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MAX CAVALERRA
The track should bring you into a little quiet place, thinking a bit about our environment. Your heart should also always listen with your ears. Productionwise - it is made with Logic Audio. I used just a few fine organ sounds with much effects in it to let everybody feel the deepness and clearity. Love is the main ingredient, which never should be forgotten while making music. Often thats the case in Pop Music!
I try to make something different in the electronic music, things you´ll hear nearly never again. Hopefully i can create a unique style which is pending between minimal Techno, ambient stuff and progressive dance music.
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DJ PUP
Recording a mix is always an iterative process for me that usually involves several takes and just as many weeks. In this case it took almost three full months.
This mix started off to serve also as an audition CD for the chill room DJ slot at the upcoming Real Bad party for Folsom Street Fair, thus it goes into more minimal, and slightly darker, territory than is usual for me. It quickly became apparent, however, that my aesthetic was still too beaty for the deciding jury, and I had a cloud of artistic doubt descend upon me - on the one hand, I had been described as "too cerebral" for dance music, and yet I was too "dancey" for chill music, and during my most recent DJ outings, one at a camp out, the other at a private party, I had made a small child cry with techno, and had been thoroughly upstaged by a tag team consisting of two very popular gay techno DJs. At the same time I was having significant problems with my recording set-up (two 1200s, a DJM-500, and a Sony CD recorder), such that one perfect mix was lost when the CD recorder inexplicably shut down, and the others that did survive had issues with clipping, unbalanced right and left channel levels, and of course the inevitable slip. After five frustrating attempts at recording I decided to give it rest for a week while I went back East to visit my family over the July 4th holiday.
When I returned I was hit with three massive life tremblors - a big shake-up at work, the sudden need to find co-habitation with my boyfriend, and then a case of walking pneumonia that laid me out for a full two weeks. I didn't touch my decks for almost six weeks, and in the meantime I went through a lot of soul-searching about music and DJing - what was the point of any of it, why did I spend money on records that I only played out a few times a year, and wasn't it about time that somebody my age realized that this was all a young (and more popular man's) game? Finally, on a Sunday whim the boyfriend and I went with a friend to Amoeba, and I bought three records "blind," purely on intuition. I came home, listened to them, and decided to give this mix one more go. Instead of laboring and laboring over it, I played one practice set to hear how my new acquisitions sounded with my other records, and then, the next night, I recorded the mix. Those three records are the first three tracks you hear on this mix.
There are things I really like about this mix, and some things that I would like to be different - the transitions at the end are rougher than I would like, for example, and there are still issues with the quality of the audio signal. But getting it done and putting it out there, even with imperfections, was a way for me to mark the end of a particular difficult period, to put some ideas and concerns to rest, at least for a while, and move on to something new. If I learned anything from this process it's that sometimes you have to move beyond the doubt, the performance anxiety, and all the rest, and just play the music that you like, having faith that that alone will be enough to make the connection you sought in the first place.
01. Dominik Eulberg and Gabriel Ananda - Schieder Kreisl
02. Styro 2000 - cremeschnitte
03. Jason Emsley - P.H.I.A.P.O.S.
04. Yapacc - take this away
05. Lurifax - Lobo Remix
06. Fletcher Mundson Syndrome - Lauter Leute
07. Carsten Jost - divide et impera
08. Serafin - Starship Discotheque
09. Sascha Funke - I love this tent
10. Kontakt - Music Gewinnt Freunde
formal experience...
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...:::...if experience were a form, what might it look like? would it be possible to describe in more ways than just the attributes (the wrinkles forming around your eyes, your skin tone, your cheek's texture, the sound of your voice, the bent-arm motion of lifting a cup to your lips, of writing the letter 'a' or 'p' or maybe 'q', the shaping of a word in your mouth (tongue to the back of the teeth), the smell of your hair...)...? how many of these singularities does it take to describe you or someone or something?...
my body kinetically monitors the physical way i approach things. it has its easy habits and my thoughts often ride tandem to it. to keep a momentum, i find it takes prying them apart. skinning my mind from the meaty parts (ow! it hurts, and then doesn't)...i am built from layers of days and months and years of life's strata. my form is that sediment, still growing and settling...then weathering...
it's the weathering to which i keep returning...is it that experience happens to you, or is it that you make your own experience? external and internal, canyon lands emerge. i think perhaps forms are best described in action..as in how does a form make another form? how does it (you?) press against the soft shapeless mass of thousands of jumbled notes to select out and reduce down and re-arrange and organize rhythm and make this new form that perhaps is called a 'song'? how does a form output? how does each new form that has been shaped by the last experience become unique? develop personality? how does it mime or copy and at what point does it disengage from that rocket-ship to interpret, modify, break to re-create?
all of these questions i find rooted in experience, in action, in motion...forming an idea to touch the next material to form the next idea to inform me...:::...
download: 070915-modyfier part01
swayzak - distress and calling : aug 2007 on k7 records
lawrence - pond : aug 2007 on dial records
chica & the folder - souffle (sonja moonear dans ma casbah mix): sept 2007 on monika express
**correction** above track is mislabeled...is really:
chica & the folder - perfect day (sometimes)(pikaya remix)
touane - chamber : sept 2007 on liebe detail
luciano pizzella - biomes (max cavelerra remix) : jul 2007 on broque
david k - three arches (samim mix) : sept 2007 on tsuba
pan-pot - charly (anja schneider tex mex mix) : sept 2007 on mobilee records
echologist - faith (tokyo mix) : aug 2007 on mule musiqdj gregory - elle (ame piano mix) : sept 2007 on defected
butane - how low can you go (lee curtiss' rock bottom mix) sept 2007 on dumb unit
download: 070915-modyfier part02
marc houle - techno vocals : sept 2007 on minus
samim - spingbreak : sept 2007 on get physical music
tigerskin & antilope 0 pisserwastole feat. red haring : sept 2007 kompass musik
lutzenkirchen - blind horizon : sept 2007 on craft music
st. plomb & crowdpleaser - 1,2,3 (one day in boston remix) : sept 2007 on mental grooves
dave dk - sweet yellow : aug 2007 on mood music records
mikael jonasson - twenty se7en : sept 2007 on audiomatique records
spektrum & george demure - boys talk snax 'can't get over' mix) sept 2007 on defdrive
filewile - city fitness : may 2007 on mouthwatering records
deadmau5 - not exactly : aug 2007 on mau5trap
nq - monster, skies and cloudy nine (deer remix) : aug 2007 on kitty-yo
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EXERCISE ONE
inspired by the writings of modyfier, i chose for this track much more soft sounds and filled in lots of voice samples from movies and radio. i wanted to make a track that wasn't too aggressive but still rolling...so you can concentrate on reading the site alongside.
then - this always happens to me - the machines take over. as soon as i have some sounds, a kind of unexplainable self process starts. it is like i make the basics, and the rest happens automatically. i can explain it like someone hands me the rest of the puzzle pieces and i make them fit together. i used reaktor for "process part 041 (transitional voices)" and some sounds of the korg mx. my studio was flooded at the this time so i was dependent on my laptop and some little bits of gear.
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RAFAEL ANTON IRISARRI
I admit it: I've never been disciplined enough to keep up with a blog. There, I've said it.
After much constant nagging (motherly instinct dear?), I've started working on this Process piece, barely enough writing to offer a glimpse...
I've been extremely isolated over the past year or so. Strangely enough, it may seem contradictory to the remote viewer - I've been "socializing" probably more than I could possible ever imagine.
Most of the times I only hear frequencies of sound emanating from people's mouths - you know - the usual yap that runs around in music circles/scenes ad nauseum: "well, my music, blah, blah, blah music, blah blah, well, I think that..."
I've decided lately to focus my attention on the sounds between words. The empty spaces so to speak - this is the area where I find myself the most comfortable.
Using only a guitar and (trusty) effect units - just a few days ago - I started composing this sound piece trying to recapture an unexpected occurrence. I tried to recreate a moment in which time stopped for a second and there was nothing except the sound of a sweet voice...No music, people, strangers, pseudo-starts, and so on...just a sense of completion. Connected, isolated, but evolved - traveling without motion - walking without ease while guided by the sounds of her voice...
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A.N.A.
The recent invitation to the Process Series came at a time when I was interested in getting outside of what I saw as obstacles inherent in the way I had been trying to use my computer to create music. Too often I would set up a rhythm and a sample, get lazy and lock them into an infinitely repeating loop. Dynamics, time changes and general variation in feeling were absent and the music subsequently felt lifeless. Of course I could've probably overcome this I knew how to use the software better but my instinct for the Process piece was to start in the most uncomputer-like fashion I could think of, by playing live, real musical instruments.
As luck had it, my friend Aaron (of the group Off the International Radar) had invited me to do some jamming at a rehearsal space his band had been renting. I explained the Process mandate and my intention to create something loose and unpolished; no rhythm quantization and no use of loops.
I started on bass guitar and Aaron on xylophone and eventually we drew a repeating melodic line out of our meandering. This formed the basis for layering on some more instruments (harmonica, sleighbells, etc.) and variations. When the beercans were empty and the creative juice sapped, we called it a night.
Using the material we recorded at the rehearsal space, I subsequently added more keyboard and percussions parts using my computer, making sure to record each line live and not loop anything. I also threw in a field recording to fill out the texture. In the end, the song is loose up to the point of falling apart at times, optimistically stradling the line between a human and a machine creation and pessimistically just sounding bad.
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