Io is set to be the third track from my upcoming TheForgotton album Sub Luna. It comes from the same session that begot the Caustic Reverie album Mute and contains instruments that use optical synthesis. Also available from Soundclick and last.fm.
Stochastic Resonance is the third Caustic Reverie album and it has been released on last.fm. The songs were fractally composed with the help of FMusic and then stretched, chopped, spliced, and mangled into the shape they are now. Enjoy!
I usually end up messing around with fractals and other forms of organized chaos in a visual field, but this week I’ve started experimenting it with music. Through a last.fm group, I was exposed to the music of Tim Doyle, some of which were composed with the aid of a program called MusiNum.
I downloaded it to give it a try but it doesn’t seem to like the fact that I’m running a 64-bit operating system. I did have better luck with David H. Singer’s FMusic. I was initially opposed to algorithmic composition as a viable way to make art, but this is a good deal more complex than pressing two buttons to get a ragtime shuffle in DMaj. I’ve been getting into more spaced-out, minimal stuff lately, so this is a perfect fit.
One new song is finished but untitled, the other is still in the mixing phase.
I’ve released a new album-length Caustic Reverie track called Mute. This song was created with a combination of musique concrète, image-based synthesis, and a variety of spacial and temporal processing. The artwork was manipulated and mangled from a photo taken by Scott Hamilton.
This song is based on the following 12-tone matrix.
| B | D# | D | F | A | G | G# | C | F# | C# | E | A# |
The first incarnation of this piece was about a minute’s worth of multitracked improvisation using the matrix as seen below. I’ve colored the four parts used and bolded the notes that intersect.
| B | D# | D | F | A | G | G# | C | F# | C# | E | A# |
| G | B | A# | C# | F | D# | E | G# | D | A | C | F# |
| G# | C | B | D | F# | E | F | A | D# | A# | C# | G |
| F | A | G# | B | D# | C# | D | F# | C | G | A# | E |
| C# | F | E | G | B | A | A# | D | G# | D# | F# | C |
| D# | G | F# | A | C# | B | C | E | A# | F | G# | D |
| D | F# | F | G# | C | A# | B | D# | A | E | G | C# |
| A# | D | C# | E | G# | F# | G | B | F | C | D# | A |
| E | G# | G | A# | D | C | C# | F | B | F# | A | D# |
| A | C# | C | D# | G | F | F# | A# | E | B | D | G# |
| F# | A# | A | C | E | D | D# | G | C# | G# | B | F |
| C | E | D# | F# | A# | G# | A | C# | G | D | F | B |
After that, it gets a bit weird. I’ll leave the rest of the process to your imagination.
Thanks to Dan Cavanagh for the HTML matrix app on his site.
Here’s tonight’s soundscape experiment, the meat of which was made while messing around with a VST effect called Elottronix XL.
