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.

I have a problem. Let me explain.

Au Revoir Simone’s “Shadows” presented by David Lynch Foundation Television

Au Revoir Simone have released the debut music video, “Shadows,” from their forthcoming album, “Still Night, Still Light.” Yet again, the music is warm and wonderful, with clever, deceptively-simple ostinatos and earnest melodies delivered in wispy vocals. But the release also suggests the new album is going to be more of what we got in the last albums – pleasant and dreamy, but absent, ironically, any hint of “shadows.” The music video comes again from Vikram Gandhi and Brendan Colthurst of Disposable, a firm with expertise in indie-tilted but finely-crafted and always-safe music videos. Their previous outing on “Sad Song”, featuring un-ironic, sweet footage of the trio baking cookies, seemed to capture the blissfully good intentions of the talented Brooklyn outfit. Here, though, the video seems to fixate on its crushes, alternately on the ladies, their vintage synths (just one more effects shot over the top of the JUNO-60), or both. It’s product placement for hardware that isn’t made any more.

I begin to wonder if all of this is moving us, the music fans and critics, into dangerous territory, tangled in indie cred and inescapable nostalgia. I expect some of you wonder why, years into an avalanche of releases with whisper-thin vocals of [boy/girl] atop vintage [square wave synth] and [lo-fi beat box] it would take me until now to come to this conclusion. I love Ms. John Soda and Lali Puna and the many other bands whose stripped-down style is close to Au Revoir Simone’s, but it seems by definition the sort of music that doesn’t need description or explanation or analysis. Yet, oddly, we have even more publicity for a band that seems not to need it.

After all, for a Brooklyn band that makes lovely, earnest tunes, do you really need to know that it has an endorsement from David Lynch? Lynch is a talented visionary, but does that mean you need his musical advice – and isn’t there a danger that it’s not longing for his insight but yet more 80s nostalgia, for headier times with landmark art, here for Elephant Man (1980) and Blue Velvet (1986) in place of a Roland JUNO-60 (1982).

This is not a critique of Au Revoir Simone, or their lovely music. It’s meant as a critique of us, in 2009 – of me. I expect this trio has found their identity and musical voice honestly. It seems not to be changing – that’s fine; change for change’s sake is never an appropriate answer for an artist. But their output it just one place on the musical spectrum, and it’s a place with which I fear the rest of us have become overly fixated.

It’s possible to become crippled by nostalgia and romanticized ideas of what constitutes authenticity. There are times for synth-art-folk. But there are times when we need to find music that’s dangerous, uncomfortable, radical, and not in any way like a batch of warm cookies, to find men and women who are recluse and don’t have any endorsement from anyone.

Therein lies my problem. I know that this is in part the responsibility of those of us in the press. As writers about technology music – in that order – part of what we can do is to highlight things that are genuinely new. New technology does not necessarily mean new music, but the presence of radical tools can be connected to radical artists. I think we risk becoming, instead, caught up in gear lust, in artist lust, and hero worship.

To everything, indeed, there is a season. So I put it to you that it’s perfectly appropriate to admire the new work from Au Revoir Simone – but also that we need to talk about the opposite end of the spectrum. And as I always do, I ask you for your help: who should we cover? What artists would merit the time of outlets covering technology and new music, so that we talk not only about the lovely gadgets and lovely tunes?

My problem is, I often don’t have the perspective to track the output of music in the age of global abundance, while also troubleshooting driver issues, programming, and making my own humble attempt to be an artist myself. I can never be a perfect critic, because of the dangers inherent in being artist and critic simultaneously. But I am nonetheless a lover of danger and the new. I hope that our abundant, globally-connected community can find a way to tell the story of that music. I expect a lot of it is outside of Brooklyn – love that borough as I do. I hope we can find more work there, the stuff that truly lives in the shadows.

Side note, in the interests of explanation: Aaron asks in comments, isn’t it unfair to single out a band? Indeed, yes – it is profoundly unfair to single out this band, as Au Revoir Simone is neither the cause nor symptom of anything. But a blog is, by definition, a medium in which you try to find deeper meaning in the day-to-day news item. It’s trying to make cosmological sense of your inbox. The problem I have here is that posting Au Revoir Simone’s new video is entirely appropriate. But their promotion is, at the moment, focused on David Lynch’s endorsement, and the video on their instruments. So the dilemma is, I either post such things without question, or I ask a larger question we should be asking of everything – that I’m obligated to ask myself regarding my own artistic output (a test I myself will often fail, by my own standards).

And I say this is a “problem” not specifically because of one band, but for every band that we’re not covering. Is that all there is? If my inbox isn’t making much sense (and, perhaps yours), how can we get something different in there?

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.

Neurosonics Audiomedical Labs Inc. from Chris Cairns on Vimeo.

Marvin Suggs and his Amazing Muppaphone was just way, way ahead of his time. But if you haven’t already seen it making the rounds, you owe yourself a little video watching break to check out Neurosonics Audiomedical Labs, Inc., an audiovisual dreamscape in which disembodied heads form electronic drum heads and spin on turntables. The work is produced by Chris Cairns of Partizan Lab, who has a striking resume of commercial spots and worked with folks like Lady Sovereign.

The good folks of Motionographer get the scoop on the production background, and interestingly note that the music is scratching away in Scratch Perverts’ weapon of choice, Serato. Be sure to spot that story, as well as the official film site:

Neurosonics Audiomedical Labs Inc. [Motionographer]
http://www.neurosonicsaudiomedical.com/

If you have any interest in video turntablism, you won’t want to miss dj rndm’s detailed review of the Video-SL by Serato, which allows fluid scratching of video from the Serato digital DJ solution. Thanks to Todd, Josh Randall, and everyone else who sent this our way.

And yet no one has really produced modern Muppaphone technology. Shame. (Hint: get some friends, some socks, and don’t forget googly eyes.)

The imagination of Carsten Nicolai, aka Alva Noto, is a special place. No matter how minimal, there’s always a subtlety to his beats. No matter how dry, there’s pleasure somewhere in the sounds. A love for technology, mundane and otherwise, is something of a cliche in electronic music, but Nicolai manages to throw himself into his work with such infectious enthusiasm that it remains fresh.

And his love for electronics can spread even to vending machines. I have to admit when I first heard this track, I almost had to laugh at the stream of numbers. But, the more your listen, the more you appreciate an aura of style buzzing about everything he does. I spoke to Nicolai in Montreal, in an interview I hope to finally sit down and transcribe this month. He is aggressive about everything he thinks, as he is evangelical about his ongoing mission to fuse music and art into a single aesthetic experience. Audiovisuals may not be new, but if you want someone with the fervor to make people take notice, the Raster Noton label founder should be high on your list.

Via our friend Tim aka the music of sound, an essential blog for sound designers and lovers of hearing.

In the meantime, enjoy Karsten Nicolai, the director as well as (as Alva Noto), the music, top. And from MUTEK, as shot by Landon Speers, with visuals by the lads at Derivative, to give you a taste of his recent live shows:

It’s the soul of YouTube. Or at least, YouTube soul, mashed together.

In case you haven’t already seen this making its rounds, an epic collection of instructional and jazzy video clips get mushed together into a colossal, remixed funk band. What’s lovely about this is that the results don’t sound like a mash up: they sound like these clips somehow sprang to life and joined a soul band, playing live. And then the Theremin arrives.

You watch one video. And then you find there are seven more. ThruYou is a complete YouTube video album, complete with glitched bits of interface artifacts around. And according to the creator, nothing here is faked; that is, “what you see is what you hear.”

Thanks to everyone who sent this in.

thru-you.com
Watch the original Bernard Purdie Drum Shuffle and more goodies at http://www.youtube.com/user/kutiman

The creator of this is Kutiman, an Israeli funk musician and producer. How cool is he? This cool:

It turns out the Internet hasn’t totally sucked our Soul.

Drum machine lovers, you now have the beat gear equivalent of Matt Harding and Where the Hell is Matt?. Kamoni, aka sonic creator, composer, and experimenter Micah Frank, takes his favorite devices out on the road, piecing them together into an epic YouTubular jam.

Doepfer and Korg, Elektron and Akai, plus a lot of other devices make their way around New York and Brooklyn and other parts of the world. Ableton I think figured into editing the video clips in time — thank you, Live, for video. I could point out individual devices, but then I’d ruin your fun, wouldn’t I?

Of course, this could be both emulated and expanded. We could perform a single rhythm, played by MPC and Machinedrum owners around the planet. (You could even get that laptop running on battery.)

I can see it now. Internets, go!

And yes, this does demonstrate where puremagnetik gets all those beats for their line of sampled things. Micah gets his hands on a lot of gear.

Updated: Replaced with a Vimeo link. Google seems to be having a bad week. We like Vimeo better for videos, anyway.

slotMusic.org | Press Release

See also GearLog, which notes that SanDisk previously did a free promotional SD of music

Wired News asks, “but why?”, to which I’d answer – it might well be easier to load music onto a phone in parts of the world other than the US, you might more easily distribute videos, and artists looking to increase the value of their CDs could innovate on revitalizing album art.

First, let’s start with the players, as that’s basically the big news here.

Hardware: SanDisk, the folks who invented flash storage and make more of it than anyone else

Labels: A huge set of the majors – EMI Music (which includes the likes of Angel, Capitol, Blue Note, and Astrelwerks), Sony BMG, Warner Music (including Atlantic, Nonesuch, Rhino), and the world’s biggest music company, Universal Music Group

Retailers: Best Buy, Wal-Mart, and other US retailers, with Europe to follow – keeping in mind, Wal-Mart remains the biggest brick-and-mortar seller in the US

When it’s happening: Exact date TBA, but officially by the holidays

Which artists: Most likely, lots of them. An EMI representative who spoke with CDM confirmed two chart-topping examples: Coldplay’s Viva la Vida and Kate Perry’s One of the Boys.

Now, you’d be right to be skeptical of how this format will be received, but it’s certainly a big distribution play with that arrangement of labels and retailers.

The hardware in question is basically SanDisk’s tiny removable flash memory format microSD, rebranded and repackaged as slotMusic. (A representative of SanDisk tells us there are some other subtle technological differences; more on that soon.) The important thing about this is that the hardware you buy has no DRM on it at all; it’s just standard flash memory you can plug into phones and mobile devices, or, via a tiny included USB sleeve, a computer.

SanDisk’s format specifies DRM-free, 320 kpbs MP3s as the music format. Gruvi, SanDisk’s previous attempt at turning their lucrative flash memory business into a music format was a miserable failure, but by contrast, it was locked with DRM features and, excepting a big release by the Rolling Stones, lacked support from labels and retailers. (I see Gruvi has even been largely erased from SanDisk’s website.)

What’s the Business Angle?

My colleague Eoin Rossney sent me this story under a headline on Ireland’s SiliconRepublic.com that screams “SanDisk and big labels in tech deal that could save the music business.” That’s obviously hyperbolic, but it’s also wrong. To me, it seems to be about three things:

1. It’s an experiment. Music labels want their music everywhere they can get it – as, frankly, they should; that’s their job.

2. It’s a massive end run around iTunes. Remember, part of what helped prompt some of the more stubborn labels to remove DRM was the realization that their DRM deal with Apple had placed Apple in the position of dominating download sales for the device most people owned.

3. Most phones aren’t iPhones. Labels will continue to do business with iTunes because iTunes is selling their music – but they’d be nuts to turn their back on the rest of the mobile phone market, which is far bigger. The press release notes 1.2 billion phones are due to ship this year, a number Apple can’t approach even with all their iPods and iPhones put together. In fact, it’s hard to wonder if, on a global scale, iPod won’t slip into the shadows with the number of increasingly multimedia-savvy phones out there.

Despite the hip factor of the iPhone, Apple has a tiny slice of an exploding global market for mobile devices. Instead of using a cable and a fancy vendor-specific store, you can just give people music they can pop directly into their phone, which – from vendors other than Apple – typically has a microSD slot. And as I noted last week, Apple’s alternative is a store/software sync arrangement that they control exclusively.

Music Everywhere, and Back on Objects

I’m not sure slotSD will be the “new CD,” or that it even needs to be. I think it’s better to see this as one of a variety of options you’ll see for music distribution. And, of course, even slotSD is best understood in the context of a growing amount of music showing up on flash memory, because it combines the flexibility of digital formats with physical objects.

“This is one of many initiatives to make our music available in as many different forms as possible,” Jeanne Meyer of EMI Music tells CDM. “Our big MO is to experiment with as many as possible.”

EMI, for one, has a record of trying just this sort of thing. There was a re-release of Radiohead’s studio albums on memory stick, though that seemed to cause some controversy. EMI has even toyed with big retail, with a release of UK superstar Robbie Williams at England’s own big box, The Carphone Warehouse. (It’d be interesting to know what sales were like.)

Of course, you can easily download files. Physical media is all about the object. A SanDisk representative confirms that labels are planning physical liner notes and album art in the package. You can also expect the memory to be loaded with digital extras, in the form of artwork, videos, and the like. Given the middling quality of online video, and the fact that bandwidth costs aren’t going down at the rate many had hoped, I think that could mean higher quality and more access to video via physical formats than online.

Indie Artists and Digital Contents

So, I imagine for many of you not on Sony BMG, and listening to many artists who aren’t, this won’t be terribly earth-shaking news. But I do know SanDisk reassures CDM that they have worked with indies in the past on various promotional projects.

What can artists do with a format like this? Well, they can load it up with goodies that might actually be otherwise rack up bandwidth costs. One excellent example of an artist experimenting with this format is Sound Tribe Sector 9. They sent their latest release, Peaceblaster, to me. It’s loaded up not only with the files for the album, but extra images, podcasts, a screensaver, and videos. We saw these kinds of extras squeezed onto CDs at one point via formats like Enhanced CD, but there’s no question it’s more convenient on USB stick.

I think the big challenge will be how to make these contents interesting and unique, and even with bandwidth costs comparing unfavorably against increasingly high-definition media, how to compete with online alternatives.

Somehow, I imagine the slotMusic format winding up being a plain-vanilla blister pack that, stuck in a dull music department in Best Buy, just confuses consumers. I’m happy to be proven wrong there. But there is, in the meantime, plenty of room for independent artists and labels to innovate with short-run releases and ideas for what to pack inside the digital media that no one has thought of yet. And while majors have earned the skepticism of consumers and artists alike, I wouldn’t be surprised to see majors being more adventurous – especially once they discover that, in addition to the perils digital media pose, there could be a significant profit payoff for those experiments.

Actually, forget everything I’ve said in this entire article, and let me sum it up in one line:

If physical distribution brings art back to album releases, it’s a good thing, and it’ll work.

The generation of music lovers staring into album art wasn’t wrong.

It’s not animal-friendly, constructed of black leather and snakeskin, but it is fashion-forward. It’s Rucyl Mills’ over-the-shoulder, wearable MIDI controller, complete with pads, knobs and faders (looking mysteriously like they were liberated from an M-Audio Trigger Finger). Rucyl describes her creation:

I built the elektro-07 so I could control the sonic and visual parameters of my live performances without having to look deep into the eye of my laptop, hunched over in computer music stance. I’m still learning how to play it.. Software wise, it runs a maxMSP/Jitter patch smoothly, connected to my laptop by a long usb cable. Major thanks to Luke DuBois.

I have to agree: I’ve seen people with great stage presence hunched over laptops, but hunching is … well, uncomfortable. Note, by contrast, her relaxed pose.

Rucyl is a NY-based electronic musician and artist, with an impressive portfolio of interactive works.

Rucyl Mills site

As for the “Sexy Computer Nerd” reference, that’s a reference to Rucyl’s love ballad to you PHP-coding, blinking-LED-heart heartthrobs out there:

Sexy Computer Nerd from elektrocardio on Vimeo.

Thanks to Eric Dunlap for sending this our way. Other examples of wearable interfaces, anyone — or other ways you’ve made your gear strap-on-able?

Hopefully we’ll have Jeremy and Ethan together for one of our future events here in New York soon.