Saturday, March 29, 2014

THIS IS HOW WE DEFORM: PROGRAMMABLE COMPLEX WAVEFORM GENERATOR Model 259 CLONE


This Buchla clone packs quite the dual oscillation punch,  with plenty of options for further sound savaging. Functional density indeed! The original Buchla 200 series was certainly notable for this kind of high functionality with the addition of expansive cv control,  a very welcome inclusion for "musicians",  then and now who prefer intent and randomness in equal doses.

Wednesday, March 26, 2014

OUTSIDE IN



A track that makes extensive use of the 292c amongst other Buchla modules (and clones).

Monday, March 24, 2014

THIS IS HOW WE DEFORM: QUAD LOWPASS GATE Model 292c


I must admit that I'm finding this 292 clone far more useful and responsive than my original Buchla 292e.  It's sound-shapiing capabilities bring effortless control to whatever signal I'm applying to the mix,  and its filter only enhances the morphing potential. Thanks djangofire.

Saturday, March 22, 2014

SOMEONE SOMEWHERE IN BROOKLYN


Actually it's ether^ra or w/o vertices (depending on how you're hearing it) on the BQE,  always a delightful romp between and into the potholes.

Monday, March 3, 2014

THE DREAMER HAS AWAKENED: ALAIN RESNAIS (1922-2014)


Ironically enough I had just been re-visiting films such as LAST YEAR AT MARIENDBAD (1961) and TOUTE LA MEMOIRE DU MONDE (1956) when I read about Resnais' death at 91.  While he began his film output as a documentarian,  his early and most highly regarded (or denigrated) films seemed to be intellectual puzzles or meditations on memory,  loss,  and how one deal's with that forfeiture.  Drama and sentimentality are replaced by formal concerns here, but this detachment only served to punctuate the mystery,  poetry, and beauty contained within. And while Resnais' art was often calculated and highly composed,  the raw power of his documentary NIGHT AND FOG (1955) may be the most intensely raw open wound about the Holocaust. His opinion that memory is often a stumbling block to living in the present found life in HIROSHIMA MON AMOUR (1959),  where lovers (one French,  the other Japanese) struggle with images and emotions brought on by the horrors of war. These films very much invented a new filmic language,  one that was less concerned with narrative and more possessed with simultaneously grasping and letting go of time.  Watch.