sounded from the outside. I think neural networks can be an interesting tool to observe our own subjectivity from external, non-human eyes.
The AI hook is of course really visible at the moment. How do you relate to other artists who have done high-profile material in this area recently (Herndon/Dryhurst, Actress, etc.)? And do you feel there’s a growing scene here – is this a medium that has a chance to flourish, or will the electronic arts world just move on to the next buzzword in a year before people get the chance to flesh out more ideas?
I messaged a couple of times Holly Herndon online… I’m really into her work since her early releases, and when I heard she was working on AI systems I was trying to finish Adversarial Feelings videos… so I was so curious to discover her way to deal with intelligent systems! She’s a really talented artist, and I love the way she’s able to embed conceptual/political frameworks inside her music. Proto is a really complex, inspiring device.
More in general, I think the advent of a new technology always discloses new possibilities in artistic practices. I directly experienced the impact of internet (and of digital culture) on art, design and music when I was a kid. I’m thrilled by the fact at this point new configurations are not yet codified in established languages, and I feel working on AI today give me the possibility to be part of a public debate about how to set new standards for the discipline.
What can we expect to see / hear today in Berlin? Is it meaningful to get to do this in this context in KEYS / Trauma Bar?
I am curious too, to be honest. I am very excited to take part of such situation, beside artists and researchers I really respect and enjoy. I think the guys at KEYS are trying to do something beautiful and challenging.
Live in Berlin, 7 June
Lorem will join Lexachast (an ongoing collaborative work by Amnesia Scanner, Bill Kouligas and Harm van den Dorpel), N1L (an A/V artist, producer/dj based between Riga, Berlin, and Cairo), and a series of other tantalizing performances and lectures at Trauma Bar.
Ready to drone the f*** out? Here’s your own personal all-night chillout stage, full of ten hours of drones. It’s all part of a growing international annual celebration of drone sounds.
Oh sure, if you’re American you probably had Memorial Day weekend on the mind last weekend. But there was another holiday, too, dedicated to ambient and experimental music.
“Every year we make a noise together that stretches around the world,” proclaim the organizers on the site.”The answer comes through tiny vibrations in our skin and between our bones,” they say. “Gather and drone with friends, with the public, or alone (though you are never truly alone in the drone).”
Drone, community, and experimental sounds are all welcome. The ritual began a few years ago with organizers Marie Claire LeBlanc Flanagan and Weird Canada. This year’s edition had some 60 drone events worldwide.
But if you missed Drone Day on Saturday, don’t worry – you didn’t miss out. We’ve got a full ten hours recorded (and streamed live) in Berlin for your droning needs.
The details of this broadcast, plus the (very lovely) performing lineup:
For Drone Day, May 25th 2019, a live studio broadcast and deep listening session was held in Berlin with funding support from the Musicboard Berlin GmbH. An audio broadcast was also streamed with kind thanks to Radio nunc from 14.00-22.00CET.
0:00:00 improvisation with diane + vida vojić
3:34:10 vida vojić
4:28:31 improvisation with diane + DuChamp
5:15:30 Auguste + Nina Guo
5:55:30 Nina Pixel
6:58:32 Inter Lineas
7:44:05 improvisation with diane + Alexandra Macià + sn(50)
It’s not actually shot in black and white murk; we just live like that in Berlin – it follows us around, like a fog.
Forget analog pedals or digital boxes – 10cars have made a series of electro-acoustic inventions covered in wires and springs. And they sound wild and strange.
“10cars” is a Berlin-based multimedia artist. He presented these works at the mighty trade show Superbooth, but these pieces are something else – part sculpture, part experimental noise instrument. And they’re one of the more compelling inventions to appear this month.
The lovingly handcrafted pieces meld collage with wires and springs and metal grates, as if someone were making a mouse trap and got distracted and crossed it with a kalimba and a spring reverb. These pieces are dubbed “autumn soundboxes” and range in price from 120 to 360 euros – yes, you can have your own.
10cars is part of the Liquid Sky collective (which now spans Berlin and other bits of Europe, ringleader Ingmar Koch having fled to Portugal). Liquid Sky have made some sound demos to give you a sense of what these are about.
Really lovely stuff.
You get plinks and plonks, otherworldly hums like lost Communist-era student sci film soundtracks or possibly what college radio sounds like on the planet Venus. There’s humming and creepy metallic bits and spacey madness. Well, listen:
Unrelated to anything, but I love that SoundCloud suggested this track when I was playing the sound demos.
More information (for real), plus an email address through which you can order:
April is a generous month for fans of unusual Ukrainian compilations – now having covered new braindance from the country, we’re directed by readers to another set, giving a tour of experimentalism and electronic composition.
Flaming Pines is a wonderful label for experimental music, also setting up its virtual home on Bandcamp, that last best hope for underground digital downloads and physical releases. Check their full catalog for adventurous sounds from 9T Antiope (great stuff) to Kate Carr (seriously, just go give those a listen). The label, a transplant from Sydney to London, has also taken on a number of tours of experimental electronic scenes in far-off locales, including a gorgeous Iranian compilation called Absence, and up-and-coming Vietnamese avant garde in Emergence.
It’s not so much exoticism the label seems to find as threads connecting kindred spirits. And now, having plumbed the depths of mystical sound in Ukrainian duo Gamardah Fungus, the label brings back half of that duo to curate a selection of sounds from that motherland. Igor Yalivec is the guide here, leading us in just twelve tracks to some highlights of established compositional voices and younger contributions alike. Igor you’ll also find showing off modular musicianship as a solo artist in addition to working in the duo:
Guitar and electronics yield magical metallic timbres like a lucid dream, in the work of Gamardah Fungus – some potent brew of remembered folklore and time-warped futurism. It’s Slavic spirit ambient, but always inventive – modal melodies tensely wandering about layers of tape and sound:
So this was a perfect starting point for Kaleiodoscope. That leads to Alla Zahaikevych (aka Zagaykevych) – her work spanning traditional concert music training, historical folk singing technique (with over a decade singing in an ensemble dedicated to the practice), and founding the Electronic Music Studio of Kyiv’s National Music Academy of Ukraine. I can’t think of many composers covering that many directions in a single career worldwide, making her a leader on that stage as well as in Ukraine.
Or there’s Andrey Kiritchenko, obsessively prolific generation X-aged composer who founded the cutting-edge Nexsound label – and has worked with names like Kim Cascone, Francisco López, Andreas Tilliander, Frank Bretschneider, Scanner, Charlemagne Palestine, and many others.
But thinking in generations or separating academy from disreputable underground – it’s fitting that we cross those borders freely now. So it’s an easy step to a younger artist like Motorpig, a visceral, dark project spanning techno, industrial, and experimental veins – and things that are none of those, but rather ambient, undulating merry-go-rounds of texture. (Been a while since there was new Motorpig, so I’m up for any new track):
To come full circle, understanding the reason for this journey out to Ukraine, it’s worth hearing the terrifically nuanced sound world of Flaming Pines’ own Kate Carr. These are ambient soundscapes that breathe and ache, as precarious and fragile as evidently the artist was recording them – “sliding about in freezing mud on steep inclines.” And maybe that’s what this is all about – music that invokes deep spirits and puts itself in positions of extreme difficulty, all to catch fleeting moments of beauty.
So the compilation promises great things – like this utterly chilling vocal composition by Alla Zagaykevych, some evidently convolved, ghostly sound that seems to be about to blow away like frost:
Also in future-vocal territory, Andrey Kiritchenko delivers a chanting vocoder:
The art, at top, also comes from Ukraine – artist Alina Gaeva. I look forward to the compilation coming out on April 22 – but there’s plenty of link holes to drain our PayPal accounts on Bandcamp in the meantime.
And all of this makes a nice contrast to that naive nerdy braindance business from a couple of days ago. Previously, on “there’s a lot of really cool music from Ukraine on Bandcamp now and it’s worth dropping doing other things to talk about it”: