Electronic Music

[Joseph K]

Quarky's link shows what a performance looks like.

Hmm I scrolled through most of this thread but was unable to find a post by Quarky on this piece. I'm guessing, though, that this is what you could have had in mind: https://www.youtube.com/watch?v=hp1mtWT6NOg

I'm not sure I would describe it as ritualistic; it strikes me as more like a demonstration of various ambiguous and sometimes grotesque relationships between animate and inanimate entities, with its roots in Kagel's "instrumental theatre" of the late 1960s. I think the way the compositional algorithms work is made especially clear in the passage where the song "Daisy, Daisy" gradually emerges in recognisable form at one point. (I can't remember exactly when that happens though!)

[Richard Barrett]

Hmm I scrolled through most of this thread but was unable to find a post by Quarky on this piece. I'm guessing, though, that this is what you could have had in mind: https://www.youtube.com/watch?v=hp1mtWT6NOg

Yes indeed I did - Quarky's #260.

[Joseph K]

Yes indeed I did - Quarky's #260.

I don't know how I missed that!

[Quarky]

Another tool in my listening toolkit - Wireless Earphones!

It has solved the problem of listening while doing my daily yoga stretches, without incurring the wrath of my partner; How can you listen to such **** !!^%##??? . I can now turn the volume up as far as I want, and hear nuances which previously went missing.

Binary Systems:: RB et al.

Thanks to wireless earphones, I have now crossed a watershed on this album, and am now listening just for pleasure. I won't bore you with any insightful comments.

[Joseph K]

Binary Systems:: RB et al.

Thanks to wireless earphones, I have now crossed a watershed on this album, and am now listening just for pleasure. I won't bore you with any insightful comments.

You've made me put it on again: Interdimensional Hyperspace for me.

[Dave2002]

I'm not going to get into gender politics ..... https://pitchfork.com/thepitch/the-s...ing-to-be-told

Sisters with Transistors

https://metrograph.com/live-screenings/sisters-with-transistors/

[Joseph K]

Binary Systems:: RB et al.

Thanks to wireless earphones, I have now crossed a watershed on this album, and am now listening just for pleasure. I won't bore you with any insightful comments.

At least one piece from this is played by me per day, and I've experienced growing attraction to the flute one, Albireo, which like I've said elsewhere escapes my meagre music-analytic vocabulary but which is all the more fascinating for it - it really draws you into the timbre of the flute which is augmented and decorated seamlessly with electronic sounds (whose material is completely derived from the flute sounds).

[Quarky]

At least one piece from this is played by me per day, and I've experienced growing attraction to the flute one, Albireo, which like I've said elsewhere escapes my meagre music-analytic vocabulary but which is all the more fascinating for it - it really draws you into the timbre of the flute which is augmented and decorated seamlessly with electronic sounds (whose material is completely derived from the flute sounds).

Yes agreed. This album repays extended listening. Albireo didn't show up immediately on my scorecard, but concentrating on the flute, there is a lot of wonderful music to experience.

I've yet to give the Evan Parker Richard Barrett album the attention it deserves. In a similar mode? Well not quite, as Evan and Richard are improvising together, "in the moment".

[Joseph K]

I've yet to give the Evan Parker Richard Barrett album the attention it deserves. In a similar mode? Well not quite, as Evan and Richard are improvising together, "in the moment".

It's quite a tumultuous and brilliant album. I must peruse Richard B's book and see what info it has on his electronic equipment - since one of the striking aspects that I think I can hear is how RB records what EP plays in real time and plays it back in some altered form - at least so it sounds to me. In any case, this produces some exhilaratingly dense and intense textures not too far removed from some of Bitches Brew (but then I would say that).

[Quarky]

It's quite a tumultuous and brilliant album. I must peruse Richard B's book and see what info it has on his electronic equipment - since one of the striking aspects that I think I can hear is how RB records what EP plays in real time and plays it back in some altered form - at least so it sounds to me. In any case, this produces some exhilaratingly dense and intense textures not too far removed from some of Bitches Brew (but then I would say that).

Well, judging from RB's "liner notes", it seems to have been a duet, with no subsequent layers of music added :

(Copyright RB 2021) My first musical encounter with Evan was at the Paris venue Les Instants Chavirés in 1994,
where we’d both been invited by George E Lewis to perform in an international septet.
During rehearsals George had Evan and me play together as a duo, during which something
like a stylistic identity came spontaneously into being, something that I’ve experienced only
a very few times in my playing life. These studio sessions in 2001 embody a more in-depth
exploration of this identity, although after they took place we weren’t sure what to do with
the material, and it subsequently got left behind by what I hope could be described as the
forward motion of creative musicians’ lives. Neither of us listened to it until twenty years
later, when I found the data files on a CD while looking for something else, at a time when all
that musical motion had been forced to a virtual standstill. Thanks to Steve Lowe’s
engineering skills back at the original sessions, the recordings didn’t require much in the
way of enhancement to be made ready for selection and release.

Currently listening : epsilon is a real rocker!

[Joseph K]

Well, judging from RB's "liner notes", it seems to have been a duet, with no subsequent layers of music added

Yes, I know that, hence my use of the phrase 'in real time'. I am currently reading the relevant section in RB's book and have found a few quotes which might answer my question:

'Returning to the early days of FURT, one of the techniques we used then was to connect portable cassette players (playing random or not so random selections of music and other sound materials) to the inputs of our sampling keyboards, so that we would be sampling in real time and unable to hear what had been sampled before actually incorporating it into the music.'

Presumably this is also now possible - or rather, was also possible at the later date of the Evan Parker duets. A record with Parker is actually mentioned in a footnote a bit later on, in reference to RB's electronic instrument producing instabilities and only approximately predictable sequences of notes to 'jitter randomly':

'I first implemented this feature in the Max component of the instrument's previous software version while preparing for a duo recording with Evan Parker and trying to find a simple way of being able to parallel his own constantly varying "loops" on the soprano saxophone.'

I think there might be another duet record with RB & EP other than the one just released, but I am unsure which one this footnote is referring to...

[Richard Barrett]

I think there might be another duet record with RB & EP other than the one just released, but I am unsure which one this footnote is referring to...

Thanks JK and Quarky for listening!

Real time sampling isn't used on the duo album, which is indeed the one referred to in the book. On the third track you'll hear what might sound like "live processing"., but actually I had used a recording Evan had sent me in advance to incorporate into my instrument, which in conjunction with the "jittery loops" feature can be brought fluently towards and away from his ongoing stream of sound, when appropriate. I do have a trio recording with Evan and percussionist Michael Vatcher, which is on the Bandcamp label Sound Anatomy and was recorded live at the Bimhuis in Amsterdam.

[Joseph K]

Thanks JK and Quarky for listening!

Real time sampling isn't used on the duo album, which is indeed the one referred to in the book.

On the third track you'll hear what might sound like "live processing"., but actually I had used a recording Evan had sent me in advance to incorporate into my instrument, which in conjunction with the "jittery loops" feature can be brought fluently towards and away from his ongoing stream of sound, when appropriate.

Thanks for the info - it was indeed the third track that I had in mind.

I do have a trio recording with Evan and percussionist Michael Vatcher, which is on the Bandcamp label Sound Anatomy and was recorded live at the Bimhuis in Amsterdam.

Thanks for bringing this to our attention.

[Mandryka]

Enjoying tango and flight this morning. It kind of feels like it could have been written by Florian Hecker or Bernhard Lang last week.

[Serial_Apologist]

Electronic music by Roberto Gerhard from the late 1950s/early 1960s. This must have been some of the earliest of its kind to have been created in this country - I think it's pretty good, and not difficult to identify as being by this composer.

http://www.discogs.com/Roberto-Gerhard-Electronic-Explorations-From-His-Studio-The-BBC-Radiophonic-Workshop-1958-1967/release/6228374