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Indian E-music – The right mix of Indian Vibes… » festivals


Wysing Polyphonic review – explosions in the sonic inventing shed

Delivered... Ben Beaumont-Thomas | Scene | Sun 2 Sep 2018 12:50 pm

Wysing Arts Centre, Cambridgeshire
Moor Mother and Paul Purgas curate an inspirational gathering where electronic artists, dancers and poets freely test the boundaries of expression

‘Noises of spoons!” I’m in an octagonal wooden structure that’s half Grand Designs man-shed, half denouement to a slasher movie, in a field in the Cambridgeshire countryside. Elaine Mitchener is kicking things off at Wysing Polyphonic, delivering scat poetry that’s as light, intricate and unmappable as rain falling on a roof. Alongside her is Neil Charles, tapping his double bass’s body like a faith healer, a tambourine tucked in its neck. Mitchener’s spoon mantra dissolves into stutters. She clicks shells and stones in her hands, as the bass fumbles and shuffles – the pair are trying to put something or other back in one piece.

This is one of the most valuable music festivals in the country – one that refuses, inspirationally, to put anything neatly together. Curated this year by avant-gardists Camae Ayewa (AKA Moor Mother) and Paul Purgas, it’s a loose study of corporeality and groove.

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Watch enchanting experimental live acts from Atonal’s control room

Delivered... Peter Kirn | Scene | Thu 30 Aug 2018 10:50 am

Berlin Atonal Festival wrapped up last week, and for all of the breathtaking impact of the power plant’s cavernous main room, as per usual, the sleeper hits came from the more intimate control room tucked next to the mainstage.

Once you’re done acting out your Homer Simpson fantasies on the controls, this room – staffed by the synthesis lovers of Schneidersladen – is home to more experimental acts and jam sessions and modular patching extravaganzas. And the crowd is different, too, more family style sound nerd reunion than festival scenesters.

Photo at top: Mark Verbos, modular builder, alongside Lady Starlight. Photo courtesy CTM Festival.

Our friends from FACT captured three performances. (Don’t watch on Facebook; that social network’s encoding is crap for some reason. YouTube seems fine.)

There were lots of great shows, but they also selected well with what they recorded, with two gorgeous ambient solo sets and one quirkier duo. (Also, anyone else noticed that laptops have just quietly reappeared alongside modulars? And why not – who cares what particular gear you’ve assembled, if you find some way to be expressive with it?)

There are some dropouts here and there, but it’s worth checking out anyway.

My favorite is object blue – all on Ableton Live/Push, but a kind of shuffled, irregular looping musique concrete:

London-based artist object blue has a bunch of great stuff in her discography:

https://objectblue.format.com/

Really digging this one, just out this year:

But then this is lovely, too, adding more vocal goodness, also a 2018 creation:

Hiro Kone (aka NYC’s Nicky Mao) is looking chill with her Elektrons and modulars, and with good reason – some chill sounds happening. Lounging in the control room, genau:

Nicky is one busy, multi-talented, insanely prolific touring musician. And she’s got a well-organized site to discover more of her music (we would all do well to learn from that, too… rarity these days):

https://hirokone.com/

She’s done a nice mix for Secret Thirteen recently too:

https://secretthirteen.org/stm-246-hiro-kone/

KILLER-OMA is the off-kilter, leftfield (and inter-generational) combo of Isao Suzuki and KILLER-BONG – yes, one bare chin on gear, and one long beard on contra bass.

More from them:

Check out their release on Bandcamp for Tokyo’s Black Smoker:

https://blacksmokerrecords.bandcamp.com/album/killer-oma

Mixed feelings about the live stream age, actually – and something to think about, as CDM revisits how to work with live performing friends. (I’d go for higher quality audio, no? Thoughts?) At the same time, a live stream is a nice place to introduce people, and it’s great to see what people are doing – if we can sort those occasional sound dropouts. Open to ideas for what you’d like to see, especially as a community of music makers.

The post Watch enchanting experimental live acts from Atonal’s control room appeared first on CDM Create Digital Music.

Creamfields review – inhibitions shed for sensory EDM overload

Delivered... Daniel Dylan Wray | Scene | Mon 27 Aug 2018 4:30 pm

Daresbury, Cheshire
With Eric Prydz, the Chainsmokers and Annie Mac providing beats from breakfast to bedtime, hedonistic energy was needed for the 20th anniversary of the dance festival – and the audience delivered

Celebrating its 20th year, the festival run by the famed Liverpool club night returns to capture the breadth of commercial-leaning dance music, from 90s trance stars to modern EDM giants.

Ex-professional football player Hannah Wants delivers pumping house on a Friday afternoon, and by the time of Green Velvet’s house and techno-stuffed set, the whole festival is bouncing harder than most manage at 4am. There’s no gradual build up to ease you in, just an on switch and an off switch; beats from breakfast until bedtime. This all-or-nothing approach seems to shed inhibitions, and creates a fiery feeling of hedonism from the audience who throw themselves into the party with infectious aplomb.

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Between art tech and techno, past and future, a view from Russia

Delivered... Peter Kirn | Scene | Mon 30 Jul 2018 6:19 pm

Gamma, the oversized electronic music and contemporary art event, has just wrapped in St. Petersburg, RU. We talk to Moscow-based curator Natalia Fuchs about transformations both historical and future in the realm of intermedia art and technology culture.

The world scene is starting to catch on that Gamma, held in impossibly sci-fi post-industrial setting, is a cultural firestarter. This year’s edition was both Gamma Festival and the Gamma_PRO conference. Gamma Festival is a massive packed weekend treading lines between club and experimental culture, digital art and techno, sometimes all at once, with diverse headliners like DVS1, Codex Empire, Cio D’or, Robert Lippok [Raster], ORPHX, Mike Parker, and then a rich lineup of artists from Russia’s own m_ivision and Arma17 collectives. Gamma_PRO had its own lineup of live acts – Hauschka, Deadbeat, Loscil, and others – but simultaneously gathered professional festival and curation programming including a first-time Russian collaboration with audiovisual festival giant MUTEK.

Here’s a taste of what it was like from the aftermovie:

Here, we get to talk to Gamma_PRO’s Natalia Fuchs, not only about Gamma, but about how Russia fits into the larger scene, and how its own audiovisual community is maturing and making connections outside the country. That in turn I think reveals a lot about how the global tribe of digital artists relate to one another and ever changing technological and societal change – particularly looking at this moment as we reach a generation’s distance from the fall of the USSR.

And if you only follow the geopolitical headlines, you might well miss cultural movements underway internationally, including how Russian artists can fit into that global scene. And in turn, it’s equally relevant to understand how Soviet-era artists communicated and shared ideas across the so-called Iron Curtain in decades past. Better understanding that work can also mean deeper, more technologically sophisticated, more advanced and relevant work now. (Those who fail to learn from history are doomed to make crappy uninformed media art, in other words, to warp the popular cliche.)

We’ve previously covered my own interest in that area, which I owe to an ongoing collaboration with Natalia:

Enter the trippy, fanciful world of Soviet light art studio Prometheus

So, what does this mean as an international curator based in Moscow (and working on projects far afield with partners like the Barbican in London or MUTEK in Montreal? And what has techno got to do with any of this? Let’s go deep into all those questions.

Peter: First, can you give us a little bit of your trajectory as a curator? What was your path to Gamma Festival, and what are your current projects?

Natalia: I work in the intersection of art and technology in Russia since 2002, since I graduated from my university and became a communications specialist in the field of culture for several international commercial brands. I was doing integrations in culture marketing for companies like IBM, Microsoft, Daimler Chrysler, Pioneer DJ, Fujitsu, and many others. Of course, that all was related to understanding what kind of upscale innovation you integrate with, and at some point I realized I am deep into art and technology in a way that requires an art degree and a complete change of professional approach. I felt that I could contribute a lot to the local artistic communities in Russia bringing together innovation, culture, and international connections; that’s why I moved for some years to Austria, where I got my degree in Media Art Histories, and was back to Moscow to circulate as new media researcher and international curator.

During my last five years in Russia, I was the founder and curator of the interdisciplinary program Polytech.Science.Art and international exhibitions including Ars Electronica co-productions at the Polytechnic Museum; then curator and deputy director at the National Center for Contemporary Arts, where I launched a platform for innovative art and technology. Since 2018, I’ve develop my own art practice – ARTYPICAL – being part of many international projects (such as with ZKM in Germany or Barbican in the UK) with my expertise in art and technology, and also emphasizing Post-Soviet states. Gamma Festival is one of the largest projects to which I contribute in Russia at the moment. It’s operated by m_division agency with absolutely fantastic production team.

How are you working with m_division to make this project come together? How did this particular program come together for this summer in St. Petersburg, combining all those different actors, international curators, musicians and artists?

We are partners with m_division to develop Gamma Festival in Saint Petersburg, and my art-practice is actually providing international focus to the Gamma_pro forum, special professional program launched this year. It was very successful from the very beginning. We got an amazing location for that – the legendary old Soviet film pavilion of Lenfilm studio – and we managed to have [Montreal-based] MUTEK as a featured festival for the AV showcase in the frame of Gamma_pro. We had speakers from Today’s Art, CTM Festival, V&A Museum, MOTA Museum, and many others. That was hard work and a great start, and I had never seen such a level of synergy of institutional, festival, artistic, commercial and non-commercial, independent entities in Russia before — that’s very honestly from my side. We have some plans for the future, especially in regards to an art program extension, and it all looks exciting. I personally would love to create a sustainable infrastructure for art communities behind Gamma Festival, and I’m happy to know that producers of the project are willing to support it with all the resources available.

St. Petersburg, setting for GAMMA.

St. Petersburg.

There’s of course a massive number of different artists, institutions, covering science and art, culture… how would you describe this larger picture? Is part of the idea to make this a bit blurry, to put everyone together and see what happens, both across the Russian and international scene? What do you hope they leave with?

I think Russia has a wrong image in terms of cultural policies: we are seen as very much a rigid and framed world. With Gamma Festival and basically with all the activities I run in Russia, I always try to make it clear that we’re part of the global community. And art and technology is that exactly intersection that gives us an opportunity to be connected despite global politics and issues. This is the way it actually existed even in the time of Iron Curtain – scientific advantages were spread in the professional communities, and we all were mentally attached to each other and kept a complex, in-depth exchange going. Now, researchers see that when digging deep into media archeologies, for instance. So I would love people to leave Russia and our festival with the feeling that we stay connected; and we are very much alike. I am in a way doing independent cultural policy for world peace using art and technology as a tool now.

There’s this notion of a creative class fueling Gamma, as with other international hubs – how would you relate that creative community in Russia to this sort of international tribe of artists? Do they retain their own culture? And, for that matter, is this a class that can expand, that other people can enter? (I suppose our own personal experience may be about bringing others into that tribe, via education and networking?)

Well, for some safety reasons, and in order to ensure sustainability and growth, we had to stay in the 1990s and early 2000s away from all official connections and wide contacts to the traditional art world in Russia. The research we did expanding the relationship to the international tribe of artists required full independence for a long time. I actually didn’t make any step to governmental relations before I was 100% aligned and rooted in the international community first. Therefore, I traveled, studied, and worked abroad; I was very much West-oriented all my life. But I’ve seen all the young people here who are desperate to even average contemporaneity, and I felt myself obliged to develop cultural relationships back in Russia at some point.

I still feel weird sometimes, when I reestablish myself as a core of the current Russian art and technology movement – and Gamma is one of the boiling points at the moment, but not any other project initiated by the local authorities. At the same time, I see that this is something you can easily cut and have preserved just as a historical notion. Education and networking are important for making international connections; but I have to underline that in Russia, in that tribe you point out, we are still suspicious of anything that comes out of the government. So as everywhere in the world, you have to start with building trust; and if you don’t have proper mediator for those connections, you can’t develop it. So I keep myself always diversified, even when I had important institutional roles in my country. And I give this advice to every young artist, musician, and curator in Russia.

Moscow and St. Petersburg have both I know been scenes of real change culturally – friends I know who grew up there even say they’re surprised by differences even from just a few years ago. For people who perhaps don’t know these cities so well, how would you characterize those changes? Are there things you can feel personally in the work you’ve touched in your various roles? What about the rest of the country – Kazan [Tatarstan] I got to see was really growing, too; is there a way for other parts of the country to have the access to that culture, as well?

I think that we live at the moment when all the efforts of my generation (mid 30s) finally came to fruitful results in Russia. You maybe don’t see it from the global politics strategies, but you see it when you come to the country and visit two capitals of Russia – Moscow as business capital and St Petersburg as cultural capital. I can’t imagine any progress if you are not related to the both scenes – it’s very natural for the creative class to work and essentially live in two cities at once. Just a few years ago, we were in the state when we were still young and couldn’t deliver our messages in a mature style. Now that has changed dramatically; when you come to Gamma in St. Petersburg and enjoy the afterhours, you hardly feel a difference from Atonal in Berlin. Maybe the lack of an international crowd is still there, but we work on making our world open despite all the political issues. We speak the same language of art and music here; and people who are in charge of all the changes here in cultural life are internationally experienced. And if to speak about the other cities in Russia, surely our culture is expanding – only this year I am having talks, lectures, and exhibitions on the future of art in Vyksa (close to Nizhny Novgorod); Krasnodar (south of Russia, Black Sea); Vladivostok (Far East); and Kazan that you mentioned is developing a Light and Sound Museum project involving again many experts of the global media art community. So it’s definitely growing and changing in a positive way.

Is there something unique about Russian history that it seems there is this interest in cross-media work so early?

Of course, this all comes back to the early XXs century when Russian futurist artists have chosen cross-media language in performative practice, particularly as the visual language of a new generation — not to mirror Western European traditions, but to develop our own avant-garde traditions. Russia also has machines and social capacities to stand on the same platform with the European offshoot of futurism. Russian futurists that developed Marinetti’s ideas locally were the forerunners of modern artistic strategies – that is, the skills not only to create talented works, but also to find the most successful ways to attract the attention of the public, collectors, and patrons.

And despite the seeming closeness of Russian and European futurists, history, traditions, and mentality gave each of the national movements its own characteristics. One of the signs of Russian Futurism was the perception of all kinds of styles and trends in art as one, so that was the rise of interdisciplinarity that was so important as an approach for cross-media art. “Vsechestvo” (the art of take it all) became one of the most important futuristic artistic principles in Russia as early as in the 1920s, and we are still following it in the contemporary new media art practices. [Vsechestvo or as some art historians translate it “everythingness” was coined by Georgian-born artist and Russian futurist – and Dadaist – Ilia Zdanevich.]

You’ve worked both as an historian and a curator. And we’ve gotten to work on this connection between history and the future. A lot of the digital media scene globally is called upon to show work that gives the impression of being new, flashy, of course – but how might the past as understood through media archaeology and history inform new work?

Oh yes, that’s my favorite question! When you are an art historian, you hardly see anything new – that’s the problem. I make many artists disappointed, not only happily showing them their place in the world art history. 🙂 But at the same time, I think that’s great that media art history currently is developing as a science, so media art historians can follow scientific and technological progress as well and make innovation in the arts visible. I see the media-archaeological approach actually as the only possible way now if you want to make a real progress in the arts. And this approach could build the relation to art and technology communities in the past where so much is undiscovered yet. We both know Prometheus’s story about innovative art that was related to the global art and technology communities in the 1960s in the Soviet Union, as well – such examples are very important to present to the world, to give an understanding of our long-lasting existing connection to deep levels of creative research.

Gamma 2018 at full tilt.

You of course have an extensive resume in curation, and people can find that. What they may not know about you is that you’ve also got this strong connection to techno and this electronic music party culture. Where was that first experience for you, when you were younger?

Techno music was something I was always involved in. In the early 1990s, rave and contemporary art coming from abroad was the only thing you dreamed of if you wanted a breath of fresh air. I was involved in party organization and club activities since I was in high school in Russia, and when I staged the first performance, I was only 16 years old. I was given at that time the role of curator in our club promo-team together with my friend. I mean that was quite naive in 1996 and so on, but that was an experience you could go with further at that time – I was quickly integrated to many international club culture communities (in the Czech Republic, in the Netherlands, in Germany), and electronic music party culture was always a red line I had in my life doing everything from booking and developing yoing artists (I was a booker or maintained art relations for Vakula, SCSI-9, and Dasha Rush in different periods of my life), organizing parties, from streaming techno-radios to participating in festival organization.

I see electronic music and techno music as something that formed me as a curator, as well. I even couldn’t stop myself from organizing the first techno parties in Moscow’s museums and making it a trend – you performed at the Polytechnic Museum in 2015; Gunnar Haslam played at the Garage Museum of Contemporary Art the same year by my invitation. When you just love techno, it definitely gives you a touch not many people can easily have, shaping you as cutting-edge at all times and especially at a time of innovation and the rise of technological culture.

Any medium I think can be accused of repetition, but it does seem digital media as can sometimes be in danger of becoming frozen in the past in terms of aesthetics and concept. Is there a need for media artists or reinvent these media; is that fair? Alternatively, what work would you say does feel genuinely contemporary — in aesthetics, in concept, and/or in relation to the latest technology?

I keep those thoughts a bit for myself only at the moment – it’s a bit scary to share what I really think of the new aesthetics. But I’d say everything has a potential for transformation. Immersion is the term that was taking over the digital art world in the last centuries; now I believe in the age of artificial intelligence. Now art and technology experiences will extend human perception; they will create space for human transformation. Bioart, prosthetics, and so on may allow you to gain new experience, to perhaps change your physical presence and even personality.

So contemporaneity for me is in active transformation at the moment; physical, psychological, emotional, bone-deep experience. One of the last artworks I experienced this way was amazing post-digital piece by the Chinese artist Lu Yang “Delusional Crime and Punishment.” [See an article on that work, as well as a reference from NYU Shanghai.]

AI and machine learning are a big buzz-worthy topic; we started this year at CTM with this thread in our hacklab program and it’s something I know many artists are pondering or responding to directly. What can you tell us about your advisory role with the Barbican; how are you working with them, or anything you can share from that program?

For me, this project is not just an exhibition, but again a way to participate in the development of cultural policies (and technological culture in particular). The main idea behind the project of the Artificial Intelligence exhibition at the Barbican Centre in London where I work as Advisor now is to smooth the attitudes existing in the society towards artificial intelligence and give to the audience a deeper understanding of the history of cybernetics and AI research. The project will tell the story not of only one part of the world, but will create global vision on the topic. It will be ready by next summer and will travel worldwide. So I am very much excited about that. I think that’s the big step to changing perception – destroying AI myths in pop-culture – and artists could contribute here best of all.

Right now in Berlin, there are “what is culture for?” posters hanging everywhere. What role do you think cultural ambassadorship can have? Is there a way to make it more relevant to the rest of our societies?

Culture is here to shape the meanings. Without it, we hardly could exist and evolve, I guess. And cultural ambassadors are first of all very attentive and brave people – that’s hard work to observe, get the essentials and communicate the meaning to the rest of the world. You have to expect to be criticized and misunderstood, but have to stay stable and persistent. To the rest of our societies, that basically means that culture has still to be mediated. Especially synthetic practices as what we are into – music, art, electronics, science, atypical connections between the contraries. When we make understanding of complexities easier to the people that don’t have resources (could be just mental) to dedicate their life to art and culture production, we make a step forward, I guess.

I feel my relation with the rest of the societies as the periods of comfortable coexistence, replaceable with stealthiness for each other. And this invisibility for me means a research stage – when I am deep into the creative process and thinking what important meaning to represent next to the society around me. That’s a significant concentration of time and internal forces, actually, so we will make cultural ambassadorship relevant when we will start clearly communicate what our life actually is.

GAMMA Festival / Gamma_PRO

ARTYPICAL

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What culture, ritual will be like in the age of AI, as imagined by a Hacklab

Delivered... Peter Kirn | Scene | Thu 26 Jul 2018 4:34 pm

Machine learning is presented variously as nightmare and panacea, gold rush and dystopia. But a group of artists hacking away at CTM Festival earlier this year did something else with it: they humanized it.

The MusicMakers Hacklab continues our collaboration with CTM Festival, and this winter I co-facilitated the week-long program in Berlin with media artist and researcher Ioann Maria (born in Poland, now in the UK). Ioann has long brought critical speculative imagination to her work (meaning, she gets weird and scary when she has to), as well as being able to wrangle large groups of artists and the chaos the creative process produces. Artists are a mess – as they need to be, sometimes – and Ioann can keep them comfortable with that and moving forward. No one could have been more ideal, in other words.

And our group delved boldly into the possibilities of machine learning. Most compellingly, I thought, these ritualistic performances captured a moment of transformation for our own sense of being human, as if folding this technological moment in against itself to reach some new witchcraft, to synthesize a new tribe. If we were suddenly transported to a cave with flickering electronic light, my feeling was that this didn’t necessarily represent a retreat from tech. It was a way of connecting some long human spirituality to the shock of the new.

This wasn’t just about speculating about what AI would do to people, though. Machine learning applications were turned into interfaces, making gestures and machines interact more clearly. The free, artist-friendly Wekinator was a popular choice. That stands in contrast to corporate-funded AI and how that’s marketed – which is largely as a weird, consumer convenience. (Get me food reservations tonight without me actually talking to anyone, and then tell me what music to listen to and who to date.)

Here, instead, artists took machine learning algorithms and made it another raw material for creating instruments. This was AI getting the machines to better enable performance traditions. And this is partly our hope in who we bring to these performance hacklabs: we want people with experience in code and electronics, but also performance media, musicology, and culture, in various combinations.

(Also spot some kinetic percussion in the first piece, courtesy dadamachines.)

Check out the short video excerpt or scan through our whole performance documentation. All documentation courtesy CTM Festival – thanks. (Photos: Stefanie Kulisch.)

Big thanks to the folks who give us support. The CTM 2018 MusicMakers Hacklab was presented with Native Instruments and SHAPE, which is co-funded by the Creative Europe program of the European Union.

Full audio (which makes for nice sort of radio play, somehow, thanks to all these beautiful sounds):

Full video:

2018 participants – all amazing artists, and ones to watch:

Adrien Bitton
Alex Alexopoulos (Wild Anima)
Andreas Dzialocha
Anna Kamecka
Aziz Ege Gonul
Camille Lacadee
Carlo Cattano
Carlotta Aoun
Claire Aoi
Damian T. Dziwis
Daniel Kokko
Elias Najarro
Gašper Torkar
Islam Shabana
Jason Geistweidt
Joshua Peschke
Julia del Río
Karolina Karnacewicz
Marylou Petot
Moisés Horta Valenzuela AKA ℌEXOℜℭℑSMOS
Nontokozo F. Sihwa / Venus Ex Machina
Sarah Martinus
Thomas Haferlach

https://www.ctm-festival.de/archive/festival-editions/ctm-2018-turmoil/transfer/musicmakers-hacklab/

http://ioannmaria.com/

For some of the conceptual and research background on these topics, check out the Input sessions we hosted. (These also clearly inspired, frightened, and fired up our participants.)

A look at AI’s strange and dystopian future for art, music, and society

Minds, machines, and centralization: AI and music

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Lovebox review – Childish Gambino leads diverse corrective to Trump visit

Delivered... Natty Kasambala | Scene | Mon 16 Jul 2018 11:52 am

Gunnersbury Park, London
While SZA was delayed by the Trump protests, other artists were energised – including Childish Gambino, who scaled up his music to unprecedented size

The Trump visit – and subsequent protests – coinciding with Lovebox affected the festival in more ways than one. Besides SZA’s highly anticipated set being cut after just four songs, reportedly due to a late arrival because of the protests, the political events also inspired an air of resistance. From those donning anti-Trump protest gear to a rhetoric of encouragement among performers, including Childish Gambino who was “proud to see that big balloon”, a resounding optimism permeates Gunnersbury Park. The diversity of talented voices across the weekend, particularly given the festival’s notable US weighting, served as perfect opposition to political uncertainty arising here in the UK and across the Atlantic.

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What makes music and creativity? A talk with Susan Rogers

Delivered... Peter Kirn | Artists,Scene | Wed 4 Jul 2018 12:46 pm

What makes creativity work in music? What happens in the brain? Susan Rogers has uniquely contemplated those questions both alongside artists like Prince and in research into the mind.

I got the chance to interview Dr. Rogers at SONAR+D last month, and I found my own mind wandering to how her mind works, as she characterized different kinds of intelligence. She exudes an easy sense of empathy, and in both her talks at Ableton Loop and SONAR, she’s quick to remove her own ego and move her role out of the immediate act of creativity. I imagine the ability to do so would be essential when you’re in the studio with Prince or David Byrne or the various other oversized personalities she’s managed to work with over the years. Even our audience members seemed to immediately trust her – that unique unsung talent of the best kinds of people who work behind the superstars in music.

There was a fair bit of talk about Prince at Ableton Loop. But in Barcelona, we got to focus on the mind itself – and as Susan emphasized backstage, how to define what music is in the first place. And that moves us into her work in cognition and the neuroscience that works to decipher it.

Susan is so uniquely positioned to understand this now, surrounded by young, hungry rising musical stars at Berklee atop her decades of experience.

But I also really hope we start more cross-disciplinary conversations about the topic. There’s a slide bringing up classical greats – musicology has been so caught up in comparing manuscripts and whatnot that I think there’s a vast opportunity for more interaction with fields like neuroscience. And some of what Susan describes about creativity and its variability, its interaction with depression and social isolation, the different kinds of aptitudes and thinking styles and what that means for collaboration, I suspect speaks to a lot of us on a deeply personal level. And that may be true in our lives even if we’re nothing like Prince.

Have a watch – I’m sure you’ll be as engaged throughout as I was onstage.

And I hope we look deeper into this, as what better mystery in music to explore than the mind?

Previously:
Ranging from Neurology to Prince, Susan Rogers’ talk is must-watch

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Watch five hours of one of SONAR’s best stages in video

Delivered... Peter Kirn | Artists,Scene | Mon 18 Jun 2018 5:13 pm

Got some festival envy? Relax, sit back – one of the best stages from SONAR Festival in Barcelona last week is now online.

Of course, there’s no substitute for checking out live music. On the other hand, there’s also no substitute for partying at home, with no queues when you get thirsty and no one around but you. It’s all balance.

CDM will be bringing you a bit of SONAR Festival, but having scoped out the place myself, the Resident Advisor-sponsored night stage – and specifically this particular night of programming from said state – was one of the best programmed. And it seems that’s what our friends at RA chose to put online. So whether you know these artists or not or are getting a first introduction, full endorsement.

Octo Octa’s hair swinging back and forth while she killed that set is actually one of my enduring visual memories of this festival. I think things are currently truncated from the live stream but I’ll ask. Certainly this Saturday night on the RA stage was ideal – like a dream lineup.

The artists – DJ sets from Octo Octa on, but the rest live – with more links to more music and resources:

JASSS

Lanark Artefax

Errorsmith (interview with him coming soon to CDM, finally!)

Ben Klock B2B [back to back] with DJ Nobu

DJ Nobu official Facebook page

Motor City Drum Ensemble B2B Jeremy Underground

http://motorcitydrumensemble.com

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Parklife festival review – Manchester turns night to day with punishing party energy

Delivered... Daniel Dylan Wray | Scene | Mon 11 Jun 2018 1:44 pm

Heaton Park, Manchester
Liam Gallagher is incongruous, but prompts massive singalongs, while the xx and Confidence Man are other big successes

‘Who here is on drugs?” asks a member of Levelz, at 4.30 on Saturday afternoon. This may seem like an odd question, but at Parklife time feels mirrored, with the 11am-11pm festival feeling as if it’s 11pm-11am. Drugs seem to be ubiquitous; wide eyes, wonky gurns and euphoric grins cannot be hidden in the beaming sun. The Manchester rap collective then play the infectious Drug Dealer as part of a genre-hopping set.

With the crowd full of shirtless dudes, buckets of glitter and people wearing sparkly outfits, Parklife seems like Coachella relocated to Prestwich and sponsored by the North Face. There are a lot of stages: the tower block-shaped Valley, the Bronx-themed Elrow tent, the foliage-filled Palm House, the oil rig-resembling Temple (which shoots flames) and a giant airplane hangar. The production is impressive and the sound systems are pristine, with afternoon DJ sets from Jackmaster and Peggy Gou pushing their limits.

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Field Day review – shifting sounds tighten up London’s festival scene

Delivered... Chal Ravens | Scene | Sun 3 Jun 2018 12:28 pm

Brockwell Park, London
Under orders not to upset new neighbours, Field Day got strict with its headliners – pulling the plug on an overtime Erykah Badu – while serving a jazzy lineup of fresh stars

When the sound gets shut off on the first night of Field Day, Erykah Badu has just peeled herself off the floor, where she’s been serenading us on her belly like a teenager on a late-night phone call. The neo soul queen may be upfront about her age – tweaking the lyrics of Me to sing: “This year I turned 46” – but she still has the youthful insouciance that brought her acclaim as a thrilling live performer in the 90s. Drowned by an oversized cream suit and enormous wodge of crimped hair, Badu is the sparky counterpoint to her ultra-tight backing band, bashing out beats on a drum machine as she introduces “the 90s babies” to classics like Next Lifetime and Tyrone.

But she’s late, and the curfew comes anyway – after barely an hour, she’s on a mid-set high during Bag Lady when the plug is pulled. It was always going to be this way; Badu isn’t renowned for her punctuality, for a start, but Field Day, now in its 11th year, is under strict orders to keep a lid on the noise and chaos. This is the festival’s first appearance in south London after events behemoth AEG nudged it out of its slot in east London’s Victoria Park. Residents of the affluent area around Brockwell Park were quick to raise the alarm, warning of vandalism and damage to biodiversity.

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The big bangers: grime smashes into the Hadron Collider

Delivered... Tara Joshi | Scene | Tue 22 May 2018 5:44 pm

They rapped in its tunnels and played instruments made out of old science equipment. Could this be Cern’s most amazing experiment yet?

‘Anyone attending the performances,” says Jack Jelfs, “will find themselves in a 12-dimensional quantum superposition.” This superposition, adds the artist, will contain three overlaid elements: our mythic past, our scientific present and our unknown future. “So,” concludes Jelfs, “you may wish to prepare appropriately.”

Jelfs is talking about The Wave Epoch, a high-concept performance piece that is the result of four British artists spending time at Cern (the European Organisation for Nuclear Research), where particles are accelerated and bashed into each other to reveal the secrets of the universe. When it’s described as “something between an installation, a music performance and a rave”, The Wave Epoch might not sound like anything particularly new, but it all becomes a lot more original when you realise it was conceived 175 metres underneath the Franco-Swiss border in the presence of the Large Hadron Collider, the biggest single piece of machinery in existence.

Scientists were asking me questions like: ‘Do you understand what we’re made of as humans?'

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Field Day festival set to go ahead after organisers, council and locals do battle

Delivered... Ed Gillett | Scene | Thu 19 Apr 2018 6:00 am

A fraught process of relocation to south London’s Brockwell Park has laid bare the troubles faced by big festivals in the capital

The London music festival Field Day looks likely to be finally granted a licence by Lambeth council for its 2018 edition, following a long dispute between local councillors, festival promoters and local residents that has mirrored London’s wider struggles over public space and private profit.

Headlined by Erykah Badu, Four Tet and Fever Ray, Field Day is scheduled to take place for the first time in Brockwell Park, after 11 years in east London’s Victoria Park. But with accusations of council mismanagement, warnings of ecological damage and impending legal action, Field Day’s long-term prospects remain under threat – as do those of the capital’s wider festival scene.

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Coachella review – pop’s new democracy creates uneven city in the desert

Delivered... Eve Barlow | Scene | Mon 16 Apr 2018 4:14 pm

Empire Polo Club, Indio, California
The highs were high – of-the-moment rapper Cardi B, discomfiting art-rocker St Vincent, cosmic jazz saxophonist Kamasi Washington – but others like SZA misfire, and the whole thing suffers from internet-era distraction

With a rumoured 40,000 extra attendees at the first weekend of Coachella 2018, the three-day festival is more congested than ever. It’s especially hard to move without stepping into the frame of an influencer’s selfie as they document outfits, record friendships and pray for a feature in a Twitter moment. This culture of validation and self-affirmation makes sense given that the festival’s culture is now predicated on reaction (reflected in promoter Goldenvoice recalibrating their booking in recent years) rather than minting trends. Hence 2018’s lineup consisting largely of mainstream urban hip-hop and R&B acts, including headliners the Weeknd, Beyoncé and Eminem (each reviewed separately).

There is a progressive positive to this: Coachella is now a playground for the global democratisation of pop. If you can cross over in the age of streaming, chances are Coachella will grant you the opportunity to realise it in a setting previously inconceivable to Billboard Hot 100 entries. In a digital epoch in which the thirst for “IRL” ownership is at its peak, the market for seeing your favourite song in 3D against crisp, larger-than-life, high-definition backdrops and desert-shaking soundsystems is strong.

Related: Eminem at Coachella review – career-spanning set is a perfect nostalgia hit

Related: Beyoncé at Coachella review – greatest star of her generation writes herself into history

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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.

Principal Sound review – Luigi Nono’s fragile postcards from Venice

Delivered... Andrew Clements | Scene | Mon 19 Feb 2018 5:56 pm

St John’s Smith Square, London
Alongside works by Morton Feldman, the experimental music festival centred on the Italian composer’s enigmatic pieces that blur instrumentation into electronics

Principal Sound is three days of concerts devoted to the music of the last half century. It takes its title from the only organ work composed by Morton Feldman, who was the featured composer at the first event two years ago. There was Feldman in this latest weekend of concerts too, but this time the focus of attention was the late music of Luigi Nono, the fragile, fragmented pieces he composed in the years up to his death in 1990.

Performances of those works, often involving electronics and exploring extended instrumental techniques, are still rare in the UK, but four of them were included during the weekend. There was … Sofferte onde Serene..., for piano and prerecorded sounds, with its remembrances of Venice’s bells of and the echoing emptiness of its lagoon, played with wonderful authority and assurance by Siwan Rhys, and A Pierre, Dell’azzurro Silenzio, Inquietum from members of the Explore Ensemble, a tribute to Boulez from 1985, in which electronics blur the edges of the sonorities of bass flute and contrabass clarinet. Most enigmatic of all was the last piece that Nono composed, “Hay Que Caminar” Soñando, for two violins (Clemens Merkel and Alissa Cheung from the Bozzini Quartet) dispersed around the auditorium and responding to each other in halting phrases or assertive outbursts.

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