Squidfanny's Alesis HR-16
Posting this because I can see myself watching this beaut jam a few times. Lovely work on the Alesis drum machine, enjoying the squealchy sounds.
2012 in 60 seconds
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One of the highlights of 2012 has been getting involved with the Disquiet Junto project, who this week posed an interesting exercise.
I've selected 12 five-second segments of recordings from throughout the year based on when different files were exported (which seems to be a bit different to some of the links below).
Here's some context for each section:
January
The year opened with me procrastinating on finishing my album For 100 Years, which ended up being released in July. On the day of internet protests about the SOPA I remixed a video which Google had alerted me to because it had something resembling Bassling in the title. It gave me a big buzz when the guy I remixed saw it.
February
This track was my third attempt at remixing Waipukurau Park and had been mostly completed in December when I edited the video but my files show I worked on it around this time although it probably wasn't finished until closer to July.
March
It's been maybe three years since my cousin Chris died but I still think about him often and this track is one example. Early in 2012 I had the idea of recording an EP of solo bass and I'd been thinking about Chris because he helped me buy my first bass and encouraged me to play it.
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April
This comes from a short mix of Skunkhour tracks I put together around the time I posted about the mix of INXS tracks I made for the project, which was more popular so I'll post the video I made for it here.
May
A recording of a jam on circuit bent gear and guitar pedals that I titled as an Outkast cover on Youtube.
June
Another jam with circuit bent gear and guitar pedals, as well as bass and theremin.
July
2012 was a milestone year as a musician for me and this was a great month with the release of my fourth, fifth and sixth albums.
As well as a great article on my album in a national magazine, I was invited to improvise with some great Wagga Wagga musicians.
August
Finally able to distribute the mammoth three-hour immersive audio recording of 'the wires' I'd finished in 2010. Dunno what people will make of it, I deliberately didn't master it so that it'd be background noise but that's probably part of how I experienced this otherworldly instrument.
September
A recording of a Fisher Price clock using my new contact mic.
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October
This Dinosaur Park remix was one I mastered for...
November
Another 100 Years, an EP of remixes I released to coincide with my exhibition, which followed on from the album. The track heard here is actually the first park remix I made at Waipukurau Park in 2011.
December
Seems I'm back in a slump again but hope to finish my For 100 Years DVD. The audio here comes from one of the remixes I'm working on using the DVD cover/instrument developed for the release.
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Great mixes of 2012
Here are some of the mixes I've enjoyed this year:
And I've been enjoying revisiting a bunch of great artists via the mixes at http://hurroooooooo.blogspot.jp/ -- particularly the Plaid, Aphex Twin and Luke Vibert.
Happy listening in 2013!
- Four Tet's Conference of the Birds -- also this mix from Boiler Room
- Doc Delay's Beastie Boys Tribute mix -- also this Paul's Boutique mix
- Tom Bonaty's Smoke Machine podcast
- Stompin' To The 90's by Long Distance Dan
- Nadja Lind's Chillout Dub Mix
- Headphone Commute Back to Mine Mix
- DJ Rupture's Change the Mood mix
And I've been enjoying revisiting a bunch of great artists via the mixes at http://hurroooooooo.blogspot.jp/ -- particularly the Plaid, Aphex Twin and Luke Vibert.
Happy listening in 2013!
More from a long time ago, in a galaxy far far away
July August September October November
Disquiet Junto Project 0050: -…….–.-..-…-
This week’s project explores invokes Morse Code for its rhythmic content. The instructions are as follows: Select a word or phrase. Encode that word or phrase by the Morse method. Record a rhythmic foundation in which the dash is represented by a long beat and the dot by a brief one. Use that rhythmic foundation as a loop for the length of your track, at the speed you desire — speed can vary over the length of the recording. Record accompanying drone/melodic material that takes the underlying rhythm as its compositional foundation.
Deadline: Monday, December 17, at 11:59pm wherever you are.
Length: Your finished work should be between 1 and 3 minutes in length.
Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.
Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0050-morsebeat” in the title of your track, and as a tag for your track.
Download: For this project, your track should be set as downloadable, and allow for attributed remixing (i.e., a Creative Commons License permitting non-commercial sharing with attribution).
Linking: When posting the track, be sure to include this information:
More on this 50th Disquiet Junto project at:
http://disquiet.com/2012/12/13/disquiet0050-morsebeat/
More details on the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/
This track began with Jason, both as the author and the Morse Code beat thumping throughout:
J A S O N
You'll hear this joined by a drone and then broken beats and some echo on a synth playing the intro to a Black Sabbath tune, then it drones a bit more and ends.
Circuit bent omnichord
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