Kilpatrick Audio’s PHENOL is a compact and affordable take on modular synthesis that is useful as an introduction to patching sounds, as well as a nice addition to banana-based exchanges between modular systems like those from Serge. BTW, the two envelope generator sections contained here are both very useful and complex, not just the standard ADSR. Taking the time to master these sections will make for impressive sound sculpting epiphanies as one experiences the expansive phenomena of electricity.
Wednesday, June 22, 2016
As much as one may delight in the idea of some kind of robot or program sifting through the myriad variations of form, texture, compositional relationships, doing "exactly the wrong thing", etc, our individual and shared humanity makes for choices and random events that reinforce our being, even if this is ultimately meaningless. Process, essentially, is all. ABOVE: Multi-panel work in the throes of birth, doubt and denial. Acrylic, pencil, modeling paste, and gloss medium on wood.
Wednesday, June 15, 2016
The above photo of our maternal grandmother has the haunted quality one associates with memory, time-slippage, and the randomness of ancient technology (this image is from the late Fifties). The ghostly chiaroscuro here gives it a painterly quality given to the mystery of a captured, half-remembered moment.
Wednesday, June 8, 2016
Thursday, June 2, 2016
Wire’s NOCTURNAL KOREANS is an 8 song mini LP that includes tracks that didn’t fit on their eponymous 2015 release. Amazingly, it’s the mercurial group’s 15th album since the punk/pop classic PINK FLAG (1977). Most bands who’ve been around in various guises for forty years would sound both staid and safe, but Wire have managed to keep a delicate balance between pop impulses, exploratory art concepts, and explosive punk diatribes. In many ways, NOCTURNAL KOREANS most closely resembles their most successfully experimental album, 154 (1979) in its transient grasps at exorcizing paranoia, presenting random observations as bits of absurdist slight of hand, and embracing dead of night stillness. Both Colin Newman and Graham Lewis have every reason to be proud of these so-called scraps.