Greathumour / SimFib – Dramatic Surge

The latest TONEBURST release is now available.

https://toneburst.bandcamp.com/

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Dramatic Surge is a collaboration between Tone Burst & Tribe Tapes, tribetapes.bandcamp.com , and is a continuation of the Drone & Drama project.

Each of the four tracks utilise and are focused around BJCs’ Drama Instrument which was released as part of D&Dv2_Studies_v2.
toneburst.bandcamp.com/album/d-dv2-studies-v2

Tone Burst would like to sincerely thank Greathumour for his support of the label, initiating this collaboration and helping to push the D&D project forward.

Fallgatter – BCYT

The latest TONEBURST release is now available.

https://toneburst.bandcamp.com/

fallgatter-BCYT

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Video Sequencing Video

BCYT is a result of an audio/visual remix
experiment that involves using visuals from
videos to create midi information, which in
turn is used as a clock source and to
sequence sampled audio from the same
videos.

All source materials for this project were
taken from the Barry Cullen Video Archive.

credits

released November 8, 2019

Pandemonium Trio perform Drone and Drama v2 at NIME 2019

Pandemonium Trio = Barry Cullen, Miguel Ortiz and Paul Stapleton.

Pandemonium Trio is a new group based at the Sonic Arts Research Centre (SARC), dedicated to bring audiences the finest in folktronic audio and cybernetic signals, vibrating together in heart-warming 12V ballads, oscillating between the sacred and the profane.

Venue – Agulha. Porto Alegre, Brazil.

Video – Alex Lucas

Spool’s Out: Cassette Reviews / Kitty Wang

Tristan Bath has included a review of Kitty Wang’s debut release over at the Quietus‘ monthly cassette tape review section.

Link: SPOOL’S OUT.

Text:

Okay, so the idea of a modular synth album made in a planned out process by two guys called Phil and Barry might not sound so exciting. But hear me out.

Kitty Wang is a duo comprising Barry Cullen, “noise enthusiast based in Belfast”, and Phil Porter, “an audio worker based in Munich”, and from the sounds of it they’re both pretty well versed in the technical aspects of playing oscillators and modulators. This music was somewhat more ‘designed’ than ‘composed’, the process designed under the influence of remixing as a means to make music.

The duo’s original modular jams were “cut and arranged into clocked patterns on a computer”, then broken into fragments which were played back through the modular system, then “clocked by pulses from the original arrangement”, then… Okay I’m losing you.

Essentially, the duo arranged and rearranged various improvisations methodically, and while the untrained ear won’t most likely pick out the minutiae of ‘what happened’, the result elevates the work beyond your average synth bro down. The synths cough and splutter at times, such as on the catchily titled ‘kw6b2(moments)v2.2’, death rattling atop a rinsed out lattice of droning modules and rhythmic whirrs puncturing through thing envelope veils. It may have all been made with plenty of premeditation, but Kitty Wang feels like the work of a ghost in the machine, spluttering computer music out in bizarre alien shapes, occasionally stepping into briefly droning chords or stomped out marches.”