In my last post I wrote about how today‘s over-availability of music leads to a switch in music-listening. One of the commenters suggested to try listening to ambient music. Actually i don‘t like the term ,Ambient‘. I don‘t know where these associations come from, but I then have people in my head, who normally don‘t listen to this kind of music and label everything as ,ambient‘, that is slow, has no beat, is melancholic and/or laid back. Often these people equal Ambient with background music. I more like to call it ,silent music‘, since – yes – it can serve as a background atmoshphere to tasks you do, like working, writing. But good silent music also invites you to come closer and listen carefully. The elements don‘t scream at you, they want to be discovered. Maybe more like paintings. You can look at them from greater distance, just to grasp the atmosphere, but also come closer and discover details, that weren‘t imminent at first.

One of the musicians who do really great in painting these pictures is Pascal Savy, aka Static. Don‘t know anymore how our paths crossed, but I found his pieces to be really ,well-painted‘. They create a really dense atmosphere – dark, drony and sometimes even a bit creepy. He has a blog over at blogspot, where he describes his concepts and thoughts driving the creative process. Reading through them, you can say, that he already dug deep into the matter. Learning about sonic concepts, he tries to incorporate them into his music. In his blog, I first read about the phenomenons Microsound and Granular Synthesis. Touching these now would go beyond the scope of this post, but still interesting concepts, worth exploring. You can hear, that elements in his pieces are deliberately placed, and not just got there per accident.

Vortex (above), one of his last pieces utilizing Granular Synthesis, brought up a memory of my childhood. We often did summer-vacation in countries you had to cross water to get there. As a child, spending a night in a ferry, there is not too much to do, so you just walk around the ship and discover things. We sometimes did a dare: what would be the deepest floor we dare to be for more than just a second? In these ferries, the deeper you go, the creepier it gets. Corridors get uglier, the sound of the engines gets louder and louder and – since you are below the water suface – the doors start to be heavier. They then have these big opening wheels on them. For a kid, this was really creepy. And I remember I couldn‘t stand this for long.

And this static piece reminds me of exactly these moments: Like in the bottom floor of a big ferry. Water leaking in somewhere near. Astonishing if you keep in mind, that most of the sounds are synthetically created.

Disclaimer:
the idea of this series is to have a conversation. On single pieces of music and through them on musical aspects in general. Imagine the time you were putting up vinyl, drinking red wine, discussing with your friend about things you hear at this very moment. When was the last time you listened to music and did nothing else? Really concentrated?
So if the tracks above trigger anything, just share it. A picture, a small thought, a general impression you have, please share it in the comments. If not, maybe next time. It’s an experiment, I know. Thanks again!

It happens that you randomly browse the web and find nothing but crap. And it happens that you make a discovery: In an interview, I read about Peter Broderick contributing a track to a Belgium label called Slaapwel (“Sleep well”). This label releases only music to fall asleep by. Interesting, I read further. I discovered that the label owner releases music under the moniker Wixel, which lies somewhere between calm Post-Rock and Electronica. Currently he has a project going, what he calls an “Awesome Stupid Project“: he is about to release 12 records in 12 months. One record per month in 2009. Hehe, funny concept. Awesome, because this is a really challenging thought: Can you release that much music in that short time? And stupid: can you keep up with quality? Won’t you lose your artistic integrity?

As far as I can see, Wixel didn’t. (Only heard two albums yet). Give his Slaapliedjes a try. When you need a rest, or while studying or working. He has a very, very nice warm guitar sound.

Now, what I also find interesting is the way he releases music. All of this can be downloaded via Bandcamp, which means people can either give their email-adresses away and get a free download, or they pay as much as they like. Pretty straight forward approach. Additionally, each album is available as a limited edition self-made CDr. This was the first time I saw this combination and I’m clearly excited. I like it so much, I guess I will use it for my next EP.

The internet-evangelists always refer to free-downloads as an economic force. Digital music is no scarce good, it can be copied and distributed without cost, thus price has to approach zero. I mostly agree with them. For me it makes no sense to put price barriers between me and my potential listeners. At least as long as I have no existing reputation. Then, selling hand-crafted self-designed CDrs works as a balance. By doing so, you create a scarce good, that people are willing to pay for. (At least when you manage to make a good package design). Look at Wixels 2009-CDs above. I think they are adorable. Will wait for the September-issue and place an order.

The same day I also stumbled upon Machinefabriek, an outstanding artist. I found this guy releasing one 3″-CDr after another, check out his website for proof and sounds. Some releases end up as official released albums, others stay in their small collectable format. I like that. Here a collabarotion of Aaron Martin and Machinefabriek: Cello Recycling.

Speaking of 3″-CDr: Hauschka recently did the same. He released a small 3″-EP called “Small Pieces” through Secret Furry Hole. Received it today and must say: as long as people keep putting love in hand-made designs, people will buy physical releases. Those 3″-CDs are absolut internet-anti-statement. Maximum 20 minutes of music and most laptops can’t read them, cause they are too small for slot-loading CD-drives. You are now forced to listen again through your stereo, just as with Vinyl. No iTunes this time. And this affects the way you perceive music. Good approach.

Regarding music on Hauschka’s Small Pieces: It feels like an approach to make more classical piano pieces again. More like Erik Satie than on previous albums. One exception: the 4th track “unknown”, my favourite so far. With a fragile female voice in the background it sounds like Hauschka does Radiohead. Stunning. Sadly, that song is not available online, so go get your copy or listen to the opening track “Sehnsucht”:

Ps: I named my piano piece “small piece” before I knew of this EP’s existence. No rip-off intended

Once I received a Souncloud message saying:

Seems like every user I check out is making minimal techno. [Your music] was a breath of fresh air. Danke schön!

Of course this is the stuff I like to hear. But this is also what came to my mind stumbling across Pedros music. Just some freshness in that ocean of tracks that all follow the same scheme. When you listen to some of Pedros work, you can hear, that this guy is classicly trained, but practices electronic. For me, it feels good not being the only one between the lines of genres. He has also similar feelings towards his music.

[It's] hard to find a place I “belong” these days…

Could sign this statement. All the established genres have their own rule-sets. How you produce, how you perform. What is most likely to make your track big. They have big word-leaders who are the scenes darlings. What they recommend will be heard.
None of that holds true if you try to go new ways. Of course every position has pros and cons, but this feeling of being a bit lost, although doing great craft, is one of the cons – i guess. Though never met, Pedro from Brazil has won my sympathy. Totally.

This is what says about “Kyrie Eleison“:

Song made in 2004, when I started experimenting with counterpoint composition and electronic music. Very intriguing yet evolving atmosphere that ponders antique music in today’s times.
My own voice recorded many times for each layer. I used counterpoint, that’s a composition technique from the 16th Century. So what I did is I wrote a piece for 5 voices and recorded all of them myself… pretty tiring ater a while…

My friend and former band-mate AK (design student) said something, that holds true with this work also:

Always try to bring ideas from outside into your production. Don’t reference the status-quo of the scene. When you do digital bring in inspiration from analog.

This translates to: Bring in your acoustic understanding, sound and ability into electronic composition. This is what Pedro does. Or: bring your aesthetics from electronic music into acoustic music. This is what Hauschka does. Either way you choose, it is a good way of staying original.

Funny, Pedro manages to undust that image of old men singing church songs in a choir. He has a original way of creating tension within the track and surprises the listener several times. The way I like it.

Don’t miss to check out some of his other works over at Soundcloud. I recommend  Harmo and 7 Onions. He also has a blog, which is in Portugese, unfortunately (for the most us). Google translate could help

Disclaimer:
the idea of this series is to have a conversation. On single pieces of music and through them on musical aspects in general. Imagine the time you were putting up vinyl, drinking red wine, discussing with your friend about things you hear at this very moment. When was the last time you listened to music and did nothing else? Really concentrated?
So if the track above triggers anything, just share it. A picture, a small thought, a general impression you have, please share it in the comments. If not, maybe next time.  It’s an experiment, I know. Thanks again!

Okay. I’ll start off with no stranger. Actually I already made music with this guy. I don’t know exactly, if Sundur is to be his Artist-name… for now it is. (He is also spinning minimal records. Check his MySpace)

The deal: Considering his level of skill, it’s absolutely inappropriate, that this track is his only audible fragment available anywhere. The first time we met to mess around with Ableton, I was totally surprised both by his sound and his way of working in Ableton. In a very positive way. His approach to Ableton looked like an ever ongoing flow. He constantly builds up his loops, drags sounds around, sends them through effects, adds new ones. All of that in a speed, you won’t recognize this beat was never around before / done on the fly.

“The Detroit Sun” completely represents his sound, as I experienced it. The whole beat feels like a big wheel, that just rolls really slowly on uneven ground. The sometimes odd clicks really add to an overall warm feeling.
He put the phrase Trip-Hop in the genre-tag. In my head, the term TripHop usually triggers really different sounds. But still, this track feels like the succesful translation of Massive Attack-influenced Triphop  into todays’ sound. More Flying Lotus than Kruder&Dorfmeister.

I can’t wait for him to put out more stuff. He should. And (as I remember it correctly), he will.

Disclaimer:
the idea of this series is to have a conversation. On single pieces of music and through them on musical aspects in general. Imagine the time you were putting up vinyl, drinking red wine, discussing with your friend about things you hear at this very moment. When was the last time you listened to music and did nothing else? Really concentrated?
So if the track above triggers anything, just share it. A picture, a small thought, a general impression you have, please share it in the comments. If not, maybe next time.  It’s an experiment, I know. Thanks!

To get an idea of what is was like, watch this video here:

Hauschka – Morgenrot from Jeff Desom on Vimeo.

Sitting there, I thought about using computers for music. How absurd. The only thing you can accomplish using a computer for music is painting pictures. Trying to recreate something. But there is no way.

I once met a math-student, who said, that what mosts excites him with music is the fact, that it’s actually just math. Everything from matching the right frequencies to the grid of the beat. Hm…
Maybe there are some aspects, that you can represent using numbers and formulas, but math will never create music that moves. Ever heard a piece of generated music that touched you? (For a start, try generating some music on this site)

I truely believe that when there is a guy like Hauschka he just has the ability to transfer feelings right into the people’s hearts. It is this uninterrupted direct connection of his soul, his fingers and the audience receiving it through the tones he plays.  This can never ever be recreated with a piece of sequencing technology in between.

What does it mean for me? Basically (at the moment) I am a computer-musician. Hm… I will think about it…