Just got my hands into the jam recording, listened to it, and made 2 cuts. Tracks 111 – 117 from the STE 000 2 file, starting around 34 min, and going to the end.
In contrast to the Bogota jam session we had a different arrangement of instruments and recorded the session with microphones. One musical analogue – circuit bended instrument had its own speaker configuration and required to be outside the mixer. Besides that we had granular synthesizers, samplers, and an optical synth toy.
We played with a variety of samples. Many of them are from the Berlin and Germany historical archival. Other ones are from some historical tapes recently discovered at the Raymond Scott archive. Still others are from field recordings from Boston, Cambridge, Oslo. For this session we left outside deliberately any recording and sample from Colombia.
After more than 140 minutes of music making we had to interrupt the jam. A neighbor requested that we stop making “Gruselige Musik” (“scary music”) in the building. We could probably continue to play but decided to leave the jam session there. The neighbor seemed to be seriously concerned and afraid of the sounds he was listening from the apartment above the little home studio where we were jamming. This is Berlin and we are not in 1990s anymore. Moreover, this was just an evening of a sunny and warm early autumn Tuesday.
As we cut the three hour Chapinero jam I decided to jump to the second hour and start cutting from there. Below are the links to the first 4 cuts from that hour. I started counting on 70, perhaps making a wrong estimate of how many tracks per hour we would cut.
This is Chapinero neighborhood in Bogota, Colombia. Calle 70A, next to the cerros orientales (eastern hills). More than a decade ago elektrodomestika played its first concert down the street at the Teatro R-101. Today we are playing music again on this neighborhood. Crossing paths and sounds again in Bogota city, RO + VvvA.
For this special jam we are bringing back a mixed bag of sounds, including field recordings from different Colombian birds, cars, and winds, Bogota radio sounds, a bunch of synths including both analog and digital, and also some granular synthesis applications running on tablets, and 2 computers. We are also adding the sound of vintage Colombian vinyl records that for the first time in the history of elektrodomestika jams would be played live and scratched.
Our plan is to use the live music we recorded during this Chapinero jam for a special album we are producing this year. In between Bogota and Berlin, back and forth, as part of a new cycle of elektrodomestika.
I have started to tag the tracks I am uploading to Soundcloud with the hashtags #1000tracks #1000pistas #1000spuren. I think it could be interesting to play with these hashtags as we upload and share some of the tracks we are producing for the project. I just added them to the Operator-2-23 track I uploaded a couple of minutes ago, and also added them to the previous tracks I have shared in the Soundcloud channel.
In this jam I played around with my mobile set-up of granular synthesizers played in a two i-pads, the sound of the Roland rs-5 sytnh, and two new music toys I have added to my setup. One toy is the Pocket Operator PO-12, a tiny drum machine and synth made by Teenage Engineering.
The other music toy that I used in this jam is the Gakken SX-150 Mark II, a analog synth. Powered by 2=4 AA batteries, this synth creates loud sounds, has an oscillator with an LFO for modulation, it can receive a external mono signal via a line in input, and also comes with a stylus that can be used for playing a pad.
Thinking about the metadata we can add to the tracks, I would like to share some ideas for the kind of categories we can have. Below is an initial sketch of the taxonomy we can create for describing the tracks and organizing the metadata of all the project. I imagine, at the end it would be like an archive of tracks we can explore and remix in different ways.
Improvising with multiple devices is always useful for creating dynamic and complex atmospheres. After many months without playing with music devices this year I have started to jam again, playing with a mix of digital and analogue devices. Making music is an essential part of my creative life and I was distancing from it due to the other projects I have to handle at work and other pressures from professional life.
Fortunately I have been able to reconnect with the music practice. I created a mobile set-up at my home studio that I can arrange and disassemble pretty easy in a couple of minutes. I have been also recording the different sessions, and with less regularity, listening to them and finding excerpts and interesting pieces. I am uploading them to Soundcloud so they are easy to reproduce and stream online but I could also upload them to a server so they can be downloaded. It would be interesting to reactivate the sound of elektrodomestika and experiment with some collaborations across the Atlantic. I wonder what would be the best way to do that kind of creative exchange between music recorded in Boston and Berlin.
Below is a piece tentatively called Janus. It has already many layers of sound but perhaps can also be remixed again.
Enter. Return. We are back. It was a long ride. But we are arriving in time. In sound. On the net and distributed.