Another in a series of collaborations with visual artist B.G. Madden, this time using his rendering as a scaled audio map. Larger images with more white create higher frequencies, with the scan following the dark lined pattern. The tiny lines resulted in digital “grit” artifacts. The piece is titled Vincula, which represents a band of connective tissue that holds a ligament together.
Someone suggested that Suss Müsik repost our contributions to the weekly Disquiet Junto projects, because they enjoy reading the explanations of the tracks. While you’re reading the original post, make sure you check out the other contributors’ works as well.
The River Aare is notable for its turquoise color, which gets bluer and richer as the weather in Bern gets warmer. Minerals from the surrounding mountains drain into the Aare via melting snow and ice, leaving an exotic cocktail of minerals in the water. Some locals suggest that the blue color has intensified over the years, as more glaciers melt due to overall warming of the earth’s atmosphere.
The color of the Aare was the start of Suss Müsik’s tribute to one of Europe’s most beautiful and overlooked geographies. The piece begins with a blast of “blue noise” generated by a grain synth, sequenced according to conversion maps drawn in the shape of the River Aare.
The supplied image of the river and surrounding hotspots was then converted to high-contrast, binary tones. The resulting picture was then scanned as a high-resolution audio file and processed into samples. These were sequenced according to the matrix of hotspots as they appear on the original map. What resulted was a series of little blips and blorps in the key of B.
All of these components were then played and recorded live to 8-track.
The piece is entitled Aare. Thanks and kudos to Tobias Reber for proposing such an interesting Junto project.
Suss Müsik continues a very fruitful collaboration with visual artist B.G. Madden. The latest piece, titled Dotto, was rendered from audio scans of Madden’s most recent work.
Given current pandemic conditions, Madden delivered his contributions via US mail in the form of handmade post cards. The new pieces are beautifully reminiscent of post-modern “picture theorists” from the late 1980’s: Richard Prince, Annette Lemieux, and especially the late John Baldessari. The scanned output was then filtered through grain synthesizers and Moog modulation boxes.
Suss Müsik has lagged behind the Quarantine Concert series. Dotto will likely be the next piece “performed.” Or maybe something different. The new social archetype is ambiguity, and Suss Müsik embraces it.
In related news, Suss Müsik’s piece entitled Attaché (also a collaborative work, this time employing Madden’s art as graphic notation) will be featured at this year’s New York City Electroacoustic Music Festival (NYCEMF). Again due to the global pandemic, the entire concert series is taking place virtually. Some great work there to be heard, however, and you don’t even have to leave your house.
Suss Müsik created a little video using the Artiphon INSTRUMENT1, six simultaneous MIDI channels, two Moog analog processors, three electric piano chords, the occasional burp of a grain synth module, and ever-increasing dollops of harmonic reverb.
Here’s the description of process:
Deconstructivism is a philosophy once taught by Jacques Derrida, who believed that absolutes were confining and that multiple meanings cannot be reconciled within a singular work. Think of it as a way of discovering hidden meanings within a structure intended to subvert them.
Deconstructivist architecture is designed to give the impression of fragmentation within a wholly composed building. The style is characterized by non-linear shapes that appear to distort predictable forms into controlled chaos.
With this in mind, Suss Müsik tested the Artiphon INSTRUMENT1. The intention was to see if a complex polyrhythm of interwoven phrases could be built up, broken apart and played in real time. Each phrase is built around a variation of a simple F chord, their timbres and timings controlled manually.
A total of nine component phrases (each with its own voice and notation) were looped with slight variations in the base chord fingering. This allowed subtle phasing between 3-note and 4-note sequences on the Artiphon.
Eventually the pieces dissolves into an ambient wash, signifying the release of absolute structure. When the parts are reassembled, a glitch filter and two Moog processors distress the remaining bits — a semblance of fragmented reminders.
Suss Müsik has released a new album entitled NON to close out 2018. NON is described as “four electroacoustic pieces based on live improvisations using piano, percussion, Moog synthesizers, electric guitar, primitive electronics, sampled wind instruments, hitting things, obfuscation.” This is as good a description as any. NON is available on Bandcamp and will soon be released on the usual commercial channels.
Continuing our series of live studio improvisations, Suss Müsik created this sweet little lullaby for the Age of AI. Recorded live to 8-track, the piece (titled PHD for no particular reason) sounds like something out of a Japanese video game, one probably featuring cute dancing flowers with brightly colored shapes spinning toward the camera.