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by konterkariert
konterkariert
13:10 - 2 Feb 2013 · Via Soundcloud
13:05 - 2 Feb 2013 · Via Soundcloud
13:19 - 2 Feb 2013 · Via Soundcloud
13:12 - 2 Feb 2013 · Via Soundcloud
13:13 - 2 Feb 2013 · Via Soundcloud
13:11 - 2 Feb 2013 · Via Soundcloud
13:09 - 2 Feb 2013 · Via Soundcloud
13:08 - 2 Feb 2013 · Via Soundcloud
20:30 - 10 Jan 2013 · Via Soundcloud
konterkariert 12 years ago
"I first heard Laurie Spiegel's music about 13 years ago. Growing up I had been excited by early electronic experimentalists - people like Hugh Le Caine, Steve Reich, Wendy Carlos, Louis and Bebe Barron and of course Norman McLaren (whose work became the principal inspiration for the third Junior Boys album "Begone Dull Care"). In 2000 OHM released their excellent 3 CD set "The Early Gurus of Electronic Music". That album introduced me to the wonderful music of Jean Claude Risset, Alvin Lucier and most importantly for me, Laurie Spiegel. Spiegel's recording "Appalachian Grove I" stood out on the compilation. Amidst a sea of abstraction, dissonance and confrontational noise, Spiegel's composition is no less experimental, no less contemporary than the other works, but is, if you forgive the cliché, wholly musical. In fact "Appalachian Grove I" is, if anything, a celebration of joyous harmony. It is a gentle swarm of synthesized tones, like a perfectly conducted orchestra of robotic cicadas.Starting in the 1970s, Spiegel worked at the famous Bell Labs in Murray Hill, New Jersey. Under the direction of famed engineer Max Mathews, the Bell Labs were responsible for many innovations in sound design including the famous speech synthesizer used for HAL in Stanley Kubrick's "2001". Spiegel's work focused on programming computers with decision-making algorithms she could interact with to make music. As a result her music, except when directly based on a specific formula, such as her famous rendering of Kepler's Harmonices Mundi, is often rooted in the most fundamental materials and structures of the Western musical tradition. In the field of experimental electronic music, born out of the atonal philosophies of Varese, Schoenberg and Stockhausen, such traditional notions of harmony and melody make Spiegel quite unique.This last year a reissue of "The Expanding Universe", which compiles Spiegel's major works from the mid-70s was released to rave reviews on Unseen Worlds Records. Included on that release is the 1975 composition "Drums". Since first hearing it over ten years ago, I was always amazed at how contemporary "Drums" sounded. I have, over the years, often thought of different ways I could edit the song to be used as a DJ tool. Last year while breaking from touring the fourth Junior Boys album, I released my first 12" for Dan Snaith's (Caribou, Daphni) label Jiaolong. The mandate of Jiaolong - to produce interesting and daring dance music following a wide variety of musical influences and trajectories - got me thinking that I should pursue my dream of re-editing Laurie Spiegel's "Drums".It is tricky to work with something you love, and which is in itself already perfectly complete. This track is credited to both myself and Laurie Spiegel, not only because I received her generous blessing and input, but also because I felt as though I was attempting not simply to re-edit or even remix the piece, but rather to play off of it: to use it as a guide to exploring some different musical possibilities, and to collaborate with the original. In many ways I didn't write anything, but simply played back "Drums" on my computer, using its tempo and rhythms to trigger an almost arbitrary chain of synthesizers, both new and old. I then fed Spiegel's original piece into my indispensable Eventide H3000 Ultra-Harmonizer (a piece of equipment that I use constantly and was, unbeknownst to me, beta tested by Spiegel in the 1980s). My job was simply to select the moments I thought worked and disregard the excess.I am thrilled to release this piece with Laurie Spiegel. She is in my opinion, the best type of experimental, electronic composer, because she is, at heart a populist. She uses the most cutting edge technology and she has always employed the most rigorously complex and formal methods to make music, yet the music is itself never esoteric or alienating. It is enjoyable to all who hear it. And with just a few tweaks, and a bassline it's now ready for the dancefloor."-Jeremy Greenspan
16:21 - 11 Jan 2013 · Via Soundcloud
from the "Recolor" EP made by the artist 813
16:19 - 11 Jan 2013 · Via Soundcloud
from the "Recolor" EP made by the artist 813soundcloud.com...
16:46 - 11 Jan 2013 · Via Soundcloud
konterkariert added this track via Gilles Poupardin
16:47 - 10 Jan 2013 · Via Soundcloud
17:26 - 20 Dec 2012 · Via Soundcloud
20:39 - 11 Jan 2013 · Via Soundcloud
15:36 - 20 Dec 2012 · Via Soundcloud
15:38 - 20 Dec 2012 · Via Soundcloud
15:37 - 20 Dec 2012 · Via Soundcloud
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