electronic-music-experimen-blog1

[electronic-music-experimen-blog1]

I am doing some cross polination with another music blog, Femmecult. I'm going to start posting some of the content that I've create for that blog here so it reaches a larger audience. Thanks for reading and listening!

Every once in a while you meet an artist who is so unassuming that you would never imagine the genius lurking beneath. I played alongside one such artist, Bardo:Basho (Kirsten Thom,) a year ago in Seattle having not heard much of her music beforehand. When she began to play, the room went silent. Her unique style of drone techno took us by storm, and lulled us with it's hypnotic sway. She currently performs live all over Seattle, Washington and the Pacific Northwest, and is looking forward to her first release this Spring, 2015. Enraptured by visions of far away lands via her mystical intonations, we are super excited to present this artist who, at the beginning of her professional career, is already so influential and inspiring. Please join us for her interview, and have a listen to the live set that she recorded exclusively for Femmecult.

Femmecult:

Please tell us a bit about your background, and where you live now?

Bardo:Basho:

I grew up in Portland, OR where I went to an all girls' Catholic high school, and then lived in Tacoma for a while where I got a BA in music. I've lived in Seattle for the past two and a half years, where I organize a series of left field (mostly electronic) concerts with a friend of mine.

Femmecult:

How did you get into producing electronic music specifically? How long have you been working on composing songs?

Bardo:Basho:

I got into producing electronic music after making new friends at the college radio station KUPS. They exposed me to dance music by inviting me to Decibel Festival and a couple outdoor parties. I've been composing songs since before I can remember, mostly for piano, guitar and voice, up until some sets I saw at Decibel and Photosynthesis Festival inspired me to start making electronic music. I also had some great friends encouraging me, and helping me get started with music software. How would you describe your music style in your own words? Drone and techno influenced singer songwriter music.

Femmecult:

You mentioned in an interview that you wanted to make techno when you first began, but it turned into something more experimental. Why do you think you more were drawn to your creating in this current style?

Bardo:Basho:

I found it really hard to incorporate my voice in interesting ways inside of a minimalistic, atonal aesthetic. Singing has always felt really expressive to me, and I felt like I couldn't express myself without making vocals a focal point. Techno was also fairly new to me when I started producing, and I had a very defined formula in my head that proved limiting. I moved into a singer songwriter vibe pretty quickly, and I think that was a good way to start because it is similar to what I was already doing. Now that I've learned Ableton better and gotten my hands on some gear, I can make more abstract sounds that aren't far removed from what I would call techno.

Femmecult:

Please talk about your music gear setup. What has enabled you to find your musical voice? What is your process for sound design?

Bardo:Basho:

My current setup is Ableton on my laptop, the Ableton Push, an interface (Apogee Duet) that I run a mic into, and my voice. Ableton enabled me from the get go and helped me develop an understanding of sound design, and the Push has allowed me to be much more improvisational with recording and performing. The interactivity of it makes it much more fun to use than just a computer keyboard, and its integration with the actual software made it really easy for me to adapt to. When working on a track, I usually start with a synth texture or by messing with a field recording, and then I'll add rhythmic ideas, and improvise vocals where they are needed. I often pull from old ideas to rework them or re-contextualize them for a live setting.

Femmecult:

Tell us about your previous bands and your schooling in the musical arts.

Bardo:Basho:

I started playing piano in kindergarten and participated in choirs for many years. I majored in music in college with a focus in piano and composition. The program at University of Puget Sound taught me a lot about compositional frameworks like fugue and phasing for example, which I got to play around with. The music theory and music history basis that my classes provided me with comes in handy often when I write and especially when I improvise, and it also made me listen to music in a very analytical way. I've had to turn the analytical side off a little bit in order to for music appreciation and writing to be a transcendent and intuitive experience. I think sometimes the academic approach can miss the point of music, which is the way it sounds rather than how it was made. I have been in 2 bands, the first of which was a garage rock band, and the second of which was a funky prog band called Fang Chia (I played synth), which still exists without me and is killing it.

Femmecult:

Your voice is featured quite a bit in your work. What do you feel it adds to your sound? Have you had training in voice? Do you include lyrics or is it more vocalizing as pure instrumentation?

Bardo:Basho:

I like to use vocals as a textural idea like I would a synth. I really enjoy singing and harmonizing with myself using a looper. It's very satisfying. On the album, the vocals are more of a focal point with lyrics and melodic structure, but lately I've been using vocals more to enrich the sound and make it more psychedelic. I sing words, but with the music I've been working on lately it's more improvisational - I've found that it's very therapeutic to say whatever is on the tip of my tongue and see where it leads. I had some voice training before and during college, most of which was in an all female choral setting.

Femmecult:

You feature a lot of harmonization with your voice. Can you talk about your process for creating that sound?

Bardo:Basho:

It's pretty improvisational for the most part, but I tend to favor basing the harmony on an open fifth, like in Gregorian chant. I will loop an idea and then sing a harmony over it. I aim to create a haunting, psychedelic sound for the most part.

Femmecult:

What are some challenges you have faced, if any, in the creative process, and how have you overcome them?

Bardo:Basho:

Sometimes I will feel intimidated by the idea of writing, and that makes me avoid it. The best way for me to overcome that is to agree to play shows, so that I have to sit down and work on music. I like to create a different set for every show and a lot of new ideas come out of that. Another big challenge is that I get frustrated when an idea takes a while to take shape, which causes me to lean on ideas I've used many times before. One thing that helps me is to watch video tutorials to expose me to some tool in Ableton that I haven't used before. This helps me change up the sound and explore new ideas.

Femmecult:

What are some things that influence you as an artist? Bands, art, philosophies, etc.?

Bardo:Basho:

I really love the immersive textures of noise music, particularly the artists Total Life and Je Suis Le Petit Chevalier. This has influenced the textures I create and pushed me to incorporate field recordings more. I also really like the evocative soundscapes of artists like Kate Bush, where the music really creates a sonic environment. I'm all about not committing oneself to ideology or belief, and I think that factors into my music. I don't believe in any right aesthetic or approach or gear, it just needs to sound cool. Many live events and parties have been incredibly influential and inspiring.

Femmecult:

What can you say about the electronic music scene in Seattle, Washington? Has it had a part in shaping you as an artist, and if so, how?

Bardo:Basho:

Seattle has a lot of hardworking movers and shakers that make it a great place for music (secondnature, Decibel, MOTOR, Cairo, High & Tight). I am more aligned with the drone/experimental scene and the burgeoning techno and house nightlife. A number of shows/parties have helped shape me as an artist by showing me what music can do in a live setting. Margaret Dygas and Roman Flugel come to mind, or Raime and Ahnnu on the ambient tip. They created sounds that were completely new to me. Seattle is an incredibly supportive place and ideal for starting out as a musician. People are so open minded and encouraging. Places like Hollow Earth Radio provide a great community and space for playing out as a new artist, and a platform for discovering unknown artists making some really crazy sounds. Local artists like Cyanwave, Young Benoit, Fugal, Archivist, and Raica have also been inspiring, and very helpful with regards to learning about sound design.

Femmecult:

What’s on the horizon for you in 2015 and beyond?

Bardo:Basho:

My first ever release will come out on cassette/digital on March 13th via Elevator, with a show at Machine House Brewery. I am planning on a west coast tour soon after, but this is still in the works! I hope to delve more into collaborating with other producers, and I'll continue to play around Seattle fairly regularly.

Bardo:Basho Online

https://soundcloud.com/bardobasho https://www.facebook.com/bardobasho

Bardo:Basho Live for Femmecult

Femmecult-010-Bardo:Basho-liveset by Femmecult on Mixcloud

  Check Out Femmecult Music Blog Online

http://www.femmecult.com/ https://www.facebook.com/femmecult http://www.mixcloud.com/femmecult

[electronic-music-experimen-blog1]

https://soundcloud.com/scifisol http://www.scifisol.net

I did a DJ set on 06/13/12 for the FMPDX Radio Show Listen Here!

[electronic-music-experimen-blog1]

Juno Plus Podcast 59: Orphx

Spend an hour in the company of Canadian techno royalty as Orphx mix our latest podcast.

The line which separates techno with noise and industrial music seems to have become increasingly blurred over the past few years; although the casual observer may see this as a recent development, in reality these sounds have been combining for a lot longer. One such outfit are Canadian duo and former Juno Plus interviewees Orphx, who have been exploring the meeting point between industrial music and techno in their music for the past 20 years, producing numerous albums alongside a number of vinyl, CD and cassette releases. With sonic force and rhythmic distortion as their guiding light, Richard Oddie and Christie Sealey have manoeuvred Orphx’s sound from the arena of experimental noise and industrial electronic music into a realm of techno shared by the likes of Adam X, Perc Trax and Svreca’s Semantica.

In 2009 Orphx made their label debut on Adam X’s Sonic Groove imprint with the Division EP, a release which exposed the duo to a new audience thanks to remixes from Surgeon and dub techno anchor Substance; until that point, the only remixes of Orphx came from either themselves, Jim DeJong’s The Infant Cycle project and a selection of remakes that appeared on Teletai - Rarities And Remixes in 2008.

Orphx are now a permanent fixture of Sonic Groove’s industrial-heavy roster; in addition to the four records they’ve already released for the label, the duo will be releasing the Boundary Conditions 12” next week. Since their first appearance on the label in 2009 Orphx have focused on melding elements of dancefloor sound design together with a challenging tonality, and have subsequently plunged themselves further into a sphere of techno they helped to influence by remixing acts such as Svreca, Giorgio Gigli & Obtane and Adam X’s Traversable Wormhole project.

Richard and Christine’s mix for Juno Plus feels like an extension of their own sound, with an hour’s worth of cold, dark, tunnelling techno from artists whose music has been an inspiration on their forthcoming release. We spoke with Oddie over email about their upcoming European tour, cassette tape labels and how to approach remixes.

You can read that here: bit.ly/Zpwyp1

TRACKLIST:

1. White Noise - The Visitation 2. SBTRKT - Wildfire (Objekt mix) 3. Dadub - Life 4. T++ - Audio1995#8 5. 0 - Kolmas 6. Isolee - Simone Rides 7. Liasons Dangereuses - Peut etre… pas 8. Sleeparchive - ACD-Voice 9. OVR - Rapid Eye 10. Robert Hood - And Then We Planned Our Escape 11. Quadrant - 1.1 12. Dasha Rush - Dark Light Blind 13. Orphx - Vanishing Point 14. Inigo Kennedy - Chamber 15. Cassegrain - Tiamat 16. Samuel Kerridge - Waiting for Love III 17. Casual Violence - Acceptance of the Fact at Hand 18. Traversable Wormhole - Worldline (Orphx mix) 19. Loktibrada - Untitled (Ian Richardson mix) 20. Morgenstern - Railing 21. Orphx - Outcast 22. Trade - Positive Neckline 23. Function - Voiceprint (reprise)

DOWNLOAD HERE

(Source: Juno Plus)

[electronic-music-experimen-blog1]

Sound System Statesman - DVS1

ELECTRONIC MUSIC continues to simmer just below the surface of North America's consciousness, a haven for those initiated into its unique world. As EDM continues to gain visibility and respect within popular culture, the insights of those most experienced in the industry can serve as a valuable preface to the music itself, allowing for a deeper understanding and appreciation of the steadily growing genre. EDM veteran DVS1—the alter ego of Minneapolis' Zak Khutoretsky—has dedicated more than 18 years of his life to promoting electronic music in some way or another: DJing, producing music, running a club, owning sound companies, promoting shows, and more.

When writing and selecting music, simplicity and minimalism drive Khutoretsky's taste. "It's got to have soul," he says. "To some that might mean an obvious presentation, [but] to me it's more of a feeling." That feeling could be in something produced 20 years ago or yesterday, he adds, pointing out that a sense of timelessness is what's most valuable. "My time on the dance floor, behind the turntables, throwing parties... have shaped my vision of this music and of this community."

Still, keeping thousands of bass-hungry connoisseurs dancing all night at the world-renowned Berlin nightclub Berghain, for instance, is no small feat, and Khutoretsky tries to have a method to the madness. "When I write music, a lot of the time, I'm imagining how it would feel versus how it would sound. Everything from a subtle bass line to a synth stab cutting through the sound system." The huge sound systems in European clubs no doubt have helped to shape his philosophy on sound, but it was the floor-to-ceiling stacks he grew up with in the Midwest that played the biggest role. "Those experiences of feeling the pressure and the tones on a physical level are ingrained in my mind," he adds.

The recent explosion of EDM in the United States indicates that listeners are becoming more receptive to new genres; still, it's easy for people to become entrenched in passive listening habits. "In my opinion, people need to choose [wisely] what they support and where they put their money," Khutoretsky says. "It used to be a bit more blurry for some people about what was underground and what was considered mainstream or commercial. That line is so obvious now. You really have to pick a side."

-CHRISTINA BROUSSARD

[electronic-music-experimen-blog1]

Listen to Vicious Vibrations by Gavana

#Elektron #femalepressure #dancehall #sweden

[electronic-music-experimen-blog1]

An urgent call for female representation in electronic music and digital arts:

Following on from recent public debate on sexism in the German media female:pressure is calling for a collective revision of female representation in electronic music and digital arts. We would therefore like to contribute with an analysis of our current working climate.

female:pressure is an international database and support network of women in the fields of electronic music and digital art: musicians, DJs, producers and performers; vocalists; visual artists; booking agents; label owners; researchers and academics in these fields. We have over 1100 members in 56 countries, many of whom are internationally-active professional artists in their specialist fields.

The members of the female:pressure network operate within a seemingly progressive electronic music scene and its subcultures. However, when compared with other artistic domains such as literature, we find that women are notoriously under-represented in the realms of contemporary music production and performance. The female:pressure group would therefore like to invite you to take a look at the facts and make the mechanisms of this specific market more transparent.

We have looked into statistics regarding festival line-ups, record label releases and the appearance of women in several top 100 lists. The results are shocking and disheartening, even for us deeply involved in the scene. Most festivals – whether financed through public funds or not – clearly do not place any value on ensuring an appropriate ratio of female artists, or diversity in general. This also evidently applies to label releases – in Germany (an epicentre of electronic music and female artists) as much as in many other countries. Nowadays, a 10% proportion of female artists can be considered above average. We feel it is unacceptable in the 21st century that we can still end up being the only woman performing at a large festival. We find our female colleagues inspiring and feel that audiences would also like to hear them and see them perform. Please find the results of our research so far here: femalepressure.wordpress.com/facts

As a collective body, we believe it is crucial to raise awareness about this issue and push for more diverse line-ups in festivals and on label rosters – in terms gender, age, culture, ethnicity and (dis)ability. We do not want to assume that the motive of organizers and curators to book almost exclusively male, white artists lies in pure misogyny. We would rather conclude that they do so because it matches social conventions, because they want to promote their peer group and because they don't consider the socio-political dimensions of their selection. There are more concerning issues of equality of opportunity and accountability where festivals are largely funded by arts funding bodies which, in turn, receive financial contributions from a cross-section of society.

We demand a new awareness, an attitude that makes clear that a lack of diversity is uninspired and lazy, socially reactionary and can in no case claim to be visionary – neither presenting the panoply of exciting artists and art of today nor the future. There really is no excuse for the prevalent lack of visibility of a diverse range of competent and exciting artists. Festival line-ups (especially those that enjoy public funding) need to be aiming for a more representative female-to-male artist ratio, thereby reflecting the population they hope to serve more closely.

Our work is important to us as a manifestation of a culture with vitality, an expression of our times and our contribution to this cultural dialogue. Of course, we also attach importance to quality, to the mastering of our production tools and instruments, to the sophistication of our musical means of expression and style. But the crucial point of cultural progress and improvement lies in the interaction with an expert audience: performance, exchange, feedback, evaluation, releasing, representation, trial and error are essential steps in the development of one's craft and creativity.

Let's be frank – enough is enough. female.pressure believes there is no justification for more male-dominated music events. We need – and paying audiences deserve – invigorating and entertaining diversity!

Festival curators, sponsors, label owners, journalists: Give more opportunities to women! Female festival curators, sponsors, label owners, journalists: Don't try to be the better men by only taking 'risks' on established, male artists! Give more women a chance!

We look forward to your response and positive developments in this cultural sector in the future. Please do not hesitate to contact us if you have any questions regarding this issue.

Here's to a brighter future for the arts.

female:pressure

[This is an open letter, originally posted on FemalePressure.net]

[electronic-music-experimen-blog1]

Comfortzone Music Austria

Comfortzone Music is a record label founded by Christina Nemec aka Chra in 2009, and is based out of Vienna, Austria. It's a label for experimental and electronic music with a majority of the artists being comprised of female composers. I wanted to find out her perspective on running a label while working as a musician at the same time.

ElectronicMusicExperiment: Where did you grow up? Where do you live now? Christina Nemec: I was born 1968 in Villach which is a small town in the south of Austria very close to the former Yugoslavian (now Slovenian) and Italian border. The neighborhood I was brought up was quite poor and/ or working class. Lots of families my parents age with kids and refugees from second world war as the colony of Untere Fellach was a former camp for forced laborers freed by the allied forces and the UNO who didn’t go back to the Soviet Union countries. My childhood was very exciting, my parents were very liberal, so I can say I had a really good time in this weird environment. At the age of 14 I discovered punk (1982 – way too late) for me as a way of living and I left home as runaway kid to visit squads in Vienna. EME: How did you get into making music? CN: Punk was the promise that anyone can do music with or without training or education. I started to play guitar, switched to bass guitar later. my first electronic works i produced in the early 90ies. first with Atari, later with Apple. EME: Did you have formal musical training? CN: When I was a kid, I started to learn to play guitar – but after one year I gave up – for I was to impatient to practice. Later my interest in music was more focused on theory and conceptual art. I never wanted to be a girl playing an instrument. I was more kind of a monster who expresses its anger. EME: What has been influential to you as an artist? CN: Punk, activism, and artists: Lydia Lunch, Kim Wilde, Kim Gordon, Kim Deal, Siouxsie Sue, Yoko Ono, The Slits, X-RAY Spex, Ut - but also bands in the mid 80ies: Einstürzende Neubauten, Loop, Joy Division, Jesus and Mary Chain, Faith No More, Birthday Party, Foetus …. Later Hardcore and Deathmetal. Nowadays: my influences lie in music and concepts – not just music as music - not only songs and tracks but also. It’s very difficult to bridge the gap between demands and entertainment, but sure I love (good) entertainment. and I love catchy tunes. EME: How do you usually start writing a song? And how does it develop? CN: There are several topics I am interested in: sociology, movements (in all ways – also f.e. earthquakes), borders, natural disasters, relations, feminism, gender and queer studies, theatre studies, war…usually it starts with a sound or a sentence or buzzwords i pick from a dream, or newspaper or drunken in the streets … that’s why i always have my iPhone with me to be able to record stuff – formerly I was using a tape dictating machine or a minidisc recorder … in my apartment their are piles of notes (ideas, quotes, songs to listen etc…) When there is time I start to put on machines I think that would fit to realize my thoughts …. and then it goes on … very fast, very impatient, very spontaneous – the finishing of a song lasts sometimes couple of times less than developing it in mind. EME: What kinds of technologies do you use to write songs? Hardware, software, analogue, digital or a combination? CN: I use my mac book – software: Reason, Life, Logic, and sound effects. Hardware: cheap interface, mixing desk, speakers, Oxygen keyboard Technics turntable (only one), bass guitar (3 – Ibanez, Vester stage series and one which is build by my bandmate, who is a carpenter) Synthesizer: Little Boy Blue, Microkorg, Groovebox Roland MC 303 Pedals: Big Muff, Metalzone, reverb, Kaosspad, Yoko harmonizer, distortion, phaser …. No special mics – (only in studio) at home: Sure sm58 EME: Can you talk about your process of writing lyrics for songs? What are some themes that tend to arise? CN: See above where i write about motivation, idea … In my little homestudio i work it out track after track …. exploring sounds ( i am very interested in the aesthetic of sound) EME: What motivated you to start your own record label? CN: The urgent need to have a platform to work with people I highly respect and love for their work and performance – and to collaborate and get to know people with similar ideas and kind of visions – our label Comfortzone doesn’t have a specific sound for there is so many different music we bring out on vinyl and CD – also I love to do play live and to arrange parties . We are far from establishing something what has to do with lifestyle – we want to establish a living and working together facing prejudices. I have learned within playing in different bands and solo for more than 25 years to be self-confident with my music so no one can treat me bad in a way… on the other hand I am doing radioshows, tv shows and write about music in several media. In my work, I cover almost of all fields in music - even doing workshops with girls. EME: What was the most challenging thing about starting and running the label? What is the most rewarding thing about it? CN: Starting a label really is a big challenge – but to say in the case of Comfortzone – we (my partner and me) were thinking about it for the last 4 years – now we are celebrating our 3rd anniversary and almost 20 releases. my partner which is also my companion in life has been running a label for independent alternative rock and experimental music for almost 17 years, a distribution company for 15 years and an independent recordshop in Vienna for 10 years – he brings all the business knowledge and supported me with giving a loan to the new label. So my work was to find an artistical device for it and artists we love to work with. I also started to apply successfully for grants to help to finance in the beginning. The rewarding thing is all the shows, tours, travelling, communication, fun and friendship we still have with lots of artists we released, experiences I would never want to miss. and I am looking forward to 2013 to go for it! EME: What style(s) of music are you generally attracted to for potential releases on your label, and why? CN: We do not believe in styles, we believe in artists and performance. I believe in working conditions which are anyway hard for all of us but should be fair. I prefer working with people who are experienced, who know what it means to play shows. As we have experience with artists disappearing after a release ( and me sitting with 500 copies of vinyl), I need to know the persons i work with quite well. EME: How has the business of running a label affected your work as a musician? CN: The business takes too much time – so I had to reduce my work – but in 2012 I found a way to combine both – I am very busy at the moment with different projects, bands, and with my second album and remixes ….. the experiences I had help me to go on – and of course it gives exposure, too. I got a lot of attractive offers to work on things, and even paid for. I am invited to festivals (at the moment I am more into Noise, Drone) which is a great opportunity to present also the label [Comfortzone Records], even if Noise [fans] for example would not really be drawn to or listen to acts like KUMBIA QUEERS or CRAZY BITCH IN A CAVE – but somehow they are and do listen- and they understand why I love it so much. EME: What do you plan for the future in terms of your own work and your work for Comfort Zone record label? EME: In 2013 we will have my second solo album Chra – Shopping With Violence, an EP with Yodas Dolphins, a 7″ with Mika Vainio, an LP with THE APP (its a project were I together with 4 musicians play analogue live soundtrack to movies like White Zombie, 1932). There will be a KUMBIA QUEERS tour in Europe, CHERRY SUNKIST is going to start to work on her next album, CRAZY BITCH IN A CAVE works on an remix album and one with me not on Comfortzone, but part of a band called SHAMPOO BOY (with Peter Rehberg EditionsMego, Christian Schachinger, and me playing bass). This will come out in Spring on EditionsMego or another label we are now in negotiation with. It looks like 2013 will be a great year too!

Check out our 3rd anniversary compilation: https://soundcloud.com/comfortzone-crystalized

[electronic-music-experimen-blog1]

Fiona Soe Paing - Interview

I was lucky enough to catch up with Scottish/Burmese producer and vocalist Fiona Soe Paing for an interview in support of her new EP, Tower of Babel, coming out on November 30, 2012. It will be a free download release by Black Lantern Records, so be sure to get it here: www.fionasoepaing.bandcamp.com

Evolving her unique sound since 2007, Fiona Soe Paing’s music has been described by Tom Robinson of BBC 6 Music as “weirdness to soothe your soul,” seemingly an early insight into the brilliance that was to come. Tower of Babel can be described as an exploration of the world in a state of flux; a haunting translation cloaked in an apocalyptic backdrop. Fiona’s compelling voice is woven into minimal yet well placed instrumentation that wastes no time pulling you into its mutant world. Expressive in her ability to convey a type of carnival futurism that is reminiscent of a bladerunner-esque reality, Fiona stands on the precipice where genres are redefined and transcended. Her work is at once strikingly original and sure to be supremely influential. Tower of Babel was funded in part by a grant through Creative Scotland and is accompanied by a limited edition DVD of music videos by the New Zealand animation artist Zennor Alexander which have been screened on Sky TV New Zealand and film festivals including Digital Fringe Melbourne and NEON digital arts festival. The DVD is available at her bandcamp page. A series of tour dates are planned for 2013 with a follow up EP of remixes by other Black Lantern artists planned for the spring.

Here is the interview:

ELECTRONIC MUSIC EXPERIMENT: Would you tell me a bit about your background? Where did you grow up? What did you do in your youth?

FIONA: I grew up just outside Aberdeen in the North East of Scotland. I studied languages at Aberdeen University for a year, before swapping my course to go and study performing arts in London.  I was always interested in music when growing up - we have a fantastic yearly festival here which used to be called the International Festival of Youth Orchestras. I used to take myself off on my own when I was about 15 or 16 to go to classical concerts, booking my seat as close to the front as possible, so that I could feel the vibrations of the timp drums on the loud parts, lol!  This was when all my friends were off trying to get into see rock bands... haha.  I did the usual girly things like piano lessons and ballet, and through ballet, I got into listening to a lot of classical music - through records like "Your Favourite Ballet Music"  lol... I remember one recording had a violin solo where there was a scratchy bit by mistake - I played it over and over and that was my favourite part of the whole record, that glitchy bit!   But dancing was my top favourite thing- so I went off to study contemporary dance on the performing arts course in London.   And there, again, it turned out that dance was a way into music - from doing choreography, and having to memorise a piece of music down to the very last beat!  As part of my degree project,  I wanted to make a piece of choreography where the dancers literally danced to their own tune, rather than interpreting someone else's music, and tried to make a piece of music where the score followed the dancer's brainwave patterns from an EEG machine. It wasn't very successful though! It was an idea that stuck with me though, and so now I reckon I am actually starting to achieve what I set out to do all those years ago - making music coming directly out of my own body, with my voice, and rhythms, as I sit wired up to my laptop. That's hilarious eh!

EME: How did you begin making music? What was your primary instrument? Did you have formal musical training or have you been self-taught?

FIONA: My performing arts course, although my main subject was dance, also covered little bits of drama and music, and I had a go at singing on the course, although I was way too shy do anything serious then.  Then a few years later,  three girlfriends and myself formed a band.  Our boyfriends were all in bands and had a practice room in one of our houses, so we hijacked it one night and formed a band, so that's how I got into making music. The only training I had was school piano, and basic rhythm stuff from my college course, and I picked up a tiny bit of guitar.

EME: What drew you to the complex world of electronic synthesis, and why have you chosen this form over more traditional forms of songwriting?

FIONA: I started writing music as a way to sing, as I could never find any bands to join which clicked with me, so I did initially start off as a normal singer/songwriter, taught myself guitar, and put a band together with cello, violin and another guitarist, doing folky style material.  Then my tastes developed into listening to more electronic music, and I teamed up with a couple of producers as a vocalist.  At that time, all the technology involved in making electronic music was way beyond my budget or technical expertise, so I never imagined that I would be able to do it myself, as I am not particularly interested in technology/knob fiddling. I really wanted to make my own songs though, and put across my own vision in my own way, so eventually bought a simple four track recorder, a basic drum machine and a bass guitar, and recorded a demo with only that and vocals.  Then the cost of  up a home computer music setup became much more affordable, so I started off using Cubase on a PC with a sampler,  and was totally hooked- at last I could make things the way I wanted them to sound, with out having to run to a (usually male) friend or producer for help!   As far as the "complicated world of electronic music synthesis" goes, honestly - I dont know much about  that - I just experiment with the presets until I like what I hear!   There are huge holes in my technical knowledge, and that's why I find it difficult to collaborate - I do everything intuitively, and don’t know enough  of the technical language of sound engineering to be able to communicate what I want!

EME: Do you work with other musicians to achieve your productions?

FIONA: As I said above, its difficult for me to collaborate, but I get help from a professional producer for the final mix and mastering, after I have everything sounding pretty much how I would like.

EME: Do you use hardware or software or a combination of both to produce your music?

FIONA: Its all the soft synths within the Logic Pro programme, so completely digital apart from vocals

EME: Can you talk about that process a bit, and how you developed them over time?

FIONA: Hmmm... the process... different with each new piece, so very time consuming I reckon.  But USUALLY I start just by going through the synth presets till I find a sound that sounds unusual to me, or something that I don't hear very often... I wait till I hear a sound that jumps out at me as having a character of its own, maybe that suggests its own rhythm or atmosphere, then build a drum pattern around that, till I have a short loop that has its own distinct personality.  Then its easy fitting other sounds around that, to fill out the frequency ranges.  I leave lots of space in the mid range for the  vocals-  then put in some very rough guide vocals, using the built in mic on my laptop just as a quick starter.  Then when I have a rough sketch with some vocal ideas, I will go back and make a proper structure to the track, according to where the vocal feels it should fit.   Sometimes I will improvise vocals for a long time over a simple loop, and out of maybe five minutes of improvisation, there will be a few seconds, or even a couple of phrases, that sounds like a melody, then I pare it down till it fits.... its all mostly editing... I just do a lot of random stuff like rubbish, and get rid of what I don't like, which is usually 90% of what I come up with.  Same goes with the instruments. I like to be able to get down ideas as quickly as possible, and am very impatient (even though I already said the process is time consuming, lol)  so I don't even take the time to hook up my keyboard to my laptop, and just use the caps lock key to use that little virtual keyboard they give you, to type in sounds!  I can never set out with an intention to make a particular style of track , like "hmmm, today I think I'll make a minimal techno track" or whatever...because I don't have the technical production skills to be able to emulate a particular style with any degree of authenticity... whatever "production" I do is by intuition, adding effects and processing till it just sounds right to me.  The final mix and mastering I get help at a studio with... the Tower of Babel EP was mixed and mastered by Morphamish at SoundSound Studios.

EME: How do you go about developing an idea for an album release? Can you talk about that process?

FIONA: Ha! Funny you should ask that, as I never start out with developing and idea or concept for a release - i just let it evolve and see where it wants to go.  I never know what I am going to do before I start - that's why it's such a long process, its the experimentation and discovery, and that's what makes it an adventure, and fun!  Rather than deciding before I start what a piece is going to be, I start with messing around with sounds and see where it goes.

EME: What types of musical styles inspire your vocal expression?

FIONA: For vocals, I love singing jazz and blues styles, and try to also experiment with totally abstract improvisation, and pure sounds, and playing with the textures and all the creaky corners in my voice.

EME: Can you describe your live performances?

FIONA: I collaborate with an animation artist, Zennor Alexander, who makes the visuals for my songs. When I play live, I project the films and electronic soundtracks, minus the vocal track, and sing along live, like avant garde karaoke lol!  Rather than being at a live gig, its more like being at the movies, but with the added live element  - very immersive and transporting to another little world!

EME: What are the influences that have bearing on your music, and lyrical content?

FIONA: The lyrical content I find a conundrum. If I sing words in English, then that immediately slots the music into a particular genre-  and I'd like to go beyond genre - and not be pigeonholed into any one style... so I find what works best is just using random, abstract sounds that I develop from improvisation. Either that, or phrases in Burmese that I get out of a phrasebook, and make an approximate attempt at pronouncing!

EME: What gets your creative juices flowing after so many years of working on music?

FIONA: Phew... ah... wanting to explore -  the adventure of doing something different, exploring different facets of myself, finding out what the music wants to become!

EME: Have popular culture or politics influenced your work, and if so, how?

FIONA: There's no getting away from being influenced by popular culture, even though I say I want to stay genre free... you are always influenced by what's around you.  A few years ago, in hindsight I realise it was trip hop that was my main thing, now , I am not really sure, I'll have to wait and see what it was later.  Same goes for politics, though I never want to consciously make a direct political statement.

Interview conducted and written by Christina Broussard // SCI FI SOL

Interview also posted at : www.femmecult.com

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dB 2012 Rocked It.

Last weekend’s annual Decibel Festival held up in Seattle was kicking it proper as usual. In addition to earth shattering beats, experimental noise and video showcases, informative music conferences, and hot bodies taking over sweaty dance floors, festival goers were blessed with a vast array of distinctive talent in a number of interesting locales. There are always so many events to check out that it’s wise to plan out what you will attend in advance so as to maximize the potential for pleasure. In my quest for a whirlwind of electronic bliss, I attended the Raster-Noton label showcase which featured live performances by the likes of Emptyset, Byetone, and Kangding Ray. To put it lightly, they had the cement walls literally vibrating with an aural assault reminiscent of the start of World War III. I should have brought my earplugs for that one. Thankfully, the usual dancefloor facilitators were in top form as far as I could tell including Hypercolour recording artist J. Alvarez as he rocked the Saturday afternoon boat party, sun shining on the enchanting waters of Lake Washington. That was just a taste though. The highlight of the festival, for me at least, was the swanky new nightclub in Capitol Hill called Q. Their Funktion One sound system was absolutely on point for Roman Fluegel’s pre-dawn Sunday set. I couldn’t have asked for more.

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Interview with Bruxa

KICKING OUT JAMS of the highest order, Portland electronic band Bruxa—Derek Stilwell, Bianca Radd, Saint Michael Lorenzo—roll out the red carpet on their second album, Victimeyez. Their compositional style is sharp, capturing a darkly psychedelic essence that moves beyond the conceptualized theme of occultism that characterized their first album, Eye on Everybody.

Victimeyez, on the other hand, represents work that can be considered more universal. It's being released jointly by Sweating Tapes and Mishka Records NYC, and as a sweet bonus, Mishka is offering a free digital download of the release starting September 1.

Pitched-down and processed vocals capture the doom and gloom aesthetic of a pre-apocalyptic world, and delve into the kind of dreamy distorted industrial territory that Trent Reznor would hold dear. The heavy vocal processing, along with masterful production of synth, bass, and beats, evoke a quality of semi-sexual aggression that immediately draws you in. Radd's vocalizations, all done in Portuguese (Bruxa translates to "witch"), add a mysterious quality to the songs, at times making it seem as if she were channeling a child goddess of the ancient world. Upon first listen, I really didn't want this album to end.

Elements of hiphop pulse with a unique stylistic edge: The often complex rhythms of Bruxa's lyrical content sit damn near perfectly within the mix, taking the listener on a fantastic voyage to outer space. If you haven't seen Bruxa live, Stilwell describes their shows as similar to "dub-style performances with different layers that are brought in and out while they [Radd and Lorenzo] rap over it."

"It's like a perversion of jamming," adds Lorenzo.

"I feel the [live shows] are way more free form, noisier—with a lot more energy. When we perform I feel like I'm in a trance," says Radd.

The band has an interesting philosophy on songwriting: "When you first make something, you have the most objectivity about it, and you should step back and trust that instinct and not over think it," says Stilwell.

In a previous musical project, Lorenzo says he "was more concerned with how it was going to affect people that I knew, and Bruxa was a complete departure from that—it does not matter."

"If you want to name a specific philosophy, fatalism would be a good choice," says Stilwell.

"Post-religion, post-politics, post-sex," adds Radd.

"It's more creating a feeling as opposed to delivering an idea," says Stillwell. "None of it is very premeditated... but we'll find out that there are weird correspondences later. The lyrical themes that ride through the whole thing happen by accident."

When asked what guiding aesthetic ties their work together, Lorenzo says, "We all have an affinity for triphop." Bruxa also incorporate "the harsh bass and crushing impressive sounds" characterized by dubstep.

"We like bass music," says Radd, very matter of factly.

"I've gotten way into sound design," adds Stilwell.

The first Bruxa album, Eye on Everybody, came about almost as an experiment: "Let's take dubstep and witch house and put them together and see what happens. That's where the whole 'witchstep' subgenre came about," says Stilwell.

Less than two years old, the band is already recording new material. "We are reaching even further into our influences," says Lorenzo. So far, the results are impressive.

-Christina Broussard

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Kalya Scintilla did an interview with me and this is what came of it!

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PDX POP NOW 2012 !!!

This year's Summer festival held at Refuge on July 20 and 21 sees a plethora of interesting and diverse bands. Read more about the fest here:

http://pdxpopnow.org/home

In honor of the fest, I wrote up two acts that really speak to the heart of unique and compelling electronic music. Look for the reviews in The Portland Mercury as well if you feel like reading them out of a hard copy newspaper would be more exciting.

Vice Device (PDX, 2510 Records) http://vicedevice.tumblr.com/

If you like the sexy stripped down sound of live electronics and wouldn’t mind escaping into a leather clad vortex of synth-pop darkness, rely on Vice Device (Andrea K and Bobby Kaliber) to deliver. Dusty depictions of post-punk glory bathed in arpeggiated soundscapes, all songs are performed live without the use of sequencers or backing tracks giving this unrelenting duo lots of street cred. Cavernous voices of unique power and intensity fill the space left by minimal yet well placed instrumentation reminiscent of the ever obscure but highly influential No Wave era. Arohan (PDX, Sweating Tapes)  http://sweatingtapes.com/arohan/

Heady dance music with complex overtones that make you dream of an Italian disco bathed in flickering strobes, Arohan (Taylor Gehrts) melts minds and hearts with his captivating style. No shortage of synthesizers and drum machines accompany him on live performances giving a reference point for his enchantingly alchemical concoctions. The music, draped in a sometimes ominous always cavernous voice is evocative of the kind of soulful electronic music characterized by the late 70s and 80s. Look forward to layers of intricately oscillating melodies attended to by elegant rhythms that will bathe you in the glamor of the night.

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Kalya Scintilla Interview

In support of a US Tour, Kalya Scintilla (Yaygon Lamagaia) is playing in Portland, Oregon on Thursday, July 19 2012 at Refuge for Awakenings alongside Desert Dwellers, Amani Friend, Treavor Moontribe, Rara Avis, DrumSpyder, and Blue Spectral Monkey This show should be truly epic! Kayla was kind enough to do an interview with us. He will also be featured in the Portland Mercury the Wednesday before the show, so look out for that too. I will post a link to the article when it comes out.

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Christina Broussard: How did you get into making music?

Yaygon Lamagaia: I grew up in a country town where there wasn't a great deal to do on the weekends. Me and my friends weren't really into sport so we started to jam on weekends. After school I moved to the city and got deeply into DJing vinyl, and after that came the computer and production. CB: What kinds of things influence your songwriting? Other artists, philosophies, nature? How has this changed over time?

YL: Being in 3D is a huge inspiration in and of itself. Nature and her infinite beauty has been an epic influence. CB: How would you say your compositional style has evolved over the last several releases?

YL: My compositions have become more evolved as I have evolved more. As I have discovered more layers and intricacies in my self and the world around me I have mirrored this through my art.

CB: Can you talk a bit about how you go about constructing a sound palette for a particular song, and what motivates that selection?

YL: A song for me will usually start with an intention, a word, a colour, an idea or concept, or a combination of these things. Then comes the backbone - the beat, the rhythm, percussion and bass. I'll go through my sample library grabbing anything I feel will sit well with the vibe of the song and have all those in the audio 'bin' so I can call on them when needs be.   CB: How do you go about writing and arranging the elements in a song? What is your process?

YL: Once the backbone is in place I will then conceptualise the journey and map out breaks, builds, ambience ect, though everything is subject to change as the journey continues. I'll spend a lot of time jamming over the backbone rendering down a huge selection of melodies, squelches, triply sounds and the like and then start to arrange these in the mix. The process is a lot like playing with Lego. A typical Kalya song will take between 3-5 days for the arrangement and then spend a further 2-3 days of small sessions with breaks making sure the mix and production are tight. Having breaks in the mix down process is essential so your ears don't get worn out. CB: What kind of music do you listen to in your free time?

YL: In my free time I love to listen to nature, birds, wind through trees, water this is a soundtrack that i'll never grow tired of. I also listen to a lot of chill and ambient these days. Sometimes funk and soul, sometimes rock and roll. I love all expressions of music to an extent, especially music that has heart and soul, music that hits a deep chord in the emotional body. I also love all manner of sound healing music and chanting. CB: If you could translate your music into imagery, what would be some major themes that arise? What kinds of imagery do you think your music conjures up for your listeners?

YL: Temples, swamps, deep forest adventures, extraterrestrial worlds, angelic worlds of crystalline light, gypsies dancing in the desert in front of function one speakers. CB: What are your live shows like and how do you prepare for them?

YL: My live shows have evolved into a template that is ever growing and ever evolving. I play them with Ableton live. I have a whole lot of loops, tones, chants and nature sounds that I employ. Using the relationship of the key to colour to chakra to colour code the clips in ableton I can then see easily what works with what and create a multi layered intentional journey that is never the same twice, though there are certain combinations that I like to use again and again because they are wonderful. I have also been using my voice a lot lately adding a layer of vocal intention. CB: Can you tell us about your background? Where did you grow up and where are you based now?

YL: I was born in Sydney, Australia and grew up in the country about 2 hours drive from the city. I was a troublemaker in school, always testing boundaries and authority. I never finished school and instead got a job and saved up to head overseas. Soon after returning back to Australia I discovered a love of dancing, nightclubs,  and parties. In 2002 I purchased some turntables and started to nourish a healthy vinyl addiction. I worked during the week and rocked house parties and clubs on the weekends. In 2005 I furthered my musical direction by going to Audio Engineering college. I did this part time for 2 years and while there was some good stuff I learnt there I also have realised there was a lot I had to un-learn too. Around this time I got my first production computer and started fiddle around with making some very basic beats. In 2007 I discovered the outdoor party scene in Australia and fell deeply in love with deep minimal psychedelic trance, and after dancing to some of the Zenon Records artists I realised my path in life: To channel and create music that empowers and heals. I left my life in the city, moved to my parents farm, got a job landscaping a few days a week and started on my mission. Soon after my psy project Merkaba was born. In 2008 I played my first festival gig of original material and in 2009 I was signed to Zenon Records. It was during 2008 that I started to dabble with making some downbeat songs inspired by Tipper and Shpongle. My beloved at the time was a tribal fusion dancer and she opened me to the mystical world of middle eastern music. As soon as I heard it I knew what had to be done. This was the birth of Kalya Scintilla. The rest has been nothing short of an epic journey of sacred synchronicity and the heart. The biggest key to the crystallisation of my journey has been and always will be my heart. Flow your dreams through your heart and anything is possible. At the moment I am on tour for 6 months and therefore am of the earth. I feel like Australia is my more local home and I intend to return there for the Eclipse and set up a new studio space.    

CB: What do you like to do when you are not making music?

YL: When I'm not making music I enjoy many of life's other high alchemy's like cooking, making love, dancing, laughing, and being in nature of course.

CB: If you were not a musician, what would you be doing with your life?

YL: Hmmmm… well that is a little out of the 'now' isn't it? But for answers sake: I would have a conscious food joint call the MerkaBar. We would serve MerKababs and Kalya Tortillas. CB: Tell us about your upcoming gigs/ releases.

YL: I have a string of shows throughout the US up til and including Burning Man and then I'm off to South America where I have bookings so far in Argentina and Brazil. A Kalya Scintilla remixed album is almost done. Featuring remixes by Bluetech, Bird of Prey, Kaminanda, The Human Experience, Mr Squatch, Mumukshu and many more. Its going to be nothing short of EPIC! I will be putting together my labels first compilation and another Kalya EP should be here before the year is out.

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WHOA! killer FREE download! Check it:

http://tundradub.bandcamp.com/album/amen-remixes

Tundra Dub out of Oakland, Ca. is proving itself to be a very worthwhile endeavor...

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For years I have been relying on this radio show to inform me of the latest and greatest in the world of Electronica. In my experience, the musical selection has been unparalleled, and brings to light many new unheard of and underground artists who all to often go unnoticed. The show's host, DVNT is an engaging persona who makes the podcasts more than just a DJ mix, but an entertaining event that I look forward to each week. Please read on for more...and definitely have a listen when you can. In the words of Darkfloor: "Darkfloor. is a place for a music, artists and labels we deem to be awesome from a diverse but cohesive sound spectrum, collectively termed ‘darkfloor electronica’. This website plays host to relevant mixes, releases, netaudio, occasional interviews, and the ever growing archives for our Mantis Radio broadcasts. We have no agenda other than to push music we believe in. We aren’t swayed by PR spin and drivel and we’re looking forward as much as we are digging in the past. Darkfloor. is composed of sound from a variety of genres; techno, electro, breaks, dubstep, glitch, IDM, ambient, drone, breakstep, UK bass, experimental, noise, extreme, progressive, downbeat, downtempo, jungle, drum and bass, and beyond. Essentially electronic in nature our main concern is with deep, dark, bass rich textured sound with something to say; be that thundering mutant bass stabs, claustrophobic industrial bleakness to hypnotically lush depth, and the wide gamut of sound between." -http://darkfloor.co.uk/about/

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Just wanted to share with you a new free electronic music download compilation of remixes of the very accomplished Caro Snatch's latest album "Til You're No Longer Blinkered". Called 'Blinkered remixed', this is a collection of remixes by 16 competent and creative music makers that Caro has connected with from UK, elsewhere in Europe and US. A few of the contributors she has connected with via the power of female:pressure too such as Xyramat, Sci fi sol & Gavana. So, feel free to check out, download and share via http://www.carosnatch.com/ and http://carosnatch.bandcamp.com/album/blinkered-remixed

[Treat your ears right. Listen to this album.]

“A one-woman slap in the face for the chin-stroking laptop massive” – bbc.co.uk

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I Put a Record On

Released back in 2007, Gudrun Gut's debut LP I Put a Record On is still haunting my iTunes Most Played collection. Her captivating debut pays homage to the 25 plus years that she has been an innovator in the underground electronic and rock music scenes of Berlin as wells as founding two influential record labels, Monika Enterprise and Moabit Musik. Pitchfork Magazine describes the style of Gut's debut as implying "a good-humored Teutonic chic; smeary, grayscale hazes of techno and dub; and a dark, crackling energy," and rightly so topped off with the darkly whispering sleek cherry seduction of her vocal stylings. An amalgam of different musical styles are effortlessly layered with this foray into post punk carnivalesque electronica that slips and slides in between genres with the greatest of ease. You may find yourself knee deep in old memories of Polaroid dreams after listening, or perhaps transported to the ancient future of your favorite dive bar. In any case, it will definitely take you somewhere so fire up those listening devices. You can read more reviews about this seminal album here: http://pitchfork.com/reviews/albums/10478-i-put-a-record-on/

and here: http://www.musiquemachine.com/reviews/reviews_template.php?id=1136

Listen here!:

http://grooveshark.com/#/artist/Gudrun+Gut/6275