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Indian E-music – The right mix of Indian Vibes… » 2012 » December » 05

Media : LISTEN: Beach Fossils Effortlessly Deliver A New Hit, “Careless”; Sophomore LP Drops In February

Delivered... info@filtermmm.com | Scene | Wed 5 Dec 2012 11:30 pm
LISTEN: Beach Fossils Effortlessly Deliver A New Hit, “Careless”; Sophomore LP Drops In February

If you're as big of a Beach Fossils fan as we are, you're greedy for more indie rock tunes chock-full of out of control, yet calming jangly guitar action. We also bet that you, too, played their "Shallow" video until your eyes got sore.

Now it's time to give your eyes a break and let your ears do all the work. In anticipation of February 19, when Beach Fossils' sophomore LP, Clash the Truth, is released on Captured Tracks, ease your way into the new album with track four, "Careless," below. 

This exuberant song is three minutes of Dustin Payseur's standard, dreamy vocals combined with guitars and drums which appear to be competing with each other for more stage—in the best and wildest way possible. "Careless" makes you nostalgic for the last Beach Fossils show you attended, alongside all of your sweaty best friends. 

Enjoy at FILTERmagazine.com

Jonathan Harvey obituary

Delivered... Ivan Hewett | Scene | Wed 5 Dec 2012 10:20 pm

Composer who used electronics to produce incandescent sounds pointing to a higher form of consciousness

The composer Jonathan Harvey, who has died aged 77 after suffering from motor neurone disease, was unique in the way he put digital technology and a strenuously rational approach to music at the service of a deeply spiritual message. In terms of international profile and honours, Harvey's status was almost on a par with his slightly older colleagues Harrison Birtwistle and Peter Maxwell Davies. While they have always been in the news, thanks to their pugnaciously unfashionable views and hard-edged modernism, Harvey's rise was so inconspicuous that even the musical world seemed not to realise just how eminent he had become.

He was a quiet man, tall and slightly stooping, with the fluty and precisely modulated voice of an Anglican clergyman. His music, though not without its tumult and discord, on the whole speaks in a similarly quiet voice. What makes it distinctive is its otherworldly, incandescent sound and sinuous oriental-sounding melodies, which give it a sense of ecstatic striving for a world beyond this one.

Born in Sutton Coldfield, in the west Midlands, Harvey was joyously aware of that other world from early childhood. His interest in music started early on, and was stimulated by his businessman father, who had surprisingly unorthodox tastes. Harvey became a chorister at St Michael's College in Tenbury, Worcestershire, and it was here, during a concluding organ voluntary after evensong, that he had a life-changing experience.

"Usually these voluntaries were real milk-and-water affairs," he recalled, "but one day the organist did something really wild, which was thrilling. I knew in that moment that I wanted to be a composer, and do something similar." The years at Tenbury also gave him an enduring taste for unaccompanied choral music, shown in the modest liturgical works for Anglican liturgy that sit in his work-catalogue alongside big complex works for orchestra and electronics.

Harvey went on to study music at St John's College, Cambridge, and sent some of his early compositions to Benjamin Britten. On Britten's advice he went on to study privately with two doughty defenders of the European tradition, Erwin Stein and Hans Keller.

They instilled a keen sense in Harvey that music has to be unified to be coherent. It was a useful lesson; Harvey seems to have been touched by the prevailing flower-power ethos, and some of his early works, such as Ludus Amoris (1969, written for the Three Choirs Festival), have a kind of anything-goes exuberance, not so far from other quintessentially 1960s works such as John Tavener's Celtic Requiem.

By this time Harvey had become a music lecturer at Southampton University (1964-77), and was married to Rosaleen, a physiotherapist, with two children, Anna and Dominic; all three survive him. One of the remarkable things about Harvey was his ability to combine a busy composing schedule with an impressive academic career. He was then lecturer, reader and eventually professor of music at Sussex University (1977-95), and part-time professor at Stanford University, California (1995-2000).

Though teaching took up valuable time, it also gave Harvey the freedom to develop at his own pace, and pursue the intellectual and spiritual passions that had shaped his music. After imbibing Arnold Schoenberg's 12-note system of composing through Stein, Harvey came under the influence of Karlheinz Stockhausen's more heady and liberating concept of musical unity in the 1970s. Stockhausen's message – that melody, rhythm, harmony and tone colour were all aspects of vibration – held enormous appeal for him.

In 1975 he published a monograph on Stockhausen, and became an assiduous practitioner of Buddhist-inspired meditation, which was another way to access the all-encompassing One underlying the Many. "I try to practise Buddhism, but I can't say I am a Buddhist," he liked to say.

Harvey's music of the 70s reveals this new, more meditative outlook. Inner Light 1 (1973) mingles electronic sounds on pre-recorded tape with live music from seven musicians, and shows Harvey taking his first steps towards deriving melodic patterns from the overtones of instrumental sounds – a technique that he would later use in a much more single-minded way.

Also typical of Harvey is the way he makes its ingenious structural idea carry symbolic weight. The 12-note row that governs the latter part of the work is partitioned into a low, dark, four-note pattern; a high, light, three-note pattern; and a five-note pattern that mediates between those extremes.

In Harvey's First String Quartet (1977), his sense of colour and melody is even more explicit. For several minutes we hear nothing but a single pitch, endlessly re-coloured. Eventually this trembling note "breaks" into a single line, one of those ecstatic, luxuriantly decorated melodies that would become his trademark.

The idea that a musical discourse could be teased from a sound with complex timbres led Harvey to investigate electronic and digital sound synthesis in a much more thoroughgoing way than any of his contemporaries. He was one of the first composers to make use of the facilities on offer at the Paris-based musical research institute, Ircam, in the late 70s.

With the aid of its resources he produced the wonderfully evocative electronic piece Mortuos Plango, Vivos Voco, based on sounds of a boy soprano and the great bells of Winchester Cathedral. The title is derived from the message etched into the largest bell, which means "I lament the dead, I call the living to prayer."

This work ushered in the summertime of Harvey's creativity, which lasted a good three decades. By now he had worked out a musical language that could embrace darkness and conflict within an overarching sense of consonance and unity. A fine and much-played example was Bhakti (1984), for electronic sounds and pre-recorded tape. The title is a Hindu term meaning devotion to God as a path to salvation, and the music is typical of Harvey in the way it combines dancing energy and stasis, light and dark. In later works Harvey took advantage of new digital-music technologies to bring live electronic transformation of instrumental sounds into his music.

A striking example was Madonna of Winter and Spring (1986), composed for the BBC Proms in honour of the Virgin Mary and her "soft, yielding influence on forces which are assertive, brutal or despondent". The second movement, entitled Descent, portrays Mary's voluntary journey to the darkness of earthly existence through the simple descent of one chord – an example of that sophisticated naivety that set some listeners' teeth on edge, while charming others.

Harvey's mature works include three operas, the most striking of which is undoubtedly the last, Wagner Dream (2006), premiered by the Netherlands Opera. It explores Richard Wagner's interest in Buddhism and takes place in the imagined final moments of Wagner's life, in which he has a vision of a Buddhist opera, which he would never compose.

The emotional entanglements of Wagner and his circle are juxtaposed with the myth of Buddha and Prakriti, the despised untouchable who longs to be united with him. Harvey's musical language proved equally adaptable to the dark, charged intensity of the Wagnerian menage, and the bright realm of the Buddhist myth.

One of the striking things about Harvey's later works is their hospitality to old-fashioned consonances, including the major triad. When asked why he didn't go "all the way" and write tonal music, he said self-mockingly that if he did, he would turn into a boring imitation-19th-century Anglican composer. But a deeper reason was that otherworldly electronic sounds were equally attractive to him, and for much the same reason: they were symbols of divine unity.

These were rooted in the complex vibrations of resonating bodies, and could be regarded as natural, whereas the triad is a deeply artificial product of culture. For that reason, some would find the idea of yoking them together inconsistent, but this did not bother Harvey.

He was refreshingly free of dogmatism, as was reflected in the many religious affiliations in his music: Christian, Sufi, Buddhist, Hindu.

During his last years numerous awards confirmed Harvey's status as an elder statesman of new music. In January 2012 the BBC promoted a generous survey of his music at the Barbican in London. The composer by this time had been ill for some years, and was unable to attend, but he sent a message of greeting to the audience.

The grand summation of Harvey's mystical ecumenism was Weltethos (a global ethos), which Harvey described as a "grand oratorio, a kind of total harmony of all the world's religions", with texts from the world's major religious scriptures chosen by the German theologian Hans Küng.

The world premiere was given on October 2011 by the Berlin Philharmonic Orchestra and Berlin Radio Chorus under Simon Rattle. The UK premiere, given by the City of Birmingham Symphony Orchestra on 19 June launched the nationwide arts festival London 2012. As with all Harvey's recent works, a predominantly meditative tone was enlivened by passages of startling vigour.

Radiantly still passages suggestive of heavenly peace sat cheek by jowl with dancing, almost angry, settings of Buddhisttexts, and delightfully literal imitations of the shofar or ram's horn in the "Jewish" movement. Harvey was too ill to attend the world premiere, but was able to witness it through a live internet

link. It was a fitting conclusion to a career dedicated to the idea that music can point towards a higher form of consciousness.

As Harvey put it in a lecture in 1992: "It's for music to articulate the true nature of man in his blissful, enlightened form. No less than that should be demanded. It's a way of charm and simplicity which no verbal concepts, least of all mine, can ever encapsulate."

Jonathan Harvey, composer, born 3 May 1935; died 4 December 2012

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News : LOOK: STRFKR Announce New LP, ‘Miracle Mile’; Extensive U.S. Spring Tour To Follow

Delivered... info@filtermmm.com | Scene | Wed 5 Dec 2012 10:13 pm
LOOK: STRFKR Announce New LP, ‘Miracle Mile’; Extensive U.S. Spring Tour To Follow

Portland electronica four-piece, STRFKR, have made some exceptionally vivid videos to accompany their already high-energy tunes—evident within the video for popular anthem, "Bury Us Alive," off 2011 LP, Reptilians.

Now, these dance gods have showered us with a follow-up album that looks just as promising—Miracle Mile—which will hit the streets on February 19 via Polyvinyl RecordsFeel free to pre-order the new album now though.

Streaming below is the epic album opener, "While I'm Alive," which is one of those rare tracks in which a future music video might actually be unnecessary; the song scarily has a life of its own, due to carefree, groovy basslines, colorful synth and the proactive lyrics of the catchy chorus, "while I'm alive, I live my life."

Continue reading at FILTERmagazine.com

Chroma + Gris-Gris: Sequence Live with Anything, Then Let the Synth Run Wild [Reaktor]

Delivered... Peter Kirn | Scene | Wed 5 Dec 2012 9:40 pm

Chroma and Gris-Gris are a beautiful pairing, a performance-savvy sequencer and a “monster” monosynth. If the release of the OSC implementation we dreamed of in Reaktor wasn’t enough to make you dust off NI’s modular flagship, this will surely do the trick. It’s the work of Montreal-based Reaktor guru Peter Dines, veteran CDM contributor and one of our favorite patchers anywhere, on any platform, for his eminently-practical, sonically-lovely creations.

And just as the Chrome sequencer goes nicely with the Gris-Gris synth, the whole thing comes alive with Reaktor’s new OSC implementation, letting you perform sequences – alone or in public – with a variety of inputs. So, in addition to mouse (which works quite well, in case you’ve only got your laptop handy) and MIDI, you can fire up OSC. That means Konkreet Performer, TouchOSC, and Lemur on the iPad/iPhone/etc. all make gliding through sequences from your fingertips a joy.

In fact, Peter says Konkreet Performer is his favorite. I think if KP hasn’t won over everyone’s heart, it’s probably because you need the right patch to match its alien, futuristic abstract interface – and this could be that, as seen as Peter uses the two in the video here.

For its part, Gris-Gris has legato and glide features that combine with Chroma, plus great-sounding virtual analog mono sounds with “flux controls” for adding a bit of chaos and morphing. There’s a dedicated filter LFO, too – listen via SoundCloud below.

The whole package is tuned for plug-in operation as well as standalone says Peter. (Good call.)

Check out the sounds and Konkreet Performer – performing.

US$24.99; requires a full copy of Reaktor. Full details and interface guide:

Chroma and Gris-Gris: Sequenced Monster Monosynth

(We dreamt about proper OSC happening, and it happened. Maybe now we can dream about Reaktor Player support for the amazing Reaktor community, somehow? Well, we can dream, anyway.)

Turbo studio sessions

Delivered... RA - The Feed | Scene | Wed 5 Dec 2012 9:02 pm
The Montreal label begins a new series by offering a look into its artists' creative processes, beginning with Zombie Nation.

SXSW Expands Music Lineup for 2013

Delivered... Spacelab - Independent Music and Media | Scene | Wed 5 Dec 2012 8:30 pm
Daedelus, Foxygen, The Joy Formidable, Ra Ra Riot, VietNam, The Warlocks, The Whigs all top an amazing addition of acts. Check out the complete listing.

Media : WATCH: Jimmy Fallon, Mariah Carey and The Roots Bring Christmas Cheer

Delivered... info@filtermmm.com | Scene | Wed 5 Dec 2012 8:00 pm
WATCH: Jimmy Fallon, Mariah Carey and The Roots Bring Christmas Cheer

If you had any doubt that the holiday season is indeed upon us, we would like to direct your Scrooge-like (or Grinch-esque) eyes to the best video that Late Night with Jimmy Fallon has probably ever produced.

The first thing you see when hitting play on this video is every single member of The Roots wearing Christmas quality sweaters surrounded by an intense amount of decorations. Honestly you should be sold on the entire video by that point.

If you aren't though let us bring it all together for you: Mariah Carey singing her smash hit "All I Want For Christmas Is You" with adorable children, while a giggling Jimmy Fallon and The Roots play the modern classic on what they best describe as "classroom instruments".

Please let us know if you can resist swaying to the beat, we'd like to have you tested by science.

Boys Noize talks about unplugging the CDJs and embarking on a live US tour

Delivered... Michelle Kuppersmith | Scene | Wed 5 Dec 2012 8:00 pm
After completing the European leg of his brand-new live tour, Boys Noize (aka Alexander Ridha) brought the whole shebang stateside last Friday, making a splash during the first show in NYC. Ridha told us that he had been, "Thinking about a live show for a long time, and...thought it made sense to do it now," given the release of his third studio album, Out of the Black.

Media : MP3: FIDLAR Get You Addicted To “Gimme Something” And Announce California Winter Tour Dates

Delivered... info@filtermmm.com | Scene | Wed 5 Dec 2012 7:45 pm
MP3: FIDLAR Get You Addicted To “Gimme Something” And Announce California Winter Tour Dates

Though we at FILTER don't endorse anyone's newfound (or ancient) affinity for crack, we are indeed pushing the latest FIDLAR track in your direction—"Gimme Something"—which you can listen to right here.

Our favorite group of young and unapologetic L.A. punk rockers self-describes this song as "the international anthem for crackheads everywhere," however this is a sonically-sweet, toe-tapping rock song that even your grandma will enjoy, because of its rough yet infectious harmonies, expert guitar playing, and casual junkie narrative.

FIDLAR may have just invented a new genre: crack rock 'n' roll. Nicely done, dudes. 

Enjoy at FILTERmagazine.com

Watch Jel live in the Boiler Room Los Angeles (video)

Delivered... Spacelab - Independent Music and Media | Scene | Wed 5 Dec 2012 7:30 pm
For those that have never experienced Jel playing live, check him out live at the Boiler Room in Los Angeles -- the Anticon Records legend is a master of live drums and live sampling. Button pusher? Hell yes, but a live button pusher playing every device on the table as if it were a guitar or keyboard.

Watch M83 – “Wait” (video)

Delivered... Spacelab - Independent Music and Media | Scene | Wed 5 Dec 2012 7:30 pm
Winding out the trilogy of M83 videos done in collaboration with The Creators Project.

The Killers Added as Headliners for T In The Park

Delivered... Spacelab - Independent Music and Media | Scene | Wed 5 Dec 2012 7:15 pm
They're added on the heels of yesterday's lineup and headliners.

SXSW Updates Music Panels Lineup

Delivered... Spacelab - Independent Music and Media | Scene | Wed 5 Dec 2012 7:15 pm
Big Data, the realities of operating an indie label, and friends with benefits in social media all top the updates to SXSW's music panels.

News : R.I.P.: Dave Brubeck “Takes Five” At 91

Delivered... info@filtermmm.com | Scene | Wed 5 Dec 2012 7:04 pm
R.I.P.: Dave Brubeck “Takes Five” At 91

One day shy of his 92nd birthday, legendary jazz pianist, composer and bandleader Dave Brubeck passed away due to heart failure in Norwalk, Connecticut this morning. He was on his way to a cardiologist's appointment.

Brubeck is best known for his formation of the Dave Brubeck Quartet with Paul Desmond (alto saxophonist) and writing the best selling jazz song of all time "Take Five". His influence and innovation was seen throughout all genres of music and his loss is sure to be felt greatly within this community.

Our hearts and deepest condolences go out to Brubeck's family, friends and collegues.

Sensomusic Hollyhock: An Open-Ended, Modular DAW from Usine Makers, Now Mac + Windows [Beta Preview]

Delivered... Peter Kirn | Scene | Wed 5 Dec 2012 6:21 pm

What if your DAW were completely open-ended and modular, allowing you to send audio and control anywhere, and control from any device – including touch? Now Windows – and Mac users – find out.

Driven by musicians’ need to do a lot of the same things, and expecting certain ways of doing those things, DAWs have traditionally been mired in the same molds. Sensomusic Hollyhock, an upcoming DAW from the makers of Usine, promises to be genuinely different. Like Usine, it’s built around an entirely open-ended, modular environment – you can patch together only what you need, and can patch together just about anything. But building on Usine, Sensomusic have created an entirely rewritten app, with new audio engine, rebuilt interface, new MIDI management, and, among other things, cross-platform 64-bit support for Windows and the Mac.

Public beta comes early next year, with a preorder now (for those hard-core Usine fans, I presume). But what we can see already looks promising.

One thing I really like about Bitwig Studio is the idea of having any device be a patch – so the entire environment can be customized. But Bitwig says they won’t have public access to that functionality in their first version – and even the first version is promised only for some time in 2013.

Building on their existing modular app, Sensomusic might get there first. And they offer uniquely flexible input from hardware.


  • Arbitrarily route audio, MIDI, and even stuff like cameras, joysticks, or the Nintendo Wii remote, right in the device window. (Other apps have tried similar things, but generally requiring scripting or Max patches or the like.)
  • Drag and drop devices and inputs and create multiple instances of a device. (Remember, everything here is essentially modular.
  • Each device doubles as a patch, with subpatches for different levels.
  • Record anywhere – even with quantization.
  • VST (Mac/Windows), AU (Mac) plug-in support, video support, and even Freeframe plug-ins for video – this is shaping up to be a fully modular audiovisual environment.
  • Workspaces, playlists for workspaces, Start page…

The rack is reminiscent of what you’d see in, say, Ableton Live – but get in there, and you can route any control or audio you like.

A lot of what you get does come from Usine, or iterates on that tool, though that could be a good thing – there’s a long experience of development and user feedback here. In fact, if Usine did nothing other than come to the Mac, it’d be news. Now, it’s I’d say fairly big news. (My only complaint: I just wish that UI could get some added polish. Minimal is great, but this is … well, awfully minimal. The functionality is great, though.)

And that brings us to the beautiful automation features, physics, and touch – all building on the stuff that made Usine cool in the first place. That’s best seen in videos, not bullets, so see below for some of my favorites.

Mac users are going to wish for a touch display. (An external display could be one way to go.)

In Hollyhock, each device is also a patch. That will eventually true in Bitwig Studio, its developers say, but it appears Hollyhock will get their first. Here’s a compressor. (I hope the similar discussion in these two tools means more modular goodness, generally!)

Patching interface – there if you want it.

New browser functions, modules.

One tasty sampler with zoom abilities – especially nice with touch.

Complete details from developer Olivier Sens:

Special preorder price, at a discount, including beta access, and double the free updates (2 years instead of 1), as well as a chance to influence the design: 119€, or upgrade 49€.

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