Jeff Mills y Axis

El wizard del techno.

El wizard del techno.

Marcus Barnes nos comparte esta magnifica entrevista a Jeff Mills.

El productor de Detroit habla bastante sobre la historia, propósito e importancia de su label Axis:

It’s been, and looks set to be, my life’s work. Around 1996, I made the commitment to spending the rest of my life to creating this style of music. Since then, it became more clear as to the type of things I need focus on or the way Axis needed to be managed in order to survive all the changes in the industry. Selling music isn’t the only objective.

Sobre su visión del oficio de un Dj:

I stopped believing the idea that DJs are only there to play people’s favorite songs and I started to realise more that some people are as informed or even more educated, about music as I am. I started to playing music that I thought that might appeal to those people – the most educated, not the least.

Y la mejor parte de la entrevista, la respuesta que Mills da cuando le preguntan cuando v a a ser la fecha de su retiro:

I don’t plan to retire – there is no reason to.

Jeff Mills en el estudio

Jeff Mills entrevistado en Sonar 2008 habla sobre su proceso de producción musical:

I still don´t use computers for sequencing. In fact, there´s no computer in the studio.

Mas adelante Jeff Mills dice:

I no longer use a multitrack recorder. So what I do, I connect all the machines together, press play, and I mix it right there, and whatever happens, happens.

So, the mistakes, everything its part of the composition itself.

Asi produce sus tracks Jeff Mills para su label Axis. Sin computador, sin Pro Tools o Ableton Live. Solo con hardware. Drum Machines y sintetizadores. Así ha hecho historia en el techno. Grabando directo, sin plug-ins, ni automatizaciones.

El live act de Aril Brikha

Aril Brikha live

Aril Brikha live

El productor Aril Brikha explica como funciona su live act en esta entrevista de Pulse Radio:

You ditched the hardware set up for playing live and are using a digital set up now. You’ve said before, as the saying goes, that it’s ‘not what you have, but how you use it’. How do you use your setup now when playing live?

Basically it’s all based around Abelton Live, but I’m using it the same way that I did with my hardware, which means that everything is separated; kick-drum, high-hats, percussion, snare, basslines, a couple of audio tracks for chords and melodies and also two midi-channels for VSTs and synths that I’m using live. I don’t like to record those, because I’m used to using the filter live and manipulating it while I’m playing the track, rather than just playing back everything as it was recorded. Obviously it looks less on stage, but equally as much work goes into this setup. As I said, nothing is prepared; I have no arrangements, no intro or outro of the track – everything is launched instantly, muted, tweaked, equalised…everything is done live. If I don’t touch the controllers or the computer, nothing happens. It will basically just be a loop going round and round. It’s all improvised. I can play whichever track I want in whatever order I want for how long I want. I can play tracks without a kick-drum for fifteen minutes to piss people off if I want, or the other way round, just playing a kick-drum for fifteen minutes!

En esta respuesta, Aril Brikha productor del genial track “Groove La Chord”, define lo que constituye un buen live act: improvisación, creatividad y manipulación sonora en tiempo real.

Propellerhead Figure y Rack Extensions

Video con la conferencia de Propellerhead y su lanzamiento de Rack Extensions para Reason. Tambien van a lanzar una aplicacion para iOS llamada Figure.

With Rack Extensions the Reason rack opens up to third party developers. Through this new technology — built into Reason 6.5 and Reason Essentials 1.5 — you can expand your collection of instruments and effects with the Reason devices you want; devices created by Propellerhead and other developers.

PX7, el DX para Reason.

PX7, el DX para Reason.

Ahora que estoy usando Ableton Live para producir, puedo utilizar VST. Pero de todas formas sigo usando Reason y estos nuevos procesadores de efectos pueden ser muy interesantes.

Felt

Nihls Frahm Felt

Nihls Frahm Felt

Después de leer el review de Headphone Commute de Felt, el ultimo álbum de Nils Frahm, decidí que esa sería mi primera compra en el iTunes Store de Colombia.

¿Clásica moderna? ¿Clásica contemporánea? Con estos géneros clasifican la música creada por compositores e interpretes como Nils Frahm. Canciones que publican sellos independientes como Erased Tapes.

Esta compra valió la pena. Escuchar Felt es un verdadero placer.

El álbum esta compuesto de piezas interpretadas por Nils en su estudio de Berlín y grabadas durante la noche con varios micrófonos muy cerca de los martillos, las cuerdas y las teclas del piano. Con esta técnica de grabación se perciben los microscópicos sonidos y cada sutileza de la interpretación. El ambiente, el crujir de la madera e incluso la respiración del músico se vuelven parte esencial de las canciones de Felt.

Todos los sonidos y ruidos que un productor musical o un ingeniero de sonido tradicional trataría de disimular o quitar de las grabaciones, son los que le dan riqueza a cada cancion y hacen de Felt un álbum singular y extraordinario.

En la página de Erased Tapes, Nils explica como llego a esta forma de grabación:

Recorded late at night in the reflective solitude and silence of his studio in Berlin, Frahm uncovers a new sound and source of inspiration within these peaceful moments: “Originally I wanted to do my neighbours a favour by damping the sound of my piano. If I want to play piano during the quiet of the night, the only respectful way is by layering thick felt in front of the strings and using very gentle fingers. It was then that I discovered that my piano sounds beautiful with the damper.

Las canciones tienen melodías que me traen memorias y recuerdos. Felt esta lleno de melancolía, belleza y ternura. El cierre del álbum con la canción More es magistral.

Aquí esta el preview del álbum

76:14

Global Communication es un proyecto de Tom Middleton y Mark Pritchard. Su álbum debut 76:14 es una obra maestra del Ambient y la música electrónica de los 90s.

Global Communication 76:14

Global Communication 76:14

El titulo del álbum es su duración total en minutos y segundos, y cada track esta nombrado simplemente con su duración. Sin imponer títulos y conceptos el oyente es libre de interpretar cada track como quiera.

A partir de ambientes, efectos y múltiples capas de sintetizadores con diferentes texturas y timbres, Middleton y Pritchard construyen con delicadeza cada track. Es un álbum envolvente desde principio a fin. Es cálido, pero también oscuro. Evoca paisajes oníricos y monumentales.

Los tracks aparentemente simples, van revelando con el tiempo su verdadera complejidad ritmica, melódica y sonora.

Una indiscutible joya del género.

Este álbum merece ser escuchado (con audífonos) totalmente de principio a fin. Yo recomiendo apagar la televisión, el celular, desconectarse del Internet mediocre y sumergirse en el mundo sonoro de 76:14. Escucharlo de esta manera es un acontecimiento que puede cambiar la forma como uno escucha y aprecia la música.

76:14 es uno de los mejores álbumes de Ambient que he escuchado. Una indiscutible joya del genero.

Ambient 1

Ambient 1. Music for Airports

Ambient 1. Music for Airports

Brian Eno, September 1978:

The concept of music designed specifically as a background feature in the environment was pioneered by Muzak Inc. in the fifties, and has since come to be known generically by the term Muzak. The connotations that this term carries are those particularly associated with the kind of material that Muzak Inc. produces - familiar tunes arranged and orchestrated in a lightweight and derivative manner. Understandably, this has led most discerning listeners (and most composers) to dismiss entirely the concept of environmental music as an idea worthy of attention.

Over the past three years, I have become interested in the use of music as ambience, and have come to believe that it is possible to produce material that can be used thus without being in any way compromised. To create a distinction between my own experiments in this area and the products of the various purveyors of canned music, I have begun using the term Ambient Music.

An ambience is defined as an atmosphere, or a surrounding influence: a tint. My intention is to produce original pieces ostensibly (but not exclusively) for particular times and situations with a view to building up a small but versatile catalogue of environmental music suited to a wide variety of moods and atmospheres.

Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncracies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to `brighten’ the environment by adding stimulus to it (thus supposedly alleviating the tedium of routine tasks and levelling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think.

Ambient Music must be able to accomodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.

Escrito que aparece en el álbum Ambient 1: Music for Airports

Chasm

Ryuichi Sakamoto Chasm

War & Peace de Ryuichi Sakamoto:

Is war as old as gravity? If I love peace do I need to love trees? Are there animals that like peace and animals that like war? Is peace quiet?

Is making war an instinct we inherited from our hunting or farming ancestors? Were farmers the first warriors? Do we love without thinking? Do we do the right thing without thinking?

When children fight with their brothers and sisters are they learning how to make war? How do we test the limits of our bodies without war? Why do they compare war to a man and peace to a woman? Peace is unpredictable

Why is war so exciting? War is the best game and the worst life. Is peace the deadliest work? Is peace a time of tension?

What are the different kinds of victory? In a war? In a race? Is despair a solution? Why is it dangerous to say, “Never forget”?

Genial canción de Ryuchi Sakamoto, pionero de la música electrónica. compositor clásico y músico vanguardista.

Ryuichi has a vast range of musical endeavors; from pioneering early electronic music in his first group; Yellow Magic Orchestra, to globally-inspired rock albums, classical compositions (including a massive opera), and over twenty film scores. His catalogue even includes video game soundtracks, and mobile ringtones.  Almost as expansive is his array of prestigious awards; an Academy Award, two Golden Globes, a Grammy, the Order of the Cavaleiro Admissão from the government of Brazil, and in July 2009, he was named an Officier of the coveted Ordre des Arts et des Lettres from the government of France.

Su álbum Chasm es una joya, una obra maestra. Un álbum que mezcla la música clásica, el ambient y la electrónica con finura e inteligencia.

Escucharlo con audífonos es imperativo para poder revelar los detalles mas profundos que guardan estas composiciones.

Paciencia, tiempo y atención es lo único que se necesita para deleitarse con Chasm.