Multi-instrumentalist Adrian Belew is running a Kickstarter project to help develop Flux, a new application and format for music that promises to never play a song the same way twice.
According to Belew, it’s a format for music that reflects changes in the way we live our lives and even think: Continue reading
Goldie (Clifford Joseph Price) shared this video, which captures the first orchestral performance of his 1995 classic, Timeless.
The performance features The Heritage Orchestra, conducted by Jules Buckley. It was recorded live, in front of a sold out audience at the Royal Festival Hall, London, as part of James Lavelle’s Meltdown Festival. Continue reading
Electronic music instrument pioneer Roger Linn is featured on the latest episode of Sonic State’s Sonic Talk. Continue reading
Back in the day, touchscreen video monitors were the future.
And light pens? Serious 2001 sci-fi tech.
Now, though, these types of interfaces are off-the-shelf reality. Continue reading
Reader Dmitry Morozov – a Moscow-based media-artist, musician and ‘engineer of strange-sounding mechanisms’ – has created a new instrument that uses a tattoo for a score.
Morozov creates experimental electronic music and advocates for circuit bending and DIY electronics in Russia, under the moniker ::vtol::.
Here’s what Morozov has to say about his instrument, ‘Reading My Body':
this is a special instrument that combines human body and robotic system into a single entity, that is designed to automate creative process in an attempt to represent the artist and his instrument as a creative hybrid.
The device consists of a railing with comfortable hand holders and two parallel, but offset from each other black lines’ sensors that move along the arm using a stepper motor. It is equipped with a 3-dimensional Wii remote controller that uses the OSC protocol in order to give a possibility of additional expression achieved by moving hand in space.
Morozov use of tattoos is part of a trend that we anticipated in our 10 Predictions For Electronic Music Making In The Next Decade in 2010 – musical body modifications. Continue reading
Warp Records has announced a new EP, composed by Squarepusher and performed by three music robots (the Z-Machines) will be released on 7th April (8th in North America).
Here’s what Squarepusher has to say about the project:
The main question I’ve tried to answer is ‘can these robots play music that is emotionally engaging?’
I have long admired the player piano works of Conlon Nancarrow and Gyorgy Ligeti. Part of the appeal of that music has to do with hearing a familiar instrument being ‘played’ in an unfamiliar fashion. For me there has always been something fascinating about the encounter of the unfamiliar with the familiar. I have long been an advocate of taking fresh approaches to existing instrumentation as much as I am an advocate of trying to develop new instruments, and being able to rethink the way in which, for example, an electric guitar can be used is very exciting.
Each of the robotic devices involved in the performance of this music has its own specification which permits certain possibilities and excludes others – the robot guitar player for example can play much faster than a human ever could, but there is no amplitude control. In the same way that you do when you write music for a human performer, these attributes have to be borne in mind – and a particular range of musical possibilities corresponds to those attributes. Consequently, in this project familiar instruments are used in ways which till now have been impossible.
The latest episode of Aux.tv’s This Exists takes a look at Black MIDI – a genre that gets its name because the music is so densely sequenced with notes that, written out, it approaches solid black: Continue reading
In a new interview, electronic music pioneer and president of the International Confederation of Authors and Composers Societies (CISAC) Jean Michel Jarre shared his thoughts on the Internet, intellectual property and how they relate to the future of music.
“Our fight and our battle about intellectual property is not defending the rights of rich artists…sitting on their pot of gold. It’s something far beyond this,” argues Jarre. “It’s questioning the future of creation, the future of our identity, whoever we are…” Continue reading