Shameless promotion of Surplus 1980′s new album, Arterial Ends Here.
Shameless promotion of Surplus 1980′s new album, Arterial Ends Here.
As of this past weekend, I finally have my album Aquatic on Bandcamp. You can now stream all the tracks using the widget below – and if you feel so inclined, you can purchase one or more of the tracks.
I will be embarking some large updates to my music web infrastructure, which also should make it easier to reach from CatSynth.
We have been hard at work on our first Reconnaissance Fly album Flower Futures this year. And things are coming together. We have put together this set of demo tracks Flower Futures Futures available as a free download. Enjoy!
A taste of our spong cycle and album-in-progress, Flower Futures. We set the fine spoetry found in our inboxes to music, reclaiming a sliver of botspace for humanity.
released 29 March 2012
Chris Broderick: c-melody saxophone, clarinet, bass clarinet
Amar Chaudhary: electric piano, piano, organ, electronics
Polly Moller: voice, flute
Larry The O: drums, percussion
Tim Walters: bass, electronics
Highway 11 in Connecticut is a north-south freeway connecting a major route from Hartford to, well, nowhere. So one moment, you're happily traveling south on a nice country highway, and then the next moment, you better exit before it turns into a large dirt track and ditch. Or at least that's the impression I get, having never been there.
It's quite dramatic, as can be seen in these aerial photos from Greg Amy (we saw a few of his photos before when visiting Yale and New Haven, CT).
It kinda looks like someone just stopped building the highway one day, and forgot to come back and finish. The story, as described on Kurumi's website and other sources, is that the project simply ran out of funding, and then ran into opposition, though it sounds like plans are now in the works to complete highway 11 to the New London area.
However, the details of CT 11 aren't really the focus of this article, but rather it serves as a metaphor for the many unfinished projects here at CatSynth. These include:
Finishing my album 2 1/2. There are a few tracks left from this project last Februrary that need to be replaced before releasing the album. I still think I'd doable by late November, but so far I haven't been able to work much on it during this period of “free time.” Technical problem with my “studio PC laptop” provide at least one excuse.
Although I have been doing work all along on Open Sound World, mostly to support my own music, it's been quite a while since I have done a full-blown release of the software. It's hard to feel motivated when most of the feedback reads like this. However, the core software (minus the old user interface) is really solid and musically useful, and I do plan to announce a new direction for the project “real soon.”
I need to do some revisions to my professional/artistic website. At the very least I need to get the performance schedule updated – fortunately, it is already up at MySpace. The goal is to bring it more in harmony with CatSynth and rest of my websites.
I purchased one of the last Kittenettik Fyrall kits from Ciat Lonbarde, but have yet to assemble it. I guess I've been waiting to find the right “space”, both literally and figuratively, to do this. If I get on it soon, I might have it done in time for Woodstockhausen.
And of course there are several large articles waiting to be completed and published here at CatSynth, particularly CD reviews, film discussions, and travelogues.
But then again, maybe it's not so bad that I'm spending time looking for employment.
A special treat for listeners of my podcast this Sunday! I am releasing a full-length (but lower fidelity) track from my RPM Challenge album, 2 1/2.
“Four Days” is a piece in the style of musique concrete, and fits into the overal narrative theme of the album 2 1/2. It has a really captivating and eerie quality, perhaps even a little spooky.
(and please check out the current recordings available if you like it)
Well, it's been a pretty intense few days finishing up the RPM challenge, but we made it! Finished recording on Feburary 27, did some very cursory mastering and CD artwork on Feburary 28, and today, March 1, assembled the finished goods:
The final title was indeed “2 1/2″, and the final track list was as follows:
01 Prologue – Jerry Gray (1951)
02 Fragments in Gray
03 Twista Dilemma
04 Trieste 116
05 Four Days
08 RPM Filler Track
10 Happy Machine
11 Epilogue – Count Basie (1953)
Musically, it's a fairly mixed result, some tracks were exceptional, others need a fair amount of work, which I can do at my leisure outside of the RPM challenge. But it is still a fairly good result for what was really just 2 1/2 weeks of solid work amidst the various other dramas of this past February…
At 11:30 this morning, I mailed it out from the post office in Scotts Valley, California. And with this simple act, it is done.
You can read some more detail of the last week on my rpm blog. As for me, it is time to rest.
While the RPM challenge continues to dominate life here at CatSynth, there's always time for Weekend Cat Blogging. Indeed, Luna has been helping out quite a bit in the studio the past few days:
Take a break with us from the struggles of art to visit Kate, Bustopher and Harmon who are hosting Weekend Cat Blogging 90.
Yes, this is the second RPM post in a row, but the project has been dominating my outside-of-work life the last few days, at least the parts not taken up with eating, drinking, sleeping and playing with Luna.
Even though I didn't spend a huge amount of time this evening, I think I produced my best track to date, as I described earlier on my RPM blog:
Well, this is the first recording I have made for this project that felt truly inspired – even as I was working on it, I had the feeling “this is going to be really good.” So even if I never release the RPM album to the public as a whole, this piece will be released in some form no matter what.
It is called Trieste 116, and splices together an improvisation done with my favorite custom patch “116″ on the DSI Evolver, with excerpts from a live recording of a jazz combo with pennywhistle at Cafe Trieste in San Francisco (yes, that's the famous Beatnik hangout). The Evolver patch features non-linear feedback and filtering only (i.e., no traditional oscillators), and has an unstable flute-like quality that I attempt to blend with the pennywhistle in the Cafe Trieste clips. It all works together, at least for me. Additionally, the track opens with a quiet recording of a Dixieland band, an element I wanted to use somewhere in the album as a New Orleans tribute.
Once again, a demo track is available to RPM participants (do any RPM participants read this forum?) via the Sample Engine, just look for “Amar” in the Author column. One can also get a pretty good idea by listening to the October 14, 2006 podcast, which also featured an improvisation using my Evolver patch “116.”
UPDATE: Trieste 116 is up on the front page of RPM today!
I also recommend checking out “Angie Fights Crime”, I had coincidentally looked at them yesterday, too.
I actually had a very productive day working on the RPM Challenge. I now have three “completed” tracks, one half-baked, and the prologue and epilogue tracks done. However, that is only about 12 minutes, one third of the required length (35 minutes). Here's a little from the latest RPM blog entry (and this one is relatively optimistic):
Well, it looks like I managed to finish another track for tonight, it's entitled “ghanaplasticity”, named for the demo on a hacked E-MU Morpheus that I used as the original source. I then imported the source into Emulator X2 and performed it using the keyboard to process the original in a variety of ways.
Compared to the previous tracks, this one was remarkably quick to produce, and quite a pleasure to create. It was more like a live performance. I can listen to the seemingly strange timbres and rhythms and intuitively find something to enjoy in it, much like I do in abstract visual art.
So this one feels right, while the more structured tracks feel half baked at this time, which is why things have dragged on this long. So the question becomes, do I give up on structure and composition in order to “get this thing done?”
Other RPM participants can hear the works in progress using the Sample Engine. Everyone else will have to wait until at least next podcast, which is probably this coming Sunday.
I haven't posted an update lately on my RPM challenge album. Needless to say, it hasn't been going all that well, you can read some musings/whinings on my rpm blog.
I'm hoping that getting restarted with a new more deliberate overall sketch of the album structure and energy, and a return to more experimental timbral-based tracks similar to my recent music for Dorian Grey, which is in a lot of ways the most inspired piece of done in a while. Can it save RPM? We'll have to wait and see…