electro-music.com   Dedicated to experimental electro-acoustic
and electronic music
 
    Front Page  |  Articles  |  Radio
 |  Media
 |  Forum  |  Wiki  |  Links  |  Store
 Information
Sell your CDs here
Reviews of CDs here
Shipping & Returns
Privacy Notice
Conditions of Use
Why we use PayPal
Contact Us
 News 27/Oct/09  


AmbiophonicDSP VST plugin by Robin Miller and Howard Moscovitz now on available at the electro-music.com store at an introductory price. Click here.

AmbiophonicDSP is a very powerful, yet very affordable, Effect VSTā„¢ (Steinberg GmbH) plug-in that dramatically boosts performance listening to stereo audio. Using Winamp, or any VST host in your PC, AmbiophonicDSP renders sound previously unheard, awaiting in your recording collection. AmbiophonicDSP takes stereo to an entirely new level. It must be experience (...more...)
View the entire article
  25/Feb/09  

by shanemorris

electro-music.com now has Regularly Scheduled Radio Programs!

Check Out the Schedule.

You dont have to wait for the next electro-music.com streaming event to have some fun. Several of us have been streaming music informally from computer to computer on the weekends. Just come into the chatroom anytime...people are usually streaming off and on all weekend long from Friday night to Sunday night.

Depending on your computer, you can stream to several people, play as long as you want, and have fun playing in an informal environment. There is much more freedom available to the player in this scenario. Whether you want to perform a 2 hour ambient piece, 30 minutes of noise, or just wanted to show off some new patches...come on in and experiment with us.

It's also a great way to practice your streaming as well...getting better familiarity with the software makes things much easier for streaming events in the future, without the stress on you and the engineers trying to figure out problems in time for a performance. :bangdesk:
It's hard enough to just play (...more...)
View the entire article
 News 17/May/07  


Exciting music from 16 of the outstanding performing artists appearing at electro-music 2007, June 1-3, in Philadelphia.

Buy it here!

This is the best electro-music sampler yet.

Music by: Mark Mahoney and Michael Peck, Howard Moscovitz, Kevin Kissinger, Mark Jenkins, Margaret Noble, Flourescent Grey, Johathan Block, Astrogenic Hallucinauting, Fringe Element, Warren Sirota, Lynn Bechtold, Brainstatik, The Reverend Mofo, Velva, Gemini, Roland Kuit and Matty Ross, and Kip Rosser. Some are among today's most respected electro-musicians, while some are relatively unknown. The electro-music 2007 Sampler crosses genres - avant garde, techno, classical, jazz, space, political...

This CD represents many of the undulating creative (...more...)
View the entire article
  Review 4/Mar/03  
American Composers Orchestra, March 2, 2003


ACO Conductor Steven Sloane
The American Composers Orchestra's concert at New York's Carnagie Hall on March 2, 2003, was called Zappa and the Emerging American Composer. What was apparent from this performance is that there's not too much connection between the two, except for the title. I've always been fascinated by two of the dominant participant groups in contemporary music; the academics and the popular musicians. This concert shed new light on both, and on the strained relationship between these two strange bed fellows.

The ACO is a huge symphony orchestra. No doubt it is one of the best in the world, especially among organizations focusing on contemporary music. The group, now lead by Steven Sloane, is very refined and plays with incredible precision. They masterfully handle the demanding rhythmic complexities of today's symphonic music. The irony that the large symphonic orchestra is an anachronism, a medium considered irrelevant by many contemporary composers, makes the ACO all the more fascinating.

I have been a subscriber of the ACO for quite some time. Four of five times a year we take the two hour trip into The City to see what composers who handle this medium can devise. I sometimes feel like I'm among a crowd of curious gawkers who come to see a dying whale who has beached itself on the shore. But that's OK, for in the world of contemporary music, the ACO is Moby Dick himself.

This concert, as the title implies, consisted of two parts. The first half featured the works of three emerging American composers; Brian Robinson (b. 1964), Hsueh-Yung Shen (b. 1952) and Dan Coleman (b. 1972). All three were world premieres, commissioned by the ACO. After an intermission, there was the music of Frank Zappa (1940-1993), arranged for orchestra by Ali N. Askin.

In Search of the Miraculous by Brian Robinson consists of nine mutually contrasting sections of music, arranged so that the end of one overlaps another. The structure is based on a geometric figure called the enneagram, consisting of various lines connecting nine equidistant points along a circle. According to the composer's notes, the process of composing to a precast geometric framework "miraculously" brings forth intuitive, unpredictable, evanescent and magical phenomena in sound. The result is, in my opinion, magnificent.

Robinson's piece starts of sounding like a wonderful jazz band playing at some raucous party off in the distance. This fades as though we are in a dream into silky harmonious washes of beautiful sound that give way to frenetic rising paths of pizzicato lines moving to high harmonics. We are escorted from one mood to another with elegance and grace. Eventually we hear the jazz band playing again - some kind of samba. Then it is over; we wake up - relaxed and refreshed. What a great start for a program.

Hsueh-Yung Shen's Autumn Fall has many abrupt changes of tonality and character, perhaps very much like the Autumn season. The composer is a very skilled orchestrator. There are restless undercurrents fighting with themselves, sometimes ponderous, and sometimes triumphant. We are then offered sonic images of being underwater in some beautiful lagoon full of gorgeous water lilies - then we are startled as if almost eaten by a shark. The piece moves curiously into a single sustained note, reminding me of the orchestra tuning, and then to a long series of descending scales which transision to a solo violin sounding like a cosmic Theremin. Eventually silence. At the end, I had no idea where I had been, but I wanted to go back and do it again.

L'alma respira, by Dan Coleman, speaks directly to the anachronism of the orchestra. Colemen states in the program notes: "My work may be heard as a song of unrequited love ... a parable for the challenges of composing orchestral music in an age when the medium itself has been frozen in the past. I am distanced from the historical ideals of symphonic music, as [the poet] is distanced from his lover, but in the act of creation I attempt to close the gap." As unrequited love is not a very contemporary theme, neither is this music. Perhaps appropriately, it is dramatic romantic music suitable for a movie based on a mid-nineteenth century novel.

During the intermission, we met some "nice young people". One fellow was twenty-three. He is a devoted Frank Zappa fan. He said he first heard Zappa's music three years ago and was totally won over. He doesn't listen to anything else now. To him, and to the girls accompanying him, attending a performance of Zappa by a classical orchestra was a religious experience. This was their pilgrimage. When I told them I had heard Zappa perform in Atlanta in 1968, I was suddenly a revered disciple who had seen Lord.

These fans were outraged that the ACO was not recording this performance. Apparently there are some union agreements that prevents recording at concerts. This historical performance of Zappa's music was going straight into the ether. Now we know why some Zappa fans are Republicans. That said, I'm sure there were scores of minidisk recorders running in coat pockets throughout the audience. If you are in the the ranks of the Zappa fans, you may have already heard this performance on the internet.

Frank Zappa
from cover: Shut Up 'N' Play Yer Guitar, 1981
The orchestra played G-Spot Tornado, The Dog Breath Variations/Uncle Meat (a.k.a. Dog/Meat), The Adventures of Greggery Piccary, and as an encore, Peaches en Regalia. All of these are Zappa standards. They have been expertly arranged for orchestra by Ali N. Askin.

The hall was filled with Zappa fans, young and old. They loved the performance; cheering and hooting as though they were at a rock concert. The music was lively, full of energy, happy and fun. Zappa's sarcastic sense of humor pours forth in every measure. At the end, there was a standing ovation with shouts of "Zappa, Zappa, Zappa". I have never heard such a positive response to an orchestral performance. Sure, there are occasional standing ovations at the ACO, and once in a while someone (often my wife Juli) will get carried away and yell out "Bravo", but this was something else entirely. The usual gray haired AC O audience was amazed. I was very glad that they got to see first hand people who are passionate about music, not just intellectually satisfied or musically stimulated.

Most visitors to electro-music.com are probably familiar with Zappa's music to some extent. It moves along at a continually rapid pace with long complex runs, often in difficult meters. There are many sudden tempo changes as well. When I heard Zappa and his musicians play in the 60's, I was amazed at how tight the band was. The precision was virtually perfect. The music often has counter rhythms. Zappa was fond of 3 against 4, 4 against 5, 5 against 8, and, in later works for the Synclavier (a vintage computer controlled synthesizer), 12 against 13. This music is difficult to perform, and if any orchestra can do it, it would have to be the ACO.

While I loved hearing Zappa's music come to life again, and I couldn't help get caught up in the joy for the experience, it was apparent from the first that no symphonic orchestra, not even the ACO, can do it justice. At first things sounded OK, but as the set wore on, the orchestra was obviously getting tired and things got more and more ragged. This music was written for a small number of musicians who sat very close to each other on the stage, and who played very responsive amplified electric instruments. Zappa's band was very loud. The sound hit the audience directly from powerful amplifiers; totally overpowering room reflections. As Robin Miller often points out, you can not possibly play music in precise synchronization when the players are separated by large distances on the stage; the acoustic delays isolate the musicians in time.

The stage set up of the ACO was not well considered for Zappa's music. The percussion section was spread across what looked like forty feet! The basses were on one side, the electric guitars in the middle and the pianos on the other side. Strings, horns, woodwinds were spread out all over the place. It was obvious, one man, not even the talented Steven Sloane, could wave his arms skillfully enough to tie it all together. Add to that the muddying effect of the "warm" acoustics of Carnagie Hall and the sound was like some spongy memory of a distant jazz band that is heard as through a dream - like in Brian Robinson's In Search of the Miraculous.

Maybe if I had never heard Zappa and his band play live, I too, like the cheering throng, would have thought that this was great. When it was over, I was exhausted. While the crowd roared on, I stood there in silence. I realized that even the passage of 35 years hadn't muddied the sound of Zappa's music that plays in my mind as much as even a great symphony orchestra in a great hall had just done. I thought to myself: the orchestra is obsolete; it can not play the music. The whale has died.

Like Ishmael, I floated off on what seemed like Frank Zappa's coffin pondering what I had just heard. When finally I washed ashore at home, I did what Zappa did at the end of his life; I played my synthesizer. I listened to 11 against 12 for a few minutes and felt fine.

I look forward to the next ACO concert. Hey, it takes more than one harpoon to kill Moby Dick.
View/Add comments on the forum
 Calendar of Events
<<October 2014>>
Su Mo Tu We Th Fr Sa
1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28 29 30 31
Upcoming Events
Nov 9 - centrozoon - The Room of Plenty

View full screen calendar
 Contribute To Our Site
We need your help. Please click on the button below to support our site with a contribution payable with Visa, Mastercard, or PayPal. You do not have to have a PayPal account. Thanks...
 Info  


A live updated version of this schedule with times translated into your local time can be found here



and the playlists, a live view is available here



Connect to the stream here and Join us in the chat room!

Recordings of previous stream sessions can be found here
View/Add comments on the forum
 On-demand Audio  


Hong Waltzer generates the video art while Brainstatik opens for the electro-music chamber orchestra at Sarnoff Labs in Princeton, New Jersey
We are proud to preset on-demand streaming audio for the premiere performance of the electro-music chamber orchestra held at the Sarnoff Labs auditorium in Princeton, New Jersey on December 15, 2007.

Click to listen:

Set 1 (50:26) - Brainstatic

Set 2 (47:11) - experimental composition


From an unbiased review on the Sarnoff Library
View the entire article


e-m mkii


If you click through and buy from our affiliate partners we earn a small commission. Your support is greatly needed and appreciated.
Copyright © 2014 Electro-Music.com - Conditions Of Use
Powered by osCommerce