Texas-born, Detroit-raised, New York-based artist Matthew Dear has a new EP, to be followed by a full-length in 2012. It’s worth mentioning now for two reasons: one, the driving, “chugging” rhythms of the single, “Headcage,” will pop into your head and stay there, led by Dear’s vocal ability to croon and groove simultaneously. Second, the opening of this video may well make your mind go squish. The work of London-based director Morgan Beringer, seen previously milking monochrome textures out of another Matthew Dear collab, the film makes it look like some very colorful part of the Earth’s crust turned a film into magma. It settles down, but the opening frames are to me transcendent, especially when set to a similarly-morphing sonic backdrop.

You can stream and download the single via SoundCloud:

Matthew Dear – Headcage by ghostly

More on the upcoming release from Ghostly:
Matthew Dear: Headcage

The music writing echoes a bit for me Eno and Byrne on My Life in the Bush of Ghosts; perhaps channeling that, the album art by Michael Cina for Dear has washes of indistinct color, like a kaleidoscope set into motion, then blurred. Ghostly reports Dear co-produced the single with Van Rivers and The Subliminal Kid, vets of the acclaimed self-titled Fever Ray. The rest of the album is full of other vocal and producer collaborations. More on this when it arrives.

Shop Vac from Jarret Heather on Vimeo.

Jonathan Coulton is nothing if not a hero for the age of Internet music. The Brooklyn-based troubadour inspires worldwide adoration from fans, not least in the form of music videos made spontaneously for his songs. “Shop Vac” by Jarrett Heather is easily one of the cleverest music videos put out this year, standing shoulder-to-shoulder with professional, higher-budget, commissioned videos. (And in a year full of clever gimmicks, that’s saying a lot.) It also does more than just show off visual flash: it’s got some actual wit.

More info from the creator:

A kinetic typography music video for Jonathan Coulton’s Shop Vac. Created using After Effects, Toon Boom Animate, Illustrator, Photoshop and Premiere.

As such, I almost put it under the “motion” heading, but for one important cameo: in the best appearance by music notation in a music video in recent memory, there’s a kick-a** notation “solo” in the middle. And yes, music notation is still damned sexy after all these centuries.

Jarret says he made that flourish with LilyPond, the brilliant, fully open-source notation engraving standard about which I raved early this year.

Not that it matters. I’d take any excuse to show this video, or watch it again. And remember, comment trolls, say what you like – I’ll just turn on my Shop-Vac.

Thanks, Wheat Williams, for the tip!

Musicians have long made pictures to represent musical ideas, share those ideas, and allow others to participate. Before computers, we created scores. Now, we can create interfaces, too. Of course, just because you’re using a digital interface doesn’t mean the pencil as prototyping tool has to go anywhere. It’s the quickest way to sketch out an idea. And if your hand is steady, it just might become a lovely, personal interface.

OtoBlock by Tsubasa Naruse is a hand-drawn music sequencer. The basic interface is nothing new, dropping blocks into sequence to make sounds, but the charm is the rough edges on the pencil-made buttons, and the whimsical hand-drawn characters that live on them.

OtoBlock @ iTunes
Tsubasa Naruse website, in Japanese, but don’t miss the other adorable sketches
Via Matrixsynth, by way of Palm Sounds

Here is a 2009 experiment in “sonic interaction” by the same artist, also exploring
some of these ideas. (link) I’m not sure I could even describe it, but the relationship of minimal electronic sounds to handmade animation is utterly irresistible.

So, with mobile music tools like iPhones and portable amps from the likes of Roland and KORG, can you actually go out and make music in a subway? I recall people mocking an old M-Audio ad in which someone was doing laptop production on the subway platform. But when it comes to mobile busking, the same videographer who shot the hands-on video at top also captures an impromptu TB-303 jam in the Tokyo subway. (Apparently, this young woman did not inspire love from the police. Sadly, the app she’s using is entangled in some sort of contract issues.)

More great iOS videos on perfumepod’s channel; it’s a great way to explore different user interfaces:
http://www.youtube.com/user/perfumepod

And yes, I’ve been tipped off to “Tokyo Techno Girl” before; I have to find out more about her.

The novelty of the iPhone or [your favorite device here] may fade. But part of what matters in mobile design is thinking about how to create interfaces and uses that can scale to the size of your palm. That can mean embracing radical simplicity, and reducing an interactive, digital musical object down to its essential noise-making functions. In acoustic instrument design, that means economizing sound production in a form. In the digital world, it means finding the interactive role you’d want to bring with you onstage, in the length roughly equivalent your fingertips to your wrist.

I’m a few weeks overdue actually writing about it, but one design I really admire is Star6, developed by Jason Forrest and Agile Partners. There are no awkward, gimmicky emulations of hardware interfaces here; it’s clear this was an interface that was illustrated in two-dimensions. It has funky nerdster chic color combos, with neon pink atop wood grain. It demonstrates that, in the space of a grid, you can fit triangles. It makes use of computer wifi capability to easily load samples without mucking around with over-designed clients – or record right on the iPhone. And it’s – surprisingly – one of the few apps to make heavy use of the accelerometer, which means rather than looking like you’re trying to text message someone, you can move it around. There’s a “grain” mode so that you can randomize sounds and not have everything synced all the time. I also enjoy the “reset” button. These are all design decisions that could make sense in more commercial software – and our own home-brewed Max/Pd patches and such, too.

Apparently Agile Partners were also influenced by the brightly-colored, handheld fun of the Buddha Machine, too; see their interview with the creator.

Star6
A lovely lineup of free samples, including the Buddha Machine

It’s not a perfect app (no mobile app really can be – that’s the fun of it), and it doesn’t do everything, but I find Star6′s personality rather irresistible. The real test of all of this is whether you can use it in real music-making. And, while my inbox is full of cheezy bands trying to ride the iPhone wave, I love the offbeat Star6 music launch party from Berlin, as documented in the video below. It ranges from Jason’s own work to Warp Records artist Jackson and ex-Chicks on Speed Kiki Moorse. And there’s a crazy iPhone + banjo + accordion cover of Katy Perry’s “I Kissed a Girl.” There are even some genuinely experimental sounds – not the sort of thing you’d expect at a launch event, sadly. (I wish we could have more of that.)

An Evening With Star6 – Berlin (Compilation) from Star6 on Vimeo.

More on the artists, and some of Star6 creator Jason Forrest’s own unique work:

Jason’s own artistic aesthetic, as seen in this video for “War Photographer,” does have this quirky efficiency to it, the sense of cut-out animation (in both visuals and music, I’d argue), and saturated, rich, retro colors.

The eclectic Berlin launch.

Jackson (Warp, FR)
Kiki Moorse (ex-Chicks On Speed,DE)
Song Band (US)
Jason Forrest (CRD, US)
Guido Mobius (Karaoke Kalk, DE)
Ben Butler & Mousepad (SCT/DE)
DJ’s: Finkobot & Marius Reisser

Jacki Terrasse / Joseph (@ Maria)
An Der Schilling Brücke
10243 Berlin

For more on the artists:
myspace.com/moorse
myspace.com/jacksonand
myspace.com/benbutlerandmousepad
myspace.com/guidomoebius
myspace.com/jason_forrest
myspace.com/songbandmyspace
myspace.com/finckobot
myspace.com/mariusreisser

Video shot by Martin Sulzer
Photos by Marco Macrobi

Complete sets:
Ben Butler and Mousepad
Guido Mobius
Kiki Moorse
Jason Forrest

In the Pocket (Rhodes and Moog Light Paint) from Ethan Goldhammer on Vimeo.

Fantastic, hip, soulful keys couple with brilliant stop-motion editing, as a Moog and Rhodes keyboard are splashed with light painting, in this new music video from Ethan Goldhammer. (See his blog for more.) It’s the perfect example of how a much-seen technique can retain its novelty when used creatively, especially as the sound itself seems to dance in light-up oscilloscope patterns.

Background:

Original music by Ethan Goldhammer and S. Burke.
Time Lapse footage shot in August 2008 on Block Island, RI.
Stop motion and light paint September 2008 in Cambridge, MA.

The lesson here: gear pr0n and special effects work perfectly when they visualize the way we feel about our musical objects and sounds.

Okay, so how did he do it? Ethan responds:

Ableton all the way. Recorded as loops with an [Akai] apc, then arranged later. The secret is also, making the animations, rendering them in [Final Cut Pro] but then WARPING them in ableton to the proper timing and bouncing them back to FCP.

Nicely done. Of course, this is why some audiovisualists have turned to Sony Vegas for Windows – formerly developed by Sonic Foundry, Vegas is actually half audio, half visual software. On the other hand, Live is a comfortable and flexible tool that does many things Vegas can’t.

Ethan also has a beautiful rendering of “Air on a G String,” the second cut from the legendary Switched on Bach. Wendy Carlos, if you’re out there, please don’t stop Ethan; I’d love to see more collaboration instead.

Air on a G String (Oscilliscoped) from Ethan Goldhammer on Vimeo.

BIRDY NAM NAM – THE PARACHUTE ENDING from Steve Scott on Vimeo.

This is the music video you’ve always dreamed of getting when your track gets a music video. It’s been round the Web a few months ago, but I only discovered it today via the lovely 8-bit punk Anamanaguchi (see our interview), on their Twitter feed. It’s like what you worked out when bored in grade school Chemistry class with your best friend who planned to become a comic book artist for a career, scrawled in the margins of your notebook. There’s an evil Egyptian alien sarcophagus shooting what appears to be evil sugar cubes from orbit. There’s a crazy space alien superhero who’s all Shriner and Freemason and gets special powers when he replaces his hand with a vegetable squid … thing. And good triumphs over evil, which is what we all root for. It’s the sort of trippy album art we don’t get any more, but animated.

The animation, creative direction, and concept are by Will Sweeney, who under the name Alakazam Label makes fantastic, far-out illustrations, toys, and animations with edible acid-neon colors, and hamburgers for heads, and organic tendrils like pasta or vines or tentacles wrapped through the dreamscapes. You can see more of Sweeney’s work:

http://alakazamlabel.com/

Steve Scott directed the video, did concept design, and did his own compositing, which shows you he knows his stuff. Scott, based in Australia, has his own brilliantly wonderful stuff.

Birdy Nam Nam are a French DJ crew, cool enough to name drop Peter Sellers references in their actual name. They’re proper turntablists in a world in which that has become a rarity, with the prizes to match. Remix did a good write-up of their work in 2006; the best way to keep up with them now is to follow MySpace and, unfortunately for the world’s other continents, to live in Europe.

Justice did the production, in case that wasn’t evident; the marriage works.

And, seriously, special squid vegetable hands?

Credits:

Will Sweeney – Concept designer and Illustrator
Steve Scott – Director, Concept designer and compositor

James Littlemore – Editor / Compositor
Geoff McDowall – Animator
Ed Willmore – Animator
Roland Edwards – Animator
Dele Nuga – Digital Painter

Lottie Hope – Producer
Dan O’Rourke – Executive Producer

Not To Scale – production

Thanks to Big Active

Theoretically, all of this could have gone on Create Digital Motion, but I love watching a video that makes me feel differently about the music. Having that experience, to me, is what it’s all about.

Note Pad from Charlie North on Vimeo.

This charming music video from Charlie North imagines creating your own simple music controllers with a piece of paper and a marker. (There’s some similarity to M-Audio pieces there, too.) Of course, that raises another question: could this actually be done?

Computer vision isn’t quite intelligent enough to work out automatically what’s going on here, but it seems to me that you could get a little closer. Another alternative would be using conductive ink or graphite to make the drawing itself a sensor. I’m going to leave you to puzzle out the rest.

It’s technically still a holiday weekend here in the U.S. of A., so I’m going to keep with the whimsical inspiration for the rest of the day.

Voltage from Bam Studio on Vimeo.

Oh, sure, it’s all fun and games until your modular robots have a little too much fun and your rig erupts into a fireball.

But then, modular synthesis fans – you understand, nonetheless.

William Paiva sends us his work as one of the animators and writes:

Hi everybody. I’m a reader of both Create Digital Music and Create Digital Motion, and I’ve just uploaded to Vimeo and to YouTube a short animation film about robots and synths. I think you might like it. Reards.

And you have crazy, crazy dreams, man. Brilliant work. Here’s the team:

Directed by:
Filippe Lyra e William Paiva

Produced by:
Barros Melo Animation Studio

Director of photography:
Filippe Lyra e William Paiva

Animation:
Filippe Lyra
William Paiva
Marcio Vieira
Felipe Soares
Leo D.
Tony Farias

Design:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Illustration:
Filippe Lyra
Marcio Vieira
Felipe Soares
William Paiva
Natalia Franca

Editor(s):
William Paiva
Leo D.
Filippe Lyra

Sound:
William Paiva e Leo D

Music:
William Paiva e Leo D

Just like modular synthesizers, people connect with each other in order to achieve diverse objectives. In Voltage, robots, half-human and half-synthesizer, powered by a huge amount of energy, connect to each other in an electric and chaotic trance.

Be sure to check out William’s blog. [in Portuguese, which may get named as 2009's Language of Awesomeness on CDM.]

We asked to see inside the Ableton Live sets you use in live performance, and you’ve responded with an overwhelming variety of responses. There are plenty of very practical submissions, from beginners and advanced users alike, which should give us a real sense of the ways in which people are playing Live as an instrument. Naturally, there are also some more unusual entries.

At top: Mark Gutierrez has used the Live arrangement grid as a palette for animated pixel art, with 8-bit game characters from Space Invaders and Super Mario Brothers dancing across the screen. At bottom: Manuel Palenque has connected Live to the patching environment and 3D visual tool vvvv for live, animated visuals. (Manuel, maybe you can tell us – do you output those visuals to a screen, or use them as feedback during your set?)

Insane examples, yes, but they do illustrate what’s possible. Videos after the jump.

Keep your Live sets coming. Grab a screenshot or video and send to:

• our Live set Flickr group or
• email to pictures (at) createdigitalmusic.com

Ableton Live 8 bit Space Invaders from mark gutierrez on Vimeo.
TP2 from Manuel Palenque on Vimeo.

As seen in Japanese on Hideyuki Fukasawa’s blog.

Related:

vvvv Adds Music Features; Get Your Synesthesia Patching On, Free on Windows

We hear a lot about remix culture, but what does it actually mean – and does it mean anything? The founders of RemixAmerica.com hope to promote video mash-up as political discourse, by feeding Web denizens clips historical and new and remix, videocasting, and discussion tools. They’re lucky enough to have Sanford and Son and People for the American Way pioneer Norman Lear at their helm, too. We’ve got the story over on Create Digital Motion:

A New Online Community Focuses on Political Video Mashing; Here’s America Gone Psychedelic

I do want to point specifically to the video from Emergency Broadcast Network co-founder Brian Kane, particularly because of the musical score, by out-there electronic maestro David Last of Brooklyn. It’s a remade look at America’s 200th birthday, via animator Vincent Collins, and it illustrates just how important the sound of the remix can be.

Well, that and pulsing pink psychedelic Americana is just the thing for the after-4th of July week and election season here in the US. A good watch, all around.

I believe digital culture is about more than just remixes, and that buzzwords sometimes get ahead of the actual work. But part of what brings back the power of sampling is a return to its roots in political discussion – whatever your point of view may be, making some noise. Got other examples? Got a trippier animated film than the one above? Call them out in comments.

Don’t forget, if you’ve lost track of our visualist sister site, you can subscribe to Create Digital Motion’s feed.