Ambient, experimental electronica designed to evoke a dawn over a toxic waste dump, or something. [more inside]
This was one of the first songs that I ever recorded. It has changed some what over the years and still waiting for the work that it needs. It will also be the title track to my CD. It has a dark and erie sound that has said to be influenced by my recreational addiction that I had at the time. I do hope that you will enjoy this contribution to a look that is "IN THE MIND"
Two fragile unrelated mini-melodies collide in a random reichian-tape-delay fight, battle it out in marred reverb, compression and unending echo chambers, get twisted and stretched to break a few bones in the last round and finally lay to rest on the ground forever after expiring. Recorded with les moyens du bord, I suggest you initally turn down the volume by 20%.
Squeezed in on the last day of the challenge, this is a modern snake charming piece. It's ambient/experimental/electronic. Complete with rattlesnake sample.
Got together with a friend a while back to jam, and we ended up deciding to try and record something for the first time. Our goal of creating music failed. Thus the project Tverrbjelker was born.
A little noisy, a little groovy. It's got breakbeats, wailing guitars and nasty feedback. It reminds me of a cross between Moby and Flying Saucer Attack, hence the name. There are a lot of interesting automation things going on here.
A track created for a conspiracy-themed podcast for the now-defunct experimental music collective, Infinite Sector. Created with a ukelin played with a ratting comb, an air conditioner and mic+speaker play.
rambling RPM Challenge song.
Experimental electroclassical hip-hop track. First one to name the classical piece I lifted for my main brass sample gets a lollipop. (Hint, I play it in entirety in incredibly high-pitched, fast motion near the end of the track).
A simulation of stereotypy.
This song is by Skist (my duo with singer/electronicist Haruna Ito). It's from our new CD. [lyrics inside]
An industrial experiment I wrote, performed, and recorded to learn how to master the Fostex VF160 and to learn how to dump files from that into Cool Edit Pro........ It is a song about a friend of mine who is rather, er, sloth-like...... (Includes profanity)
I was in Amsterdam in 1995 and found an old Billie Holiday bootleg CD. Years later I found an interesting sample on there and imported it into the totally awesome audio program....SoundEdit16. Stretched it, pulled it, squished it, doubled it and looped it. This is the end result in all of its 16bit glory. I originally released this under the name Skycraft. By "release" I mean I burned 10 copies in 1999 and gave it to Ray at The Quaker Goes Deaf in Chicago and a bunch of friends. 10 Blank CDs cost a lot back then.
This is a little ditty I worked up in Logic, as a sort of self-guided tutorial to building loops, aliases, aligning things to a tempo, and adding & quantizing midi notes. The drums are samples grabbed from an unfinished recording session from the late 80's (played by Dennis Bruhn), and the vocals are snippets from a song by The Whores a long-since broken up post-punk band of mine from the eighties, called Girls on Dope. I have no idea what genre to tag this with.
Acid-ambient space dub loops. This is a live jam I did with a friend while visiting him in Seattle. The rig was comprised of me playing small and very slow beat loops in Traktor at BPMs relationally fractional to a master tempo of 110 BPM, while my friend looped samples in Live, both from prerecorded and live samples from mixboard outputs and sends. There is a Macbook microphone involved in the sampling of the room and as a feedback and reverb source. There is no shared MIDI clock in use - all tempo/pitch control is manual, and listen for long beat-count tempo-drifts of loop components, which are manipulated and intentional. The majority of this dub takes place as variations of two beats in one "measure", sometimes four but never more. This cut of the track is the last ten minutes of approximately one hour of play and loop building. It is pre-release version intended for derivitive works, remixes and redubs. (If you wish to remix, sample, splice, loop, fuck, deconstruct or otherwise destroy this track, I would vastly prefer that you please contact me via the email in my profile for the uncompressed and unprocessed file and the full Creative Commons license. Please do not use this low-bitrate file.)
I first performed this when I was 14, I'm 40 now so think about it. It sucks, but is funny in that adolescent kind of way. I don't know what happened with the lead guitar, it was recorded with the same line-in and settings as the first guitar. Woo hoo, snsranch is finally doing some vocals, kinda. Enjoy!
Schitzy, glitzy music from the centre of your CPU.
I just noticed the music section here and decided to toss this up for a little feedback. It's the first cut I did with a new trio, and we're still trying to decide what direction we should take: get crazy composing for the studio, or write simpler stuff that can actually be performed by three people. So far the studio stuff seems to hold up better.
I was thinking about my friend Nicholas and Xmas, and this squirted out. "Drums" are an Acid loop, "bass" and "horns" are WX5 wind controller driving a VL70m. A/D via Layla, mixed in Cool Edit Pro on win95.
Y'know, I'm the sort that tends to attract those crazy people, the ones on the bus, as the sort to whom their life stories should be told. This song is about some of the things that go on in my brain whilst they are telling me said stories. I mean, every once in a while. Usually they're quite coherent. And, on occasion, I am that crazy person on the bus.
My teenage brother's trance remix of Indian alternative-pop superstar Sheila Chandra's haunting lyrics to "Ever So Lonely Eyes." Done, of course, for fun and without permission and with no rights assumed. Of all his little projects, this is my favorite.
Whirring, humming, clicking, wheezing dark ambient/glitch, from my new album, Unseen.
Some nasty noise, integrating samples composed from segments of executable files, spectral synthesis, and other bad sounding stuff.
This is less of a song and more of a sketch, but I found it on my drive and I'm going to post it. Much less developed than my other submission. It's more of a half-assed experiment with drum signatures and reverb with some granulation synth stuff tied into the reverb and echoes. Expect little, but it's pretty hypnotic.
a somewhat dark, ambient space. deliberately abstract. you tell ME what it means. [for the music geeks: this started as a single wav file (sampled off of a DVD), with multiple loop points (and loop repeat settings), passed through six serial VST/DX effects. All work done in Wavelab 3.0]
Dark ambience with strange, swelling synths. Okay, I admit it, I can't even remember recording this track.
An improvised minimal techno song I made last night using a Gameboy and delay pedal, it has been cut down from the original 30 minutes to a slender 7 minutes. Enjoi!
This is just a random electronic noodling. It was recorded/performed "live" or mostly realtime - all filter sweeps are live, as are on the fly rhythm and melody edits. The style is inspired by Coil's The Snow EP - very early techno/acid. The melody and synth lines were inspired by the HAARP signal as re-encoded for audible spectrum. This sample also plays in the background for much of the song in various permutations, The rhythm signature was inspired by an old crufty-noisy oscillating desk fan. The timebase for the song was an odd and atypical signature to replicate the random rhythmicness of the noisy desk fan. Warning: For some reason a small subset of people have independently complained of having heart palpitations while listening to this song. Something about the rhythm signature, or perhaps the HAARP sample. *shrug*
Back in High School, I used to play around using Buzz Machines and FruityLoops and make some electronic music. I haven't been at it in a while, but I'm considering getting back into it. (This time, though, I plan to get a keyboard and not just program it in with mouse clicks.) I'd like to get some opinions on what I have so far, though. Of the few songs from high school I didn't delete, I think this is the strongest. It's... evocative, at least, though I don't really like the percussion.
Here's one of my earlier experiments in drone music. It's electric guitar, played live through delay, fuzz and volume pedals.
I assembled this track for the Sonny Bono is Dead compilation, which looks like it's never going to see the light of day. The title and subtitle are anagrams of the original piece of music which would have fallen into public domain had the Mickey Mouse Protection Act not passed.
Is it melodic? Is it percussive? Is it industrial? Is it ambient? It is a mystery! A noise-filled mystery. (For further mysteries, look here.)
An early (circa 1999) experiment with fuzzed out guitars and a super-compressed mix, pushing ambient towards industrial. Psycho-shoegazer?
This is a song that was done live on 6/26/2006 at an afterparty here in detroit. the venue was stucco's warehouse. Listen as my audio buffer dies at the end. A proper version will probably come out someday.
This is an experiment in audio loss. The idea: If you destroy audio with low-bitrate encoding, how far do you have to go before it no longer sounds like a badly encoded song, but something intriguing again? [more info]
harsh noise directly inspired by an ISO of Microsoft Office (salaryman track #21)
From my for-fun band, The Loqol Boiz. When people talk about "experimental music", this is a good example of what they are referring to. The song tells a story -- can you divine it?
cloeburner and I used to be in an improv noise rock band called cloeburner. When I listen to this song, I think of a majestic bald eagle, sinking slowly into a pool of lava and contemplating its own mortality. I hope you will, too.
Members of the public were invited to bring a non-musical object to a drop-in recording session. We recorded them making a noise with their thing ('things' included carrots, an umbrella, false teeth, keys, photoflash, adding machine, pints of beer), and then the next day I did an improvised gig using only the collected sounds as source material. This is an excerpt from the gig.
Drifting across the waves. Some live experimental guitar ambience.