…is a very very very fine house. With two cats playing synths…
This week we celebrate collaborations with the next At Water’s Edge challenge. The challenge for this episode was to find a collaborator or two and create a track together, whether it was artists that had worked together before, or who had always wanted to work together.
“metanoia” – Magnetic Wind and Tim Jones – (single) (2017)
Although not specifically created for this program, this track represents a beautiful recent collaboration between Magnetic Wind (voices and keys) with Tim Jones (trumpet). Released as a single in 2017, it is the start of what we hope is a great new ongoing collaboration project from these two.
“Gobzt” – George L Smyth / Stephen M. Weinstock (2018) – Our House
For the “Our House” challenge I collaborated with Stephen M. Weinstock. He sent me a short movement of a string quartet he had written a number of years ago that was twelve tone. I pulled the four themes out and reworked them, adding a flute, clarinet, bass clarinet, vibraphone, string bass and drum set – basically I changed everything. His themes, however, are completely the basis for the Largo sections.
“Ghosts” was a track that your host (aka ʞu¡0ɹʞS) did for the recent challenge episode featuring women artists. Disturbed Earth then did this beautiful remix of it for this program. I think it kicks the tar out of the original, myself. Because Dean is a true artist. 🙂
Scott Lawlor and David Gerard will be releasing a full-length album later in the year. Consider this a teaser track from it.
A beautiful ambient entry from these two great German artists.
It all started with a recording of the Yucatan jungle ambiance from Freesound.
Brother Saturn added the floating guitar, I added the bass part and some additional weather atmospherics, and boom we had a track!
This collaboration began as many of the pieces with Stan Magendanz come about. I heard one of his Ambient Bites tracks and thought, “I can do something with that.” I added sounds from a Reaktor ensemble, ‘SpaceDrone MOD’, with lots of delay, diffusion, and LFO-driven filtering using the Replika reverb effect. I posted the result privately to Stan with a “Surprise. Listen to this.” message. He has done the same thing with my tracks. On occasion, though, we actually coordinate throughout the process.
This piece began with a track of ambient piano from playman54 (Colin Blake). This sound was somewhat low fidelity and sounded like an old piano. I modified that with multiple pitch shifters and reverb to create a spacier wash of sound. A second part was added with an improvisation using one of Native Instruments’ pianos, The Giant (Kontakt). A modified preset that almost doesn’t sound like a piano was used.
“Technically Inaccurate But Effective” – Skoddie & Glenn Sogge – Our House (2018)
Skoddie & I began by agreeing to create Reaktor Blocks ensembles and swap them. It turned out that Skoddie’s instrument was essentially unplayable on my machine because of the massive resources it took so I was unable to produce something with it. Fortunately, she had sent an audio track, also. I created a filtering ensemble to modify sounds. Skoddie’s track was then run through my ensemble to produce the final result. Between the two ensembles, “No LFOs (like a dozen or more) were harmed in the creation of this piece.”
“You Are Effectively Hearing My Voice” – Skoddie & Glenn Sogge – Our House (2018)
Skoddie: This piece is based on Alvin Lucier’s “I Am Sitting In A Room”. In his piece, Lucier makes a recording of himself in a room, then plays the recording through a speaker, and records the output. He then takes the second recording, and rerecords it progressively distorting the sound more and more each time it is recorded. He repeats this process a total of 20 times, capturing what he calls the ‘true essence of the room’.
Instead of a room, I’ve used a Reaktor patch created by Glenn Sogge for our other collaboration, “Technically Inaccurate But Effective”. I recorded myself speaking, treated that recording, and then ran that recording through Glenn’s patch a total of 20 times. I then overlapped all 20 recordings to cause them to fade into one another at a somewhat steady pace. It is a bit shrill, but it was incredibly zen to create, and I think it’s interesting to hear the ‘core’ of Glenn’s patch brought to the front of the piece as it proceeds.
“Reykjavik” – Spatial Forces – Our House (2018)
When I saw the initial challenge details several months ago, I think I just set the notion aside in my head to ferment. I recently looked at the challenge parameters again and immediately thought of Tony Gerber. I had worked with Tony before on collective performances but never in a one on one environment. I invited him to participate with me and he immediately said yes. I believe the challenges put out by AWE request immediacy and that translates to unique and unexpected results by the artists. I set out to work right away and established an 8-1/2 minute framework of evolving synth pads. I sent it to Tony to work on. What I wasn’t aware of is that Tony had 2 other extraordinary musicians hanging out in a nearby Nashville studio and basically said to them, “Hey, my friend sent me this track to work on, wanna check it out with me?” So this collaborative challenge sort of extended itself naturally and the result is a beautiful piece of music that not one of us could have created on their own. The piece and project basically birthed itself. Spatial Forces is Tony Gerber & John Krikawa with special guests Denny Kirtley (flugelhorn) and Massood Taj (bamboo alto sax).
“After The Rain” – Cousin Silas & Gypsy Witch – Silas & Friends | vi | part i (2017)
“Last Tangram in Paris” – Different Skies – That Merciless Sky (2009)
“River of Road” – Cousin Silas and Rebekkah Hilgraves – Silas and Friends | vi | part ii (2017)
“a world beneath the world 2007” – zen rat – a world beneath the world (2016)