Outer Spaces 2, by David Gerard

Enjoying this now via earbuds…

released February 25, 2016
David Gerard – synthesizers, sound generators & effects
© 2016 Ambientunes, Ltd. ASCAP

COMPOSED AND PRODUCED BY DAVID GERARD
Recorded at Arcadia Studio, NY

p r o c e s s

p r o c e s s | minimal techno/experimental/ambient/noise | 78:47

A slightly caustic/granular Ambient & Experimental Ambient mix & tribute to the now ancient Foundry release, ‘Bibimbap‘.
Remixed for 2023.

01 Fabio Perletta – DALP 12 -Untitled
02 Vir Unis – At The Edge Of Decaying Light
03 James Teney (Sonic Youth) – Having Never Written a Note for Percussion
04 Vidna Obmana – Tremor
05 Saul Stokes – Cyclops Afternoon
06 Affective Disorder – Infinite Surfaces
07 Earwicker – Entree
08 Steve Roach – Inner Zone
09 Triosk meets Jan Jelinek – Vibes, Pulse
10 Andrey Kiritchenko – Noch
11 Ben Swire – Amalgam
12 Jack Hertz & Mystified – Forever Night
13 Sketch & eM – Hemsteck
14 Brian Eno – Web (Lascaux Re-Mix)

i m m e r s i o n_s t a t i o n [via iPad]

A few years ago I purchased the Steve Roach born iPad app, ‘Immersion Station‘, & enjoyed using it for studying & working on my iPad. It operates via 5 orbs of programmed sound which the user may shift & manipulate to create infinite sound-scaped audio worlds.
The biggest gripe I had was that I couldn’t export the mixes, directly from the app, to any useful format; merely save & play them utilizing the app.

And then, after plugging my earbuds into my iPad…I had the idea to grab a cable out of my car, which I use occasionally to plug my phone into the dash (when the Bluetooth is off)……………………..and…

Voilà! I was able to export, from iPad-to-PC, all the mixes I had created!

So I’ve begun an intricate agglomeration of single/double/triple layered audio files to use as components for future mixes. This opens up an entirely new world of mixing as I can use the files “as is”, combine them with one another…or use them as layered backdrops for compositions by other artists to tweak the atmosphere of a particular mix. I’m beginning this project by simply listening…a lot…to what I’m creating – but the idea of being able to create, via iPad, during inspired moments, or simply from my couch, is intriguing &…cool!

Stay tuned…new ambient mixological horizons are approaching…someday, a little ‘further on down the road’ (hat-tip to Eric Clapton)

I, by the KODIAN TRIO

Listening to this now; it will work its way onto an ‘elements’ mix sometime later this year…(Parker & Bailey were the first 2 artists that sprang to mind when I received the audio files last week…yum!)

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Andrew Lisle : drums
Dirk Serries : electric guitar
Colin Webster : alto and baritone saxophone

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Some [tracks] are building directly on the foundations of pioneers like Evan Parker, John Stevens and Derek Bailey, while others are always on the lookout for fresh, contemporary sounds, or try to combine them. But they’re all united by a similar curiosity, a search for finding their own voices and a never-ending reinvention of themselves. This also seems to be the case with the brand new Kodian Trio of Andrew Lisle, Dirk Serries and Colin Webster. While they first played together as members of a quartet with Amsterdam-based saxophone player John Dikeman and recorded two albums in April of 2015 (a live album that appeared on Webster’s Raw Tonk Records and a double studio album on New Wave Of Jazz), the trio reconvened for a studio session at the end of October that same year.

 

All three musicians definitely belong in the category of ‘transformers’, and I presume that all three have wildly diverse influences and listening habits.Kodian Trio’s debut release immediately makes a strong case for these guys’ adaptive skills, as the results here are recognizably theirs, but also very different from the releases with John Dikeman. It sounds as if all three of them even widened their range and dynamics to compensate for the loss of a colleague. Serries is more assertive, sometimes front and center of the collective. Webster also brought his alto and tenor saxophones to the studio. And Lisle also goes way beyond the usual abstractionism, using pretty extreme textures one moment and offering a forceful attack the next.” from the liner notes of Guy Peters.