A meeting of folk and electronics, the concrete and the temporary, the old and the new. Celebrating the worlds alongside our own, and the tales lost unless spoken. Ruins and nature hold the lore of the land, and these can be formed in sound, past and present. Circular.
Lorrol is a collection of wanderings & sketches recorded in Munich, Germany between January and April 2020, primarily made using Lorre Mill instruments (LOR) and Sigil Instruments’ xRollz (ROL). (xRollz is a wooden bananafied version of the Ellitone Instruments UltraRollz Farm-Detective which uses the Rolls & Ultrasound circuits by Ciat-Lonbarde/Peter Blasser.)
The Lorrol project was heavily inspired by Allieways’ Double Knot videos and her ideas of symmetrical patching & cross clocking techniques.
To continue the theme of symmetry throughout the project, palindromes were selected as track titles that best suited the overall sound and mood of each track. The idea of symmetry is also reflected through all of the artwork.
In total 42 tracks had been recorded over the 4 months. During a following period of reflection and listening some of these were combined to form something new, while some others were slightly edited and, with the aid of BJC, were curated into a collection of 18.
BJCs’ first listen track notes for the chosen 18 were as follows;
listening / sequencing notes BC 280620
(14) So Lost Solos – harmonium/reed drone fun – naive melody – folk lush, Side A opening track? (9) Ton Tut Not – crunch klick intro drone – then bass melody rhythm bumps – then hi quick tumbles – hi crystal stereo lead vocal style synth (17) So Many Dynamos – dusty intro – free jazz perk + dancing hi melody (18dk) Tattarrattat – liquid noise / chords – fuzzy drone + twinkle – driven notes, resolves well (13) Lorrol – TITLE track – melodic soundtrack – squelches high in the mix? lots of variation and shifts in the pulse – lovely pause before low-mid groan + more percussion (1dk_29_3ni) Baue Neu Ab – slow build – surprising lump near end before delays (12) Poppoppop – marbles / popcorn – baby shrimp playing in bumper cars, can be edited a little shorter? (20) Rotator- shuffling dust – warm chord slow – arp frags – animated bleep/swoon (2dk) Never Odd Or Even – glacial intro / squirts / stereo wide split / creeps flutters
(16) Legovogel – grainy bed with fizz + beep – (6_25_3dk) Kelek – dark ripper intro – switch to deft quirk beat, START SIDE B? (27_23) If I Had A HiFi – dry splat per / slow drone build / morse + grind pitched (10) Toot – mod drone + morse – confrontationally flat – hi noise melodic support compliment – unfinished? (33) Radar – fuzz blast willow modulations / panic tension / HOT / abrupt end (22) Murdrum – stereo swarm / juggle frag / tone blip / bell like vibes (21) Nie Setzt Es Ein – warm wobble drone / ripklix / slopulses / note changes (32_35_1) Don’t Nod – granular trickle / sad whale / screw pops / Kik SNARE snap / bass twizt / soft key arp dances + knot mangles / (4) KinnikKinnik – hi whizz to bounce per staccato / some close to DOOF, stereo synth work pleasing / soothes contrast to firm percussion – EurAsia folktronics – shepard song for the watcher of electric sheep
Companion Boxes and Companion Blocks are circuit bent DIY electronic musical instruments. They are the product of practicing hardware remixing. In this exercise; circuits designed to process signals have been transformed into signal generators.
The sounds they make depend on the circuit that is used. The devices made and used on this recording are based on multi-effects processors by the Zoom company.
Companion Boxes are enclosed in VHS cassette tape boxes. Each uses feedback as their core method of sound generation. Some have extra points of interest made available to increase the tonal variety available to the performer.
Companion Blocks are enclosed in hollowed out wood (salvaged 2×6 timber offcuts) with a plastic control surface. Blocks also use feedback to create sound. All blocks have points of interest added to the surface for creating more tones. Blocks also contain an amplifier and speaker and can be powered by 9v battery, making them portable.
Each of the studies presented here demonstrate the range of tones and textures that can be created by the instruments. All sounds are created by the Boxes & Blocks. Effects were avoided*. The only studio manipulation of the direct-to-disk audio recordings was to adjust volumes and movement in the stereo field.
The aim is to encourage others to create their own hardware remixes, circuit bent instruments and feedback systems. A guide has been produced to assist other makers.
Toneburst wishes to publish sound creations made by other makers.
*Traces of copycat echo appear on track A1 – Industrial Chemistry Newton
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
All source materials for this project were
taken from the Barry Cullen Video Archive.
The recordings are stereo. From instrument to mixer to hard drive. From hard drive to tape.
Each of the tracks were made using the Drone & Drama v2 + v1.5 instruments, Companion Boxes and DIY modular synth.
The recordings are selected from a pool of multi-track recordings made over the course of one working month. Each day improvised recordings were made adding layers until satisfactory results were created. These studio improvisations of around fifteen minutes were recorded according to the following guide to how to use the instrument.
Drone to drama & back again.
Drama to drone & back again.
After capturing the recordings two of the representations were selected for release. The recordings should be played back and played along with the drama instrument.
The instrument requires a 9 volt DC power source (2.1mm tip negative). This is not supplied in the box set.
The listener / audience ‘finishes’ a composition by giving it attention. Listening is a form of composition; deciding, discriminating. The inclusion of an instrument with this recording offers the audience another type of participation. This is to make available and explicit the active role people can have when deciding to spend time on music activities. The combination of media and artefacts draw attention to the lines between digital and online culture.
The recordings are mono. From instrument to hard drive. From hard drive to tape. Each of the four tracks were made using the Drone & Drama v2 instrument. The recordings were selected from a pool of recordings made over the course of one working week. Each day (Monday to Friday) four recordings were made using the same guidelines. Four studio improvisations of around five minutes were recorded according to the following guide to how to use the instrument.
Drone to drama.
Drama to drone.
Drone to drama & back.
Drama to drone & back.
After capturing the recordings four of the representations were selected for release.
Cassette & sine instrument.
The recordings should be played back and played along with using the sine instrument. The listener / audience ‘finishes’ a composition by giving it attention. Listening is a form of composition; deciding, discriminating. The inclusion of an instrument with this recording offers another type of participation to the audience. This is to make available and explicit the active role people can have when deciding to spend time on music activities.
Contribute to the composition. Complete the work.
The instrument requires a 12 volt DC power source (2.1mm tip negative) this is not supplied in the box set.