Last week I spoke with Sergio about blogs… We shared perspectives and he showed me both his personal blog as well as an archival of local punk records (link here)
I’ve been thinking a lot about this particular topic… about a space which is mantained outside corporations and their own particular political interests…
I decided to keep up with mine, to subjectivize myself towards the action of self-writing…
There’s been a lot of things I’ve been meaning to write, but today i will share something simple:


Several weeks ago, me alongside Oto Duarte, recorded some Harsh Noise, Electronic, drums and objects jam. The original goal is to make a track for a compilation of noisy tracks around the punk cosmology. It was plenty fun. The real challenge is to make the actual track… We decided to make it cut-up-ish, in the style of the Harsh Noise trend around late 90s early 2000s.

Either way, I decided to make some experiments with those recordings, running them through several max patches I’ve been coding over the course of the last months. In this particular example I’m using a multichannel 2d sampler using the object mc.2d.wave~,
It lets me to use phasors (some sort of sawtooth wave used mainly for linear control) to control either the playback speed and where the sound is being played. The MC portion of the patch is being used to control the phase and (a)synchronization of each playhead (represented by the orange markers that travel over the waveform)
I have control of their pitch as well as their position on the sound file. The patch is heavily based on this tutorial.

I only really implemented some bpatchers in order to make the mc part a little more pleasant to the eye and easier to perform with.

The recording I’m about to drop was the first try of an audio file of the rehearsal in my system.

I liked how massive it is, the slow progression towards maximum intensity, the stereo-field which was completely automated…
The feedback squeal at the beggining, due to the multichannel spatialization makes a really well starting point for an introduction to the piece. The electronics in general are favored by this stereophonic travels.
Oto’s screams pitched down sub-harmonically (due to the harmonic deviation of the mc objects) made me think of the maximalist chaos and confusion of Florian Hecker compositions of the early 2000s, my mental image of his “Sun Pandaemonium”… a multitude of events traveling across the listener’s head. The name “Hellish” comes from this and a hint to “Sheer Hellish Miasma” by Kevin Drumm.

It’s a kind of tribute on the work of Carl Stone, a composer known for his extensive use of the 2d.wave~ object.
I discovered his work last year and have been obsessed with it’s simplicity and effectiveness… Full compositions unfold starting from only several seconds of audio. A journey. A self-explanatory art piece…

As of today, I already finished one candidate, I will upload it soon I guess…
Sorry for my choppy english… I’m lazy today.