A script shaped more by sound than words

“Working from a script shaped more by sound than words, insight comes at us in primal waves. The heart-wrenching sobs, the gut-churning nausea, the keening and, perhaps most profound of all, the silence. It all carries specific meaning.”

This is how Betsy Sharkey, film critic LA Times, describes Hamilton Sterling‘s sound for Morning, a film by Leland Orser with his wife Jeanne Tripplehorn, Laura Linney, Elliot Gould, Kyle Chandler, and Jason Ritter.

Sterling, who is credited as sound designer/re-recording mixer/supervising sound editor on the film, used Kyma to process the transitions to the characters’ memory flashbacks of their child in this tough and unsentimental exploration of a couple’s grief over the loss of their child.

The film opened in LA, New York, and select cities this month and will be available through VOD and DVD for those of us who do not live in “select cities”.

Welcome to This New World

For the better part of a decade, jazz pianist/composer Stanley Cowell has become increasingly intrigued with the challenge of incorporating live electronics into the context of acoustic jazz — not electronics for its own sake — but electronics that add something meaningful to the music. In Cowell’s latest album, Welcome to This New World (SteepleChase SCCD 31757) he fully embraces the use of real-time signal processing and synthesis; Kyma has subtly infiltrated nearly every track “in ways that excite and disorient and offer a new dimension to improvisation,” to quote Chicago-based jazz reviewer Neil Tesser.

Welcome to This New World is a live album, no overdubbing, no post-production magic; every performance you hear on the album can be replicated on stage in real time… and will be this July 15 2013 at 7:30 pm in Hartford’s Bushnell Park at a free outdoor concert sponsored by the Hartford Jazz society and simulcast live on WWUH FM.

Cowell’s Empathlectrik Quartet features Vic Juris (guitar) and includes Tom DiCarlo (bass) and Chris Brown (drums), both of whom studied with Cowell at Rutgers. According to Cowell, Kyma acts as the fifth member of the Empathlectric Quartet.

Welcome to This New World

AN OVERSEAS MEMORY eases you gently into the new world, with subtle, theremin-esque touches over jazz guitar, bass, piano. Relaxed yet precise, the music puts you by the water’s edge at sunset, with smooth dissolves through interesting rhythmic disintegrations and repeating downward major thirds.

By the time we arrive at track 2, TINGED, the coddling is officially over and we’re thrust into the brave new world, harmonically, rhythmically and timbrally. Each note is distorted by ragged amplitude modulation. The piano emits showers of particles and distorted accents in an easy BPM 90 with tricky beat displacements and slightly disorienting live pitch bending.

VICTIM is fun, fast and boppish (16th notes at BPM 60?), the piano processing takes on a vocal quality that sounds like spectral voices. Some of the solos venture into territory heard only at electro-acoustic music concerts. A guitar solo is doubled by a delayed, ghost guitar, and the piano stabs sounds, at times, completely electronic. The abrupt ending sizzles into a noise decay.

Jazz critic Neil Tesser describes describes VICTIM as “instantly traversing the gulf between post-boppish improvisation and post-post-modernism”. Yeah! With another “post” thrown in for good measure!

The exquisite DUO IMPROVISATION I is just piano and guitar processed through Kyma. The entire track is filtered through a time-stretched vocoder/RE on the spoken phrase: “We pray for peace”, repeating and elaborated through metric and harmonic modulations. On this track, Kyma functions as a third performer: a prism through which you hear the other two performers! Fluid and ever-changing, the phrase morphs into an insistent invocation for peace, before easing back into a contemplative ending. Reflective, haunting and beautiful, this track bears repeated listening to appreciate just how musically innovative it really is.

EMPATHLECTRIK is a Cowell neologism derived from “Empathy + Electric”. In this track, Kyma sounds are incorporated into the theme itself and, as Tesser observes, Kyma “enhances the improvisation without overwhelming it.” The piano moves in and out of subtle modulation, there are theremin-like touches on the guitar, arpeggiated piano clusters pitch-shifted up. It sounds like it’s been multi-tracked and processed, but it’s all live! The New World has arrived.

Live spectral analysis and resynthesis of the piano through the Kyma CloudBank provides shimmery prolongations of the guitar and piano pitches in INVERTISEMENT. A sudden shift to the dry piano sounds sounds so focused and new; it makes you realize that hearing the processed piano lets you hear the dry piano with new ears; you no longer take any sound for granted.

During the unprocessed interludes, you have a chance to reflect on and appreciate the economy and precision of Cowell’s playing. Complex and masterful, his playing remains disciplined and focused, even when veering off into timbral new worlds. There’s never an extraneous note or gratuitous ornament. Similarly, the seeming ease with which Juris’ fingers fly over the fingerboard evidences a calm serenity that can only come from years of practice and total mastery.

This track, like the others, is formally solid, notwithstanding the wild timbral excursions.

After the solos, a reprise of the shimmery clouds. The reason these electronics feel so organic is precisely because they emerge entirely from the acoustic performance. They’re not played on a sequencer or a synthesizer, they are played on a real acoustic piano and subtly processed through the electronics. Thus, the resulting sound feels totally different from a synthesized track.

Picking up the pace and the mood again is SUN BURN which Neil Tesser describes as “shades of Weather Report”. The piano resynthesis has a decidedly vocal flavor, suggesting a female vocalist doubling the piano. This would be a good one to listen to while cruising down the highway and includes a rock-worthy drum solo.

In DUO IMPROVISATION II, you are suspended, drifting through space, with gentle electronics and atmospheric processing. Washes of quick arpeggios and Debussy-esque scales are held together by a subtle G pedal drone.

ST CROIX opens with cheery island percussion and ostinati. Bubbly, liquid processing alternates with straightforward sections and the metallic overtones of an acoustic thumb piano, this is one to listen to through ear buds while strolling down summer streets downtown.

With WINTER REFLECTIONS, the desolation of winter returns. Dry snow swirling like dust across dark streets, and shivery scraping on piano strings and cymbals coalesce into the theme stated in guitar and conversationally commented on by the piano. A slightly melancholic piano solo w/ tremolo, recovers with a strong bass line leading into the next chorus. There’s a delightfully high-pitched, fast bass solo with some light touches from electronics, a reprise of solo in guitar with piano commentary, and it ends with piano string-scraping and thermin sounds.

WELCOME TO THIS NEW WORLD features octave doubling, unisons, swinging syncopations, subtly warped resynthesis and disorienting non-sinusoidal resynthesis that gives the piano a harpsichord-like quality. The Theremins and piano wire scrapes return. By now we are solidly in the new world.

Stanley Cowell and Kyma

Cowell’s fascination with electronic music was first ignited when, as a sophomore at Oberlin College, he heard a lecture by Karlheinz Stockhausen. Cowell was struck by Stockhausen’s observation that once any music is recorded, it becomes electro-acoustic music. Cowell kept coming back to that idea, throughout the 1960s as a jazz performer and into the 1980s as he turned more toward composition. It wasn’t until 1997 when, as a professor at Lehman College in New York, he had an opportunity to write a grant to purchase one of the early Kyma systems.

He’s been using Kyma in his music ever since, but it wasn’t until the new, more portable, Paca was released that he began taking it on the road. “It’s a sound design workstation,” Cowell says of Kyma, differentiating it from other computer programs or electronic keyboard instruments, “basically, if you look at every real-time device that does something to sound, Kyma does all of that.”

 

During the recordings (and in live performances) Cowell sends the guitar signal to the left Kyma input and piano signal to the right input. Juris has his own foot controllers, while Cowell controls and initiates Kyma Sounds from his MacBook Pro. (Bass and drums are not processed). The result is like nothing you have heard before. Yet it never loses its grounding in acoustic jazz. Welcome to This New World is new music that sounds like nothing you’ve heard before.

Peter’s People: Creating the Dream

The little village of Petersburgh, NY, nestled in the hills and mountains of eastern Rensselaer County, New York, has long been known for the rugged beauty of its landscape.  What is less well known is that this setting has, over the years, attracted a unique mix of independent artists and visionaries, individuals who have had a lifelong dream and realized it.  From disciplines as diverse as music, painting, master masonry, sculpture, jewelry and metal sculpture, ceramic pottery and more, artists are thriving in this small village.

Peter’s People — Creating the Dream by musician/video artists Barton and Priscilla McLean, is the story of eight such artists and musicians living and working in Petersburgh.

Barton McLean’s score for the film, based on musical materials from the artist/musicians featured in the video, was produced entirely in Kyma using the Timeline. McLean pioneered the Synthi 100 and Fairlight CMI in the United States, and has subsequently gone through numerous studio incarnations centered on the Moog, Arp, EU, Serge, and now, Kyma. The husband and wife composing duo have produced CDs on the labels EM-Japan, Folkways, CRI, Centaur, Lousiville Orchestra, Orion, Opus 1, Advance, Parma/Naxos, and Innova.

International touring and media artists in their own right, the McLeans chose in this film to focus not on their own work, but on the many other talented and successful creative dreamers they found, including a world class bagpiper who founded a school in Petersburgh, a master award-winning stone mason whose unique stone work has graced buildings and landscapes from Atlanta to the Adirondacks, a watercolor artist who appeared in “Oprah” magazine and has published a definitive book on watercoloring, and several others.

Zul Zelub: Ultimaton

Ultimaton, an experimental electro-acoustic album featuring prepared piano and Kyma X processing, was released in December 2012 by Jorge Lima Barreto (piano & percussion) and Jonas Runa (Kyma X).

Zul Zelub (zul = luz or light, zelub = Boulez) is described as unrealized musical energy, the unexpressed, the force which does not generate matter, a virtual formulation as in a dream or a cyber journey.

Barreto’s piano performance is an experimentalist improvised flow, unfolding in various concepts and dynamics of time (slowed-down or accelerated, asynchronous and synchronous) creating new sound spaces. Digital musician and composer João Marques Carrilho (aka Jonas Runa) captures, interferes, superimposes timbres, and participates in a real-time musical conversation with the piano.

The duo explores the questions: What lies behind an act of musical creation?  What precedes it?  What enables its actualization in sound?

To Barreto and Runa, musical improvisation is a living force that induces an action and maintains a momentary state of the body.  “Improvisation lives in the unknown, at the mercy of the Creative Energy and Open Form; in it’s aesthetic stance, improvisation is possibility and performance (corporal action) – it is an ephemeral state pointing to the unrealized.”

Ultimaton is available as an immediate download or in a limited edition cardboard double-sleeve wallet that includes photographs and background on the project and its creators. Listen to a preview of the complex, delicate and shimmering textures on bandcamp.com where you can also order the full album.

Matteo Milani: sound designer for Genesis Project

What if it were computers who invented humans (and not the other way around?)  In director Alessio Fava’s new film Genesis Project: the real story of creation, it seems an almost plausible and decidedly amusing hypothesis.  Sound designer Matteo Milani put his Kyma sound design workstation to good use generating the ambiences.  Highly entertaining for all computer users (or is it the other way around?), Genesis Project begs the question, “But what if humans develop self-awareness?”  Be sure to check out the Human User Manual on the official Genesis Project site.

The Book of Sarth

Is it a graphic novel? A concept album? An animation? An App? A book?

The Book of Sarth is all of these things plus a narrative about an ear worm that is, itself, an ear worm! The Book of Sarth is the first example of an entirely new art form for the early 21st century.  The initial offering of the Gralbum Collective, a self-described group of musicians, artists, and programmers working to establish new forms for creative expression, The Book of Sarth is available now in the App Store and has to be experienced, more than described, but an attempt at a verbal description follows:

Imagine discovering an ornate leather-bound book abandoned in an attic; when you pick it up, a voice says “Open the Book”.  Cradling the iPad in your lap like an old tome, flipping through parchment pages with colorful watercolors, it really does feel as if you’ve discovered a magical story book, one where the drawings come alive and music fills the stereo field (headphone listening is strongly recommended for the experimental, Kyma-drenched score by Sarth Calhoun).

Like the tracks on the album, the animated paintings come in “chapters”, each having its own style and character: the storybook water colors of “Discovery”, the ink-on-glass Japanese photo/drawing colorized loops of “Transmission”, the stark black and white ink images of Occupy-like mass protests for “Awakening”, psychedelic pattern loops for “Access”, symbolic poker-hands and other cryptic numbers (4 X 7), beautiful iridescent ghostly animations on black-inked stark background images of the police state, and so on, concluding with an Epilogue of beautiful geometric patterns, sometimes occluded by human silhouettes.

Born into an angular world with no color, two children discover a sound-generating device that enraptures the world, introducing color, movement and shapes; the epilogue hints at ancient technologies that were known to resonate with sounds of a healing nature and reveal hidden order and patterns.  The rest of the narrative is a struggle between the black-and-white (or “the brown and grey”) police state who shut down the transmissions, and the rioting crowds who learn to make their own underground sound-generating devices.

The musical narrative can accompany the visual or not and is an uncompromisingly experimental mix of vocoding, heavily processed poetry, ear-worm inducing loops, exquisitely glitchy electronics, and Euclidean rhythms.  It ends, not with an ecstatic out-of-body experience, but with a warning: “the black days are coming.”

 

Musical score for Unfinished Swan

Imagine yourself surrounded by nothing but a featureless whiteness, a world in which the only way to discover objects or people around you  is to splatter black paint in the hopes of revealing their outlines and shapes.

Giant Sparrow’s The Unfinished Swan is a new kind of game, and composer Joel Corelitz has taken a new approach to scoring the music for the new PlayStation title.  Seeking to blur the line between the real and the synthetic, Corelitz chose to imitate electronic sounds with acoustic instruments and to imitate acoustic instruments with electronics.  He used Kyma for the electric harpsichord sounds in the ‘switched-on’ type pieces, and he used the Kyma CrossFilter on the pads.

The Unfinished Swan, slated for an October 23, 2012 release, is already earning rave reviews for its unique approach and focus on creativity, exploration, and discovery.

Shackle unshackled

Anne La Berge and Robert van Heumen are Shackle: a performance duo featuring Anne on flute processed through Kyma and Robert on Supercollider. In August 2012, they will be releasing The Shackle Stick, a USB stick containing music and video of their live performances (a portion of the cost for which will be covered by their successful Kickstarter project).  Following the release of the Shackle Stick, the duo will be touring New Zealand, Australia and Brazil in September 2012.

Tomorrow you’re gone

Hamilton Sterling at Helikon Sound has just completed the sound for David Jacobson’s new film, Tomorrow You’re Gone, a story of psychological vengeance and real-world redemption. The film stars Stephen Dorff, Michelle Monaghan, and Willem Dafoe.

As sound designer, supervising sound editor, and re-recording mixer, Hamilton created a sonic world that functions almost as a musical score.  Aside from guitar and drums (used by the composer), almost every scene in the film is inflected by sounds generated in Kyma (appropriately enough, since most of the film may or may not take place from a point of view inside the main character’s head).

Micro-Cinematic Essays on the Life and Work of Marcel Duchamp dba Conceptual Parts, Ink

Artists Mark Amerika and Chad Mossholder‘s Micro-Cinematic Essays on the Life and Work of Marcel Duchamp dba Conceptual Parts, Ink will be premiered soon as an installation at  The Centre for Creative Arts in La Trobe. Described as “a collaborative ‘conceptual art’ album featuring the writing and vocals of Mark Amerika and the sound design of electronic music composer Chad Mossholder,” about 90% of the sounds were crafted in Kyma. The work is divided into nineteen tracks, each focusing on the work, language, notes, and influence of Marcel Duchamp on contemporary forms of remix practice. An exploration of glitch, microtonality, and the spectral analysis of recorded voices over time, Mossholder and Amerika challenge us to rethink the interrelationship between critical writing and critical listening.  This work was made possible thanks to a visiting artist residency for both artists at the Centre for Creative Arts at La Trobe University in Melbourne, Australia.