It’s called experimental music, so of course when the musician is truly just experimenting, some of their best sounds might come out — truly experimenting, in that they are fiddling about with newly acquired equipment: pairing devices, exploring signal flows, turning knobs and touching buttons to see what they might hear. That’s the case with Scanner, aka Robin Rimbaud, who today uploaded to his YouTube channel a case study of two gadgets employed in tandem. What those little things, each barely the size of a human hand, emit in concert with each other is dense clouds of atmospheric intensity.
The main device is a Tetrax from Ciat-Lonbarde, created by the ingenious instrument designer Peter Blasser. It’s being heard through an effects pedal called the Eventide H9. In the comments accompanying the video, Scanner engages with his listeners and talks about coming up to speed on the Tetrax, and mentions that he’s working on a soundtrack.
It will not be surprising that sometimes the most enticing ambient music is made with the most minimal elements. No phalanx of gear and patch cables, no state-of-the-art computer running multiple programs in unison, no battery of controllers offering gestural interfaces to the musician. Just a combination of tape loop and a small number of effects — that is all it takes for Fahmi Mursyid, of Bandung, Indonesia, to usher the listener into a lush, artfully circumspect zone of sonic density.
“I discovered that the most interesting music of all was made by simply lining the loops in unison, and letting them slowly shift out of phase with other” — that quote from the minimalist composer Steve Reich introduces the video on YouTube, where Mursyid has posted a live recording of the track’s performance, simply titled “Ambient / Drone : Tape Loops Experiment.” In it, a looper allows Mursyid to layer segments of the tape, though never so much that the desolate quietude of its opening instance is ever fully lost.
A hand comes into view, the nape of a neck, a shoulder, a tattoo, then another. The camera moves continuously, seemingly the musician’s own viewpoint, until it isn’t. The perspective switches back and forth for the video’s nearly six-minute runtime, but its focus does not. The focus is always on a nest of synthesizers, patch cords going in every direction, lights signifying whether they are in or out of sync with the beat. The beat is everything in this performance by Jessica Kert. The beat is heavy and insistent, but also nudged, slightly off the initial cadence, an act of industrial dub.
This video is the precise opposite of the live performance synthesizer video I wrote about yesterday. Where yesterday Alan Dear left his modules to all the work, here Kert is ever coaxing, adjusting. There is a consonance between action and sound. Motion suggests intent and intent is mapped to how the sound alters, how it is altered. The result is formidable.
Don’t take Alan Dear’s working title for this live performance as a requirement for expert ears, or for music-technology expertise, for that matter. The piece may be titled (“reuma – ambient eurorack w/mutable instruments rings, morphagene and Bastl microgranny”) primarily after the technology employed to make it, but the deluge of that information has no parallel to the sheer, evocative simplicity of what transpires in the track’s duration. It measures just under six minutes, but the time is also meaningless, because you’re almost certainly going to want to set it on loop.
What transpires is sonic dust, frayed bits of noise, all petal crunches and mote sways. It’s expressly gentle, a choreography for shadows and silhouettes. The video itself is a document of automation. What happens is the result of communication between devices. Toward the end, the camera cuts in close to focus the eye, but there is no human present, except behind the lens, and in advance of the performance. Someone set these sounds in motion. Someone — Alan Dear, of course — set the clocks for the filters and effects. Someone foresaw the interaction between elements. But at some point, that someone let go, and let the machines do their thing.
This 30-minute segment of Nicklas Lundberg shows the musician milking noise from a sizable, jam-packed metal suitcase, opened like the maw of a giant mechanical fish and filled to both its mirror-twin brims with all manner of CD players, keyboards, cellphones, controllers, and countless other gadgets, many of which aren’t immediately associated – and this is sort of the point — with the production of sound. The music those things are summoned to produce is a rolling churn of glittering murk, of vibrating flotsam, random tools recycled into a semi-portable one-person orchestra. It’s a bit like a sonic equivalent to the dappled video projection that washes over Lundberg for the majority of the performance, except at several times the speed. Where the visual dappling is placid, serene, the sonic dappling is madcap, a chaotic flux that has no core pattern and yet provides a sense of continuity in its constant motion.
• December 13, 2018: This day marks the 22nd anniversary of Disquiet.com.
• Ongoing: The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm: disquiet.com/junto.
• My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, published as part of the 33 1/3 series, an imprint of Bloomsbury, is now in its second printing. It can be purchased at amazon.com, among other places.
The Disquiet Junto is an ongoing weekly collaborative music-making space in which restraints are used as a springboard for creativity. Subscribe to the announcement list at tinyletter.com/disquiet-junto. There is an FAQ. ... These are the 5 most recent weekly projects: