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conCushion
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the severe beating of a drum machine
experimental music circuit bending computer music fluxus sound sculpture linux performance art open source python media art network music live coding supercollider net arts
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.o0O0o.o0O0o.o0O0o.o0O0o.o0O0o.o0O0o.o0O0o.o0O0o.
I am a composer? Hey make sure you check out all the ads on my page. Rampant commercialism is so awesome.
Song Info
Genre
Electronic • Experimental Sounds
Charts
Peak #1,275
Peak in subgenre #58
Author
3 of Spades
Rights
none per se
Uploaded
April 11, 2007
Track Files
MP3
MP3 9.2 MB • 128 kbps • 10:05
Story behind the song
yeah yeah yeah i know. i used fucking midi to spray wavelets all over the place. and while this quaint '80s technology sucks balls, it is somewhat gratifying to be able to turn two knobs at the same time. i am capable of gestures i could never do with just a mouse and keyboard. it's not your typical midi controller either. it's a novation nova. they don't make those anymore. and it took me a fair amount of time to hack each individual cc # because the thing is not made for interfacing with a computer. additionally, i made a 4 part drum machine. what impresses me the most about it is the ridiculously tiny amount of code it actually took. 64 notes, four part multi timbral. thing is a beast. and the sequencer buttons make me happy. also this wavelet shit is blowing my mind. jesus. i haven't even scratched the surface with these bitches. ok so a few ideas are starting to form here about dance music. first of all, tempo should be fluid. i made a lot of pieces regarding tempo as the fundamental, with rhythmic/harmonic events relating back to it in simple ratios. while this is nice, the 'music of the spheres' approach gets a little old. a more fruitful approach would be to set these once stable elements in motion relative to each other, to allow for the possibility of resituating the beat without giving the listener the option of 'grooving out' on something static. also, it makes the whole thing seem more human somehow, more like poetry than math. expandable math. math you can pause and peer into and stretch into enormous globules and systems of globules. also i don't think i've made a piece in 4/4 in 5 or so years. and im glad. dance music especially has become so normalized. why do we need a formula in order to be moved? can't we dance to hardcore just as we can dance to coltrane? doesn't stockhausen ever make you want to move your body? this piece is in 45 pulses per cycle, and is felt as 5 quarter notes and 5 five-pulse notes. the result is an expansion and contraction that is part of the tala itself. in addition, the sound material eventually gets spread so thin it becomes grains of rice falling on a resonant bowl. there is something humorous about it. it's like, we could be so exacting and specific to build something you feel comfortable with. but that would be boring, so i decided to play with the idea of pulse as the consensual unit of musical time. it travels from metric time to clock time to flutter time. rhythm is exposed for what it truly is- sequence. syntax. there is something linguistic about it; like in epic poetry where a foot of verse could be substituted for another. epithets replace pronouns replace names.
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