Bucket Factory
Monday, May 18, 2009
Oregon Painting Society: Control of the Dreaming Mind
Check out this new OPS video:
Control of the Dreaming Mind from Oregon Painting Society on Vimeo.
¶ 1:08 PM 0 Comments
Tuesday, May 12, 2009
Little LLinsy + the Memories - The Image of Your Face
I produced this track for Bethany Ides' installation at WorkSound this month:
Features Bethany and Morgan Ritter singing. I played keys.
Download here:
Little LLinsy + the Memories - The Image of Your Face ¶ 1:35 PM 0 Comments
Features Bethany and Morgan Ritter singing. I played keys.
Download here:
Little LLinsy + the Memories - The Image of Your Face ¶ 1:35 PM 0 Comments
Monday, May 11, 2009
music and The Body
I stumbled upon a debate between these bloggers about the nature of Sonic Youth, which was interesting in itself but I really noticed this:
Why is it that dissonance is always only sensual if it is loud and aggressive? To my ears Webern's Symphony op. 21 or Six Bagatelles String Quartet are two of the most sensually evocative pieces of early 20th Century composition, and I can see no rational argument to separate from "the body" the experience of hearing Webern's sounds as opposed to any other sounds.
Or consider late Feldman: the music is quiet and dissonant with no metric rhythm; exactly the type that might be categorized as cold/intellectual/not connected with the body, etc. But if you actually listen to all 4 hours of For Philip Guston it's obvious that the piece is completely concerned with the body. It's about what happens to human perception when a piece of music lasts WAY beyond the scale we're accustomed to, and that is just as much about the body as it is the mind.
Frustrating how often criticism is premised on philosophically old-fashioned categorical dichotomies. ¶ 12:25 PM 1 Comments
I think BMR (Bad Moon Rising) is the point where Sonic Youth in effect reconnect discord with the body, restoring to it a libidinal force which you hear in The Rites of Spring, but which the cold geometries of Schoenberg and Webern subsequently evacuated.
Why is it that dissonance is always only sensual if it is loud and aggressive? To my ears Webern's Symphony op. 21 or Six Bagatelles String Quartet are two of the most sensually evocative pieces of early 20th Century composition, and I can see no rational argument to separate from "the body" the experience of hearing Webern's sounds as opposed to any other sounds.
Or consider late Feldman: the music is quiet and dissonant with no metric rhythm; exactly the type that might be categorized as cold/intellectual/not connected with the body, etc. But if you actually listen to all 4 hours of For Philip Guston it's obvious that the piece is completely concerned with the body. It's about what happens to human perception when a piece of music lasts WAY beyond the scale we're accustomed to, and that is just as much about the body as it is the mind.
Frustrating how often criticism is premised on philosophically old-fashioned categorical dichotomies. ¶ 12:25 PM 1 Comments
Sunday, May 10, 2009
new twitter - the REAL headline
I'm collaborating with my brother on a new twitter account: the REAL headline. Every day, we'll post the headlines that the mainstream media is to AFRAID to even talk about.
Follow us and fight the hegemony of the propaganda industry!
The REAL Headline ¶ 5:59 PM 0 Comments
Follow us and fight the hegemony of the propaganda industry!
The REAL Headline ¶ 5:59 PM 0 Comments
Thursday, May 07, 2009
Friday: Golden Retriever debut/Approximate L opening @ Worksound
A few months ago, Jonathan Sielaff and I began getting together once a week to play music. He had been developing a setup for amplified and processed bass clarinet and I had been playing modular synth through multiple delays, both working in a kind of big-floating-modal-cloud sound world.
We're calling the project Golden Retriever and we're playing our first show tomorrow night at the opening of multimedia artist Bethany Ides' solo exhibition Approximate L.
The opening is at at Worksound Gallery (820 SE Alder) and starts at 7:30pm. Jonathan and I play at 9pm.
Hope you can make it! ¶ 5:46 PM 1 Comments
A few months ago, Jonathan Sielaff and I began getting together once a week to play music. He had been developing a setup for amplified and processed bass clarinet and I had been playing modular synth through multiple delays, both working in a kind of big-floating-modal-cloud sound world.
We're calling the project Golden Retriever and we're playing our first show tomorrow night at the opening of multimedia artist Bethany Ides' solo exhibition Approximate L.
The opening is at at Worksound Gallery (820 SE Alder) and starts at 7:30pm. Jonathan and I play at 9pm.
Hope you can make it! ¶ 5:46 PM 1 Comments
Monday, May 04, 2009
live solo recording
Here's a recording Birch made of a solo set I played the other night. Features my new just intonation keyboard patch with modular synth.
April 2009
-matt ¶ 4:03 PM 1 Comments
Here's a recording Birch made of a solo set I played the other night. Features my new just intonation keyboard patch with modular synth.
April 2009
-matt ¶ 4:03 PM 1 Comments
