Steve Roach is a central figure on my own music. Between the support of Projekt, his own web site, and Bandcamp, the innovative ambient composer, player, producer, is–somehow–able to create lots of new music every year. His Bandcamp releases may be previewed in full at Bandcamp.
Björn Bommersheim playing/operating some modular goodness
Published on Dec 1, 2016
This eurorack modular patch is dedicated to my beloved wife. Mausezähnchen, i love you more than words could tell … so here is my love transformed into a little recording.
Surprising myself, I fired up some synthesizers, designed a sequence, and let ‘er fly. My purpose was to track a musical sketch as the background for a short video showing me working on photographing still lifes in the backyard studio. What I came up with was terrible, in the (so-called) ‘last analysis.’ Yet, while producing, I spotted a folder with some tracks set down in 2015.
I relistened to the older tracks and stitched together this demo, and uploaded it to the Kamelmauz endless album.
ambient orchestral drone, sequenced and improvised on an iPad, tracked into Logic.
“…the door to the soul is unlocked; you do not need to please the doorkeeper, the door in front of you is yours, intended for you, and the doorkeeper obeys when spoken to” Robert Bly
Above are roots. . .recovering today the crucial elements of wash and noise.
Friday I was trying to see a piece of art at an opening here in Cleveland, and, I really mean trying to see it, thus trying to look into and through and around and right at map and territory.
A young man walked up to me and asked me what I thought, or something like that, and I was hesitant, asked if he was (perhaps,) the artist, and, I thought he told me he was not the artist. He wondered if speaking in response to the artist’s question might mean I would give the artist something less than my ‘unfettered viewpoint.”
At the time I didn’t get into the answer. It starts with me stating, “I like to know when the artist is asking, versus anybody else.” As an artist, in the engagement with the viewer, I’d like to work my way to the unfettered response, and work all the way to the deeply intentional response. So, as a viewer I prefer to proceed in the same manner.
As it turned out, throughout are conversation, I didn’t catch on to the fact that this gentlemen was the artist! Nevertheless, when I happened to mention that I too was an artist, and that my art was more influenced by music than it was by art, he affirmed this was true for him too!
But I remained unable in the real time of our all too brief, yet compelling conversation, to connect up two simple dots.
After going through some of his audio opus–it was the background in my studio yesterday, and, then reading an interview and reading what he has to say, I could only end up for the first time in over two years wondering about musical collaboration. I’m thirty-five years older, yet the overlap in interests and concerns is apparently a very deep pool.
Matthew’s Soundcloud is full of sharp experiments. This track stood out.
Lesley Flanagan, singer, composer, instrument builder, sound conceptualizer, deep listener
4. How could we make sound improve our lives?
I think it’s about listening. I feel that when we take time to truly listen — to actively engage in listening to another person, to music, to sounds in nature and in cities, to all the many sounds in world around us — we give ourselves time to be present in our lives. That’s very meaningful to me.
Five Sound Questions to Lesley Flanagan – via everydaylistening.com
Synthesist Rheyne (Jon Barbieri) and guitarist Robert Manganaro mine the vein of improvised ambient on a terrific playlist full of chilled goodness.
The duo records their improvisations live and so all the loopng and sequencing and mixing is in real time. This is very hard to do as tautly as the two do it. Lots of technological acumen underlies the organic feel of these slow building improvisations.
Jon Barbieri (@RheyneMusic) – keyboards
We’re slowly closing in on the two year mark for legal marijuana here in Colorado. If there’s a couple of things we’ve all learned from the last two years, it’s that recreational cannabis doesn’t have apocalyptic effects, and that regardless of the label as “medicinal” or “recreational,” you can’t negate the beneficial effects that marijuana can have on people suffering from a variety of ailments. It’s important as a recreational user or a medicinal patient to know what strains are going to affect you in what ways. Dope Directory Marijuana Strain Review
Robert Rich is one of my main musical influences, and with Steve Roach, Brian Lustmord, and Pauline Oliveros, he is also a many decades’ long influence on my own ambient music making.
2015 has not been the greatest year for Kamelmauz and his experiments in sound. Two factors have overwhelmed his sonic muse: one, shifting priorities toward challenges in the human sphere, and, two, a very dedicated effort by his alter-ego, Stephen, to finish one hundred visual experiments–fine art–for a virtual show sometime in the next six months.
Everything substantial, such as new complete releases, have been pushed back. However, Duty Free Records has stepped into the breech and pushed back with this new compilation of old music, arranged in tasty medleys, and aimed to bring into sound play the accessible Kamelmauz.
Free until September 1, 2015
(2001) Ancient Sanabad 4:29
(2009) Heldonsket 6:10
(2011) Come Over 2:12
(2011) And Over 2:15
(2012) Wunderbare Momente 8:30
(2000) Turquoise 5:06
(2009) Moon Cave 5:38
(2013) Although Others Weigh In 3:41
(2013) Still Not Final 4:36
(2010) Poor-City 9:56
(2001) No One Knows the Weaver’s Dreams (excerpt 2014) 11:47
Come Over|And Over dedicated to Roger McGuinn
Poor City for Ken
No One Knows the Weaver’s Dreams for Deborah
Kamelmauz: compositions, improvisations, sound design pedal steel guitar, lap steel guitar, synthesizers, keyboards, percussion, sampler, small instruments
This recording is dedicated to Kenneth Warren, 1953-2015
“Kamelmauz is sounding the audible id of Lake Erie’s depths and surroundings.”
Producer: Stephen Calhoun
Produced at noguts noglory studios, Cleveland Heights, Ohio | Cover Design: Hippie Goat
hat tip to Apple Computer, Native Instruments, Leo Fender, Gestrument, Moog Synthesizers,
and all the other audio design toolmakers – KAMELMAUZ.BANDCAMP.COM
special thanks to, as always, Susan
One of my main sonic gods, Steve Roach, continues to deploy Bandcamp to offer gems of masterful slow music.
Moog Music this week released a free EP of music by synthesist Robert Rich. h/t Synthtopia
The EP, Hiding In Daylight, was created to commemorate the retirement of the Minimoog Voyager Rack Mount Edition (Voyager RME) analog synthesizer.
Great combination of hardware and mobile technology impressed me on this spacey and glitchy improv.
OP1, Octatrack, Phonogene, Nebulae, Big Sky, Monome, WTPA2, Samplr
I want one. With a stand, a Haken Continuum costs upwards of $7,000. I guess I won’t get one.
My gear lust list, hardware division.
1. Kyma PACA System
2. Linn Strument
3. Moog Theremini
4. GFI S-10 P E X1 pedal steel guitar
But, really, a Haken Continuum would be just the ticket.
Dave Stafford, a fellow traveller on the ambient path, is, apparently, a kindred spirit. Although, I’m fairly confident his music-making spirit has been burnished by many more suns than have cooked my own spirit. I say this because his body of work and writing about his work is enormous, and this all is fit to a huge sonic range of experimentation.
We both use the electric guitar as a sound source; we both love the iPad touch paradigm; we both tend to get all over the experimental sound-producing apps for the IOS music-making system; and, finally, we share devotion to Mixtikl, DroneFX, Vosis, TC-11, and Scape. Oh, and Dave digs Guitar Rig, as do I.
Dave also shares his philosophizing and what are to me, his “meta thoughts” about being an experimental musician in the fast moving environment of the DIY producer/composer/musician. Even more valuable are his ongoing studio notes. He is incredibly generous in sharing his sausage making tips. thanks man!
It is just a guess, but Dave and I share something key: we both are searching for the sonic epiphany.
Kamelmauz: sound design, synthesizer, sequencing, composition, improv
from Infinity track released 13 March 2015
Recorded at noguts noglory studios, Cleveland Heights, Ohio
Produced by Stephen Calhoun
Note – I’m jazzed about the Enzyme Synthesizer from Humanoid Soundsystems. It’s in the same camp as my beloved and abandoned (by its developers) Alchemy. It is simpler, and more raucous in the way it handles samples.