Monday, April 17, 2017

Sounds of the Day #103/2017: MyInhaled books #47: Blanck Mass (4), The Bug vs. Earth (1), Fiium Shaarrk (1), D. Glare (1,2), Jonathan Fitoussi (8), HOLOVR (1), Jake Meginski (2)

Inhaled books #47
Robert Walser  -  Jakob von Gunten
Kugelrunde Nullen seit 1990
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Blanck Mass - World Eater (2017)
(label info) As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassionate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself. World Eater, the new album by Benjamin John Power’s Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, “actual love songs.”  “Maybe subconsciously this was some kind of countermeasure to restore some personal balance,” Power explains. On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015’s brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself. “As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.”

 The Bug vs Earth - Concrete Desert (2017)

Fiium ShaarrkWe Are Astonishingly Lifelike (2017)


D. Glare - 4 Oscillators & 130 Samples At 130 BPM (2017)

(LABEL INFO) Clocking in just shy of 120 minutes, D. Glares second outing on Opal does nothing for those previously phased heads but turn them a few degrees further... Constructed with 4 Oscillators and 130 Samples, as the title would suggest, Glare coalesces these limitations into nth World psychedelia. In his words... "4 Oscillators And 130 Samples At 130 BPM is one realisation of an idea with unknown possibilities from a combination of oscillators and a series of looped samples. The recording was made live, without editing. Live synthesis is performed with two identical analog waveshape oscillators with 2/4 pole resonant lowpass filter and Voltage Controlled Amplifier. Control voltages are generated by the digital processors to control the analog components. Two digital processors with 48kHz 24bit sample rate provide the second set of two identical oscillators, both with envelope following, high-pass filter, distortion, pan, delay, tuned feedback and modulation calculations (envelopes, LFOs, routing). The oscillators are “reset” for the beginning of each performance, allowing for synthesis to be sculpted from the same starting point, with no fixed end-goal other than responding to the samples being triggered. The 130 samples originate from various sources – ‘found sounds’ recorded on a mobile phone, synthesis, drum machines, musical instruments, fx units and the occasional vocal sample from charity shop vinyl. Each sample has been edited to loop at 130 BPM and then been processed (often more than once) through phase, reverb and EQ and re-recorded by a variety of means; filtered through the oscillators, onto tape, digitally, re-amped through a vacuum tube EQ and 4x12” or 4x10” speaker cabinet. In essence there are four types of sample: beat, synthesis (bass), synthesis (lead), synthesis (atmospherics). For performance, all 130 sounds are loaded onto samplers randomly, so that it is unclear which sound will be triggered, allowing for each performance to involve the samples in different combinations. There is no limit to how many samples can be triggered at once. Samples may be used more than once. The samples can be performed ‘clean’ or processed through further effects units (phase, reverb, delay, EQ, pitch shift, distortion). There is no fixed length for the performance - a performance finishes when the final sample has been triggered..." Strap yourself in.


D.Glare68 Samples At 68 BPM For Phased Heads (2016)

Jonathan Fitoussi - Imaginary Lines (2016)


HOLOVR - Anterior Space (2016)


Jake Meginski -Kasper Struabe Stencil Cycles (2016)