#explore the Moog

[drzone]

You all need to listen to moog. NOW!!!!!

[whiskeyswifty]

What’s your favorite thing about folklore?

oh my god what a question. I'm just gonna riff off the dome here because if i try to go at this in any kind of organized way, i'll write a deranged thesis paper. (this is about the album proper, sorry to the lakes. too bad she never released it and we'll never know what it sounded like)

Gut reaction to this question is just how complete it is. It's an idea and concept, a writing prompt if you will, compiled neatly and cohesively in a way that's the perfect digestible length for it's form (music/an album) and also all killer, no filler. All the vignettes are not a "story" (save for the love triangle which i largely ignore because it's shoehorned) but come off like an anthology; that is to say that they're a series of emotional vignettes across a range of life experiences, but explored through the motifs and styles of one writer. I cannot jump around with folklore, i must press play on the 1, which has never happened before with a taylor album. It has no skips, every single one flowing smoothly but efficiently with the ebb and flow pacing of a babbling brook. (i do skip mad woman occasionally cuz its not what i wanna hear at the moment or epiphany cuz it's too heavy and too soon to go back to that mental place, but they're both excellent and fit perfectly within the album when i'm casually listening)

The sound is also just so perfectly aligned with my tastes. I contain multitudes, but unfortunately one of those is being a sad indie white girl lol. I love soft rubber bridge guitars, and whining violins and piano and minimal but expertly layered textures. atmospheric ones that carry the mood and the fill the space like fog but let you feel close to the artist, as i've said once before, as if she were sitting next to you and talking directly to you. There's a lushness to live instruments played softly and as pieces of a whole, and it makes any additions from a moog softened and supplementary. It just, for me anyway, really helps to hear the tactile nature of the instruments and mistakes and the breaths and the pedals on the piano and all the rest. it's the perfect mix of what i love musically from that genre, akin to Sujfan or Lucy/Phoebe or imogen heap or the xx or lana at times. even as way back and like dashboard, which shows my age a bit. you know the vibes. And i love how jack leaned into his more orchestral side, which he doesn't often do with taylor, still to this day. august in particular is just outstanding and he's great at stuff like that and i wish they would do more like that together!

I think its the PERFECT use of her voice. it's not blasphemous to say of all her artistic talents, she does not have a voice that can stack up against her peers vocally. But, as i've also said a million times before so sorry to bring it up again, she has a very emotive voice when it comes to the tiniest and most nuanced of emotions. maybe because she's less focused on vocal runs or hitting notes, but this album has her voice really shine. it's textured and rough and soft and smooth at the same time, fully bringing you whatever raw emotion is on the page. its the voice of a scribbled journal entry if that makes sense, off the cuff, unpracticed (even though i'm sure it is), and so intimate. you can hear her smile and hear when her throat is thick, it's just a showcase of her voice like nothing else. the pared down sound really lets all those tiny moments rise to the surface.

visually, i mean what can i say. her second best album cover ever. Fully removing herself from the center of it, diminishing herself with the trees for scale. Trees that have existed before her and will outlive her, as if to say this, the act of making art and ultimately the art itself, is so much bigger than me. my life and my problems. but everything is bigger than me, and it's important to not lose sight of that. which, if you were an adult at that time, particularly of a similar age to her at least, you commiserate with that sentiment. the black and white isn't actually black, but more of a warm gray, which i also love. i also know it was mainly out of necessity, but embracing how dressed down and simple her styling was. wrinkled dresses and limp, unruly hair. really suited the look of someone who's going to spin you a tale. NO TEXT TOO LIKE YEAHHHHHHHH god it's perfect and so well designed.

rapid fire now, lets see. i love that peace was done in one take, and you can tell, in a good way! and it's her HEARTBEAT???? i'm a sucker for that, no matter how played out that trick is, and imo it's justified because they disguise it with a dissonant tone of sorts. i love the PERFECT knee jerk answer opening of "i'm doing good" and then proceeding to delve into some of her darkest emotions she'd explored thus far (and in some ways since). i love that illicit affairs is missing it's final chorus, a song that is structurally unfinished and just peters out, the way doomed affairs always do. the way she never mentions the location or even the event, but the soundscape and the lyrics of my tears ricochet paint a perfectly clear church and funeral in your mind!! i love the word ricochet and i love how easy it is to spew it with vitriol. as corny as it is in the context of the rest of this more subtle album lyrically, i love the swiftian turn in the bridge of tlgad like.... damnit it's always so delicious. that harmonica in betty is just like a glass of sweet tea on a muggy summer night, it's SO bright and fun and puts a smile on my face every time!

But all that to say I think my favorite thing is seven. seven is a perfect song. her best song. the best version of a taylor swift song. a song so emotionally poignant and transcendent it wins over, however begrudgingly, even the biggest haters of her and indie music as it pokes at that one spot that will always be soft, and it's blank space's spiritual successor and therefore foil in that way. incredible feat to use the motif of your childhood self and not come off trite, like most other attempts by other artists can be. the most opaque she's ever been lyrically, which is a huge risk to take. small in scale but massive in it's implications and intentions. a song where the meaning and gravity exist in your reaction to it and not the song itself. perfect art. an opus of a song on an opus of an album.

[shirpsbiomaterialworld]

One of my most favorite things in the world that is precious to me is my Theremini by MOOG Music. It's a 3lb plastic contraption with metal rods that act as sensors, transmitting through the body as a midi controller and musical instrument. The sounds vary with 32 patches incorporated in its library. I love playing this instrument as you don’t touch anything, just act as a resistor for the sound waves. Other than the obvious of it being incredibly cool, ethereal, and alien, the entry of the theremin quite literally came to me in a dream. I was listening to hertz frequency tones and imaging lofi-fi playing over it, when I awoke I needed to see if that type of music existed. I then found it via Clara Venice, a theremin artist and music producer from Canada. Her playlist of lofi tracks with theremin and tones all had under 400 views, so I knew this connection was special and I had to honor it and explore the sounds myself. Thus I luckily got a refund from my student loans for college and bought the theremini and even got custom bunny stickers from Claras online store. The synchronicity was apparent as I have a bunny too! She sent me extra knobs too including the purple and glow in the dark ones above. Very special thing to happen in my life <3

#weekone #documentationblog #theremin #moogmusic #claravenice

[citylawns]

i’m trying to ”get into” ambient/electronic music, do u have any recs (albums etc.) that are ur favorites ?

Absolutely!!! I’ll try and recommend artists that touch on both or are tangential. I have to say I hate super ambient stuff like chill wave

The first artist and album you have to listen to is Aphex Twins Selected Ambient Works 85-92. This is a great essay on the album in my favourite music publication (shout out to John Doran) https://thequietus.com/articles/32306-aphex-twin-selected-ambient-works-85-92-anniversary.

Another foundational artist and albums is Brian Eno and his Ambient 1,2,3 and 4. My favourite is Music For Airports. Aphex Twin was obviously very derived from him but adds influences from rave culture which makes it more engaging for me. I haven’t really explored Eno’s work further than that actually, but I love the song Strange Overtones from the album he did with David Byrne from Talking Heads. Not ambient but unmissable.

I also really love Boards of Canada recently, been listening to two albums: 1998 Music Has The Right To Children and 2002 Geogaddi.

Onethrix Point Never are great, I saw them live last year and it was actually a really engaging show for me but others in my group weren't too fussed. Check out the soundtrack to Good Time and the album R Plus Seven.

Lemonjelly are a great band too but more Trip Hop actually. though if you’re getting into ambient music which is specifically electronic you might like it too as there’s similar elements. It’s stuff like Massive Attack and Portishead and I Monster. These were the bands my parents played all the time when I was a kid because 90’s lol.

Also to go to the very start listen to WENDY CARLOS. Literally The Mother of Synth. She’s pulled all of her albums from the internet I believe, she’s a massive recluse bless her because she was tormented by the press for being trans (been meaning to look into them actually) but I just read this essay on her and she’s incredible - literally pioneered synth music by helping to build the Moog. She was the one who composed the score for The Shining, A Clockwork Orange. She’s 84 now, literally a hero.

Other iconic/introductory tracks: The Orb - Little Fluffy Clouds Orbital - Halcyon On and On Moby - Porcelain

I will recommend some other artists that have either ambient or electronic elements that I like:

Grouper (ambient, sorta folk) Air Crystal Castles (electronic, also an awful and very sad history but mean a lot to me and I am desperate for my bfs band to play at the same festival as Alice this year so I can try and bump into her backstage lol) Slowdive Yves Tumour Spiritualized Tirzah Duster Grimes (lol) Delroy Edwards Dean Blunt

[7grandmel]

Todays rip: 19/02/2024

Plantasia 2

Season 5 Featured on: SiIvaGunner's Highest Quality Rips: Volume D

Ripped by MaxTrax

Requested by The Eight O’Clock Comet and an anonymous reader!

Remember those times where I've mused on just how interesting it is to fall into rabbitholes from running this blog? Y'know, with waterwraith pokos - a rip I once thought nothing of that refuses to leave my head since I learned more about its joke origin and spread. There's a good number more rabbitholes just like it, yet few have truly caught my attention quite the way Plantasia 2 did. And, beyond it too being a rip of Pikmin 2, the strangest part of it all is - it hardly feels as if the rip itself even *wanted* to be uncovered.

I'm half certain that I myself missed out on the rip's core premise from tabbing out after listening for a bit, because it presents itself as so innocuously. A track as immediately distinct and identifiable in sound as Results of the Day, melody swapped to some classic SiIva jokes: Among Us Drip, Grand Dad, Nutshack - Oh what silly whimsy, what hijinx! An everyday, standard, good-quality rip to send to your Pikmin-interested friends as an icebreaker, without much else to it - and that's the way it stays for almost two whole minutes of its runtime. Click, laugh at the bait-and-switch joke, move on - the typical rip listening experience for many viewers (or at least myself) truly doesn't do Plantasia 2 justice.

Because, as you yourself may have noticed - at the minute-fifty timestamp, the rip hard-pivots in direction, to the point of even getting original visuals, all in loving tribute to the 1976 album Mother Earth's Plantasia by Mort Garson. If you're unfamiliar, I don't blame you, but just a quick glance at both him and his album's Wikipedia pages will tell you just how much of a legacy they both have. With the intent of making music specifically for plants to listen to, to the point of only distributing the album alongside purchases of houseplants from the titular Mother Earth store, Mother Earth's Plantasia was one of the first albums to have ever been composed entirely on a Moog synthesizer - purely for the listening pleasure of plant-life. In other words: It's pretty important to the history of synthesized music in general! Beyond that historical angle, it of course helps that the title track Plantasia, the one that Plantasia 2 is an arrangement of in particular, is absolutely soul-cleansingly beautiful, with an opening prelude that immediately brought to mind everything from Final Fantasy to Minecraft, yet building to a triumphant crescendo that reminded me of We're Finally Landing of SummoningSalt-video fame. The influences taken from Mother Earth's Plantasia can be felt everywhere, yet the root of it all feels all too forgotten about.

To say that Pikmin is the perfect franchise to use for this kind of tribute would be an understatement - the synth-driven Results of the Day theme has persisted with the series since its very beginning, conveying the beauty of space within a game otherwise so focused on exploring beautiful gardens. It's as if its conveying a sort of juxtaposition between the two sides to Pikmin's world, ytet the feeling that both it and the original Mother Earth's Plantasia convey is also one of connection between the two. The plants looking to the stars, to other unknown life beyond planet earth, longingly dreaming about the universe...the Pikmin are just little plant guys, and yet a theme like Results of the Day sparks so many emotions. I can't help but feel yet more emotional thinking about the humble, pure-hearted upbringings of both Pikmin and Mother Earth's Plantasia - both Shigeru Miyamoto and Mort Garson sought to create something out of a love for nature itself moreso than fame and fortune, and in doing so helped move their respective mediums forward in thoroughly underappreciated ways.

MaxTrax's list of contributions to the SiIvaGunner channel is comparatively small, with him seemingly ebbing in and out of activity practically every other year. Yet that gives me the impression that he genuinely puts his whole heart into each contribution he makes, to share these small, niche little nuggets of his interests to the broader SiIvaGunner audience; much the same impression I got from the ripper Uncle Fill in Violet Snow Memories. For MaxTrax, Plantasia doesn't appear to just be some neat song to tinker around with for another rip - Plantasia 2 exudes that feel of being a genuine passion project, akin to rips like Jesus of the Underground. Yet, much like Mother Earth's Plantasia or Pikmin itself, it also seems perfectly content in not being a big, explosive, all-eyeballs-on-me event of a release: the ones who are going to notice the true intentions of Plantasia 2 are the Pikmin fans who were going to listen to it the whole way through anyway.

It's all still just so bizarre to me - the rip does a *double* bait-and-switch in a way I haven't really seen much of since it was first done way back in Be Cool, Be Wild, and Be My Girl, yet...doesn't do it at the expense of, or as a joke played on, the audience. It is purely a surprise treat to those SiIvaGunner fans who truly pay attention, who approach the channel with care and dignity, engaging with other fans in dialogue - again, I'm almost certain that I missed the point of it when it was first uploaded and only found out about its true intentions through more than one person requesting it for the blog! The sense of community that SiIvaGunner is able to create through finding your own special little rips, sharing them with others, being invited to uncover these fascinating little pieces of knowledge purely from a rippers' interests...it really is special, and Plantasia 2 truly does embody it in such a fascinating, befitting way. Because really: what could possibly be more representative of love, compassion, empathy and care for others, than to tend to one's garden with such a human form of expression as music?

[burlveneer-music]

Moritz von Oswald - Silencio - no trio this time, just Moritz and a 16-voice choir

What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept. Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and dark & dissonant. The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them. Artwork by Cyprien Gaillard.

[palettepainter]

Have you watched Back to the Rock? The reboot of Fraggle Rock? If you make Fraggle Rock content will it be based around the reboot or the og version?

A very good question anon!

Hands down, for me, the original is outstanding. The episodes where fun and entertaining and, honestly, I didn't expect the finale to be as bittersweet as it was. I was genuinely getting a little emotional, especially at that scene where Gobo comes back and finds Doc and Sprocket gone (and the scenes where Doc and Sprocket where just...waiting outside the little hole in the wall hoping Gobo would come back, ouch-)

As for the reboot I haven't seen too many posts discussing it so I have no idea what the general opinion of the show is, but here's mine: Now, this might be because I watched the reboot straight after I finished the original, but the reboot didn't cut it for me the same way the original did (besides the Glow episode, chefs kiss perfect)

It took a while for me to warmup to Doc in the reboot, but when I got like halfway through the episodes I began to like her. She's okay, but original Doc will always have a special place in my heart, his dynamic with Sprocket was brilliant! (I can't remember if this was said in the reboot but I think it'd be cool if Reboot doc was a descendant of original doc. So she'd be his great great grandniece or something. I think this could make for a sweet story where reboot Doc learns that Fraggles exist, and remembers all the silly stories her great grandpa used to tell her about them. Which at the time, she didn't believe)

I also didn't like how clean the workshop looked in the reboot. It just didn't feel like a workshop, and again maybe it's cuz I watched the reboot right after I finished the original and I hadn't finished being emotional over the ending, but the workshop in the original felt like it had so much character to it. It was grimy, dirty and cluttered but Doc's and Sprocket's dynamic still made the place feel homey. As for the Gorgs garden I liked the designs in both of the series! The reboot def made it feel more fancy and royal like

As for any content I do regarding the Fraggle characters or my OC Phoebe, I think I'm gonna explore the idea of reboot Doc being related to original Doc. I also might give reboot Sprocket a slight redesign - cuz if I do explore this idea more it won't make much sense if reboot Doc had a dog that looked exactly like og Sprocket (but I'm super torn about this cuz I LOVE Sprocket! Some of my fav episodes are when him and Gobo are an episodes focus)

Maybe reboot Doc could become eventual friends with Nora and Moog, and she eventually becomes like the bands some what online promoter alongside Hannah?

[nightmaremp]

Weremayhem: Song of Beasts. Ch 16: Kitten Problem

     Hannah had made some food for Lewis and Annie. She set the plate of food down at the table. The black haired female noticed the bright moonlight of the full moon. “A beautiful moon out tonight” she thought to herself. 

“Lewis! Annie! Time to eat” said Hannah. Sounds of small claws hit the floor as they sounded like they were coming to the dining room. “Coming, Hannah” replied Lewis as he came into view. The Cheshire smilodon kitten came into the room with his baby sister biting his antlers. The black haired female’s eyes went wide. 

“W..what happened to y..you two?” asked Hannah, both scared and nervous. 

“Oh! I forgot to mention that we are wereanimals. Actually, a werecheshiresmilodon” replied Lewis as he sat Annie on the table. The small kitten quickly dug into the food. 

“Wait, you mean that werewolves are real?” she asked. 

“Yep and other wereanimals too. The band are wereanimals too.” he replied. 

“Oh my god! People online will go nuts over this!” replied the black haired female. 

“No, no, please don’t let anyone know about this, '' Lewis quickly said in a scared and worried tone. 

“Why?” asked Hannah. 

“If people find out that we are wereanimals, we will be put in serious danger. Wereanimal hunters will keep up, labs will do horrible tests on us, and we will be sold on the weremarket.” replied the feline. 

Hannah looked shocked at this news. She nods her head. “I will keep this as a secret and will not tell anyone” she said. 

“Thank you,” Lewis replied with a soft smile. 

Meanwhile with the band, they were in their wereforms around a fire. They were eating some marshmallows, except for Zoot. “Another marshmallow?” asked Moog. 

“Oh, yeah” replied Dr. Teeth 

“Anybody else?” asked the black haired male. 

“So, we’ve been sitting under the stars here for a few hours,” said Nora. 

“But still no music flowing, huh?” she added. 

They all shake their heads no. “Maybe we all just need to open up and dig a little deeper,” said Label Lady. 

“She’s all yours” said Teeth as his tail move the shovel close to her. 

“Ew. No” replied Nora. “Maybe we’ll figure out what’s holding you back,” the black haired female added.

“Like, why Teeth won’t commit to anything you write, and why Floyd hates all of it” she said. 

“You know, like, explore your feelings. Your failures. Your fears” Nora added. 

“I say we, like, dance it out” replied Jancie. Lips made a lion sound to agree with the doe. They all dance a little, just moving side to side. The Cheshire smilodon chuckles. 

“Janice, this isn’t another problem for you to solve,” replied Nora. The band continues to dance. 

“It sure does feel dancy” said the pink fur werewolf. 

“Okay, okay, fine. What if I go first?” asked the black haired female. 

“Wait, really?” asked Moog. 

“What, you’re just gonna unpack your deepest failures and fears, just right in front of us?” he asked. 

“We’ve all got our issues, right?” she replied. 

“If I’m being totally honest, I definitely thought I’d be way further along in life by now” she added. 

“I don’t know how old I have to be for my life to finally take off” said the black haired female. 

“I don’t even want it all,” she added. 

“Maybe just a cute little house. A partner. Preferably handsome, "the Label Lady said. 

“6 '2, super driven. We compete for success in a healthy way, while we raise 2.5 kids. That's the national average” she added. 

“I mean, really, is it too much to ask to just wanna spread my wings and fly?” Nora asked as she looked at the stick in her hand that was holding her marshmallow. The black haired female got up and stood. 

“For I am a falconer.” she said. A small falcon sat on her arm and some falcon screeches filled the air. 

“Like my father before me,” Label Lady added. 

“His name was Parvesh. And I am his daughter!” she added. 

“Nora?” asked Moog in shock and confusion. Nora didn’t have a falcon on her arm, it was in her head. She was having some type of trip like she took drugs. 

“Nora. The falconer. Master of the air beasts” she said with her eyes wide. 

“Are you okay?” asked the black haired male, worried. Nora starts petting the air over her right arm. “You good?” he asked. 

Zoot picks up the bag of marshmallows and hands it to Moog. “Here. I don’t do sugar. Rots your brain” said the sloth. The black haired male checked the bag and noticed the date on it. His eyes grew huge in shock. 

“Zoot,” he said. “Zoot, this bag expired in ‘92” Moog added. 

“Oh, good. We still got a month left” replied Zoot. 

“What? No! No, no, no, no. That was, like, 30 years ago!” the black haired male replied. 

“Everybody! You’ve been eating these marshmallows all night” Moog said in a panic tone. 

“And this bag is super expired!” he added. 

“You know what? I’m sure it’s fine. There’s no reason to panic” the black haired male said as he tried to calm down. He throws the bag into the fire which causes the fire to turn green as Zoot’s glowing eyes. They all look at it in shock. The fire returned to normal. 

“You should try using a stick,” said the sloth. 

“Okay, we’re good, right?” asked Moog. 

“It’s just old marshmallows,” he added. 

“We are all gonna be fine, all right?” the black haired male asked. 

[freaxs-blog]

Today in 2016, the music world lost a true icon. Greg Lake, the maestro behind King Crimson and Emerson, Lake and Palmer, left us at 69 after bravely battling cancer. 🌟 Let's dive into the musical journey of this founding father of progressive rock.

Greg's journey began in the vibrant 60s, and did you know, Jimi Hendrix almost joined ELP? Imagine, "HELP" instead!

Greg Lake's impact on the progressive music world is nothing short of revolutionary. As one of the founding fathers of the genre, his contributions have left an indelible mark on the sonic landscape. With King Crimson and Emerson, Lake and Palmer, he pioneered a fusion of rock, classical, and avant-garde influences that defined the progressive rock movement. His intricate bass lines, emotive vocals, and innovative approach to songwriting set a new standard for the genre. Albums like "Pictures at an Exhibition" and "Brain Salad Surgery" showcase his ability to seamlessly blend complex musical structures with thought-provoking lyrics. Lake's legacy extends beyond his instrumental prowess; he was a visionary who pushed the boundaries of what rock music could achieve. His influence continues to resonate, inspiring generations of musicians to explore the limitless possibilities within the realm of progressive rock. Greg Lake's impact is not just musical; it's a testament to the transformative power of artistic innovation in shaping the evolution of a genre.

'I Believe in Father Christmas,' Greg's solo hit, is a timeless gem. But let's rewind to "Lucky Man," a song that echoes through the ages. The iconic Moog synthesizer solo was improvised! Can you believe it? Pure genius.

Greg's upbringings shaped his musical soul. From playing guitar at 12 to rocking global stages, his journey was nothing short of extraordinary. His impact on progressive rock is immeasurable.

🌟 Let's celebrate Greg's legacy! Share your favorite ELP moments and keep the spirit of progressive rock alive. 🤘

[eerieplease]

Je me souviens pendant que je vis (I remember while I live) — this is how Agnès Varda haunts us at the end of her beautiful recollection of what if feels like to exist within a period in time, Les Plages d’Agnès. I find it mysterious why we always seem to associate the idea of memory with watery forms of existence. There is something about bodies of water that suggest an echoy haze, which is exactly how memories appear to me. Wong Kar-Wai said it better: He remembers those vanished years. As though looking through a window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.

I feel like my songs are embedded with the idea of teenage wonder. My heart becomes something special when I think of those years of sensorial exploration, and I constantly find my way back to a pub that I used to go to that no longer exists. I see the shadowy green light, the dark walls and the checkerboard floor with a blur very specific to the filter of recollection. There was a jukebox in the space where my friends and I used to dance. I discovered something about love then. To this day, I keep making songs that I would like to hear on that jukebox. That’s probably why I love synthesizers — they channel my nostalgia through me.

I need a strange kind of peace to be able to remember. When I feel uneasy, I often resort to the whimsical tunes of Mort Garson’s Plantasia (warm earth music for plants… and the people who love them), which used one of the first Moog synthesizers ever to craft songs that would supposedly help houseplants grow. This album was released at a time when a book called The Secret Life of Plants brought a special kind of attention to plants and how we perceive them. Perhaps the elements of memory in plants are superficially treated, but at least there they are in black and white! Yet no one calls his friends or neighbors, no one shouts in a drunken voice over the telephone: Have you heard the news? Plants can feel! They can feel pain! They cry out! Plants remember everything!

To support this affectionate thought, the book details a mildly weird experiment that aimed to prove that plants can remember. A plant was exposed to two men: one who treated it with care, while the other showed nothing but cruelty toward it. After a certain period of time, instruments electrocoded to the plant showed that chaotic impulses arose when the cruel man got near to it. I don’t know anything about the scientific validity of this experiment, but its findings certainly have poetic value: it only takes an existence to remember.

I’ve been delving into a particular exploration of modular synths for a song that I am currently producing, Allegory of Touch. With my songs, I feel like I am always trying to touch something thas has faded. Poignant fragments amidst a non-linear mental narrative made up of moments that are too close to touch. I know that I am done when I press play and my heart quietly acknowledges: here, this is the sound of nostalgia. It hits me like confusion but with the lingering feeling of being home, surrounded by an eerie afterglow that suggests that something does not feel quite right. It is exactly how I felt after watching Aftersun this Wednesday. What I would like to say, I guess, is that remembering can be an act of survival in moments when you feel like reality will never feel like a memory. Days are too much of a mirror, and there is little to do other than look back and exclaim, with astonishing warmth: I think this is what happened to me.

[iambountyfan]

ionnalee took time to answer our questions via instagram stories tonight.

view the full Q&A in our photo album on Facebook or click ‘keep reading’ below for the transcript: facebook.com/media/set/?set=a.742996074497830&type=3

Q: overall thoughts/feelings from the US tour? A: so happy about it. each show was something special. it felt huge to get back up there after pandemic/pregnancy/giving birth and feel like myself again, but stronger.

Q: any song in your catalogue you have yet to play live that you would like to? A: there’s no song i don’t want to play actually. there are just a lot of songs in my body of work. one i am longing to take on with full band is MACHINEE. also craving to sing ‘n.’

Q: what drew you to the electronic soundscape of iamamiwhoami compared to previous folk-pop material? A: there was more to my musicality to explore.

Q: how is the weather in Sweden now? and what’s your favourite place there? A: it’s very hot for june here. 25*c and not a rainy day in weeks. very worrying for farmers and ground water.

Q: favourite synthesizer? A: Moog grandmother, minimoog and Roland JP08.

Q: when is the continuation of the tour planned? A: an exclusive set of shows in my hometown in august in sweden (first time ever to play there). more EU shows to come and then something in the winter too. keen to explore 2024.

Q: as i age, i feel like i lose touch with my imagination. how do you keep yours intact? A: i think the world around us as we grow up is built on seriousness and responsibilities and it’s important to never stop playing despite that. imagination is based on feeling things. experiencing new things. when you go numb you go dumb. i grew up being on my own a lot. the good thing about it was that i built a really vivid imagination.

Q: ; john is one of your songs that gets me the most, any meanings or stories behind it? A: it is about “selling out” adapting to the consumers will. giving others what they want. hence the title.

Q: no questions, but we love you, so glad we saw you live in Denver ❤️ A: thank you. i loved playing my first show in your city. hope to be back soon and to get to see the rockies too.

Q: Brazil: can we dream about a future gig here? A: yes.

Q: do you have any hobbies we don’t know about? A: a few probably… one is archeology. i am a nerd on plants and roses in particular. free diving.

Q: how do you mix your vocals to be so rich and energetic? they always have so much character. A: i try to do as much as possible with the vocal take itself. the mix is there to enhance it. i use very little effects now and instead play with the physical sound itself or dubs. i do like reverb and being dynamic with any effects. character is in the feeling.

Q: how was the experience of touring with baby bauer? lots of love to you and your family xx A: it was really amazing. tiring at times with little sleep, but overall amazing. he was a trouper and got so much love and support from my crew as well. he had a blast learning to walk in the US. 🤍

Q: sorry, i just want to take this opportunity to thank you for existing as an amazing artist 🖤 A: thank you 🤍

Q: would you consider a KRONOLOGI volume 2 with unheard tracks, demos and new versions? A: yes if that came as a next natural step i would.

Q: any tour/concert with TR/ST? A: that sounds like a fun ride 🤍

Q: what makes you lose your sleep? A: negative stress/lack of recovery time.

Q: why did you decide to go for an audiovisual format with your work? A: it’s a 360 representation of my artistic expression and it was a natural development to get here. often i've been asked how i can afford to make 'all these visuals' when in fact they are as much part of my work as the music if you will. often made with little to nothing but vision, desire and skill. it's just that visuals is seen as PR in music. to me it's a world of its own. they belong together.

Q: what inspires the darkness/haunting feelings in your music? it resonates with me. A: it’s in my DNA.

Q: how has the advance of tech affected the audiovisual process for you? A: i have many of the tools we need to make and release things by our own hand now. wasn’t possible 15 years ago. still we need creativity, ours and others time and lots of bravery not to mention connecting with people who like your work to make something lasting.

Q: any advice for after a breakup? really want to see your view about love and such 🤍 A: when you’re wounded you need to heal. be with people who love you and go outside. listen to music that makes you feel like you. it hurts but least we feel it right.

Q: was the burning of SUTS a metaphor for burning your industry careers to become independent? A: no he was a representative of the audience. it had to happen.

Q: when did you start making music? A: a long time ago.

Q: what do you have planned for the shows in Sweden? will there be a full band, etc? A: yes full band. three amazing nights on my home turf with special guests Zola Jesus and Jenny Wilson is what to expect.

🔗 ionnalee.com/events

Q: i 🤍 your pre-iamamiwhoami work. what song from then are you most proud of? would you ever perform it? A: proud of most of my songs. they’re a snapshot of me at the time. Lake Chermain and This War come to mind. it feels a bit too distant and disconnected to reconnect with however.

Q: will you paint more and sell them? i would love to buy one. A: thanks i will and hopefully i can soon when i have a proper home and work place again. chaotic rn leaving stockholm for vadstena.

Q: hardest part and best part of motherhood? i'm expecting in Dec 💗 A: congratulations 🤍 the hardest part is the physical and mental toll on you and how individual and to me intimately personal the experience is. the best is the biological connection to another being that’s part you like a branch from a tree that grows into its own being. so cool. so much love. thankful to get to experience it.

Q: is Stockholm a place firmly in the past now? A: no i spent 22 years there and have my closest friends and family there plus my studio still. will be there.

Q: my definitive fav body of work of yours is EABF, any fun memories or anecdotes? A: i struggled so much with my health making this album. had just toured for a long time with Röyksopp. felt really insecure about my currency as an artist. had been asked "why aren't you more famous?" so many times through the years cause my value is different in the commercial world of music. choosing to be independent is often seen as "you just didn't make it big enough". this album was a big fuck off to all that. the tour that followed really cemented my love for my audience who believe in me.

Q: is iamamiwhoami; flying or falling about overcoming a mental health challenge? A: it’s about fighting your own shadows. contradicting behaviours and self destruction.

Q: are there any songs that you had a hard time singing in the studio or live? which one and why? A: SAMARITAN is pretty full on. don’t think there’s a single breath pause in that chorus. plus dancing. hard work for live. also i take a lot of pride in my vocals and have a sensitive pitch ear so i tend to get extremely tired going nuts there. in the studio you can take breaks so no complaining.

Q: any words of encouragement for your queer fans this pride month? 😔🏳️‍🌈 x A: be brave and free ❤️

Q: what instrument would you like to learn that you haven’t yet? A: the harp.

Q: funny memory from the recent NA tour? A: me in Twin Peaks w/ giant b⚫️⚫️bs.

Q: around bounty and kin do you have some more BTS photos we haven’t seen before? A: there’s some but we decided within the group to keep that period to ourselves. it was such an overwhelming time you have no idea. this is why BLUE was a big splash of freedom that i needed to create after many years of being completely closed, isolated and silent.

Q: what helped you keep faith in your alchemizing power from the beginning till now? A: to be perfectly honest growing up i didn’t have anyone who understood my musical or otherwise talent so i went solely on the gut feel that i had something different that made me feel good inside in contrast to a pretty dark time.

Q: is capturing your emotions important to you while singing? how do you best execute it? A: it’s everything. make sure you’re in it and that you have the best possible foundation to be lost in the moment. play songs you enjoy, have good monitors and great production. a fantastic audience does the trick.

Q: what do you think about AI in music. like voice replacement, for example. A: it is what it is but it ain’t feeling things.

[elsandifer]

What were your main sources of inspiration for Ithaca a Saga ?

I mean, that one’s pretty narrow in its influences, and they’re the obvious ones: Alan Moore’s spoken word pieces, my own magical explorations with Penn, and the shared understanding of heathenry that Penn and I have with Anna.

Past that, it’s just history and a lot of figuring out what bits need major narrative threads (Ezra Cornell, Edward Ruloff, Pearl White), what needed minor glosses that add a ton of texture (Ricky Jay, Aleister Crowley, Firebrand Books), and what deserved more than I could give it and was best saved for a future project in this vein. (Most obviously, I never mention Tess of the Storm Country, though there’s a ton more to do on Sagan, Nabokov, Moog, Sterling, indigenous history, and the underground railroad)

Like, I was trying to be as complete as possible, partly because much as I have ideas for at least two sequels I also am aware that it’s an extremely niche sort of work that I’m always going to have to fight to get made, but also just because I really wanted to sell the scale of wonder. But the decisions on what to include were mostly structural. Five or six runes felt like the correct length, so what runes could I use and what would my big themes be? Like, in practice I’m much more interested in Nabokov or Sterling than I am in Ruloff, but Ruloff was 19th century, has a ton of Ithaca-specific detail, and tied in nicely with a theme of trickery and roguishness that I wanted, so he got to be the central anchor of a section. If I were using a different frame than “Saga makes a series of revelations about Ithaca,” that math would have changed accordingly.

Best fact I have learned since I wrote it, though: a photo of one of the state highways leading into Ithaca is on the Voyager golden record.

[nemosynth]

私を通り過ぎた電子楽器たち

AKAI S700　　　 　12bit QD, レゾなしVCF、変。 AKAI S950　　　 　ややハイ上がりなローファイ、変。 AKAI S1000HD　　　HDDファン音がサンプリングされてしまう AMDEK CMU-800　　同梱シーケンスソフトはカセットMTR同期可＝オーディオとシーケンスと兼備せしDAW先駆者！ ARP 2600 Rev.1　　ええ音やったのに１週間で壊れても〜た！ Arturia MicroBrute　変態VCO/VCF可愛いパッチング64ステSeq変態音色最高！ Arturia microFreak　　秀逸外観秀逸音色秀逸操作秀逸表示秀逸専用凹マイク、0-Coastと組合せてなんちゃってブックラ Ashun Sound Machine Hydrasynth Explorer　よぉ勉強したはるね、もちっと操作性を詰めたら文句なしアプデ大期待 CASIO CT-201 "CASIOTONE"　　初代カシオトーン、音丸い CASIO CT-403 "CASIOTONE"　　意外にこれしかない音色あり、モンドなアナログリズム最高 CASIO CZ-101　ミニ鍵でもPD音源８ステEG！ CASIO FZ-1　　DCFのレゾ上げてカットオフ上げ切ると元気！ CASIO VZ-1　　自作アルゴリズム部分音合成変調音源最高 CASIO VZ-10M　変調方式こそ純粋な音色創造 CASIO VZ-8M　変調方式こそ純粋な音色創造だが発音数が足りん編集非現実的 Clavia Digital Musical Instruments　nord lead　初代しかも12声拡張版、個性派な音！ Clavia Digital Musical Instruments　nord wave　初代サンプル読めて正体不明の音になるVAと最大６オペ簡易FMとマルチピークフィルターとオブジェクト指向なモーフィング最高！ Cre8audio　West Pest　あらゆる波形をフォールドできる西海岸セミモジュラーしかも音が良い！環境にやさしい段ボール箱の印刷技術もひそかに優れている Dave Smith Instruments　mono evolver keyboard PE　２連左右配置デジアナシンセ超変態 Dave Smith Instruments　prophet 12　５でなく12、最強預言者、私は前を向く！！！！！ Dave Smith Instruments　PRO２　モノ・パラフォ最強ハイブリッド超変態 ELECTRO HARMONIX MINI-SYNTHESIZER　歪んだ音ですぐ壊れた elektron SIDstation　　よく飛ぶらしい、リング変調３基すばらしい Emu Emax S.E 　　VCFがSSM系の音、E IIワンチップ化 ensoniq SQ-80　　アジのあるレゾるハイブリッド・シンセ ensoniq VFX　　　ひとめぼれ、デーハーのみならず幽玄な音も出る ensoniq VFX SD II　今も右腕、なくしたら相当に落ち込む ensoniq EPS16Plus　　メリケンな音の迫力とデモ曲グッド ensoniq TS-12　　　　エンソ最後の孤高の名機 ensoniq ASR-10R　　　エンソ最後の孤高の名機 学研　SX-150　本屋でシンセが買える、しかもそぎ落としの美学 HIkari Instruments Duos　ちっさいのに木製側板恐れ入り高精細ボディにパンキッシュなフォントと逝ってるチャネリングしかもゲームコントローラみたいな両手UI叫ぶシンセCV/Gate接続可能PRO2ハックするデバイスBOSS PSA-100ご推奨露西亜製Lyra-8買えずこっちにしたが正解 HOHNER D-6 "Clavinet"　　PU壊れたクラヴィどないすんねん KORG 700S "miniKORG"　真似できない音楽的なサイン波最高！と思ったら実は三角波 KORG 800DV　　少ないパラメで多彩な音が出る異形の黎明期混沌シンセ KORG MS-10　　東洋の哀愁、でもフィルターレゾナンス金属的歪み凶暴 KORG MS-20　　個体差でEGの立上がりが早くデジタルっぽかった KORG MP-4 "MONO/POLY"　やんちゃ坊主最高！　LFO２基あるのもいい KORG PS-6 "Polysix"　　　演歌みたいな泣きの音がトランスに合う KORG DW-8000　　正体不明の音が最高な鍵盤、エディットし倒した KORG EX-8000　　正体不明の音が最高なモジュール KORG DVP-1　　　５声ボコ、フォルマント操作可能 KORG DSS-1　　　でかい重いVCF２連モジュレーション・ディレイ KORG DS-8　　　 青春をついやしたFMシンセ KORG WS-1 "WAVESTATION EX"　おもろいけど難解、ニューエイジに人気 KORG 01/W FD　　音源波形に遊び心、でもパターントラックでパターン枠外さなあかんのは、��かん KORG Z1EX　　　 既存シンセへのアンチテーゼは偉い！ KORG KARMA with MOSS Expansion　　シーケンシング革命は激楽しいけど難解 KORG monotron　これはどこでも遊べる純アナログモノシンセ、でも音階で弾きたい KORG monotron DUO　音階で弾くべく購入するも鍵域が狭すぎ実用的でなく KORG monotrol Delay　サイケにトリップする60sセンセーション再現 KORG KRONOS 61keys　すんげー多機能多芸、でも画面の文字が小さすぎ起動遅すぎサンプルRAM少なすぎ音色メモリー無さすぎ！ KORG minilogue xd　　初代はヴィンテ総括音、xdは未来的アナログ音かつp12廉価版の如し、multi-engineでDW-8000再現感涙 KORG NTS-1　　Shimmer Reverbデフォだけでも最高！　C++攻略前に頓挫笑 KORG wavestate　こなれたウェーヴシーケンス、操作性難解、エディター万歳 KORG modwave　　こいつもp12廉価版の如し、しかもKRONOS切売第３弾KURZWEIL PC361　　仮想モジュラー単体ハードシンセ、内蔵FXまでモジュラー、凄まじ！！ Make Noise 0-Coast　変態セミモジュラー、日影の西海岸シンセシスが逆襲！ modal electronics Cobalt5S　　キュレーター的VA、オサレ外観も新時代、操作お作法独特、バスパワー鍵盤コントローラーにVAと思えば超今風 moog 338BX "LIBERATION" WHITE　重たい、心斎橋クラブクアトロで弾いた novation mininova　ミクロKORG20年、ミニNOVA10年、ロングセラーにはわけがある nunomo　QUN mkII　グラニュラー＋ヴァーチャルアナログ基板シンセ緻密！ Oberheim XP-1 "Xpander"　フラクタルモジュラーええ音、サービスモードも楽し Pioneer DJ - Dave Smith Instruments　TORAIZ AS-1　ほぼp6モノ版すぐれて現代風かつ良質アナログ音で過去のしがらみ関係ない宜しい！ Roland System-100　　 セミモジュラー、実は螺旋のイントロ Roland System-100M　　フルモジュラーど定番、100ともどもソフトシンク有 Roland SH-09　　　　　ハードケース付！日本の少年少女に夢を与えた名機 Roland JP-8 "Jupiter-8"　　ゴージャス！な外観。ユニゾンモードとクロス変調楽し Roland JU-6 "Juno-6"　HPF無段階連続可変！野蛮DCB改造済！外観バランス良し！ Roland JU-60 "Juno-60"　鍵盤タッチ改善、高完成度、外観バランス慌てぶりが垣間見える笑 Roland JP-6 "Jupiter-6"　MIDIつきVCO珍しい、音源波形を加算できるのも良い Roland JX-10 "Super JX" x 2　DCOでも深い音、Fence of Defenseの音 Roland MKS-100　　　日影のS-10モジュール、でもライブラリーたくさん持ってた Roland S-10 x 3　　 火を噴くくらい使い倒した青春のひとコマ Roland S-550 x 2　　CRTでフェアライト気分、RC-100とマウスもあっただよ Roland D-50　　　エイリアス万歳！！　永遠の名機、部分音合成っていいねRoland D-10　　　へんなリズムマシン内蔵がまた良い Roland D-5　 　　実は常にサウンド・パレット状態でエディットしやすいRoland A-50　　　エディット・バッファ無くて困る、手放したが買い直した Roland W-30sc　　音源波形がみんなつながっててお祭り Roland JD-800　　やわらかい音がやさしい、エディット快適！シンセはこうでなければ Roland JV-90　　 鍵盤数が多くて手ごろ Roland Rhodes VK-1000　　ハーモニック・バー・シンセ、上にもう１台載せれるけど邪魔 Roland S-770　　　けっきょくただの重し Roland DJ-70　　　タンテ型コントローラ付サンプラー、階層深すぎ、劇団ポン出し向け Roland SC-8850　なんでGS/GM音源がうちに？かなり壊れてる Roland XP-80　　　これはロングセラーやったな Roland XV-5080　　それまでにない柔らかい音もでて新機軸 Roland VP-9000　　当時は物真似ばかりだったソフト音源に喝ハード！ Roland VariOS/V-Producer III　デザイン秀逸、ミニ・プロツー的 Roland V-Synth　　ひさびさに出たイカれたシンセ Roland V-Synth XT　　ちょっと大人になったかな Roland VC-1 "D-50 for V-Synth/VariOS"　モノホンのソースコードまんま移植したそうな Roland VC-2 "Vocal Designer"　結構役立つ、歌詞つきで合唱隊を歌わせられるし Roland Fantom-XR　　 VFX後継者のつもり保険のつもりがエキパン再生機に Roland SRX-02 "Concert Piano"　めずらしくダークな音の生ピアノの音 Roland SRX-04 "Symphonique Strings"　大好きな弦楽のみのエキパンだから大好き！ Roland SRX-05 "Supreme Dance"　テクノ４人組３人組の追悼リズムセットよろし Roland SRX-09 "World Collection"　やっぱ民族楽器あってこその音色ライブラリ！ Roland SRX-11 "Complete Piano"　88鍵サンプリングでカミさんの練習用音源に Roland AIRA TB-3　変態DSPモノシンセ変態シーケンサーこそが本質 Roland JD-XA　デジアナ直列並列縦横無尽重層的16系統快適編集万歳 Roland SH-4d　ZEN-Core外伝独自音源11 Osc. モデル卓上電池駆動万歳 Sequential Circuits "prophet-5" Rev.3　 40メモリー、ポリモジュとPWMとVCFの相性よき個体差 Sequential Circuits "Pro-One"　　めっさ太いシンベと秀逸デジタルシーケンサーたった40音 東京優勝 WHOLETONE Revolution　　弾きこなせず！！！！ waldorf microWAVE XT　　ヲタなのにポップでグレイト！ YAMAHA CS-15　　 古いのに二系統音源は流石、鍵盤タッチいいのも流石 YAMAHA CS01　　 シンセ基本形 YAMAHA DX7　　　2019年にもなってほんまにこれが来る日が来るとは！　KQ Dixieでエディット YAMAHA DX9　　　やっぱこれこそがDXですよ YAMAHA DX100　　やっぱこれこそがDXですよ YAMAHA TX7　　　DX7よりも賢いDX7音源モジュール据置型クール！ YAMAHA TX802　　変調方式を重ねてディチューン最高 YAMAHA V50　　　中堅機種のわりに、なかなかに手ごわい YAMAHA SY35　　 重量軽い、ええ音する

KORG monotribe　フルアナログ音源グルボ、MicroBruteとGate同期させると激楽しい！ KORG Kaossilator 2　よく考えられて楽しいけどおもちゃなので飽きる KORG volca modular　　よくここまで詰め込んだね♬　でも頓挫魂炸裂笑 KORG volca nubass　　ふっる～いホコリっぽ～い真空管サウンドも楽しい Roland D2　　謎のグルボ異端児　でもVariPhraseちゃうであの音色変化は Roland SP-404mk2　　実はVariPhrase搭載型サンプラー！独自変態FXも◎

AMDEK RMK-100 x 2　アムデックのトホホなDIYリズムボックス！ KORG DDD-5　長く使用。ベロシティ・パッドと音色カードが新しかった KORG DRM-1　　すぐ売り飛ばした。私にラックは合わない KORG PSS60　　なんで買ぅたんやろ？ KORG WAVEDRUM Mini 和太鼓　和太鼓とWaveDrum Miniとがニコイチ！和のこころとSondius XG！ Roland CR-78　　我が家のクロック・ソースでした！ Roland CR-68　　日影もんですが、良い音します Roland TR-606　　フォークソングおっさんが呉れた！！！！ Roland TR-707　　かなり故障中 Roland TR-626　　なんでうちにあってんろ？ Roland R-70　　　リズムパターン自動生成。エスノなのは下手。ポジショナルパッドよろし。外観ポップ Roland R-8 MKII　　永遠の名機。外観も硬派。'80年代後期はこれでしょう

KORG SQ-8 x 2　DW-8kワーステ化をもくろむも変態さを自慢して終わり KORG SQ-1　　これほしかった！S/H波LFOの代用になるし安いし USB-CV/Gate I/F になるし Make Noise 0-CTRL　これもなんちゃってブックラ素晴らしい！！！ Roland MC-500　バルクライブラリアン最高！　タイ航空ステッカー最高！ Roland MC-500 mkII　クロックが揺れず、ダイアル一発でリタルダントとかできて良いらしい Roland MC-50 mkII　最後の単体ハードシーケンサーSMF互換ロングセラー YAMAHA QX5　多機能やねんけど使いにくくて、と思ったらもっぺん来た笑 YAMAHA QX3　これ、はやりましたな！

novation SL MkII 61keys　オートマップ便利だが分かりにくい、SF的発光良い！ （Roland）EDIROL PCR-M1　移動中ノーパソと相性抜群 （Roland）Roland ED SK-500　内蔵音源ぷー、なんでUSB鍵盤のくせしてバス駆動せん？？

KORG MS-03 x 2　Pitch to CV変換機、謎リヴィジョン違い KORG KMS-30　　DIN同期とMIDIとを変換するレアなボックス貴重 Oberheim Cyclone　アルペジエイターのみの変態マシン Oberheim Strummer　ギター奏法を再現というが、なかなか半端 Roland ASC-1 "Arabic Scale Converter" x 2　知られざる変態MIDI変換マシン Sigboost “midiglue”　史上初MIDI/CV Programmable Processorメルカリ！

BOSS HF-2 "High Band Flanger"　高い周波帯だけフランジングするアイディア商品 BOSS MZ-2 "Metalizer"　その名も凄い、アナログ歪み＋デジタルかな？によるコーラス BOSS XT-2 "Xtortion"　その名も凄い、効果もエグい、でもアナログ歪み BOSS DM-2W "Delay"　　アナログディレイ技ペダル、あやしいBBDだそうでよくぞ頑張ってくださいました感涙 BOSS VT-1　　変態ボイスチェンジャー、某公共事業に寄贈 BOSS WP-20G　GK P.Uが要るのにどないすんねん BOSS RE-20 "Space Echo"　極上のテープエコーをモデリング、綺麗な音 BOSS SL-20 "Slicer"　シーケンシングに匹敵するツインペダル！

HeilSound Talking Modulator　　ほとんど使わず、めっさ重たい Ibanez SDR1000+　　２連MIDIタイム可変高音質デジリバ死語SONY製 KORG SDD-3300　　３連モジュレーション・ディレイで変態 Roland RE-101　　やっぱテープエコーですよ、800DV 等にかけっぱなし Roland RE-201　　名機なのは分かるけど、この機種のみ有名なのは何故？ Roland Revo30 x 2　　珍品レスリーFX、非常にチープな音 Roland SDD-320　言わずと知れたディメンジョン、プロ５と相性抜群、取っ手もかっこいい Roland SDE-3000A　ビット数が粗いのがかえって名機となるも、結局使わず Roland RSP-550 x 2　　当時ボコーダーがほしくて入手 Roland E-660 x 2　　中古で入手するにもほどがある、エディット時の反応が遅すぎ！ Roland EF-303 x 2　　友人にあげたらフォノイコになった！！ SONY DPS-F7　　ウソっぽいフィルターで硬い音のシンセにもなるがその音もウソっぽい、でもSONYシンセ！ YAMAHA REX50　　まともな使い方せず遊んだ青春、世界初デジタルディストーション なんやしらん緑の小さな Ring Modulator　　ただ歪むだけ なんやしらん光学式のワウ　　口に入れたり脇にはさんだりしてワウる

Roland A-880　MIDIマージ重宝したMIDIパッチベイ Roland A-110　ただのにぎやかしになるMIDIノート表示板

Roland M-480　48chラック型ミキサー！　経年劣化でノイズ Roland M-240　24ch 据置型ミキサー！　経年劣化でノイズ KORG KMX-122　フロントにイレギュラー入力は便利だがすぐ歪む

（Roland）Cakewalk UA-1G　カミさんの Mac 用、借りて使って使いやすさにびっくり （Roland）EDIROL UA-101　私の Mac 用、大活躍だが生産完了になってから入手したので老兵 Roland UA-1010 "Octa-Capture"　UA-101 の後釜。Auto-Sens 機能便利 Roland Rubix44　Octa-Capture後釜、４ch充分、Generic driver充分

Fostex X-28H　VUではなくLEDレベルメーターに未来を感じた青春 TEAC TASCAM Porta One "MINISTUDIO"　ピンポン録音だ！ TEAC TASCAM Porta Two "MINISTUDIO"　入力端子が多くて当時アマにグッド！ TEAC TASCAM 688 "MIDISTUDIO"　　カセットで８トラ！　使い倒した！ Roland VS-1680 "V-Studio" w / CDR-88　ピンポンしても音が劣化しないのに仰天！　CD焼けてバックアップまでできて、また仰天！

Roland CD-5　　使わずじまい、っていうか使えずじまい？？

ableton Live w / various VST plug-ins　Ver.1.0から使ってておもろかったけど安直に曲できすぎて飽きた ableton Live Lite 8　のばちょんのオマケ、VSTホストとして使うつもりが使わずじまい Apple Garage Band　当時これで同時録音可能音声トラックが８トラあったら充分やったのに Apple Logic Express 9　ガレバンが↑だからこれを買うはめに。凄い万能ぶりにぼーぜん Apple Logic Pro 9　なんせ最上位機種がダウンロード販売で１万７千円しかせんのでぼーぜん Apple Logic Pro X　ゼロからの再出発 Apple Garage Band iOS　まさか８トラが32トラになって無償になるとは！

Arturia Pigments 3　これはあたらしい音がするねぇ Arturia CS-80V　ヴァンゲリス御大の神器、実物80kgもして所有不可なのでソフトで Arturia prophet-V　キャンペーンでタダで入手！！プロ５とプロVS合体がいい Arturia minimoog V Original　キャンペーンでタダで入手！！太い音しますねー Arturia Matrix-12 V　Xpanderの代わりに入手、やっぱ LFO ×５基は凄いねぇ DEXED　これは使いやすいDX７完全再現フリーウェアしかも今風の音もいろいろあり Garritan World Instruments　安い音質だが打楽器豊富、常にマルチ音源なのがちょっと KORG LegacyCollection MS-20　単品売りで安価、少々時代を感じる操作性だけど個性派 KORG M1Le　キャンペーンでタダで入手！！　レゾナンス無いし M1 そのもの Miroslav Philharmonik CE　格安キャンペーンで入手、原音忠実すぎて音域限定は使い辛い Media OverKill Waverazor　もっともぶっとんだイカれた壊れたイカしたソフトシンセ！！ Native Instruments Razor　この変態音源が最高、なんせリバーブまで 320 倍音加算合成！ Native Instruments Prism　変態打楽器物理モデリングシンセ、持続音にするとなお変態で良い Native Instruments Micro Prism　変態打楽器モデリングシンセ簡易版、遊ぶだけなら充分 Native Instruments Scanner　グラニュラーで遊びたくて、しかも安かったし Native Instruments FM8　まぁクロノスとDX互換させたかったので、って変な理由ですね PPG WaveMapper２　奇才ジジイ極変態ウェーヴテーブルを超越タイムコレクテッド音源、楽しい！ UVI　各種デモ版ばっか走らせるもスタンドアローンで弾けず waldorf largo　変態シンセメーカーの集大成的変態シンセが楽しい W. Taylor Holiday Audulus　おそろしく基礎から始めさせられるモジュラーシンセ じつは膨大なフリーウェア音源とエフェクトたくさんたくさん

Toybear Robobear　変態グラニュラーフィルター VST FX、PowerPCのみ対応残念

AQ Interactive KORG DS-10 @ NINTENDO DS Lite　やっぱ物理鍵盤で弾きたい DETUNE KORG M01 @ NINTENDO DS Lite　「Lore」音色をカオスパッド演奏すると楽しい

IK Multimedia iRig MIDI　30pin-Lightning アダプターケーブル併用だがMIDI Thruに拍手！ IK Multimedia iRig MIDI2　前のがOSアプグレで非互換しょぼ〜ん対策

apesoft iVCS3　シンセ混沌の黎明期ラヴ＆ピースなウッドストック＋現代サンプラーでにこにこ Arpie　休日にやってると廃人になる AudioKit Analog Synth X　カスタマイズできる無償アプリらしいが、勉強する時間が AudioKit FM Player　サンプルベースだが使えるしレゾナントLPFもあるし無償やしええ時代 CASIO CZ　やったー、この調子でぜひともVZ-1もアプリにしてくださいお願いします！！ Compasso　方位磁石を操作子に使う変態シンセ Konaka Lab Fourier Synthesizer　教育的サイン波加算合成 KORG iElectribe　リズムパターン勉強用だから私には珍しくプリセット命KORG iKaossilator　ナウいねー KORG Gadget　iPadでこんな楽しいDAWができるなんてええ時代 KORG iDS-10　アナモデのワークステーション・アプリシンセもここまで来たか KORG iWAVESTATION　初めてWaveStationの真価を発揮できる操作性、次は構造そのものを改善して下さい KiraQ Tech KQ Dixie　DX７フルコンパチが480円って、もう時代はどこまで行くのや moog Animoog　老舗が８音色ベクター合成ポリアフタータッチ対応のナウいポリシンセを！！ moog Animoog X　ベクターが三次元に！　もはや異次元シンセ！！！ moog model D　　ミニモーグが神々しすぎて手に入れるのが恐れ多い私に moog model 15　老舗ご謹製だけあってガチええ音すんで♬ Native Instruments iMaschine　ナウいねー、サンプリングできるのもいい Peter Vogel CMI　IIxとIIIの音が全部入ってPageRも世界遺産ですな、サンプリングもできるし PPG minimapper　これは変態ですねー、生楽器をハイブリッド合成できる Procyon Studio Handy Harp　ごっつー気合い入ったリアルなハープグリスができる Propellerhead Figure　ナウいねー、パラメータを簡単オートメーションできるのもいい Propellerhead Thor for iPad　なんでもありな万能シンセだけどバグ多し Pulse Code Modular　美しいモジュラーシンセ Reaktable Mobile　あまりに先端的すぎてなかなか使いこなせないけど凄い ROLI NOISE　ポリアフタータッチと物理モデリング音源との変態組み合わせが楽しい Seaquence　水族館グルボ、クラゲ的シーケンシングUIすげー Super Manetron　メロトロンを24/96で全鍵サンプリングした真打ち TANSU Synth　松武秀樹の意地をご家庭で Vio　変態ヴォコーダー waldorf nave　同社総決算ソフトしかも見た目も使い勝手も抜群 Wizdom Music Geoshred　ジョーダン・ルーデスがライヴで弾きまくる iPad、ギターなUIと物理モデリングで最高の表現力！！

Brian Eno Bloom　これは楽器なのか？　楽曲なのか？　進化し続ける先端的作品

[ohc-and-the-music-tapes-archive]

Review of Neutral Milk Hotel’s and Olivia Tremor Control’s show in St. Louis Post-Dispatch, 9 May 1997.

transcript:

At The Side Door: More Than The Names Are Weird

NEUTRAL MILK HOTEL/OLIVIA TREMOR CONTROL Side Door, Monday, May 5 By Matt Fernandes Special to the Post-Dispatch

An intense bunch of aging punk fans drifted into the Side Door looking for something more than the tiresome three-chords-and-out performances delivered by many a touring band. In their quest for meaning, they turned to Neutral Milk Hotel, a band that has made national waves over the last year.

Despite the critical acclaim for Neutral Milk Hotel's debut album, “On Avery Island,” only about half of the floor space was occupied throughout the show. As band leader Jeff Mangum took the stage alone, the small gathering huddled close to the stage. They did not get too close, though, as Mangum announced that he was ill with a 100 degree temperature. Also, his drummer “couldn't be here.”

Not a promising start, but perhaps the strength of the band's songs alone would offset the fatigue factor.

Not the case.

Mangum labored through an eight-song, acoustic set with few highlights. Mangum dominated the songs with his bold guitar work and vehement voice. Often. Mangum appeared ready to eat the microphone as his voice rang through the speakers. The effect was often awkward. Lowering the volume would have been appropriate for the band’s folksy, slower tunes.

Not surprisingly, the instrumentals were the strong points. Julian Koster played the “singing saw" during some tunes, giving a surreal element to the music. The instrument consisted of a violin bow and a rusty saw, which Koster would bend to play. The bizarre sound was similar to the loony, high-pitched sound effects used in early horror films and original “Star Trek” episodes. An accordion and clarinet also were thrown into the mix on certain instrumentals. One memorable tune took on a traditional Irish sound, although the instruments used were anything bat traditional or Irish.

On album standouts like “Song Against Sex" and “Naomi”, the band lacked coordination. The jubilant horns, which made “Song Against Sex” so great on the record, were not only sloppy, but inaudible live. Some of the beauty of “Naomi” was lost due to miscommunication. A death-defying final note was held for a mini millennium by Mangum, thus salvaging the tune. 

The set featured several new numbers that sounded promising, despite the somewhat crippled delivery.

Olivia Tremor Control's performance was upbeat by comparison. This band knew its material and played it in style. OTC blended the oddest of instruments to achieve a chaotic, yet pleasing sound, (Well, most of the time.)

It was a true country jamboree. Some of the oddball instruments include a banjo bowed with a violin bow, a sawed-off trumpet, a Moog synthesizer combined with a Casio keyboard and a strange wood box with electrical wires. 

OTC's songs were tighter than those of NMH, their soul and label mates on Elephant 6. Funky bass lines gave the crowd a reason to dance. Impressive four-part melodies were featured on many songs. When the band jammed, their sound was earthy, with strictly positive lyrics, reflecting the bright and sunny atmosphere of their hometown of Athens, Ga. Each song held surprises, though: exploring homemade electronics during extended jams is clearly this band's passion.

[maximuswolf]

Rex Zero - Eternium [Progressive Experimental balkan]

Rex Zero - Eternium [Progressive Experimental balkan] I'm thrilled to announce the release of my new album, "Metamorphosis"! And to be precise, the signature song of this disk, Eternium.https://ift.tt/TyDGEUI made in 5/4 and 13/8.This instrumental work is a labor of love, featuring seven tracks that push the boundaries of musical genres. In this album, I've crafted an experimental fusion that blends progressive synthwave with the rich traditions of Balkan music, resulting in a unique and evocative soundscape."Metamorphosis" showcases a diverse range of sounds, from acoustic percussion to the digital realms of Moog and other synthesizers. I've incorporated complex rhythms like "aksak" and "karsilama", which are characteristic of Bulgarian and Balkan music, while also exploring the tintinnabuli style to create lush, resonant textures. This album is my invitation to you – to embark on a transformative auditory journey where electronic ballads intertwine with ancestral rhythmic patterns, transcending the divide between modern and traditional music. I can't wait for you to experience the sonic world of "Metamorphosis"!It’s not monetized so I really hope it doesn’t interfere as a self promotion etc, just hoping you guys like it! And please tell me what you think about it. Submitted September 13, 2024 at 04:11PM by rex511 https://ift.tt/udPmZFn via /r/Music

[burlveneer-music]

Benge - The View From Vega - all space music for his new solo LP on DiN

Ben Edwards, better known by his pseudonym Benge, has been exploring the sonic possibilities of electronic instruments since he was a young boy, in the1970s. After graduating from art school in 1990 he set up his own music studio and started recording his unique blend of experimental electronica, culminating in his debut album "Electro-Orgoustic Music" and the formation of Expanding Records in 1995. Since then he has released dozens of albums as Benge, as well as collaborating with various luminaries from the electronic music world on many other album projects. He has formed several notable and ongoing bands such as John Foxx & The Maths, Wrangler (with Stephen Mallinder / Cabaret Voltaire and Phil Winter / Tunng), Fader (with Neil Arthur / Blancmange), and his most recent project Creep Show (Wrangler + John Grant). Benge's creative output now centres around his Memetune Studio Complex, located in one of the UKs remotest moorland locations, writing and producing his various music projects as well as making video art and TV programmes about his activities. “The View From Vega”, his debut solo album on the DiN imprint, is primarily an ambient suite of tracks inspired by the space-music typically produced in the late 1970s and early 1980s. It uses a selection of vintage synthesisers, sequencers and FX units to provide a fertile sonic landscape to explore. The idea was to use simple sequences (using both analogue and digital units), sustained synthesiser pads and electronic piano improvisations, alongside various ancient delay, flange and reverb units. The beautiful, warm quality of the tones that exude from such instruments are very evident on the six tracks that slowly unfold their oscillations in organic, melodic soundscapes. An unashamedly vintage sounding album in all its analogue glory, “The View From Vega” is released both as a 180g Vinyl edition and a Digipak CD with stunning artwork from Wendy Carroll that matches the music perfectly.  Synthesisers: Moog Modular IIIC Polyfusion Modular Roland SH5 / System 100 / Piano-Plus-70 Yamaha CP30 / SS30 EMS VCS3 ARP Chroma Sequencers: Roland MC4 Moog Dual 960 (Cloned) EMS TKS FX Units: Dynacord TAM21 Stereo Flanger/Doubler Dynacord DRP16 Reverb Dynacord DRS78 Reverb / Delay Polyfusion Modular Phase unit Electro-Harmonix Smallstone Phaser