Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » Events


Norient Co-Curates ISM Hexadome

Delivered... norient | Events,Scene | Wed 4 Apr 2018 3:56 pm

The ISM Hexadome is an immersive 360° audiovisual exhibition combining art and technology and features nine audiovisual performances and installations from international artists curated by ISM and Norient. The project is the first step in the Institute for Sound & Music’s initiative to build a museum in recognition of sound, immersive arts, and electronic music culture. Norient curated two artists into the project: Lara Sarkissian and CAO. The events featuring Brian Eno, Thom Yorke, and others, are taking place between March 29 and April 22, 2018, at Martin-Gropius-Bau in Berlin, Germany.

The ISM Hexadome is comprised of a visual projection architecture designed by Berlin digital media studio, Pfadfinderei, and the «Klangdom», an advanced multi-channel speaker configuration created by ZKM | Institute for Music and Acoustics Karlsruhe. The Klangdom is controlled by the software Zirkonium developed by ZKM and 3D audio mixing software Panoramix developed by IRCAM’s STMS Research Lab.

Performances and Installations: Schedule

April 13, 20h/22h, Live Performance
Lara Sarkissian & Jemma Woolmore | Frank Bretschneider & Pierce Warnecke

April 14, 16h, Artist Talk
Diasporian Narratives: Archiving, Sampling, and Politics in the Tracks of Lara Sarkission
Moderated by Hannes Liechti, Norient

April 14-15, 10-22h, Installation
Lara Sarkissian & Jemma Woolmore | Frank Bretschneider & Pierce Warnecke

April 20, 20h/22h, Live Performance
Peter van Hoesen & Heleen Blanken | CAO & Michael Tan

April 21-22, 10-(19)22h, Installation
Ben Frost & MFO | Holly Herndon & Mathew Dryhurst | CAO & Michael Tan | Peter van Hoesen & Heleen Blanken

For all dates of the following artists check ISM Hexadome website.

Brian Eno
Tarik Barri & Thom Yorke
Holly Herndon & Mathew Dryhurst
Ben Frost and MFO
Pfadfinderei & René Löwe

Norient Artist Selection for ISM Hexadome

Lara Sarkissian

Lara Sarkissian (left) and Jemma Woolmore (right) (Photos © Promo)

Hexadome Installation Piece with Jemma Woolmore:
Thresholds

Thresholds creates a transsensorial space for storytelling on topics of territory, recognition and memory. Together musician Lara Sarkissian and artist Jemma Woolmore craft an immersive experience from aural and physical architectures; playing with disorientation, stability, unrest, familiarity and recollection.

The piece is an ambient electronic landscape referencing Armenian music, field recordings and churches (both in its sonic and physical form); as the architecture of churches have often been designed with the intentions of acoustic ecology and spatial experiences in mind. The score collages elements of voices, hymns, instruments; holding space for modern day Armenian narratives tied to uprooted ancestral pasts [and present].

The hexadome screens become a landscape to be navigated and divided, creating symbolic borders that are enforced, blurred or dissolved throughout the work. Patterns emerge that appear to both isolate and encompass, generating complex and unfamiliar territories, exploring the fragile boundary between Utopia and Dystopia.

Lara Sarkissian is a sound artist, DJ (FOOZOOL) and filmmaker based in San Francisco, CA. She is co-founder of Club Chai; a music label, radio show, and curatorial project that artistically hybridizes non western sounds and visuals with contemporary western culture. Lara Sarkissian’s electronic music focuses on ambient/experimental productions with Armenian influences and scores films and installations. Follow Sarkissian on her Website, Bandcamp, Facebook, Mixcloud, and SoundCloud.

CAO

CAO and Michael Tan (Photos © Promo)

Hexadome Installation Piece with Michael Tan:
The Burial Theme: Trans-Matter Port and Objects

Inspired by ancient Moche iconography and cosmology, the work explores the dualities of life/death, generation/destruction, and cohesion/dispersion cycles and how they appear as two planes constantly transposed onto one another. The Moche cosmology envisioned certain gates that render the intersections of both planes as a space for events. One of these might be considered the ceremonial or ritual space, a realm in which the distance and division between both worlds would blur.

The work aims to explore the ceremonial object both in its native context and as an «unearthed object», expressing its connection with both ancient narratives and the transience and decay that operate in the natural world. This object, usually presented as a recipient, acts as a gate or a threshold, a geometrical key, and signifies generative space and the readiness preparatory to a transfer between worlds (living/dead, vision/blindness, sacred/profane, etc.).

Constanza Bizraelli aka CAO is a Peruvian electronic music composer and producer, artist, and theorist. She is the director and editor-in-chief of Cyclops Journal, an academic publication dedicated to contemporary theory, theory of religion, and experimental theory. Follow CAO on her Website, Facebook, SoundCloud, and Twitter.

The Poster

At Superbooth, expect new synth news, and grand instrumentalism

Delivered... Peter Kirn | Events,Scene | Wed 28 Mar 2018 5:07 pm

From a crowded stand in Frankfurt to a sprawling show in East Berlin, Superbooth has become a modular mecca and the premiere synthesizer summit on the world calendar.

And if you think about it, that’s pretty astonishing. NAMM (National Association of Music Merchants) in California remains the destination for the musical instrument industry at large, and it and a number of other events draw big crowds of synth lovers. But Superbooth has become a kind of extension of synthesizer inventor history, of modular subculture, and of the best parts of the Internet today – the bits that just nerd out about cool toys. One- and two-person shops stand literally shoulder to shoulder with major manufacturers.

In short, it’s the triumph of the weird.

“Normal” trade shows these days are what can seem anachronistic. The “trade-only” moniker at NAMM (or Germany’s Musikmesse) has always been confusing, with tire kickers tangled with industry, and a collision of instrumental segments that seem increasingly distant from one another.

Like the quiet, sprawling metropolis of Berlin itself, Superbooth never feels crowded. People amble and linger and chat and chill – all the verbs you never associate with trade shows. But it doesn’t feel like a local synth meet, either. There are 250 exhibitors this year, with stands from names like Ableton, Akai, Avid, Bitwig, Elektron, Eventide, IK Multimedia, KORG, Mackie, Magix, Moog, MOTU, Native Instruments, Nord, Novation, Propellerhead, RME, Roland, ROLI, Softube, Steinberg, Studio Electronics, Waldorf, and … yes, even mighty Yamaha.

Those join a who’s who of modular makers, with an increasing number of American brands alongside what appear to be all the major European names (including Russia).

So, it’s significant that the morning hours are dedicated to trade and professionals, while the afternoons open to the public. “Will you be at Superbooth?” has become the stock question for the synth and electronic end of the waters. And since this is not just a corner of a show with drums and guitars and trombones, you do actually talk to one another and connect.

So what will actually happen this year?

Last year saw a raft of cool stuff:

Go gear crazy with the best synth gear unveiled at Superbooth

Novation hit it out of the park with both Peak and Circuit Mono Station. Bastl Instruments fed us THYME, DUDE, Kong … and their own line of custom-brewed coffee. Behringer had their infamous Minimooog Model D clone to try. Elektron revealed the Digitakt, as Jomox and MFB unveiled boutique drum machines. And of course there were loads of new modules and other toys … not to mention Yamaha with a robot that plays keys.

Last year, this happened – two new Novation synths.

(Compare the inaugural 2016, when Superbooth was more limited to niche modular and analog creations, and many brands still made waves at Frankfurt Messe. By last year, Messe was mostly silence.)

This year, I think you can expect even more big announcements. Given the attention Novation got, I wouldn’t be surprised if a big manufacturer made a splash – even from Japan’s big three, all of whom are in attendance.

Of course, the charm of Superbooth is, those big manufacturers won’t really have any particular advantage over tiny shops. (Well, apart from if you have deeper pockets, you get the cool room with the Soyuz module …)

And I think you can expect … oh, wait, I can’t tell you. I don’t know anything. Expect nothing.

(Oh, one note – I think we’ll continue to see a cottage industry in 5U modules – that’s the larger format – especially as Moog’s own recreation of its vintage modulars is out of reach of most budgets.)

Superbooth 2016 videos

https://vimeo.com/schneidersbuero

On the music side…

As Superbooth gets deeper in the gear territory – not just for modular geeks, but synths fans in general – it’s also building out its roster of musicians. Those reflect some of the Berlin in-crowd’s refined tastes, but this year they also suggest another line.

Superbooth wants you to think of synths and modular as an instrument, in the classic sense of the word.

So you get Caterina Barbieri, a classical guitarist-turned-modular artist, and Leon Michener on a prepared grand piano. There’s Berlin electronic legend Bernd Kistenmacher on synths, and composer Udo Hanten on 5U modulars.

Stephan Schmitt, founder of Native Instruments and father of Generator/Reaktor, will play on his own unique C 15 keyboard, made by his new hardware venture Nonlinear Labs. Carolina Eyck will play Theremin; famed producer Tobi Neumann will play ambient with Fadi.

The night program is also packed with some big names: think #instantboner, T.Raumschmiere & FucketYbUcKetY, Ströme and Tikiman, Boys Noiz with 2244, ATEQ, and GusGus.

It’s not entirely “underground” in character – these are established, premiere artists, and perhaps associated then with established, premiere modular gear, which while increasingly affordable isn’t exactly cheap. But then I think you can also expect lots of unofficial off events and afterparties to spring up, postcards to spread around – and it’s still Berlin. So be sure manufacturers will organize spontaneous jam sessions, visiting nerds will promote gigs, and lots of sound geekery will be had in the days during and immediately around the event. You might want to clear your calendar, plus some, like, recovery time.

On the workshop/talk side, there are various DIY offerings, as well as a female/non-binary program meant to counter-balance an event that has tended to skew fairly heavily male. Daniel Miller, Uwe Schmidt, and Mark Ernestus are in discussion, plus you can catch Lady Starlight, Andrew Huang, Lady Blacktronika, and Mylar Melodies.

The biggest rival to Superbooth I imagine will be Moogfest back in the U.S. of A. – unlikely to have, say, boutique Russian makers at it, but likely to attract some modular purveyors who won’t make the Transatlantic flight. And Moog of course will figure big at their own event. Moogfest also dwarfs Superbooth as far as festival lineup and talks. I’d also keep an eye on SONAR Festival, whose extended tech program often focuses on the European tech scene, plus Music Tech Fest in September.

But as far as synth makers in one place and synth news, Superbooth is the big bet for new tech. I’ll see you there.

Full event schedule

Exhibitor list for this year

superbooth.com

The post At Superbooth, expect new synth news, and grand instrumentalism appeared first on CDM Create Digital Music.

New Live Series: Sonic Fiction

Delivered... norient | Events,Scene | Mon 5 Mar 2018 9:00 am

Norient is proud to present a new series of concerts and audiovisual performances. In collaboration with the Rewire festival (Den Haag, the Netherlands) and Schauspielhaus Zürich Norient presents the most exciting acts of today's pop music on the theater stage in Zurich, Switzerland. In the first edition on April 21, 2018, the experimental sound worlds of Ben Frost will collide with the dark avant-garde pop of Jenny Hval. Events will also be held on May 12 and June 9. More acts to be announced soon.

Exactly twenty years ago the journalist and writer Kodwo Eshun attempted in his influential book More Brilliant than the Sun – Adventures in Sonic Fiction to rethink the perception of music in general by finding a new language for music (rather than rely on words that leave the radical imaginary space of music untapped). He did this by describing and excavating the unacknowledged traditions of diasporic science fiction, by finding a «future shock» in music and sounds. Today, it is still obvious, how limiting traditional language is, especially attempts to describe current sonic phenomenons; more than ever, pop music is crossing borders, is audiovisual, powerful and aesthetically challenging. Contemporary musicians debate political topics and appear provocative and virtuosic at the same time. With this new series of concerts and audiovisual performances, Norient and Rewire want to present the diversity of the current Sonic Fiction on the theater stage in Zurich to a wider audience. We are looking forward to meet you there.

Directly jump to: line up April 21 | May 12 (tba) | June 9 (tba)

April 21, 2018: Ben Frost / Jenny Hval

20:00h at Schauspielhaus Zürich, Pfauen
Tickets from CHF 35 to 70 (presale open)

Jenny Hval

Jenny Hval has in recent years made a name for herself as a recording artist and writer both in her native Norway and abroad. Multidisciplinary and transgressive are words often employed to describe her art, but Jenny Hval’s polyphonic artistry is in fact seamlessly interwoven between musical, literary, visual and performative modes of expression. Her artistic voice is altogether present, accessible and obscurely complex at the same time. Follow Jenny Hval on Bandcamp, Facebook, SoundCloud, Twitter, or YouTube.

Ben Frost

The music of Ben Frost is about contrast; influenced as much by Classical Minimalism as by Punk Rock and Metal, Frost’s throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfoldings of vast mechanical systems. Follow Ben Frost on Bandcamp, Facebook, SoundCloud, Twitter, Website, or YouTube.

May 12, 2018: Second Edition

20:00h at Schauspielhaus Zürich, Pfauen
Tickets from CHF 35 to 70

Line up to be announced soon.

June 9, 2018: Third Edition

20:00h at Schauspielhaus Zürich, Pfauen
Tickets from CHF 35 to 70

Line up to be announced soon.

Credits

In collaboration with:

Curation: Thomas Burkhalter and Bronne Keesmaat
Cooperation: Theresa Beyer and Hannes Liechti
Project Coordination: Hannes Liechti
Art Design: Caroline Grimm (Schauspielhaus Zürich)

CDM Mixes: Voyage into sound like a mystic space cat, with akkamiau

Delivered... Peter Kirn | Events,Scene | Mon 8 Jan 2018 3:09 pm

Start your week right with some underground technoes. akkamiau is the multi-faceted Prague-born Akkamiau Kočičí, and she kicks off a special January for us.

Here in Berlin on Saturday, we’re hosting a special night of live performances with akkamiau joining us for a DJ set rounding out the night:
https://www.residentadvisor.net/events/1053318

They’re all released on or forthcoming on our label Establishment, and all of them have robust projects of their own, from live coding work in the Algorave scene with Miri Kat, to their own up-and-coming label projects (Gradient from Jamaica Suk, Denkfabrik from Nicolas Bougaïeff, and a new project emerging from Stanislav Glazov aka Procedural). They’re also teaching – Stas is a modular and Touch Designer guru traveling the world with those projects; both Nick and Jamaica teach privately, and Nick teaches modulars and coaches composition as Dr. Techno – because he’s a real doctor. Oliver Torr on behalf of Prague’s XYZ project is preparing an interactive light installation that will evolve over the course of the night, as well.

Stratofyzika, intermedia group.

I wanted to invite Lenka to send some vibrations to our readers all over the world. Lenka’s own projects are myriad: she’s a founding member of female:pressure, the network and advocacy organization that has worked for years to break apart the gendering of electronic music, she releases and performs and DJs as akkamiau and hiT͟Hərˈto͞o, and adds live sound and music to the choreography- and audiovisual-driven intermedia project Stratofyzika.

She’s also recently hosted quadraphonic sound workshops, working in Ableton Live, plus the wildly popular jam room at Ableton Loop.

And while the trend these days seems to be on narrowly-defined DJs, I believe all those broad influences come across in her DJ mixes as well as her music. Lenka has shared an exclusive mix with us, recorded straight from the mixer in the grimy confines of Berlin’s club Suicide Circus aka Suicide Club. It was the opening of the respected RITUALS series, which takes commanding, dark techno into Berlin’s Thursday night / Friday morning (well, because this is Berlin, and Thursdays are a big night).

Just don’t expect monotonous pounding. Lenka’s mixing is effortlessly fluid and organic, unfolding across the duration, putting beautiful, strange otherworldly textures atop heavy, dirty pulse. And that seems to have as always Lenka’s quirky cosmic feline character there. That doesn’t mean it’s soft in any way: these space cats have big rockets.

Dark but not drab … industrial with groove … powerful but dreamy … sounds like good new years’ resolutions for techno to me.

Track listing (yep that Ancient Methods and Perc are each two favorites of mine, for starters):

Moerbeck & Subjected – 006SB1
Mamiffer – Enantiodromia
Adam X – It’s All Relative
Alexey Volkov – Corner
H880 – weird signs
Drasko V & Kero – Exponent (Drumcell Remix)
Tensal – Levia
Regis – Keep Planning (Original Mix)
Discord – Backyard Trapp
MTd – Basement (Moerbeck Remix)
P.E.A.R.L. – Station1
Tsorn – Strange Theory
FJAAK – The Tube
Ancient Methods – Knights & Bishops
Perc – Look What Your Love Has Done To Me
H880 – KEPLER
Niki Istrefi – Red Armor

Join us in Berlin if you can, and regardless, stay tuned for more of akkamiau, these other artists, and Establishment. Frohes Neues!

Follow akkamiau on SoundCloud, MixCloud, and Facebook

For more listening, check out akkamiau’s work on Colaboradio 88.4FM Berlin. There’s a special episode devoted to the voice:

— and one highlighting those Ableton Link-ed jam sessions at the company’s Loop conference from November:

Saturday’s event, featuring akkamiau:

Establishment: XL & live [Discount advance tickets exclusively on Resident Advisor]
RSVP on Facebook

The post CDM Mixes: Voyage into sound like a mystic space cat, with akkamiau appeared first on CDM Create Digital Music.

Conference: Pop – Power – Positions

Delivered... norient | Events,Scene | Sun 10 Dec 2017 5:13 pm

From October 18 to 20, 2018, the next biennial research conference by the International Association for the Study of Popular Music, German-speaking branch (IASPM D-A-CH), will be organized in cooperation with Norient. It will take place in Bern, Switzerland at the University of Bern and Bern University of the Arts. Read the Call for Papers below (German version here).

Dis Fig performing in Bern at NMFF 2017 (Photo © by Karin Scheidegger)

Call for Papers

In Nigeria, the high pressure to follow the copyright rules of the globalized pop music market restrains the use of samples in hip hop culture. In Egypt, young musicians have no credit cards, leaving them without access to the online music market. In Europe, second and third generation migrants discuss their non-European backgrounds and European identities in songs and tracks. And U.S.-produced Korean pop music (K-Pop) increasingly rivals Korean-produced K-Pop in its concern for authentic presentation.

Issues of power, position, access, and representation have shaped the production, distribution, and reception of popular music and continue to do so today. The three-day interdisciplinary conference Pop – Power – Positions highlights popular music’s embeddedness in a global world. It seeks to uncover and scrutinize the risks, challenges, and potentials of power structures, positioning, and (re)presentations in popular music. The analysis of global, postcolonial structures plays a central role in this endeavour. To date, however, music– and popular music in particular – has only rarely been studied using postcolonial perspectives.

Postcolonialism refers not only to the historical fact of colonialism and its political, geographical, cultural, and economic impact on the countries and regions in-volved. Rather, postcolonial studies deal with all aspects of cultural diversity, ethnic and cultural difference, and their related power structures. Colonialism as well as postcolonialism refer to hierarchies that are enacted and produced through the construction of the Other and bring about and enforce debateable concepts of representation such as gender, race, ethnic group, nation, class, and culture. In this regard, the effects of (post)colonialism can be detected not only in former colonialized and colonising countries and regions, but also in those which at first sight do not have a colonial heritage, for example Switzerland.

From its beginnings, popular music has been produced and performed in and within (post)colonial (power) structures. Postcolonial traces are, according to Johannes Ismaiel-Wendt, inherent in any popular music (2011). Current productions of popular music in different countries show that (post)colonial conditions live on in popular music, especially in a globalised world, and that musicians as well as recipients react in various ways to this situation.

The conference focuses on (global) power relations and representations of race, cultural difference, ethnicity, gender, class, and nation, including the changes and subversive strategies these may involve. Ethnographic and analytical studies of popular music in and from (former) colonised countries and regions are also welcome. We invite papers that address the following range of topics and questions:

Power
– Who speaks in popular music? What kinds of power structures shape the production, distribution, and reception of popular music? What is the impact of the Anglophone music business on other music markets? Who speaks about popular music in the areas of marketing, advertising, journalism, fan cultures, (global) politics, and educational institutions – and what vocabulary do they use?
– Have digitalisation and digital networks led to a democratisation of musical processes, or the contrary?
– What sounds and music(s) are processed in what contexts by whom and how, and to what aim? How does the use of certain sounds/music(s) point to existing power relations, dependencies, and availability?

Place
– What role do geographies and geopolitics play in popular music-making? How do geography, world order, and power structures relate?
– In what ways can popular music exist beyond cultural, ethnic, and national geographies? What role does the relation between the Global North and Global South have in popular music?

Positions
– How do structures of power and distribution limit the access to the produc-tion and reception of popular music?
– What relevance, usability, and impact do technologies (like Digital Audio Workstations) or legal regulations (like the copyright laws) that have been de-veloped in Western contexts have for popular music? In what ways are (post)colonial structures and power relations (re)produced therein?
– What kinds of representations do musicians use for their marketing? What traits are ascribed to music?

Postcolonialism
– What potential does popular music hold for detecting and changing (or en-forcing) colonial and postcolonial power structures?
– How can postcolonial theories be made fruitful for an up-to-date understand-ing of popular music?
– How do musicians of different forms of popular music process a «(post)colonial experience of the world» («(post)koloniales Welterleben», Ismaiel-Wendt) in their music?

Popular Music Studies
– How marginalised are specific popular musics within the history of popular music?
– Should or can we write a Global History of Popular Music?
– In what way is the concept of popular music in itself (post)colonial?
– What hierarchies, asymmetries or inhibitions can be found in inter-/transdisciplinary Popular Music Studies?

Further Information

Keynote: Dr Jenny Fatou Mbaye (City University London)

Contributions on popular music that lie outside the scope of these topic areas are welcome and will be considered if possible.

The conference invites researchers of Popular Music Studies from all disciplines to take part, for example from musicology, ethnomusicology, anthropology, cultural studies, history, global studies, media and communication studies, postcolonial studies, or sociology. In order to submit a paper or a panel proposal, speakers must be a member of IASPM, respectively of one of its branches (for information on membership see iaspm-dach.net or iaspm.net).

Papers may be given in German or English. Proposals can be made for panels on a special topic including three presentations (60 minutes + 30 minutes discussion) or for single papers (20 minutes + 10 minutes discussion). Please include title, an abstract of 250 words, five keywords, name, academic affiliation, a short biographical note of no more than two sentences, and your contact information.

Submission: Please email your abstract to daniel.allenbach AT hkb.bfh.ch by 28 February 2018.

Papers will anonymized before selection. You will be informed about the selection by 31 March 2018.

Depending on the financial situation, the organisers hope to contribute to travel and accommodation costs of those speakers who have no other sources of sup-port.

There will be arrangements in place for child care.

IASPM D-A-CH will award the Maria-Hanáček-prize for the best presentation held by a doctoral student at the conference.

Organisation

Local Organizing Committee
Dr. Anja Brunner, University of Bern
Hannes Liechti, University of the Arts/Norient
Daniel Allenbach & Sabine Jud, University of the Arts

Hosting Institutions

 
 
Partner

Watch Moogfest kick off with epic 50-hour livestream, lineup – minus men

Delivered... Peter Kirn | Artists,Events,Scene | Wed 6 Dec 2017 6:20 pm

Women and transgender artists have too often seen their work in electronic music pushed to the margins. Moogfest’s launch this year puts them first.

Moogfest this year promises to have the mix they’ve been brewing in the latest editions: part music festival, part conference, with music and music technology meeting up with larger themes around science and innovation. The difference is, instead of the presence of female and transgender artists being just another box for curators to tick — “hey, look, we booked some women” — here, they’re leading the announcement. That includes both a 50-hour livestream of back-to-back sets from a pretty amazing and diverse set of artists, plus the first wave announcement of artists.

Here’s Madame Gandhi explaining the idea:

The result is a mixture of people you know really well (legends like Suzanne Ciani, Moor Mother) alongside a lot of artists who are almost certainly new to you – particularly as they’ve been drawn from disparate genres and geographies. Indeed, these are the kind of people who have been quietly pushing music in new directions, but who might get lost in the fine print of music programs, or pushed to the side in music headlines. In fact, I think the upshot is a potential victory not only for gender equality, but for independent and out-of-the-mainstream music, too. And knowing CDM readers, irrespective of your gender, I think that’s a value you’re likely to enjoy seeing represented.

As Ciani tells The New York Times:

For Ms. Ciani, the theme for Moogfest 2018 is only natural. “Women have long been intimately connected to electronic music, perhaps because it offered a path outside male-dominated conventional music worlds,” she said. “What has changed is an awareness of women in the field historically as well as a huge influx of contemporary talent.”

Moogfest Shines a Spotlight on Female, Nonbinary and Transgender Musicians

To that I’d add that it’s worth noting that the “influx” and “contemporary” parts are also closely tied to international artists. Our own CDM contributor will have a conversation with a fellow Romanian woman in the Bucharest scene for one link to that; I’ve also had conversations recently with a some Iranian artists about the situation for women making music there (and the resulting international scene as they travel), and … well, look down the list of countries below.

Moor Mother, the ground-breaking experimental project of Philadelphia’s Camae Ayewa, is one of many people deserving of first-wave headliner recognition – and now getting it.

We’ll have some interviews with artists shortly, so Moogfest’s lineup is your gain, wherever you are.

To watch the livestream:

You can watch from anywhere beginning at 12pm ET on Wednesday December 6 until 2pm ET on Friday December 8.
http://AlwaysOn.Live

Or watch here:

I’m also cross-posting to our CDM Facebook page.

The beginning is – starting very radical, in a nice way! Unfortunately, upstream bandwidth / encoding looks … very choppy. Hoping some of the artists sort that out better. (This is a real roadblock of livestreaming, but that’s a topic for another time.)

Livestream artists:

Admina
(Bucharest, Romania)
Adriana T
(Athens, GA, USA)
Alissa Derubeis
(Asheville, NC, USA)
Amy Knoles
(Valencia, CA, USA)
Ana Paula Santana
(Guadalajara, Mexico)
Andrea Alvarez
(Buenos Aires, Argentina)
Annie Hart
(Brooklyn, NY, USA)
Awaymsg
(Durham, NC, USA)
Aseul
(Seoul, South Korea)
Bells Roar
(Albany, NY, USA)
Caz9
(Dublin, Ireland)
Club Chai (8ULENTINA & FOOZOOL)
(Bay Area, CA, USA)
Despicable Zee
(Oxford, UK)
DJ Haram
(Philadelphia, PA, USA)
Dot
(Los Angeles, CA, USA)
Ela Minus
(Bogota, Columbia)
Elles
(London, UK, USA)
Emily Wells
(New York, NY, USA)
Fari B
(London, UK)
FOSIL
(Chile, Santiago)
Galcid
(Tokyo, Japan)
Jil Christensen
(Durham, NC, USA)
KALONICA NICX
(Bandung, Indonesia)
Kandere
(Melbourne, Australia)
Katie Gately
(Los Angeles, CA, USA)
Kim Ki O
(Istanbul, Turkey)
Lauren Flax
(New York, NY, USA)
Lilith Ai
(London, UK)
Lucy Cliche
(Sydney, Australia)
Lya “Drummer”
(London, UK)
Madame Gandhi
(New Delhi, India)
Mileece
(Los Angeles, CA, USA)
Moor Mother
(Philadelphia, PA, USA)
Nazira
(Almaty, Khazakhstan)
Nesa Azadikhah
(Tehran, Iran)
Nicola Kuperus
(Detroit, MI, USA)
Nonku Phiri
(Johannesburg, South Africa)
OG Lullabies
(Washington, DC, USA)
OTOMO X (Fay Milton & Ayse Hassan)
(London, UK)
PlayPlay
(Durham, NC, USA)
Pulpy Shilpy
(Pune, India)
SARANA
(Samarinda, East Borneo)
Sassy Black
(Los Angeles, CA, USA)
Stud1nt
(Asheville, NC, USA)
Sui Zhen
(Melbourne, Australia)
Suzanne Ciani & Layne
(Bolinas, CA, USA)
Suzi Analogue
(Miami, FL, USA)
Therese Workman
(New York, NY, USA)
Vessel Skirt
(Hobart, Tasmania)
Zensofly
(Durham, NC, USA)

Of course, even better than live streaming is – being there in person. (No buffering issues! Or… if there are, seek medical attention!)

Here’s the first-wave lineup announcement, including a couple of friends (and a couple of idols)!

Amber Mark
Annie Hart
Armen Ra
Aurora Halal
Bonaventure
Carla Dal Forno
CEP (Caroline Polachek)
Caterina Barbieri
DJ HARAM
Ellen Allien
Emily Sprague
Fatima Al Qadiri
Fawkes
Gavin Rayna Russom
Helen Money
Honey Dijon
Jamila Woods
Jenny Hval
Kaitlyn Aurelia Smith
Karyyn
Katie Gately
Kristin Kontrol
Kyoka
Lawrence Rothman
Madame Gandhi
Maliibu Miitch
Midori Takada
Nadia Sirota
Nicole Mitchell
Noncompliant
Pamelia Stickney
Sassy Black
Shanti Celeste
SOPHIE
Stud1nt
Umfang
Upper Glossa

The post Watch Moogfest kick off with epic 50-hour livestream, lineup – minus men appeared first on CDM Create Digital Music.

A New Norient Is in the Fabric

Delivered... norient | Events,Scene | Fri 1 Dec 2017 2:11 pm

We have decided to skip the next Musikfilm Festival in January 2018. But a lot of interesting work is going on in the background. Read here a short statement from the Norient editorial board about the cancelation (deutsche Version hier). The next festival edition will take place between January 10 and 13 2019. If you want to submit your film to the festival crew, you can already do that via email.

It was a tough decision. When our website crashed last year, we realised how fragile our system is. Norient is composed of a very small team, but is supplied and energized by a huge network of musicians, journalists, bloggers, filmmakers, artists and scholars from around the world.

In these turbulent times, the Norient crew want to strengthen our precious network and improve the quality of our work. We want to make space for innovation and creativity. And we want to continue looking for exciting music, sounds and noises around the globe. To be able to do that, we need time. Time for research, and time for exchange, from Durban to Karachi. If we want to survive into the future, we need to strengthen our basis.

These are the tasks we set ourselves for the coming months. We’re working on a new Norient, and we’re looking forward to presenting it to you in the course of the next year. Fresh and transformed, Norient will host the 9th Musikfilm Festival in January 2019. Save the date! January 10-13 2019.

You’ll be hearing from us. And you’ll see us again, in our new look and in our old location at Reitschule Kino in Bern. And probably also in Lausanne and St. Gallen. Let us know what you think! We’re looking forward to seing you soon!

Norient wird das Musikfilm Festival im Januar 2018 aussetzen. Dieser Entscheid ist uns nicht leicht gefallen. Der kurzzeitige Absturz unserer Webseite im vergangenen Jahr führte uns vor Augen, wie fragil unser System ist. Norient besteht aus einem sehr kleinen Team, wird aber aus einem riesigen Netzwerk von Musikern, Journalistinnen, Bloggern, Filmemacherinnen, Künstlern und Forscherinnen aus der ganzen Welt gespeist.

Das Norient-Team will sein wertvolles Netzwerk in diesen turbulenten Zeiten stärken und die Qualität seiner Arbeit erhalten – und vor allem auch verbessern. Wir wollen Innovation zulassen, Raum für Kreativität schaffen und weiterhin in der Lage sein, spannende Musik, Klänge und Lärm auf dem Globus aufzuspüren. Dazu braucht es Zeit für Recherche, Zeit für den direkten Austausch von Durban bis Karachi. Damit wir auch in der Zukunft bestehen können, müssen wir unser Fundament stärken.

Diesen Aufgaben werden wir uns in den nächsten Monaten widmen. Hinter den Kulissen arbeiten wir intensiv am neuen Norient, den wir euch im kommenden Jahr präsentieren wollen. Frisch und transformiert, wird Norient das 9. Musikfilm Festival im Januar 2019 souverän stemmen. Die Daten für eure Agenda: 10. bis 13. Januar 2019.

Ihr werdet also von uns hören, im neuen Kleid, an gewohnter Stelle, im Kino der Reitschule Bern und wahrscheinlich auch wieder in Lausanne und St. Gallen. Wir sind gespannt auf eure Reaktionen und freuen uns auf euch!

Check out some loving synth images and inspiration from Moscow

Delivered... Peter Kirn | Events,Scene | Fri 6 Oct 2017 4:13 pm

Even as rave culture faces new hurdles in Russia, nerd culture thrives. That was the feeling at August’s Synthposium in Moscow; here’s another look.

For an impressionistic feeling of the space station adoration of electronic sound production, here’s a montage shot inside the Expo, which somehow captures the milieu of the event and passion of its attendees.

Apart from space exploration, Russia has its roots in rigor both engineering and compositional, as nicely embodied by Synthposium artist Alex Pleninger. An interview (English subtitled) takes you inside his world, and an adeptness for machines then led him to the classic Buchla modular from … a Nintendo Game Boy. (Love that lofi camera.)

Lest you think Russia is all synth noodling, freestyling (seriously) was a lot of what I heard. Hip hop seems to be resurgent in the Russian capital. (Fight the powers that be?)

We also get fresh views of the gear.

Builder Vyacheslav Grigoriev was there representing VG-Line; here’s a look inside his workshop:

Vyacheslav Grigoriev, the founder of the VG-Line workshop and production, is Moscow’s chief man when it comes to repairing and modifying synthesizers. An expert in Soviet electronics, Vyacheslav is known for his modified and upgraded version of the cult RITM-2 synthesizer, as well as the TR-909-inspired desktop bass drum module, that goes far beyond the original. His workshop is a unique enterprise with a DIY attitude, that denies any corporate classification, where he repairs and manufactures synthesizers of different designs and basically lives. Grigoriev will join the Expo section and present his newly-engineered products at the Vintage Hall on August 26 and 27.

As we were wandering the expo floor, manufacturers were queued up to demo their gear in a convenient light box a series called Things had set up. Here’s a look at the (mostly) Russian entries – starting with VG-Line:

https://thngs.co/things/10267

The VG Line bass drum BD 9Q9. Totally analogue clone of legendary Roland TR-909 kick with wide range of settings, which original TR 909 doesn’t have — a switcher to extend decay and the pitch.

https://thngs.co/things/10257

https://thngs.co/things/10256

35 years after the release of the first model, the creator of Polivoks, Vladimir Kuzmin, decided to release an updated version, which already fell into the hands of many lucky people and, judging by the existing reviews, the legend has already returned. In the work on a modern embodiment, engineers Alex Pleninger and Alexey Taber took part. At the moment there are only 100 copies of the new Polivox and each of them is collected manually.

https://thngs.co/things/10279

You’ve seen Roland’s kit a lot lately, but for one international input, let’s add a Czech input – especially as Bastl’s Thyme just became available for preoder:

The Thyme is an effects processor that is best described as a sequenceable robot operated digital tape machine. With a lot of parameters at hand it enables the exploration of all the time based effects and the vast space in between their classical multi-effects categories (delay, phaser, reverb, chorus, pitch shifter, multi-tap delay, tape delay, tremolo, vibrato, compressor) and in stereo! Each of the 9 different parameters (Tape Speed, Delay Coarse & Fine, Feedback, Filter, extra heads Spacing and Levels, Dry Wet Mix and Volume) has a dedicated, very flexible modulation source – called the Robot – which can be phased out differently for left and right channel to create psychedelic new sound effects.

https://thngs.co/things/10260

and SoftPop, for that matter:

SoftPop is a playfully organic, semi-modular light and sound synthesizer with wide variety of sounds: from random dripping water pops to heavy subtractive basslines. Its fully analog core consisting of a heavily feedbacked system of dual triangle-core oscillators, state variable filter and sample and hold is played through an intuitive interface of 6 faders that provide countless combinations which can be explored by anyone.

https://thngs.co/things/10262

The Pribore MDP101 Baby connects to a computer or a phone via bluetooth, defined as a MIDI device. It has 2 assignable control knobs (Rotary Knob CC), 2 assignable keys (Button CC), 5 transport keys (Rewind, Stop, Play, Record, Loop), 1 angular acceleration sensor (accelerometer), for capturing emotions and expression (Motion Sensor), 1 battery for stand-alone operation, and a USB port for charging and connecting as a usb-midi device.

https://thngs.co/things/10263

From Playtronica came some of the more experimental, DIY / physical computing-tilted entries:

https://thngs.co/things/10205

Touch Me is a HCI device that turns human touch into music.
When the surface area or intensity of skin contact between two or more people changes Touch Me modifies sound output according to selected scale and tone parameters.

https://thngs.co/things/9879

And yes, for when you win the lottery / sell your startup / swap bodies with Trent Reznor or deadmau5 or Hans Zimmer (Freaky Friday!), it’s the Deckard’s Dream! That beats Blade Runner tickets:

The post Check out some loving synth images and inspiration from Moscow appeared first on CDM Create Digital Music.

The Future Sound of Pop Music

Delivered... norient | Events,Scene | Wed 27 Sep 2017 3:41 pm

The significance of individual sounds – their origins, their development, and their future – has until now rarely been an object of research in popular music. This symposium will discuss how the sound aesthetic of popular music has changed over the past decades. It will debate how sounds have been created, how they are employed, and how they are constantly being renewed and replaced by new sounds. The symposium will take place in Bern, Switzerland from November 30 to December 2, 2017. See conference homepage for more details here.

Symposium «The Future Sounds of Pop» 2017 – Poster Photo

The symposium will discuss the future of sounds in pop music by addressing the following questions:
– How are sounds modified, manipulated and transformed today?
– How will this be done in the future?
– What role do new interfaces and controllers play in the development of new sounds?
– What do current sound generators offer?
– What new sound generators might we expect in the future?
– How will pop music sound, 10 or 20 years from now?

Keynote Speakers

John Chowning (San Francisco)
Lippold Haken (Illinois)
Edmund Eagan (Ottawa)
Wayne Marshall (Boston)
Bruno Spoerri (Zurich)
Annie Goh (London)
Marie Thompson (Lincoln)
Katia Isakoff (London)

See abstracts and bios here.

Subject

Further papers have been chosen from call for abstracts in the following subject fields:

1. Technological Aspects
The development of new synthesis procedures, editors, controllers and management software for auditory events seems to have reached a point at which the possible fields of application in music have been optimised and are both highly developed and user-friendly. Music technologies are future-oriented, but also process and transform past accomplishments. We wish to determine what virtual settings can offer, both within DAW systems and outside them. More and more developers and users are turning to physical systems (especially modular systems) that offer a great degree of openness and haptic characteristics. We aim to discuss this field of development.

2. Socio-cultural Aspects
Innovations in music technology and the renewal and expansion of sounds have often taken place in experimental settings or through unconventional approaches adopted by those involved. We can often observe that new sounds develop in subcultures and are later adopted by the mainstream. What is the approach of those who develop, use and consume these sounds? What networks exist and emerge around the idea of a new sound? Do small teams of developers determine what happens? In what environments do sonic innovations occur? And what are the impact and significance of specific sounds in different social and cultural contexts?

3. Sound aesthetic Aspects
Innovative sounds that are used excessively in the mainstream for aesthetic or commercial reasons can divide the production and listening communities. Current preferences such as auto-tune, filtering, sidechain compression, stutter effects and bandstop effects are omnipresent but are not necessarily new, nor even genuine pop sounds. How are «new» sounds perceived and evaluated? How do individual sounds change the overall aesthetic of pop songs?

Programme

Thursday, November 30, 2017

12.00 Registration
13.00 Welcome

Panel 1 – Sounds I (Chair: Immanuel Brockhaus/Thomas Burkhalter)
13.15 Bruno Spoerri (Zurich)
Keynote: The Promised Land of New Sounds – Yesterday, Today and Tomorrow
14.00 Peter Kraut (Bern)
Sounds und Standards – ein schwieriges Verhältnis
14.30 Michael Harenberg/Daniel Weissberg (Bern)
Are sounds just sounds or are they Beethoven?

Panel 2 – Sounds II (Chair: Immanuel Brockhaus/Thomas Burkhalter)
15.30 Katia Isakoff (London)
Keynote: Creating a Musical Use for Electricity (A Romance Novel)
16.30 Robert Michler (Bern)
Erweiterte Soundästhetik der rhythmischen Elemente im Groove der Popmusik
17.00 Benoît Piccand/Jürgen Strauss/Gaël Martinet (Bern)
3D audio. Pop und Raum – vom Tonstudio bis in die Hosentasche

Friday, December 1, 2017

Panel 3 – Aesthetics (Chair: Anja Brunner)
9.30 John Chowning (San Francisco)
Keynote: FM Synthesis – Fifty Years
10.30 Heiko Wandler (Karlsruhe)
Der Einfluss der Synthesizer auf die Ästhetik der elektronischen Klubmusik
11.30 Christofer Jost (Freiburg/Basel)
Weite, Fülle, Präzision. Über die Klangästhetik des Gitarren-Delays und dessen Bedeutung in gegenwärtiger Popmusik
12.00 Christina M. Heinen (Oldenburg)
«Music of Black Holes and Sounds from Space». LIGO sonification and their Creative Side-Effects
12.30 Christophe Fellay (Sion/London)
Rhythm and Noise

Panel 4 – Technology (Chair: Immanuel Brockhaus/Thomas Burkhalter)
14:30 Jan Herbst (Bielefeld)
Old sounds with new technologies? Examining the creative potential of guitar «profiling» technology from a production perspective
15.00 Jack Davenport (Lancashire)
Playful Musical Interfaces. Introducing the «Sound of Colour»
15.30 Werner Jauk (Graz)
Forward Back … Sound-Gesture-Technologies. The Im-Mediate Bodily Shaping of Immaterial Sound & Sonic Pop-Culture
16.30 Fereydoun Pelarek (Sydney)
Sound Design Techniques of the Live Looping Performance Artist
17.00 Lippold Haken (Illinois) / Edmund Eagan (Ottawa)
Keynote: Finger Control of Timbre throughout Each Note. Challenges for New Controllers and New Sound Generators

20.00 Haken Continuum – Workshop Lippold Haken/Edmund Eagan
A New Paradigm for Timbre Control. Finger-Influenced Patching in the EaganMatrix

Saturday, December 2, 2017

Panel 5 – Philosophy & Sociology (Chair: Britta Sweers)
9.30 Wayne Marshall (Boston)
Keynote: From Breakbeats to Fruity Loops. Small Sounds and Scenes in the Age of the DAW
10.30 Robin James (Charlotte)
Novelty, Speculation, Wake. How Pop Music Conceives of «the Future» (1983–2017)
11.30 Georgi Georgiev (Berlin)
The Future of Techno
12.00 Marie Thompson (Lincoln)
Keynote: The (Feminized) Noise of Pop

Panel 6 – Reception & Sociology (Chair: Britta Sweers)
14.30 Hannes Liechti (Bern)
Rattling Chains and Cackling Chickens. Non-Musical Sampling in Experimental Electronic Pop
15.00 Holger Lund (Ravensburg)
The Master’s Master? Neue Soundästhetiken durch post-produktives Mastering und Vinylcut

Panel 7 – Virtuality (Chair: Immanuel Brockhaus/Thomas Burkhalter)
16.00 Annie Goh (London)
Keynote: Sounding Cyber*feminist Futures. Speculations on Sonic Unknowns
17.00 Ruben Brockhaus/Studygroup HTW Berlin (Berlin)
V-Age, Alterungsprozesse bei virtuellen Instrumenten
17.30 Marie-Kristin Meier (Berlin)
Immersion als ästhetische Strategie in Virtual Reality Experiences und elektronischer Musik

Organisation

Immanuel Brockhaus and Thomas Burkhalter, HKB (lead)
Assistants: Sabine Jud and Daniel Allenbach

This symposium is part of the HKB research project Cult Sounds (see Norient dossier here) of Immanuel Brockhaus and Thomas Burkhalter (Norient), which is supported by the Swiss National Science Foundation.

Partner

Chicago’s Knobcon is where gear makers converge to show their wares

Delivered... Peter Kirn | Events,Scene | Tue 22 Aug 2017 12:54 am

We’ve come full circle: the informal meetup seems to be eclipsing big trade shows. And for modular and boutique makers, KnobCon is now an American mainstay.

We saw Russia’s upcoming Synthposium. Moscow is as much music festival as it is gear conference. KnobCon in Chicago is mostly just gear – mentions of performances double as demos, and even the Friday party promises “gear-centric performances.”

With the ever-growing cadre of small modular makers in the USA, though, Chicago’s KnobCon is looking like the one place everyone will come together. A handful of bigger manufacturers (Roland, Yamaha, Elektron) join a mostly-boutique lineup – and Doepfer from Germany, who started the whole Eurorack thing.

Tom Oberheim, who’s gone from being historical legend to modern-day gear rockstar, will “headline” the event with a keynote. Maybe the most interesting feature is the Demo Derby. Sign up for dedicated time slots on a system, with the venue open to people bringing their own studio setups. (It’s a bit like a model train meetup – you can create any modular setup you like, in a defined area.)

Here’s the full lineup of gear makers:

1010music LLC
4ms Company
Amplified Parts
Art For The Ears
Arturia
Audioutlaw
Audulus LLC
Blue Lantern Modules
Catalyst Audio
Chase Bliss Audio
Conductive Labs
Copper Traces
Couture Voltage
Dave Smith Instruments
Delptronics
Detachment 3
Division 6
Doctor Synth’s World of ROMplers
DOEPFER Musikelektronik
Dwarfcraft Devices
Elektron
Elite Modular
Erogenous Tones
Etherealsun
Family Room Recordings
Five12 Inc
Future Retro
Great Lakes Modular
Grove Audio
Hammond
Industrial Music Electronics
Isla Instruments
JMLS – Logan Soloman Synth Research
Korg
KVgear
Landscape
Make Noise
Metalphoto of Cincinnati
Michigan Synth Works
Modular Addict
Mystic Circuits
Nerd Audio
Noise Engineering
Novation
omiindustriies
Rabid Elephant
Roland
Schlappi Engineering
SDIY Chicago
STG Soundlabs
Syinsi
Synth City
synthCube
Synthesis Technology
Synthrotek
SysEx Dumpster
Tascam
TipTop Audio
Universal Audio
VCV
Yamaha
Zetaohm
ZORX

More:
https://knobcon.com/

The post Chicago’s Knobcon is where gear makers converge to show their wares appeared first on CDM Create Digital Music.

In Moscow, a major convergence of synth makers and lovers

Delivered... Peter Kirn | Artists,Events,Scene | Tue 15 Aug 2017 3:20 pm

One of the year’s biggest events on the synthesizer calendar isn’t in the US or Germany or the UK. It’s an event called Synthposium, in Moscow next week.

And where better? The city is dotted with monuments to cosmonauts; the country gave birth to Theremin and Polivoks, to ANS and optical synthesis, and spun fantastic science fiction tales that inspired the invention of the laser and dreamed of futuristic utopias.

Now, a younger, post-Communist generation is taking up the task of generating new futuristic musical energies. They’re mixing an enthusiasm for the avant-garde of the past and its heroes with a the latest technologies, patching connections between their countries and the world.

Well, the world seems to be taking notice. Synthposium, a packed art festival cum expo/conference next week, balances Russia’s own industrious community of artists and builders with counterparts from around the world. Alongside Berlin’s SuperBooth and Anaheim’s NAMM show, it might just be one of the big events on this year’s calendar in adventurous music technology.

The annual event hits next week, 24-27 August, at WINZAVOD Contemporary Art Center and Moscow Film School.

East coast and west coast synthesis? Try Eastern Bloc. On the hardware side, you get makers like the reborn Polivoks, the former brand reborn as a coveted 21st century brand, one that retains its original character but can be breathed in the same sentence with Moog and Buchla. But you also get an introduction to other makes, like Sputnik Modular, SSSR Labs, or Latvia’s Erica Synths (which inherits some of Polivoks’ former Riga legacy). There’s America’s TipTop Audio, too, plus MDR.modular, VG-Line, L-1 Synthesizer, Pribore Electronics, DNGR:TECH, Svarog Audio, and Uoki-Toki. Experimentalists and educators Playtronica join in, too.

Engineer Roman Filippov of Sputnik Modular will premiere his “Deckard’s Dream,” a Blade Runner-esque 8-voice polyphonic analog synth. Talks and workshops from the likes of BBC’s Matthew Sweet and Robert Aiki Aubrey Lowe (Lichens) and former KORG analog maven Tatsuya Takahashi will add to the discussion.

There are also a whole lot of artists, mixing local and international personalities. The lineup looks like headliners from a major electronic festival, if that electronic festival were, well, sort of hyper-nerdy. Ulrich Schnauss and Thomas P. Heckmann join Max Cooper and Richard Devine and many others. (Yes, that also includes me – and of course expect plenty of CDM coverage of the event.)

See the full list below, plus some images of what’s coming.

Music — Expo — Conference — Interactive — Art — Festival
Tickets — https://goo.gl/0aLc9M

Line-up:

101 — LT
Alden Tyrell — NL
Ave Eva aka Ghostape — CH
Barker — DE
Baseck — US
Biodread — FIN
Conforce — NL
Denis Kaznacheev & Fake Electronics — RU/DE
Denny Kay — UK
Ekke Västrik — EST
Frank Muller aka Beroshima — DE
Felix K — DE
Interval — US
Jacek Sienkiewicz — PL
Kadaver — CZ
Karsten Pflum — DK
Konakov — UA
London Modular — UK
Max Cooper — UK
Mehmet Aslan — CH
Morgan Fisher — JP/UK
Morphology — FIN
Mustelide — BLR
Opuswerk — CH
OGJ — CZ
Peter Kirn — DE
Plast — CZ
PRCDRL aka Procedural — DE
Richard Devine — US
Richard Fearless of Death in Vegas — UK
Robert Aiki Aubrey Lowe — US
Solar X — UK
Synxron — UA
Taeji Sawai — JP
Thomas P Heckmann — DE
Throwing Shade — UK
Todd Sines — US
Ulrich Schnauss — DE
Vertical Silence — US

Abjective
ADIL
Alex Pleninger
Alexander Ivanov
Alexey Yepishev
Algo
Ambidextrous
Amnfx
Analog Sound
Andrei Orlov
Anton Lanski
Art Crime
Artemiy
Bad Zu
Black Lenin
BMB Spacekid
Boorane aka Boora & Krane
Boris Belenki aka C-Rob
Caprithy
Celebrine
Chizh
Compass-Vrubell
Corell
Dasha Redkina
DBaldokhin
Defaultman
Dessin & Peterkan
dHET
Dmitri Mazurov
Dyad and the Sleepers Club
DZA
Egor Sukharev aka Khz
Eldar
Eye Que
Estafet
Fedor Vetkalov
Fizzarum
Fung Bui Lao
Gamayun
Gestalt
Grisha Nelyubin
HMOT
Hombao
Honealome
Id303 & FMSAO
Igor Starshinov
Iiilljj
Indeepend
Interchain
Jekka
Karina Ratiani
Karolina Bnv
Kovyazin D
Kubrakov
Kurvenschreiber
Laiva
Lapti
Lazyfish
Leafage
Linja
Lubish
Magnetic Poetry
Maria Teriaeva
Maksim Panfilov
Meow Moon
Midimode aka MDMD
Misha Alexeev
Mr. Pepper
Nairi Simonian
Nevospitanii
Nord City
Normality Restored
Odopt
OID
OL
OTRO
Operator Uno
Perfect Human
Phayah
Pinkshinyultrablast
Places and Stuff
Playtronica
Prisheletz
PTU
Rewired
Redeuce
Rhizome aka Nikita Zabelin
Roma Zuckerman
Roman Filippov aka Filq
Rozet
Saburov
Sasha Prana
SCSI-9
Secrets of the Third Planet
Sestrica
Shadowax aka Ishome
Sickdisco aka Cross
Sil
Sirius C
Slow Life Program
Sofist
Suokas
Symphocat
Timur Omar
Tripmastaz
Unbalance
Unbroken Dub
Valya Kan
Vanya Limb
Vlad Dobrovolski
Vladislav Interesniy
Vtgnike
Wolfstream
Yu

Expo — music tech interactive exhibition and showcase:

ПРИБОР
Alex Nadzharov
Alexey Taber
AllforDJ
ASD — Analog Sound Devices
Bastl Instruments — CZ
Compositor Software
Deckard’s Dream
DNGR:TECH
Erica Synths — LV
Eternal Engine EMI
Eugene Yakshin
Evgeny Yakshin
ezhi&aka
Gieskes — NL
Igor Varshavets
Keen Association Moscow
L-1 Synthesizer — BLR
Leonid Vasilyev
Logich Synth Service
MDR.modular
Motovilo Audio Lab
Peter Kirn
Pioneer DJ
Playtronica
Polivoks
Popobawa Sound
Pribore Electronics
Roland
SOMA Laboratory
Sputnik Modular
SSSR Labs
Steampunk WSG synth
Stone Voices
Sur Modular
Svarog Audio
Synthfox
Synthman
SYNTHMECHANIC
Synthstrom Audible — NZ
Uoki-Toki
VG Line
Zll Modular
Zvukofor Sound Labs

On Air — lectures, workshops, public talks, various educational events:

Alex Pleninger
Alexander Grigoriev (Pribore Electronics)
Alexander Serechenko (Solo Operator)
Andrey Orlov
Andrey Smirnov
Baseck
Beroshima (Frank Muller)
Biodred
Danila Plee
Dmitry Churikov
Dmitry Morozov (::vtol::)
Ekke Västrik
Gijs Gieskes
Gleb Glonti
Ildar Yakubov
London Modular
Matthew Sweet
Maxim Zaharchenko (Svarog Audio)
Misha Alekseev
Morphology
Nick Zavriev (Ambidextrous)
Oleg Makarov
Opuswerk
Peter Kirn
Philipp Alexandrov (Bad Zu)
Richard Devine
Richard Fearless
Robert Aiki Aubrey Lowe
Roman Filippov
Sergey Kasich
SILA SVETA
Stain
Stanislav Charifoulline (HMOT)
Taeji Sawai
Tatsuya Takahashi
Thomas P Heckmann
Ulrich Schnauss
Vadim Epstein
Valentin Zvukofor Victorovich (Zvukofor Sound Labs)
Vladimir Kuzmin

Art — installations, a/v performances & experiments, objects:

√1
Abram Rebrov
Alexey Rudenko aka arhew0
Anastasya Alekhina
Andrey Guryanov
Ekaterina Danilova
Formic Acid
Ildar Yakubov
Galina Leonova
Grigoriev Misha
Misak Samokatyan
Noa Ivanova
Pasha Seldemirov
Stain
Vahram Akimyan — ARM
XYZ

Venues:

Winzavod Contemporary Art Center
Moscow Film School
— more TBA

Initiative – Main In Main

https://synthposium.ru/ [in Russian]

Facebook event

The post In Moscow, a major convergence of synth makers and lovers appeared first on CDM Create Digital Music.

Radical electronics on a grand scale: Berlin Atonal in its fifth reboot year

Delivered... Peter Kirn | Artists,Events,Scene | Thu 10 Aug 2017 2:22 pm

Berlin’s idea of a summer holiday is a bit different: shroud yourself in black, retreat into a giant concrete bunker, and prepare for an onslaught of experimental sound and light.

But that’s Berlin Atonal Festival in a nutshell. It’s what Tresor entrepreneur Dimitri Hegemann calls “a platform for radical ways in electronic music … in an industrial cathedral,” a packed-solid schedule of music and media art in the hulking abandoned shell of the power plant above the techno club.

This film affords probably the best insight into that

And now, Atonal is at an interesting inflection point. While the festival had its roots in the former West Berlin, 1982-90, it got a fairly significant reboot after a 13-year hiatus. So, sure, Hegemann himself carried over from the festival he first started. But a new curatorial team, a new context, this whole, uh, computer thing that happened, the reunification of Germany, the transformation of Berlin into international capital, the explosion of techno – these are non-trivial changes. That’s to say nothing of the move from a fairly conventional club (SO36) to a DDR-constructed behemoth that is literally used to record reverb impulse responses.

And the festival that once hosted the likes of Einstürzende Neubauten now treats listeners to a brand of experimental music that, while still adventurous, is starting to become commonplace in the festival circuit.

But maybe that’s the state of “radical” electronic music in general, certainly in Europe and the islands of media art chic around the globe. A fifth year festival isn’t going to be a shock that the first-year one is. But more than that, there’s a brand of violently sensory, retina- and eardrum-blasting but intelligent and high-concept experimental festival fare. And it’s grown popular. That popularity also transforms at least a circle of people making it. Their sound may be distorted and aggressive, but now it’s out of the tiny basements and blown-out crap PAs, and onto expensive speaker arrays, surround sound. There are sound technicians, even.

I’m of the opinion this doesn’t make experimental sound less experimental – on the contrary, it ups the acoustic and optical firepower and precision available to artists, which gives them a wider spectrum to exploit. It inarguably makes it less underground, but it also need not destroy underground aesthetics – and I think artists being able to eat is a good thing.

Of course, the future is already here, it’s just not very evenly distributed yet. So I’ve watched curators cherry-pick their favorite acts from past Atonal, then import them to their own festival the following year. But that’s in something of a bubble, centering around Berlin (and London, and Amsterdam, and other capitals) in Europe, and festivals like MUTEK in the Americas (now a kind of pan-American festival franchise, in fact). It’s to the point where I can’t recall which festival discovered whom.

That consistency is easy to criticize, particularly for anyone jealous of Atonal’s grand spectacle (as a curator), cool crowds (as an audience member), or artist opportunities (for music and media art makers). But on the other hand, for this circle, it can begin to allow refinement. Audiovisual works in particular benefit from repetition and iteration, as you rely on multiple media to mature in parallel, collaborations to deepen. And a certain oneupmanship among lineups can drive artists to hone their craft.

This leaves us the question, what makes Atonal special?

Well, the obvious edge is its space. The artists interviewed aren’t kidding: you can’t imagine how big Kraftwerk is until you enter. It’s bigger than cameras can capture, vaster than words can convey. The Atonal organizers have found a way to tune the experience for listeners center stage, amazingly stopping it from turning into mud. And artists are adjusting their sets, too. But I agree with Sam Kerridge – it’s a unique pleasure to wander the space. Festivals are so often a pre-packaged, linear experience, a proscenium blasting a pre-determined significance to a packed crowd. In Kraftwerk, you can explore a set the way you would an art museum after closing. You can stand under the stage. You can find a sweet spot by a wall where reflections transform your perspective. You can find yourself gazing in complete stillness at some installation. And Atonal combines this with Ohm (the former battery room of the power plant, an intimate tile-walled affair) and Tresor (the basement, with its famous metal-bar booth).

That says something about Berlin as it is now, citywide, year-round. It’s too much music, and it’s dark and industrial and sometimes monotonous. But you’re free in that overabundance to chart your own way, to come and go in a music culture that seems to have no beginning, middle, or end.

Photo: Helge Mundt.

And this year, Atonal seems poised to build on what the festival has constructed after four editions. In short:

Back to experimental music’s roots. I always have a historical bias, so this is what I’m excited about. For both Atonal and The Long Now (two Kraftwerk-based festivals sharing some of the same curators), attendees are treated to a mix of historical concert music / new music / historical works and new commissions. In this year’s Atonal, it’s Stockhausen‘s turn. His 8-channel spatial OKTOPHONIE is inspired by the sounds of warfare (a tradition itself with threads back to Italian futurists). Stockhausen collaborator and director of the Stockhausen Foundation for Music, Kathinka Pasveer, leads that recreation, and younger composers will try out the system, too.

Rashad Becker + Ena on those eight channels should be especially good. But it’s nice to be treated to Karlheinz, too – having heard Cage and Reich recalled in this space, I can’t wait.

New stuff. There’s too much here to mention, but it’s fair to say this year’s Atonal promises more emerging artists and premieres, and might be one of the breakthrough festivals in 2017 generally. I’m curious about the “composed live act” of Chinese performance artist and composer Pan Daijing, the collaboration of Renick Bell (live coder) and Fis (sound designer). Sophie Schnell (PYUR) I’ve followed since her first AV show, and she has a unique and sensitive approach to her solo audiovisual work – this seems one to watch. Turkish-born Nene Hatun has a Rumi-inspired work.

I’m keen to see LCC (Ana Quiroga and Uge Pañeda) plus Pedro Maia; these Editions Mego-recorded artists are at the top of their synth game, and it’ll be spectacular to see them on this grander scale.

One sure-to-be-poingnant moment is Argentine-born installation artist, instrument builder and clarinetist Lucio Capace, who will have a trio doing a remembrance of the late experimental legend Mika Vainio.

There are also just a lot of new live shows. There’s a reason curators scout out Atonal for talent; there are few chances to see this many new AV works anywhere. (Another chance this fall will be Prague’s Lunch Meat; I’ll be there, too.)

Another easy bet: go see anyone Japanese. Thanks to collaborating with the New Assembly festival in Tokyo, Atonal is fresh with a bunch of legendary Japanese talent not normally seen in Europe. (I’d like CDM in general to get a little closer to the Japanese scene, and since I can’t always jet over to Japan, this will be a nice shortcut.)

All stars. Okay, and there’s more Puce Mary, more Roly Porter, more Shackleton, more Emptyset, etc. etc.. But with new premieres and such from these artists, there’s a reason to bring the all-star quasi-residents back. Some possible highlights – the combination of Shackleton’s music, Anika‘s voice over, Berlin artist Strawalde, and live visualist Pedro Maia is on my must-see list – partly because that combination sounds like it’ll either be transcendent or a cluttered mess, and that uncertainty ought to be why we go see stuff. Emptyset is doing something with architecture – and architecture is what Kraftwerk is about.

We’re Northern Electronics fans around these parts, so a program by the label’s Jonas Rönnberg aka Varg is a must on Sunday.

I’m skipping the DJ lineup, but it’s also really robust.

Photo: Helge Mundt.

Some free sounds

Can’t fly to Berlin? (or, uh, walk across the river as you don’t work for Ableton or Native Instruments?) Fret not.

The Wire has a special, free download of a number of wonderful live recordings from 2014, 2015, and 2016.

And, okay, basically these are all favorites here – note Peder Mannerfelt, PYUR, Ena, and so on returning in 2017.

It’s their Below The Radar Special Edition

Alessandro Cortini “Perdonare” 0:04:56
A Vision Of Love “Rose Transept” 0:06:49
Marshstepper “When Misfortune Confounds Us” 0:10:23
Felix K + Ena “Live At Berlin Atonal 2016” 0:03:55
Pan Daijing + JASSS “April” 0:05:23
Abdulla Rashim “Live At Berlin Atonal 2014” 0:04:49
SUMS “Budapest” 0:04:52
Peder Mannerfelt “The Theory” 0:04:41
Orphx + JK Flesh “Light Bringer” 0:04:42
Caterina Barbieri “Human Developers” 0:12:41
PYUR + Fis “The Pact”


Below The Radar Special Edition: Berlin Atonal: Force Majeure

https://berlin-atonal.com/

The post Radical electronics on a grand scale: Berlin Atonal in its fifth reboot year appeared first on CDM Create Digital Music.

Norient im Appenzeller Moor

Delivered... norient | Events,Scene | Wed 26 Jul 2017 9:51 pm

Am Festival Klang – Moor – Schopfe (1. bis 10. September 2017) bespielen nationale und internationale Kunstschaffende, Soundtüftler und Tonkünstlerinnen alte Scheunen in der Moor-Landschaft um Gais im Appenzell. Norient ist mit Workshops, Paneldiskussionen, einem Konzert und einer Soundinstallation in einem alten Schiesstand zu Gast.

Installation: «Theatre of War»
01. bis 10. September, Schiesstand Gais. Vernissage: 31. August, 18:00 h

Als Kontrastierung zur idyllischen Natur bespielt Norient den Schiessstand gleich neben dem Schützenhaus mit Podcasts und Soundart, in der Musiker und Klangkünstlerinnen Krieg und Gewehrschüsse thematisieren oder musikalisch verarbeiten.

Präsentation aller Installationen: www.klangmoorschopfe.ch

Hinweisschild im Haus des Sportschützenvereins Gais

Konzert: Alpine Dub trifft auf Outernational Jamaican Legend
02. September, 19.00 h, Piccolo Arsenale Gais

Dubokaj / Daniel Jakob spielt Eigenkompositionen als präparierte Stücke in Einzelspuren, die live dekonstruiert, geremixt, verformt und neu interpretiert werden. Für den Auftritt im Hochmoor arbeitet
 er mit Aufnahmen aus einer vor- gängig eigens dafür aufgezeichneten Session mit Lee Scratch Perry, dem Inventor of Dub Music und bezieht Live-Aufnahmen aus dem Hochmoor mit ein.

Norient-Artikel über Dubokaj: Sampling Stories Vol. 8: Dubokaj
Artikel über Lee Scratch Perry im Tagesanzeiger: Der verrückteste Schwyzer

Das ganze Rahmenprogramm von Klang – Moor – Schopfe: hier.

Debatte: Swissness in der Musik: Muss das wirklich sein?
02. September, 17.30 h, Piccolo Arsenale Gais

In der «Weltmusik» geben oft Musikstile den Ton an, die wir geografisch verorten können – Musik aus Indien zum Beispiel wollen wir anhand des Sitar-Klanges zu erkennen wissen. Drehen wir den Spiess mal um und schauen auf das «Eigene»: Gibt es überhaupt so etwas wie einen «Schweizer Klang»? Wann ist der künstlerisch interessant, wann wird er touristisch? Und was haben wir davon?

Gäste:

Noldi Alder, Musiker

Barbara Canepa, ProHelvetia Abteilung Jazz
Johannes Rühl, Künstlerischer Leiter Festival «Alpentöne» und Musikethnologe

Moderation:

Theresa Beyer, Norient

Workshop: Armoniapolis
03. September, 11.00 h und Mo 04. September, 14.00 h, Piccolo Arsenale Gais

In unserem Alltag sind wir von einer Vielzahl von Klängen umgeben. Um vom passiven zum aktiven Hörer zu werden, brauchen wir aber keine technischen Mittel, sondern nur den richtigen Fokus. Armoniapolis ist eine Kompositionstechnik, mit der so ein Fokus geschaffen werden kann. Auf der interaktiven Weltkarte www.armoniapolis.com sind Höranregungen für Orte wie Dubai, Belgrad, Kopenhagen und Mexiko City verzeichnet, die zum bewussten Hören und kreativen Umgang mit Klängen einladen – nicht indem man sie aufnimmt, sampelt oder bearbeitet, sondern allein indem man imaginär mit ihnen spielt oder komponiert. Im Workshop kreieren die Teilnehmenden eine eigene Höranregung für das Hochmoor Gais.

Leiterin:

Svetlana Maraš (Belgrad)

Sprache:
Englisch mit Übersetzung

Artikel über 
Svetlana Maraš auf Norient:
Norient Release: «Matter of Fact» by Svetlana Maraš
Glichty Sounds Under the Microscope

Workshop: Musikethnologie des Alltags: Stadt Land Klang
03. September, 14.00 bis 18.00 h, Piccolo Arsenale Gais

Teil 1
: 14.00 bis 15.30 h

Menschen und ihre Musik verstehen
In der Musikethnologie ist die so genannte «Feldforschung» unabdingbar: Musik aufspüren, Gespräche führen und natürlich viel Hören. Die Musikethnologin Christine Dettmann macht mit den Workshopteilnehmenden einen kleinen Selbstversuch und fragt anhand von Videobeispielen ihrer Forschung in Angola: Wieviel kann man über ein Interview überhaupt erfahren? Wie geht man mit kulturbedingten Bedeutungen und mit Missverständnissen um? Und was bringen uns diese Erkenntnisse für den alltäglichen Umgang mit Musik?

Teil 2
: 16.00 bis 18.00 h
Soundscape-Spaziergang durch das Hochmoor Gais
Die Forschung hat längst erkannt, dass uns die Welt nicht nur in Farben erscheint, sondern sich auch klingend offenbart. Ein interaktiver Hörspaziergang im Hochmoor Gais mit dem Klangforscher Andrin Uetz und der Künstlerin Winnie Lau aus Hong Kong schärft die Sinne der Workshopteilnehmenden und fragt: Hören Menschen aus Grossstädten anders? Wie stark ist unsere Wahrnehmung kulturell (vor) geprägt? Und wie können wir über die Geräusche, die uns umgeben, die Welt deuten?

Leitende:
Prof. Dr. Christine Dettmann (München)
Andrin Uetz (Basel)

Winnie Lau (Hong Kong)

Debatte: Musikforschung: Raus aus dem Elfenbeinturm
09. September, 17.30 h, Piccolo Arsenale Gais

Forschung passiert oft hinter verschlossenen Institutstüren, bedient sich einer komplizierten Sprache und publiziert für wenige ExpertInnen, so das Klischee. Stimmt das? Und können journalistische Ansätze und digitale Blogkultur helfen, die Erkenntnisse der Musikforschung einem breiteren Publikum zugänglich zu machen? Oder geht gute Forschung gar nicht ohne Rückzugsort?

Gäste:
Wolfgang Böhler, Musikjournalist und Gründer des Blogs codexflores.ch
Dr. Helena Simonett, Musikethnologin, Wissenschaftliche Mitarbeiterin Hochschule Luzern

Hanna Wick, Wissenschaftsjournalistin Schweizer Fernsehen SRF1, Sendung «Einstein»

Moderation:

Theresa Beyer, Norient

Die Workshops und Debatten sind gratis.

Ort:
Piccolo Arsenale (in der Schiessanlage Brunnenau 430, Gais)
2 Gehminuten vom Bahnhof Schaken

Der Flyer zum Panel- und Workshopprogramm als PDF.

Die Workshops und Debatten finden im Rahmen des vom Schweizer Nationalfonds geförderten Agora-Projekts «Communicating Music Research» (Norient / Seminar für Kulturwissenschaft und Europäische Ethnologie Universität Basel) statt.

Norient im Appenzeller Moor

Delivered... norient | Events,Scene | Wed 26 Jul 2017 9:51 pm

Am Festival Klang – Moor – Schopfe (1. bis 10. September 2017) bespielen nationale und internationale Kunstschaffende, Soundtüftler und Tonkünstlerinnen alte Scheunen in der Moor-Landschaft um Gais im Appenzell. Norient ist mit Workshops, Paneldiskussionen, einem Konzert und einer Soundinstallation in einem alten Schiesstand zu Gast.

Installation: «Theatre of War»
01. bis 10. September, Schiesstand Gais. Vernissage: 31. August, 18:00 h

Als Kontrastierung zur idyllischen Natur bespielt Norient den Schiessstand gleich neben dem Schützenhaus mit Podcasts und Soundart, in der Musiker und Klangkünstlerinnen Krieg und Gewehrschüsse thematisieren oder musikalisch verarbeiten.

Präsentation aller Installationen: www.klangmoorschopfe.ch

Hinweisschild im Haus des Sportschützenvereins Gais

Konzert: Alpine Dub trifft auf Outernational Jamaican Legend
02. September, 19.00 h, Piccolo Arsenale Gais

Dubokaj / Daniel Jakob spielt Eigenkompositionen als präparierte Stücke in Einzelspuren, die live dekonstruiert, geremixt, verformt und neu interpretiert werden. Für den Auftritt im Hochmoor arbeitet
 er mit Aufnahmen aus einer vor- gängig eigens dafür aufgezeichneten Session mit Lee Scratch Perry, dem Inventor of Dub Music und bezieht Live-Aufnahmen aus dem Hochmoor mit ein.

Norient-Artikel über Dubokaj: Sampling Stories Vol. 8: Dubokaj
Artikel über Lee Scratch Perry im Tagesanzeiger: Der verrückteste Schwyzer

Das ganze Rahmenprogramm von Klang – Moor – Schopfe: hier.

Debatte: Swissness in der Musik: Muss das wirklich sein?
02. September, 17.30 h, Piccolo Arsenale Gais

In der «Weltmusik» geben oft Musikstile den Ton an, die wir geografisch verorten können – Musik aus Indien zum Beispiel wollen wir anhand des Sitar-Klanges zu erkennen wissen. Drehen wir den Spiess mal um und schauen auf das «Eigene»: Gibt es überhaupt so etwas wie einen «Schweizer Klang»? Wann ist der künstlerisch interessant, wann wird er touristisch? Und was haben wir davon?

Gäste:

Noldi Alder, Musiker

Barbara Canepa, ProHelvetia Abteilung Jazz
Johannes Rühl, Künstlerischer Leiter Festival «Alpentöne» und Musikethnologe

Moderation:

Theresa Beyer, Norient

Workshop: Armoniapolis
03. September, 11.00 h und Mo 04. September, 14.00 h, Piccolo Arsenale Gais

In unserem Alltag sind wir von einer Vielzahl von Klängen umgeben. Um vom passiven zum aktiven Hörer zu werden, brauchen wir aber keine technischen Mittel, sondern nur den richtigen Fokus. Armoniapolis ist eine Kompositionstechnik, mit der so ein Fokus geschaffen werden kann. Auf der interaktiven Weltkarte www.armoniapolis.com sind Höranregungen für Orte wie Dubai, Belgrad, Kopenhagen und Mexiko City verzeichnet, die zum bewussten Hören und kreativen Umgang mit Klängen einladen – nicht indem man sie aufnimmt, sampelt oder bearbeitet, sondern allein indem man imaginär mit ihnen spielt oder komponiert. Im Workshop kreieren die Teilnehmenden eine eigene Höranregung für das Hochmoor Gais.

Leiterin:

Svetlana Maraš (Belgrad)

Sprache:
Englisch mit Übersetzung

Artikel über 
Svetlana Maraš auf Norient:
Norient Release: «Matter of Fact» by Svetlana Maraš
Glichty Sounds Under the Microscope

Workshop: Musikethnologie des Alltags: Stadt Land Klang
03. September, 14.00 bis 18.00 h, Piccolo Arsenale Gais

Teil 1
: 14.00 bis 15.30 h

Menschen und ihre Musik verstehen
In der Musikethnologie ist die so genannte «Feldforschung» unabdingbar: Musik aufspüren, Gespräche führen und natürlich viel Hören. Die Musikethnologin Christine Dettmann macht mit den Workshopteilnehmenden einen kleinen Selbstversuch und fragt anhand von Videobeispielen ihrer Forschung in Angola: Wieviel kann man über ein Interview überhaupt erfahren? Wie geht man mit kulturbedingten Bedeutungen und mit Missverständnissen um? Und was bringen uns diese Erkenntnisse für den alltäglichen Umgang mit Musik?

Teil 2
: 16.00 bis 18.00 h
Soundscape-Spaziergang durch das Hochmoor Gais
Die Forschung hat längst erkannt, dass uns die Welt nicht nur in Farben erscheint, sondern sich auch klingend offenbart. Ein interaktiver Hörspaziergang im Hochmoor Gais mit dem Klangforscher Andrin Uetz und der Künstlerin Winnie Lau aus Hong Kong schärft die Sinne der Workshopteilnehmenden und fragt: Hören Menschen aus Grossstädten anders? Wie stark ist unsere Wahrnehmung kulturell (vor) geprägt? Und wie können wir über die Geräusche, die uns umgeben, die Welt deuten?

Leitende:
Prof. Dr. Christine Dettmann (München)
Andrin Uetz (Basel)

Winnie Lau (Hong Kong)

Debatte: Musikforschung: Raus aus dem Elfenbeinturm
09. September, 17.30 h, Piccolo Arsenale Gais

Forschung passiert oft hinter verschlossenen Institutstüren, bedient sich einer komplizierten Sprache und publiziert für wenige ExpertInnen, so das Klischee. Stimmt das? Und können journalistische Ansätze und digitale Blogkultur helfen, die Erkenntnisse der Musikforschung einem breiteren Publikum zugänglich zu machen? Oder geht gute Forschung gar nicht ohne Rückzugsort?

Gäste:
Wolfgang Böhler, Musikjournalist und Gründer des Blogs codexflores.ch
Dr. Helena Simonett, Musikethnologin, Wissenschaftliche Mitarbeiterin Hochschule Luzern

Hanna Wick, Wissenschaftsjournalistin Schweizer Fernsehen SRF1, Sendung «Einstein»

Moderation:

Theresa Beyer, Norient

Die Workshops und Debatten sind gratis.

Ort:
Piccolo Arsenale (in der Schiessanlage Brunnenau 430, Gais)
2 Gehminuten vom Bahnhof Schaken

Der Flyer zum Panel- und Workshopprogramm als PDF.

Die Workshops und Debatten finden im Rahmen des vom Schweizer Nationalfonds geförderten Agora-Projekts «Communicating Music Research» (Norient / Seminar für Kulturwissenschaft und Europäische Ethnologie Universität Basel) statt.

Go gear crazy with the best synth gear unveiled at Superbooth

Delivered... Peter Kirn | Events,Scene | Mon 24 Apr 2017 9:09 pm

In just its second edition, Schneidersladen has turned the Superbooth into the world’s coolest synth gathering and most focused electronic music gear get-together. The Berlin-based event attracted a who’s who of international music gear makers, from modular to desktop, tiny to huge.

So that led to the inevitable question: “what have you seen? What’s cool?” Sometimes you got to that topic before, like, “hello, how are you?”

Well, while there was a litany of great new stuff, particularly (unsurprisingly) in the modular sphere, here are the prototypes and gear launches that I think represent the best of the best.

We’ll have follow-ups in the coming days, including some interviews and high-quality gear audio samples. But these stood out – both for me and for other folks I talked to. (Oh, and if I missed you, just get in touch or leave a comment! And, uh, next time, put a Soyuz capsule next to your booth and I probably will get attracted to it like a bee to honey.)

monostation

That's how to do advance press - Sound on Sound reprints were available alongside the Peak. Then again, most people focused on ... playing with Peak, and doing their own review.

That’s how to do advance press – Sound on Sound reprints were available alongside the Peak. Then again, most people focused on … playing with Peak, and doing their own review.

Novation. Superbooth is still about boutique makers and tiny shops, but credit is due to some of the bigger players. Novation’s entire engineering teams were on hand to show off their latest two synths, the Circuit Mono Station and Peak. And these instruments were terrific hits, appreciated by fellow engineers and musicians alike. The big test: people couldn’t get enough of playing Peak. That’s a good reminder that the synth market will never become just a commodity: these are instruments. You have to fall in love with them.

bastldemo

They're just prototypes, but these handy widgets Bastl had scattered over their booth look really promising, too.

They’re just prototypes, but these handy widgets Bastl had scattered over their booth look really promising, too.

Bastl coffee, your editor's single favorite product of the show. (Junkie.)

Bastl coffee, your editor’s single favorite product of the show. (Junkie.)

Bastl Instruments. Novation might have “won” Superbooth, were it not that they were right next to the plucky Czech wizards of Bastl. And this booth had everything. Not only were two of the biggest products of the show there (the softPop synth and Thyme effects processor), but Bastl’s corner was bestrewn with other great ideas. There were tiny mono mixers (Dude). There was a project to work with a friend to roast sustainable coffee, partnering directly with farmers in Colombia. (The roaster is set to travel to Latin America to work side by side with said farmers. Thanks, Bastl, for keeping me awake by brewing this.) There was a lovely glossy zine full of essays and crisp black and white photos and, in Bastl’s words, “Eastern European broken English.” There were cassette tapes. There were performances with drum triggers hooked up to a modular. And there were even literally ideas sprinkled over the booth, in the form of LEGO-like widgets for combining signals and adding patch points. Bastl just seem to be endlessly overflowing with ideas, and they keep shipping them.

I’ll cover softPop separately, in that I think it’s so great. Here’s a video of it in action, triggering a light.

Crazy new stuff from @bastlinstruments and @casperelectronics at #superbooth

A post shared by CDM (@cdmblogs) on

digitakt

Elektron Digitakt. Elektron made a strong showing in 2017, both hosting a massive blowout concert/party at the Funkhaus Friday night, and showing the one bit of kit absolutely everyone wanted to get their hands on. Their new Digitakt sampler/drum machine was probably the single hardest bit of gear to demo, out of sheer force of popularity.

But the hardware looks and feels and sounds terrific – and crucially, it looks like they’ve totally nailed workflow. The key here is, no more menu diving – everything is quick and accessible. Can’t wait to review this one. It seems poised to become the dominant drum machine hardware out there.

Also, the other good news on Digitakt is that external sequencing features look significant. That could make this not only a great standalone machine, but a live performance hub / computer replacement.

Jomox have their own new drum machine. Okay, so the Digitakt is great, and a beautiful mainstream device. But does it have any more eccentric competition? Yes. Yes, it does.

JoMoX may not be a known name outside of enthusiast circles, but this Berlin-based drum machine maker has been the secret sauce of techno specialists for years. And finally, there’s a new hybrid analog drum machine. Is it going to appeal to everyone? No. Is it decidedly old-fashioned in some of its design decisions? Yes. But JoMoX has a sound and performance features that other drum machines can only dream of. It’s like buying an Italian sports car – it may not be as purely practical as something else, but that doesn’t matter once you’ve fallen in love with this. Creator Jürgen Michaelis is a genius, as far as I’m concerned, so we’ll have to take a look at this. It’s too soon to judge just yet, but it could finally be a worthy successor to the legendary XBase 09. (“Legendary what?” Trust me on this. Or just watch the video above.)

dominionclub

MFB have made a compact Dominion. This might just be the sleeper hit of the show for synth lovers. While Behringer was crowing about making synths on a budget, Berlin boutique shop MFB actually promised to pack loads of synth functionality on the lavish, powerful Dominion into a tiny case – and project a price for around $500. Whoa. It’s as idiosyncratic as MFB normally are, with tiny controls and lots of hidden features. But that’s part of why we love them, and at this price, with insane amounts of modulation, they may have a hit.

Also quietly announced at Superbooth, MFB’s little-known Nanozwerk synth is now in Eurorack form. Its simple, clear architecture is actually perfectly suited to that market – I could see it forming the bread-and-butter basis of someone’s modular rig.

eloquencer

eloquencer_closeup2

Eloquencer. I think this is my favorite module of the whole show. Coming from designers in Barcelona, it’s termed a “controlled chance sequencer.” What that basically means is, you have granular per-step control over randomized variations of all parameters. You can use that for subtle variety and humanization, or crank it up for more randomization. Now, there are lot of sequencers around, but this one deserves mention just for its attention to detail. Moving sequences around is easy. Separating a part of a sequence from the master clock is easy, allowing you to run freely or clock off an LFO. (Why doesn’t computer software let you do this, actually?) You can punch in sequences, generate them randomly, play them live. And the small screen gives you just enough feedback to keep track of where you are.

It’s honestly about the cleverest hardware step sequencer I’ve seen, bar none. Some people may wind up getting it even to use outside of a modular context, though having the patch points is interesting. (With that in mind, they did show a prototype external housing.) This one is definitely on my review list, and I hope to make a visit to all the great hardware vendors in Barcelona, as well (hello to Endorphin, for instance).

4ms

4ms Spherical Wavetable Generator. “Who needs another oscillator?” is a charge I routinely hear levied at the modular market. (“Who needs another synth?” is another reasonable question we all manage to avoid!) Well, here’s one answer: make a really great wavetable oscillator. That’s what 4ms have done, cleverly repurposing the (equally genius) Spectral Multiband Resonator‘s design. Here, it works perfectly, giving you easy additive access to bands and dial-in access to wavetables. Also, by toggling the buttons above the bands, you can apply parameter changes to just one band at a time for subtler sound design. (They hadn’t quite resolved this in firmware yet, but it was already promising.) You can also route signals in.

I can’t think of an oscillator module that delivers this much sound. You could almost throw this alone in a suitcase and call it a day. And the patch points and control layout all make sense in this form factor and modular environment.

tungsten2

tungsten

Tungsten. Game hardware was doing handheld music making before handheld music making was a thing – see the Game Boy scene, for instance. Now, there’s a chance to rekindle that spirit, but with a new, Linux-based core. Tungsten is a project out of Canada’s Kilpatrick Audio, who apparently decided to take a break from making very lovely, sensible modules to do something a bit more leftfield. It’s a rigorous throwback – there’s no touch screen, just arcade-style buttons – but an open approach and lots of connectivity, plus a simply adorable form factor, suggest this idea might finally have some legs. (We’ve seen abortive attempts to do the same, but they came with more proprietary approaches to software, overly clunky form factors, and a lot of money blown on Musikmesse booths. Superbooth and open and design that learns from the appeal of the Game Boy seem a better recipe.)

presonusquantum

PreSonus have a modular-friendly Thunderbolt interface. So, the interface connection wars are over, and Thunderbolt has (mercifully) won, both on Mac and now finally Windows. PreSonus have a promising interface that both promises sub-1ms latency via their drivers, and offers DC coupling for connection to modular if you so desire. And they have some strong opinions in the video about running natively rather than via DSP. Plus they’re projecting street price of US$999. More on this when they do their formal announcement.

musicthing2

musicthing1

Music thing’s Magnetophone. Okay, this one was already shown at last year’s Superbooth, but it’s easily one of the best modules of the show – and now it’s just about ready to ship. Coming from our friend Tom Whitwell, who made the jump from music tech writer to modular maker, it’s a stroke of sheer genius. Connect a magnetic tape head to a modular, and then perform by running it over tape. Finally, you can live out your Nam June Paik / Laurie Anderson fantasy, in about as complete a sound nerd convergence as one can imagine.

seq

Polyend SEQ. This product deserves special mention I think partly for feeling like one of the best-crafted industrial designs at the show. The encoders, the custom pads, and the aluminum and oak body feel like pure luxury. And having 32 steps and 8 tracks physically laid out without any menu switching is uniquely accessible. I’m not totally convinced yet by the actual sequence editing, which wasn’t yet complete in firmware. But between SEQ and the high-end PERC PRO robotic percussion system, this company out of Poland are proving that it’s possible to create new innovations for deep-pocketed electronic musicians. And it’s nice to see someone pick up on the craftsmanship statement the original monome made, and not just its grid design.

http://polyend.com/seq-sequencer/

rossum

Sound Semiconductor and Rossum. I think the quietest news at Superbooth may have been the best – prepare to get a little geeky for a second. Ron Dow and Solid State Music, founded in 1975, are an unsung hero of the electronic music revolution. So you know Dave Smith and MIDI – but Solid State also helped propel the industry with cheap chips that formed the building blocks of a lot of the gear that would come. Now, the original engineers (including Dave Rossum) are making new VCA and VCF chips, improving on their original designs. The upside here is, you get engineer-driven, musician-friendly chips from the original creators, instead of reverse-engineered clones. Part of the mark of Superbooth as opposed to other shows, and how many engineers were gathered in Berlin, was evidenced by all the engineers crowding around Dave and Ron and checking out the specs.

On the consumer side, I got my first play on Rossum’s Morpheus “Z-plane” filter, seen above. Now, what I want to say is, this runs the dangerous road of putting effectively a high-end software plug-in a modular. But I can’t say that – because using this module is simply a delight. It sounds absolutely delicious, and that color screen and luxe knobs are a joy to use. It feels like one of those few modules you’d really want to splurge on and treasure. And it’s an example of the high-quality, serious gear now available in modular, stuff that feels like real tools.

The new Assimil8or also looks cool:

Polivoks gets a proper clone. Interest in Soviet-era synthesis just keeps rising, but now that the secondhand market has worked out that we want this post-Communist stuff, it’s expensive (not to mention typically unreliable). And clones have been scattered. Now, finally, the peculiar Polivoks synth gets a real all-in-one reissue. It’s authorized by the original designer, and modernized. Unfortunately they’re doing only 100 units.

I can tell you my Moscow-based Russian friends were excited by it.

I’m curious how the Polivoks legacy and growing Russian synth scene will evolve in the near term. I should be visiting the Russian capital (again) for Synthposium later this summer, so it’ll be a good chance to check in on them.

Erica Synth’s Dual Filter. While Polivoks gets its own reissue, Erica in Riga, Latvia are also operating with some of the humans and manufacturing capacity of the former Soviet synth production. (Riga was an industrial center of the USSR.) And in a crowded modular market, I think Erica deserve credit for putting together complete systems of gear. The dual filter is an elegant, intelligent design to add to that portfolio.

yamaharobot

Amazing robotic #reface from @yamahasynths_official

A post shared by CDM (@cdmblogs) on

Yamaha’s beautifully unnecessary Reface robot. Here’s how you show up to Superbooth. You show up with a damned robotic keyboard connected to a massive number of knobs. This crazy project was produced in collaboration with Fukuoka’s Anno Lab.

But I list it here for another reason. Japan’s big makers are finally returning to their nerdy roots. KORG gets it, with products like volca and analog remakes. Roland gets it, with a splashy booth inside a space station mockup and experiments in modular and AIRA and boutique. Yamaha gets it, with products like Reface and a renewed commitment to synthesis. Casio … hey, where’s Casio? I want a new CZ. (Answer: at Musikmesse, showing a bunch of digital pianos. And that’s fine. But I hold out hope for them to get religion and remember they were once a great synth brand. Because I want a new CZ.)

soyuz

superbooth_in_space

All that and cool space stuff. FEZ Berlin somehow tops the Funkhaus for cool ex-DDR venues that work perfectly for synth fairs. The Communist-era space props everywhere just added to the fun.

That’s it for now – we’ll keep bringing you in-depth Superbooth coverage all week, in our usual slow news fashion.

For still more, keep an eye on our Instagram:
https://www.instagram.com/cdmblogs/

The post Go gear crazy with the best synth gear unveiled at Superbooth appeared first on CDM Create Digital Music.

Next Page »
TunePlus Wordpress Theme