Sean Booth / Kouhei Matsunaga / Mika Vainio - 3. Telepathics Meh in-sect Connection

  On 2/7/2010 at 3:50 PM, nene multiple assgasms said:

  On 2/7/2010 at 11:38 AM, narkeworld said:

  On 2/6/2010 at 11:18 PM, nene multiple assgasms said:

I just got this from my mail box. I'll listen to it later & give everyone a basic description.

 

Who did you buy it from?

 

cduniverse.com

Thanks for the info.:)

I'm a bit of a Mika Vainio fanboy, so I'll definitely pick up a copy. I'm curious, what are the tracklengths?

  On 2/7/2010 at 8:01 PM, Gardenia said:

I'm a bit of a Mika Vainio fanboy, so I'll definitely pick up a copy. I'm curious, what are the tracklengths?

15:30

6:42

15:20

thanks for giving us the info nene multiple assgasms. are you overall happy with the listening experience?

Thanks for the info!

  On 2/7/2010 at 1:51 AM, nene multiple assgasms said:

there are no beats to be found on the album. it is overall very quiet. there's a quiet static throughout most of the album.

I'm definitely interested in hearing this now.

  On 2/8/2010 at 6:16 AM, Awepittance said:

thanks for giving us the info nene multiple assgasms. are you overall happy with the listening experience?

yes.

hmm... gonna need to hear another positive review before i decide to plunge on this. wish there were some samples..

you should be buying it for the cover art alone. the music contained is bonus material.

From the important records Twitter around 12 hours ago.

"Look for a big Important update this week w/ new records from Kouhei/Vainio, Kouhei/Booth/Vainio, Jan St Werner, Mueller/Z'ev, NHK & Kid 606"

Fucking super selection of artists, a def change in direction for Important records it seems. The Kid 606 is called 'Songs about fucking Steve Albini', and its a collection of psychedelic love songs : )

Lol. Big Black reference for those who don't know: Songs About Fucking

no begging for download links please

especially as your first post

here is a preview, I skipped to around the middle of each track for about 30 seconds

http://www.mediafire.com/?mm0myzfzzgm

I'm not sure if I like this yet, as a whole this feels kind of like an artist is showing you their notebook, and they're turning the pages for you, and they are spending the same amount of time on the blank pages as on the ones with drawings. it seems more like a document of what they were doing more than a piece of music. but there are enough little bits I liked that I want to listen again later in a better mood.

for anyone curious it sounds like mika is using some tone generators, kouhei is doing stuff with a microphone and some objects, and sean is using max or a lot of glockenspiels. and the static, whatever it is, some weird stuff happens to it with compressors, or something. I wonder if this is entirely a real time recording, because of the way the tracks are credited, maybe sean spent the first 15 minutes making a patch and then mika randomly wandered off in a daze after 22 minutes. I guess the kind of real time element to it is interesting, but not in the same way as some musique concrete, or minidisc, for example.

Well this was a letdown for me. I was expecting something better.

  On 2/13/2010 at 4:09 AM, vganalog said:

no begging for download links please

 

especially as your first post

sorry!

won`t happen again!

lel.

just downloaded it. the kouhel and sean track; the whole track is based around a kyma preset that I have used. its well funny, its literally a self-generating synth patch ( apart from the glitchy highs )

holy shit really? which kyma preset ? exact names are not necessary but was it like a granular patch or some kind of music generating patch?

i think generally speaking a lot of artists including big ones think they can get away with using a kyma preset because it's such a rare item for someone to own. Almost no one will recognize it. on Richard Devine's Cautella i recognized a similar 'full spectrum switch on of a kyma preset' happen towards the end the album. It's interesting to me because he's a hardcore sound designer, i almost wonder if he did it as a joke?

  On 3/15/2010 at 8:30 PM, Awepittance said:

holy shit really? which kyma preset ? exact names are not necessary but was it like a granular patch or some kind of music generating patch?

 

i think generally speaking a lot of artists including big ones think they can get away with using a kyma preset because it's such a rare item for someone to own. Almost no one will recognize it. on Richard Devine's Cautella i recognized a similar 'full spectrum switch on of a kyma preset' happen towards the end the album. It's interesting to me because he's a hardcore sound designer, i almost wonder if he did it as a joke?

hey. yeah man big style. im away from my Pacarna atm but shall be with it tomorrow evening but from memory it was one of the preset granular synth with random logic on grain size, pitch etc , it has that really distinct 'watery' sound to it. From memory, using resynthesis of a complex sound with the grains set really small, glide all the way up will achieve this sound. Ill get it set up tomorrow and post an example which should be like for like.

Kyma is great for this sort of thing. One of the preset delays is mind blowing, i built a whole track based just around it. It would process the incoming sound, set off two mono delays with delay time randomizing, each individual delay was main of a grain cloud which would be reversed/ timestretched / effected any way you want. Instant bliss running a synth through it.

this is totally pointless. the ever-present noise/hiss sounds cheap and unintentional. nothing interesting happens with it; it just sounds like the noise you'd get using a cheap soundcard with a terrible noise floor. the synthetic bells sound like they were lifted straight from a simple supercollider program i use. the microphone work is also uninspired and accidental sounding. for three superstars whom i greatly respect, i couldn't imagine their collaboration sounding more boring and amateurish. i'm almost convinced that i downloaded a fake. this is one of the worst things i've ever heard. no joke.

w t f

I dunno I kind of enjoy it.

  On 3/16/2010 at 3:19 PM, Ascdi said:

I dunno I kind of enjoy it.

to each his own! but may i ask what you like about it? maybe i'm not listening for the right things...

headphones or speakers? sober or high? is your appreciation more conceptual or concretely musical? i'm not even sure what concepts they're employing here -- it's hard to find information on this release -- so my guess is the latter.

  On 3/16/2010 at 6:59 AM, ms-dos said:

this is totally pointless. the ever-present noise/hiss sounds cheap and unintentional. nothing interesting happens with it; it just sounds like the noise you'd get using a cheap soundcard with a terrible noise floor. the synthetic bells sound like they were lifted straight from a simple supercollider program i use. the microphone work is also uninspired and accidental sounding. for three superstars whom i greatly respect, i couldn't imagine their collaboration sounding more boring and amateurish. i'm almost convinced that i downloaded a fake. this is one of the worst things i've ever heard. no joke.w t f

exactly my thoughts

only heard the cd a couple of time but i like it.

I'm just listening to this now for the first time, I love it.. I've been making music sort of like this recently, so it's kind of strange to hear these big artists doing it too. it is amateurish, in a way, but that might be part of the point. it's not the sounds of machines our parents use, but 'the sounds of machines we use', given center stage... the noise of too much mic gain (or is that cheap digital disortion/compression? or the sound of a cheap sound card as suggested above) creates this envelope of morphing noise around every sound, especially in the second and last tracks. it's them improvising on machines in real time, so it's going to be raw. you can hear them 'switch on' effects clearly several times. the sounds of objects brushing against microphones provides percussion, of a sort. it's a portrait of the cheapness of the technology of our time. the way old music concrete could be seen as a portrait of the tape tech available at that time.

Well, I liked my first listening experience. It provided a nice ambient background to my walk. There's no way i could just sit and listen to it without doing something else though. I wonder if there's anyone out there who heard this for the first time and thought "holy shit, this is mindblowing groundbreaking new music, I gotta tell all my friends about this!!" I bet there's one person who reacted just like that, but they'll never post here.