Oakland Blackouts started as a sort of afterthought. For a while, I had been interested in making a set of organic sounding electronic music- music that, while created using electronics, existed in an implied physical space. Most of the work that went into this EP focused on textural density, stereo and space manipulation, and subtle tuning of intensity through tempo and volume automation-- which was a departure from my normal working process-- a more hyper-edit based sequence programing composition workflow. Unlike my other work, Oakland Blackouts was recorded in takes and played mostly live. Samples were mapped to MIDI controllers, and effects and automation were played in on faders. The synthesizers are largely (edited) live recordings made with hardware, including an analog modular synthesizer and a Yamaha FM synth from the 80s. The process behind this EP allowed freedom for improvisatory compositional thought, and thus, (like a blackout) I barely remember making it. The name comes from the division of mind and spirit in the compositional process. It also references the 1998 Hieroglyphics tune, and the era of hip-hop that I grew up on.
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