Ed.: There’s a record release entirely in etched glass, shaped like a pyramid. There’s an artist who is not only post-genre, but post-gender, and trans-… human. There’s a collective that steps calmly from grimy basement to global festival, talks about occulture and “magick,” and juggles queer partys and zines. For anyone sick of the predictable grinding machinery of the music industry running business as usual, this should be irrefutable evidence that UnReaL, and the artist Born In Flamez, are something different. We arranged a rare interview with the collective and BIF to enter that world – a science-fiction now that …
Remember 1995? Computers onstage were still a comparatively risky proposition – often relegated to MIDI, more prone than today to instabilities, and absent today’s DJ and live performance apps. Monolake, which is now just Robert Henke, was both Robert Henke and Gerhard Behles. (Gerhard is now plenty busy being CEO of Ableton.) And then there was Monolake’s PX18 sequencer, a step sequencer – cum – timeline with loads of interesting tracker-style and mathematical-musical features.
The piano has been living with a beautiful legacy, but that legacy can double as tyranny. The Steinway Model D, favorite instrument of mine that it is, has also frozen the technological development of the keyboard instrument. And that’s why the Una Corda is different. Built custom by David Klavins, and associated with that builder’s collaboration with pianist Nils Frahm, this lightweight piano is unlike any you’ve seen or heard before. And now, you can get a taste of playing the real thing with a software instrument.
I suspect many electronic music aficianados have the soundtrack for the film The Revenant on repeat who haven’t even seen the film. Any new Alva Noto/Ryuichi Sakamoto collaboration will get the attention of lovers of minimal electronic achievement, with good reason. And The Revenant might just be the perfect landscape for that collaboration. Its marathon portrait of bleakness and intense, lonely revenge make the film a platform for a perfect Alva Noto/Sakamoto score.
The path from past to future has become delightfully twisted in our modern age. Some of the best new technologies mix old techniques with new. They treat the computer and electronics not as a separate entity, but for its potential hybridization. And one great example of that is gamut inc, a project that explores instrumental-electronic interactions. Founders Marion Wörle and Maciej Sledziecki came to visit us at the MusicMakers Hacklab we’re hosting at CTM Festival in Berlin. And they brought the most extraordinary inventions along.
With galaxies of new sounds out there, we return to certain hubs to point us in stimulating new directions. And Daniele has done it again. We’ve heard some of the upcoming noises from Holotone, a label whose name (no kidding) draws from particle physics, and we have reason to be excited. CDM’s Zuzana Friday goes all in for an in-depth interview with plenty of music to go with the words. Apart from his work as a half of Dadub and his mastering output with Artefacts Mastering studio, Daniele Antezza produces personal and spiritual musical experiments under his Inner8 moniker. Recently, …
We live in a world dominated by the mythos of the solo artist. And people can easily get down when they discover they can’t compete. But here’s one solution: cooperate, instead. That’s the story of LA’s TeamSupreme, documented in an extensive short put out over the weekend. And it might be better news than any new gear, especially if you yourself has been frustrated by the scene.
This week, the eyes of the music world will look at what’s new in toys. But how about looking further, to how technology is used? Going deeper to what’s happening in live music and music making is the essence of our new series Practice Space. CDM is excited to host a living-room style gathering of musicians and performance artists in the heart of downtown LA, and we hope you’ll join us – in person and online.
Inside the computer, music software very often looks like it always did – faux mixers and multitracks and piano rolls. But in the hands of designers, musical objects are appearing as something very different. And those iconic mouse ears seem to be … following you.
There are artists who are remembered for their cultural impact, for the power of their identities or their musical output. But David Bowie always struck me as one of those few larger-than-life personalities whose sheer force of productivity was staggering itself. From the tiniest details of a stage production to ground-breaking concepts in fashion to an exhaustive approach to studio work, Bowie was king of workaholics. He was a person who made, and made some more. If he had done so in total obscurity and you happened to unearth the output of his imagination, you would be staggered. And everything …