Emulsion’s catalog is now free / pay what you want via a Creative Commons license. Includes remixes by Caural, Strategy, and Isan as well. Emulsion is Nathan Koch’s past project that leans toward the pretty, melodic, ambient atmospheric side, compare to Boards of Canada for shorthand.
XYZR+KX and Foe Paw are both on the Frequencity compilation. You’re welcome.
Because we used correct grammar (you’re / your) go on and share that download, yo.
Like Ms. Sherman, my creative process involves being alone, thinking, devising, mentally-sketching, tweaking, re-tweaking, re-thinking; sharing for feedback, and then re-tweaking some more. It’s emblematic of the contemporary, technology-enabled artist, in a way. Creative types have so many resources available: so many mediums to muck around in, so many visual sandboxes (like Adobe CSx–Photoshop, Illustrator, Premier); audio playgrounds (like Reaktor, Ableton, FL Studio) and platforms for interdisciplinary / cross-medium work (like Max/MSP, etc).
When I applied to art colleges, I was so disheartened by the rampant insistence that I choose a medium. I didn’t like the feeling of being forced to create within an established “language” (medium) that could be critically evaluated (by critics who specialized in media). Then I found California Institute of the Arts, was accepted, and played and played and played and finally found my voice. A voice that was me, and not limited to choice of media, but one that used media to express the ideas I wanted to introduce to the world.
And that, I feel, is true contemporary artistry. Knowing that the clay of the world is yours to play with and yours to enjoy.
Quench is a side project of Don and Roel Funcken, the Netherlands-based brothers who record under Funckarma and have released on various labels such as Dub, U-cover, Neo Ouija, Musik Aus Strom, and Delikatessen.
Ochre is Chris Leary, a music graduate currently residing in Birmingham, England. Leary began writing electronic music in 2001, releasing his music directly onto the Internet, getting involved with online electronic music communities, and consequently slowly but surely building a fan base. In 2002, he won a remix contest held by Rephlex artist Global Goon, which helped to further strengthen his reputation as an artist across the net.
Since then, Leary has released his debut EP, Sound System Bangers Volume 1 on the fledgling Repeat Music imprint, which has been well received by music critics and fans alike (the curiously inapt title notwithstanding), and has enjoyed radio exposure on Mary-Ann Hobbs’ ‘Breezeblock’ show on BBC Radio 1, as well airplay on London’s Xfm and Resonance FM stations. Also, he has also provided compilation tracks for UK labels such as Toytronic Records, Rednetic Recordings, Boltfish Recordings, Audiobulb Records and US-based Unschooled Records.
Combining a distinct digital aesthetic, a fascination with 8-bit machines, and textures and melodies reminiscent of pioneering UK labels like Warp and Rephlex, Tim Koch has reached a commendable status in the international electronic scene. He has appearances on labels such as Merck, Component, Seeland, and Lucky Kitchen, and full length releases on Defocus, Aural Industries, and n5md.
The Set in Sand project emerged from the late 90’s Midwest electronic scene, crafting a sound years beyond the minimalist techno aesthetic that dominates the abstract electronic music genre. By combing elements as diverse as Steve Reich-esque sculptures of found sound and hip-hoppish boom-bap style beats with the sharp digital textures and densely-programmed insanities of IDM pioneers like Autechre and Aphex Twin, Set in Sand bends genres in a satisfyingly edgy-yet-headnodding manner.
4am. The telephone starts ringing. Goddammit … it’s all the way on the other side of the room, and every time my foot tries to make contact with the ground, the floor rolls out of the way and tries to hit me in the face. It succeeds a couple times before I manage to plop down into a chair and drag myself over to the phone. It’s Frederique. Again. Ernesto left him. Again. It’s like the fourth time this week. So I know what this means. I will go back to bed and wake up in 4 hours with a splitting headache and an inbox full of “rough mixes” that Frederique wants me to “critique”. But Jesus Christ, I don’t even have the vocabulary to describe, let alone criticize, the raw emotion contained in these tracks that he peels off like sheets from a sketchpad, each one developed in finer detail, with tangents shooting off in every direction. A transitional breakdown out of the second verse becomes a complete landscape, telescoping inwards on itself until I lose any perspective on where it even started, but then the chorus swoops in out of the sunrise and snatches me up like a hawk and drags me skyward, gesturing downwards with a dip of its wings and showing me every broken-hearted moment of his tumultuous sexcapades with Ernesto, and I start dripping tears of loss for a man I’ve never even met, or really ever completely believed to exist, because I kind of wonder if everything that Frederique ever tells me might not be a complete fabrication, dreamed up in some Oxycontin haze in an attempt to hold the attention of anyone and everyone he has ever made eye contact with. Romance is hopeless, everything ends in loss and sorrow, but even with a splitting headache and a stomach still half-full of vomit-to-be, for the six minutes this track lasts, the world is euphoria and lust and throbbing bass bins belching a kick-drum kingdom of ass-shaking glorious wonder.
Expect an uncommon blend of glitched-out beats, custom DSP fiddling, proper melodies, and memorable hooks delivered by Phylum Sinter, AKA Christopher Todd, from Detroit, MI. He has been exploring the connection between sound and imagery for the past five years and has contributed tracks to the Modsquare, Nishi, and Post Under labels.
Established as one of Canada’s premier DJ act’s, holding residencies at the world’s most prestigious venues such as Club Tresor (Berlin) and Tokyo’s Club Core, since 1996, Derek Micheal (aka DM) has consistently incorporated influences from the bizarre to the sublime. His studio tracks, released through Hor-Zu, Sender and most recently, critic’s darling Detroit Underground Records, reflect Michael’s deep knowledge and vast historical understanding of Western musical practice. A knowledge which he has consistently shared with audiences around the world.