Music

Low art/high art — the culture world will have a hard time shaking off that distinction. Hecker’s artistic process on this album could be tracked down to it, too (or at least that’s what he wants us to believe): acid house on the one hand, modern composition on the other. However, his music has been working on that both-sides-of-the-fence mode from the beginning, as he has been using the raw power of electronic music in increasingly circumvoluted processes and formulas. Acid in the Style of David Tudor may be marginally easier to listen to than Sun Pandämonium or PV Trecks, ...

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Articulação sees avant-garde electronic musician Florian Hecker continuing the collaborative work he began with author/philosopher Reza Negarestani on the 2012 album Chimerization. The album’s three lengthy pieces see different manipulations and the electronic processing of human voices reading texts by Negarestani that explore themes of nature and the culture man creates around it, interrupted and often side-lined by Hecker’s blasts of digital noise and skittering, computer-generated mayhem. Opening track “Hinge” features two stereo-panned readings by noted poet and sound artist Joan La Barbara, known for her groundbreaking work with the human voice as instrument. A second, much noisier track breaks ...

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New York based conceptual artist James Hoff returns to PAN with ‘Blaster’, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions. Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER is a timely exploration of the infectious qualities of sound, and how it ...

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APRIL 2017 CONSTANCE DEJONG SERIES ONE On a Street, 2015, 9:27 Jewelry, 2015, 7:53, performed by Jim Fletcher SERIES TWO Nightwriters 7, 2016, 3:03 Nightwriters 9, 2016, 3:21 SERIES THREE In a Cabin 3, 2016, 5:02 In a Cabin 7, 2016, 2:31

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Catching Net is a collection of selected installations and compositions Eli Keszler created during the last two year. The double-CD set includes both stand-alone recordings of the installations and the integrated ensemble scores performed in conjunction with those installations. The first disc features two ensemble versions of Cold Pin, previously released in a 2011 LP of the same title on PAN, plus a 26-minute, previously unreleased live ensemble recording (mixed sextet and piano quintet; these are captured in contrasting acoustical spaces). The personnel for all three tracks is Eli Keszler drums, percussion, crotales, guitar; Ashley Paul, alto saxophone, bass harp; ...

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Dawn of Midi is a Brooklyn-based acoustic ensemble made up of Aakaash Israni from India on double bass, Amino Belyamani from Morocco on piano and Qasim Naqvi from Pakistan on drums. Formed in 2007, the band name was happened upon after Naqvi casually uttered the phrase by chance as a non sequitur for the improvised music the trio was making at the time. With Dysnomia, Dawn of Midi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, ...

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Deceptionista is a new audio-visual work by composer and artist Aaron David Ross (ADR). Realized as both an album and a fully immersive virtual ecosystem, Deceptionista unpacks and further mystifies the spiralling inconsistenciesthat permeate our globally networked lifestyles. Released through PAN via digital and a limited edition SD card as well as a series of live performances, Deceptionista combines the relentless unknowability of the real-time internet with ADR’s distinct compositional approach. As a classically trained musician with a propensity towards contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Deceptionista seeks to accelerate ...

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Though the exact where and when of this Destroy All Monsters live recording remains a mystery to fans (and even the band members), it’s speculated that this performance was recorded in the early ‘80s. The Stooges’ guitarist Ron Asheton counts off the first song as front-woman Niagara comes in singing with the demure cool of a pre-Blondie Debbie Harry over a mantra of repetitive garage-rock riffs before the band tears into their first single “Bored,” sounding like Sonic Youth’s Kim Gordon fronting the Stooges (Sonic Youth claim Destroy All Monsters as one of their main influences). Making good on its ...

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“Bifurcating a Resounding No!” compounds a variety of prepared acoustic situations, computer synthesis & field recordings developed in the software bidule. It strives to create a multidimensional listening experience both subtle & engaging. It is intended for listening in quiet environments through headphones or monitors with little distraction. The photograph is a book (The Queen’s Gambit), a bookmark (acid) & one of Ingmar Bergman’s favorite quotes “We come into this world with sealed orders”. All of this is inspired by smothered mate (chess) which is a checkmate delivered by a knight in which the mated king is unable to move because ...

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This version of Nebula Prospekt is a slightly remodelled version for the EBM (T) Community Exhibition which I am happy to be a part of. Here some excerpts from the programnotes from 1984 ……… As I mentioned earlier, Nebula Prospekt is a simple play with a structure and ”colours” – it’s completey free to see it as satire, parody, boring, terrifying, something lyrical, crazy, stupid, naive…….. For myself it was a joy to play with my different attitudes and finalize the work in Bourges. Here some excerpts from the programnotes from 2000……. Nebula Prospekt is developed from different works, both from a ...

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Boids is an artificial life program, developed by Craig Reynolds in 1986, which simulates the flocking behaviour of birds.The name “boid” corresponds to a shortened version of “bird-oid object”, which refers to a bird-like object. Taking the position of the bird-like object, how does other creatures sound like? The limitation of labelling computer generated species after preexisting ones complicates our relation to the former. Digitally sythesized -oids lost in the deep sea, later found and played back in 2x speed. A group of dead -oids scattered along the timeline. It’s our choice to hear an -oid.

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RHSM is a crystallization of MSHR’s live performance- an electronic ceremony that glides through four movements. Each movement acts as a virtual scape, defined by a distinct system for improvisation between the players and their handmade analog electronic instruments. MSHR’s pathway through the possibility matrix of each scape was mapped to an 8-track tape machine and digitized multiple times per track. These tracks were interwoven to create the iridescent effect of tape phasing as a compositional element, augmenting the psycho-acoustic content of the original improvisation. Scape 1: Unfolding Hyper-Shape Alap This track was recorded live in an electronics array in our bedroom ...

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“yoooooowhatuhoe” was developed on a tour of the American West Coast in February 2015. The macro form of the piece was predetermined with special attention paid to temporal ratio between sections, while the material filling out the different sections was generated by procedures ranging from retyping the content of a G-Chat conversation on the Computer MIDI Keyboard to capture the typing habits of the composer and thereby generating pitch and rhythmic data, to using weighted random processes to build dense stacks of pitches. The sound sources used in the piece are the following: General MIDI (10. Glockenspiel; 38. Slap Bass 2; 54. Voice Oohs; ...

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From the moment that you insert the token and the gaming session starts up, the player suddenly has multiple lives. During these games, you can win additional “life” elements, which accumulate as little icons around the edges of the screen. This function creates a positive reinforcement in the player; they have the possibility to fail many times without the game finishing. Professor Pier Luigi Cappucci, in a paragraph of his book “Il corpo tecnologico” descibes to us this phenomenom: Man has always created “virtual” constructs, learning to distance himself from the physical and direct experience of the phenomenal world. (…) mediating ...

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Music is not what you think

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/|__O__||||||||||||\//|_>>||__||| |/////_\/| |/| |/|||||||\/|||||||\|\/|//|_ \|/||||\||||__|| __| /|___ //|||||||/___|////|>|_|/|/| <> |//|/////| |/| |/| || O|//| ||||\|\/|/||/_\ |/||||| \|||//|||// /|____\ ||^|||___|||////| |//|///> <>// \__/|/| _ |/| || |\/| ||||/||||/||___||/|||| \||||//| | /| O ||////\\||/ |////|||/ /__| <> |///// //| |/| |/| || O||/| ||||/||||/|||/| |/|||||\|||//| | /|_____|\_ //\ /////|>||||| | |/// ///| |/| |/||| |//| |// / / / // /////////// // /// /// /// /////// // ///// ///// / / / / // / / / / / // / * / Once we did a trip to Tokyo. //////Iwasstillyoungthen andtheyhad just finished // // /* /// building the new highway. It took the state many centuries and leaders // / ...

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It is a volcanic eruption that grounds all flights; it finds water on Mars; it is a commitment to the future. There is no barren soil: We are lions.

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My puffy morning face cushions the small indented buttons that are my eyes, like those of an old pink armchair and remain this way until the introduction of coffee restores and dilates them. I’m standing half-dressed in a T- shirt like some obscene cartoon character, all cold feet on the tiles wishing I had put my dressing gown on before going to the kitchen or that I even owned a pair of slippers. Each day is full of choice and choice should not lead to repetition, but even choices once seemingly easy become hard. Indecision mounts to higher levels that cascade ...

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This piece simulates a live performance of computer music at the Google Data Centre in Council Bluffs, Iowa. The composition takes its inspiration from this image, which was released from Google’s Data Centre in Iowa in 2012, and is a dialogue between algorithmically generated notes, rhythms and melodies, and my formative input in sculpting the emerging sound as it is generated. Using architectural plans extrapolated from photographs of Google’s server room at this site, I use software to simulate the space’s reverb characteristic, feeding the composition into it. I like to think of this as mimetic hacking. Like the Anonymous hacks that create ...

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Last week, within 5 days, I took a car to a bus to an airplane to an airplane to a car to my feet to a car to a bus to a subway to my feet to a subway to a train to a shuttle van to my feet to a shuttle van to a train to a subway to my feet to a subway to a train to an airplane to a bus to a car to my bed. Collecting myself horizontally, I realized that my insides had been whisked into a pureé from all of the movement. & The word ...

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In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera—a mutant configuration of two geneti- cally discrete solo works—was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and arrives as PAN’s inaugural offering of 2015. Both artists, as the art historian Alex Kitnick notes in his text accompanying the release, have a demonstrated interest in sound and its material effects; Hecker’s acute, algorithmic computer music is noted for impacting the very molecular infrastructure of its ...

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James Hoff’s “How Wheeling Feels when the Ground Walks Away” presents an audio landscape comprised of various historic riots, from the concert hall and music venue to the sounds of modern warfare. Presented in surround sound, the work relentlessly envelops the audience as the tumultuous panorama of over-layered riots travel around the gallery. Part of Riot Radio Ballad, which explores the performative and futurist aspects of spoken word, audio, and radio material. Curated by Mark Beasley. Commissioned by Performa. Co-presented by Performa and Artists Space. Produced by Mike Skinner and James Hoff – sound design Mike Skinner and James Hoff. James ...

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