Currently listening to Gendy 3 from the Xenakis box and really enjoying it. It's enjoyably portentous - I know that isn't a flattering word but it seems appropriate. This piece flirts with modality in certain parts, I think. It sort of reminds me in parts of listening to a piece written on and heard from Sibelius software. It's equal parts grotesque and surreal. Ok, so S.709 has come on and this piece is a lot of fun - certainly takes advantage of its medium with manic microtonal scales. There is humour of sorts in this and the previous piece. They're both brilliant. Well, that's that then. Xenakis may have had an ostensibly cerebral approach to composition but his ears are there every step of the way, often I hear things in his music that just scream out "phwoar, check out how great this chord/sound/texture is!" and truly revels in it.
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STILLNESS/ Serious Rubble · Aurélien Dumont · Ensemble Linea
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That's a nice piece but I'm not sure I heard any electronic parts in it? Some unusual playing techniques, though.Originally posted by Quarky View PostComment
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Those of you signed up to Qobuz or similar might like to investigate a new 16-CD set on the Kairos label of the complete acousmatic music of Denis Dufour, whose work I'd come across sporadically but hadn't taken too much notice of. I've dipped into it here and there so far and found it quite interesting, if very obviously within the musique concrète tradition. Worth further investigation anyway, when I have the time, whenever that may be.Comment
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Apparently those 16 disks are only volume 1!Originally posted by RichardB View Post
I'm not signed up to Qobuz - yet, though... (I have started toying with the idea though) but I found a few things on youtube, rather unhelpfully filed under 'Various Artists'. The one I'm currently listening to is quite ambient - possibly too ambient for my taste, but then I am typing this and not in a meditative state of mind, currently...
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Hey there,
We are looking into doing some electronic music, making beats, popular music stuff. In the past, we have just done metal, rock, etc, you know, guitar, bass drums, and vocals. Never touch a synth, only read on them on https://primesound.org/best-mini-synths/
Any tips on what we need of stuff to get started? recommended MIDI keyboards, plugins, etc..
ThanksLast edited by matthewfox; 02-02-22, 10:23.Comment
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The pieces I listened to couldn't by any stretch be described as ambient (discs 1 and 2 of the set), although one of them came across a bit like a radio documentary about various Asian musics and instruments. But in an interesting way!Originally posted by Joseph K View PostComment
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I don’t like music with a lot of spoken word in a language I don’t understand. Imagine listening to, for example, Luc Ferrari’s Dances Organiques without being able to grasp what the women were saying - I think it would be a very disappointing experience. But if you can understand, it’s quite exciting.
This thought came to mind while listening to Dufour’s Hentai op 158.
(Just had a memory of going to some Ibsen play in Edinburgh in the festival, a little church miles away from the centre, and after it started I discovered to my horror that it was in Scottish Gaelic. No escape - we were all packed too tight to leave. I thought I would die of boredom.)Comment
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That is a feature of many compositions in the musique concrète tradition, for sure. In general I'm not in favour of it, whether or not it's in a language I understand. There are a few exceptions, like Hymnen where you suddenly start hearing a conversation that took place in the studio during production, which begins with a mention of how a producer at the radio objected to the quotation of a Nazi marching song in that same piece, and goes from there to a discussion of tenses in German grammar and the fact that several of them coexist in an electronic composition like this. So that little "interlude" exists in quite a complex relationship with the surrounding music. Dufour and Ferrari and others use the spoken word in a much simpler and more "anecdotal" way that usually makes me think "stop talking and let me hear the other sounds".Comment
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Spinning FURT's sense again. Over the past week it seems like I've been spinning almost exclusively tonal music, at least for longer listening sessions in the evenings, and Dalbavie was wearing thin just now, so it feels good to get back to this. I am currently listening to 'Uranus' a 45 minute part-pre-composed, part-improvised work - not sure if I'll have time for 'curtains' which follows it...Comment
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I'd love to see a video of this -- I believe the sounds are made by somehow tossing and rolling marbles inside a piano.Comment
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FURT - 'curtains' - for the second time today. Awesome.Comment
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Thanks, that's very good to hear. If you've been listening to that and Stefan Prins, who indeed is a very interesting composer, you may like this:Originally posted by Joseph K View Post
... in a break from rehearsals for another project, which I have to say didn't go so well, Stefan and I recorded this duo in an empty concert hall in Kortrijk which I found quite successful. While he's quite an expert in how to extract unexpected sounds from the inside of a piano, here he was using a completely electronic setup.Comment
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