This is part of a visualization for planned performances of The Patience Of A Saint I, by Carl Sagan’s Ghost.

This music video demonstrates the synth side of Trilian.

via Hans-Jörg Scheffler:

The cool filters and envelopes allow for some very electrifying patterns.

Very inspiring.

This video, Truckstop Gondolero, captures Kraftwerk in 1971, back when they were still groovy.

via BVM0Experim0Indus0TV:

Live studio performance, 1971.

Madonna may have crossed over into AARP territory, and her lyrics haven’t evolved much since the days of Holiday, but she still puts 9 out of 10 dance music divas to shame, as she demonstrates with her latest track, Celebration.

Music video for Ponyloaf’s Skullstrap.

Sonic Boom (Pete Kember) does Kraftwerk’s Hall of Mirrors.

via spacemetalizer:

Here he is! Finally, after many years, I got a chance to see the great Pete Kember (aka Sonic Boom, formerly of Spacemen 3)… I filmed this at the Toronto record store Sonic Boom, in their basement where he did a 3 song set- February 4, 2008.

The tune is ‘Hall of Mirrors’ by Kraftwerk.

Music video for Oil In The Eye’s Bluebottle.

Timescapes Timelapse: Mountain Light is a stunning video created by Timescapes,  a motion-picture company dedicated to pushing the artistic boundries of time lapse and outdoor cinematography.

The film features some stop-motion dolly shots that are just amazing.

The video is inspired by the work of Ron Fricke and Mark Magidson, and features some classic electronic soundtrack work by Michael Stearns.

Spheres is an absolutely gorgeous, hypnotic abstract music video by Regis Hervagault:

42000 HD frames at 50p for a duration of 14 minutes, this is my own little space opera inspired by the teachings from Anaxagoras of Clazomenae. philosophy.gr/presocratics/anaxagoras.htm

Using a variety of software including open source tools and custom scripting, i designed a mesmerizing spaceball choregraphy to evoke atoms, DNA, seeds, spirals, fractals, etc…

The first draft screened as a backdrop for the robotic and live music performance by URBAN ORCHESTRA at the city council during the new year celebration in 2008 meeting critical acclaim.

Here’s the final director’s cut with an updated soundtrack and tighter edits to fit my original vision.

This reminds me of the amazing pairing of Ron Fricke and synthesist Micheal Stearns on movies like Chronos, except here, abstract images are used.

Give this a look and leave a comment with your thoughts!

Video for Mistake, the new single from Moby’s album Wait for Me out Sept 14th.

Adam Goldstein, aka DJ AM, was found dead today at his apartment at age 36. A drug overdose is suspected, because drug paraphernalia was found at the scene.

Goldstein is probably best known to many because of his relationship with Nicole Richie, but his scratching can be heard on tracks by Madonna, Will Smith and others.

The video, above, catches DJ AM performing with Travis Barker. Just a year ago, Goldstein and Barker were the only survivors of a plane crash which killed four other passengers.

His last statement, via Twitter, was this:

“New York, New York. Big city of dreams, but everything in New York ain’t always what it seems.”

This is what German minimal techno music looks like – the music video for Stefan Tretau’s Ellis Perry.

via daveonzo:

Music Video I made for Sounderground Records.

Wicked bit of German minimal-techno from Stefan Tretau entitled Ellis Perry remixed by Inxec. Starring Crazy from the Methods of Movement and Sam Pilley. All filmed at the Railway Hotel, Southend-on-Sea

Download the tune and other mixes at www.sounderground.co.uk

via dezentmusic

Calvin Cardioid’s Who’s the Big Dog Now? is a fun stop-motion synthesizer animation, featuring some retrotastic “switched on” synth sounds.

via VSTCafe

Glenn Marshall – The Nest That Sailed The Sky, Computer-generated Visualisation 2009

Glenn Marshall does something that few video artists do – he makes abstract videos, based on generative processes, that are full of beauty and wonder.

His work is almost a visual analogy to Brian Eno’s work with generative music.

This is his video for Peter Gabriel’s The Nest That Sailed The Sky.

Details on Marshall’s video below.

via MediaArtTube:

Glenn Marshall: I developed 6 animation sequences using this imagery, all showing different stages of birth, life, transcendence, decay etc.

1. single cells growing on ends of stems, with dark underwater shading , I also added concentric ripples which emanated from the growing vines.
2. empty nests with trails of red berries being left behind where ever the stems grow from, against subdued morning sky shading.
3. the boy in the nest appears, against sunset shaded background.
4. boy in nest against brighter blue sky shading.
5. star child luminous effect on dark background.
6. single cells again, without stems, dark watery shading.

I rendered out each sequence for the entirety of the songs duration. The shapes of the vines and positions of the sprites are exact for each sequence, this allowed me to dissolve each sequence at any point from one into another and maintain a natural looking transition. In post production, through simple dissolves, I could experiment with and craft together a visual narrative that changed with musical cues in the song.

Music by Sprutbass, Data moshing video by Nic Brown and David James.

Click here to view the embedded video.

TRAINing 2 – Fast And Crazy is a stop-motion music video, with a Korg DS-10 soundtrack, by Synthtopia reader JohnLRice:

This was actually going to be my second YouTube video but I kept putting it off because time lapse and stop motion video can be hard to do without the right equipment and experience. Then I discovered www.pond5.com recently when making my Monster Man video so I decided to abuse my credit card again . . . I mean . . . stimulate the economy to make this video!

The music is all done with one pass of Korg DS-10. Audio EQing etc done in WaveLab5. Video editing done in Sony Vegas Movie Studio Platinum.

See John’s YouTube page for more music videos and MOTM modular synth demo videos.

Johannes LDC Guerreiro’s glitchy Magic Mustard Machine:

Some Cinema 4D Mograph animations were mixed up in AE with some sound expression driven maskings. Time and space flicker together to the beat!

Sound by: PNFA – Wolfram Gruss / pnfa.net

The Moog Cookbook’s take on Are You Gonna Go My Way.

via TankSallott:

The Moog Cookbook are an act who cover famous songs using Moog synthesizers, here is their version of are you gonna go my way by Lenny Kravitz.

The Nauru Elegies

A Portrait in Sound and Hypsographic Architecture
Paul D. Miller aka DJ Spooky in collaboration with Annie Kwon

Artist Statement

Annie K. Kwon and
Paul D. Miller aka DJ Spooky

The Republic of Nauru is a small island in the South Pacific Ocean. It is the world’s smallest independent state and, at its core, represents a place at the most remote extreme of the planet.  Its seemingly utopic geography and landscape stages a dystopic economy and society. It was, by consensus of several “Great Powers”, used as a raw resource until there was literally, nothing left.  Nauru has been mined throughout the last two centuries for its phosphate deposits, which occupied 90% of the island. In the 1980s, phosphate exports briefly gave Nauruans one of the highest per capita incomes in the Third World. It is anticipated that the phosphate reserves will be completely exhausted before 2050. Despite this, the unemployment rate currently stands at 90%.

As a small territory with no exploitable resources, in the 1990’s Nauru turned to off-shore financing, and the creation of “virtual banks” as a way of earning sorely needed foreign currency. As such, it mirrors the off-shore island economies of The Cayman Islands, and continental havens like Luxembourg and Switzerland.

The Nauru Elegies project looks at the combination of unique qualities that make a remote place like Nauru a core member of the 21st century global economy: It explores an island in a state of environmental collapse. The music component of the Nauru Elegies reflects colonial and postcolonial issues facing the digital economy of the 21st century translated into a string quartet, composed by Paul D. Miller/DJ Spooky, while the architectural component conceptualized by Annie K. Kwon spatializes and formalizes otherwise invisible economic flows and irreversible ecological devastation.  A new architecture reclaims a local hypsographic territory at a culmination of global currents.

The poet Goethe once wrote: “architecture is nothing but frozen music.” The Nauru Elegies asks what happens if we reverse engineer that process through on-site recordings and footage translated through the prism of music and architectural form?

Technical write-up

‘The Nauru Elegies: A Portrait in Sound and Hypsographic Architecture’ is a technical synthesis of a live string ensemble, projected high-definition video footage, digital animation and live internet feed. It is an orchestration of content retrieved and processed in multiple localities including research in New York City, documentation in Nauru and performed in Yokohama by local musicians. It is a statement of technology and media processes in the 21st century that is exponentially progressing to a more dematerialized and delocalized state.

Audio and video recordings will be taken with the most current and mobile digital technologies in addition to the exploration of medical isosurf modeling techniques appropriated in architectural form and rendering. Economic dynamics will be mapped using current open source satellite and geospatial technologies including NASA World Wind to map hypsometric and bathymetric contours. The Nauru Elegies is realized in multiple technical layers, a manifold performance that has identifiable localities held by a complex global structure.

Random Chimes of the Continent

via JeffreyPlaide:

This musical composition uses arpeggiated sequences from the Korg R3 synthesizer combined to produce a rhythmic, yet ambient experimentation. Arpeggiated sequences were cascaded with surreal synthesizer analogue pads creating sonic textures that form a tonal backdrop to carry away the listener to another time and space.

High resonating filter frequencies combine with the bass tones for a very full stereo effect richly endowed with reverb. The visuals for the music are pure video synthesis, using electronically-generated shapes and modulations built up layer upon layer forming modulating optical rhythms. It is the closest one can come to analogue video synthesis using the resources of vision mixing and linear modulation techniques.

The work exists as an audiovisual experience, with the music and images forming a pulsating, unifying composite. Both hypnotic and meditative, several aural and visual combinations are used to bring about an interesting immersive experience.