Review: Maya Deren

Un vapore crepuscolare che si espande gradualmente saturando l’ambiente di inquieto mistero. Evidenti e perfettamente introiettate sono le premesse da cui nasce la collaborazione tra Dominik Grenzler aka An Moku e Joel Gilardini, primo incrocio tra due musicisti che utilizzando mezzi diversi perseguono una visione artistica affine.

Concretizzatosi in seguito all’invito a partecipare ad un festival dedicato alla sonorizzazione di film muti ricevuto da Grenzler, il connubio tra i due si sviluppa come rapido percorso improvvisativo rivolto alla ricerca di un comune denominatore espressivo. Senza essere al corrente della materia visiva assegnata, i due iniziano un fertile dialogo sonoro che li porterà a stretto giro a realizzare le musiche di accompagnamento di tre cortometraggi girati negli anni quaranta dello scorso secolo da Maya Deren, commento di cui le tracce di questo album rappresentano soltanto una premessa.

Cogliendo lo spiccato simbolismo di matrice surrealista e l’attitudine introspettiva profonda e convulsa che distingue la produzione della regista americana, il suono plasmato dal duo si irradia oscuro e penetrante, strutturato in percorsi enigmatici che fondono in modo inscindibile le nebbiose frequenze sintetiche di An Moku e le trame taglienti della chitarra baritona di Gilardini. Una commistione densa e viscerale che assume la forma di dilatate elucubrazioni droniche intarsiate da risonanze spigolose (“5”), a tratti percorse da delicate linee melodiche (“2”), o di algide derive nutrite da modulazioni ruvide e correnti elettriche disturbanti (“13”).

Una prima prova convincente che sancisce un legame artistico certamente destinato a produrre ulteriori condivisi capitoli.

https://sowhatmusica.wordpress.com/2021/01/12/an-moku-joel-gilardini-maya-deren/

#3: Iteration 

This is the 3rd picture of the talented photographer from Spain, Juan TRakO and my 3rd «Safety in Solitude» track which is a lovely sketch from last summer. I am working on it now with my dear collaboteur Pablo Ortega from Germany. Folks, be aware, you will never hear it like this ever again. 13mins full of beautiful iterations (Backstage exclusively).

As you already know, Safety in Solitude is kind of a diary. For a few weeks I am posting a piece of my music. Weekly.

Enjoy Iteration!
(Headphones recommended)

Safety in Solitude: Reflections (Backstage Exclusive)

Safety in Solitude is kind of a diary. For a few weeks I am going to post a piece of my music. Weekly. For you, my dear Backstage-Subscriber. The pieces of music will be calm sketches, experimental draws or misty landscapes that did not make it to appear officially yet. Maybe some of them will, some don’t. Maybe. I think they are beautiful as they are. Some of you might know that I am not interested in harmonic melodies that much. What I love are moods and repetitions with their micro alterations which you might not even notice. I am hoping to let you float and give you room for your own interpretation and imagination. This is the 2nd piece of music…

For the fist «Safety in Solitude» tracks I am working with the talented photographer from Spain, Juan TRakO. I asked him for three pictures of his choice. This is the 2nd picture.

Enjoy Reflections and Happy New Year!
(Headphones recommended).

https://anmoku.bandcamp.com/track/safety-in-solitude-reflections

Danke!

https://neoblog.mx3.ch/index.php/2020/12/30/deutsch-dominik-grenzler-aka-an-moku-klangkuenstler-und-soundtueftler/?lang=de

Guten Morgen Zusammen, ich möchte mich bei euch für das letzte Jahr bedanken. Für euren Support, für all eure Inspiration, für die tolle Zusammenarbeit. Danke vom Herzen. Auch ein grosses Dankeschön an meinen Mentor, Uwe Zahn aka Arovane für seinen Rat.
Anbei ein Interview/Bericht. Erschienen vor zwei Tagen. Danke Gabrielle für deine unermüdliche Arbeit mit MX3 :-)

DANKE!

Safety in Solitude: Upon

«Safety in Solitude« is kind of a diary. For a few weeks I am going to post a piece of my music. Weekly. For you, my dear Backstage-Subscriber. 

The pieces of music will be calm sketches, experimental draws or misty landscapes that did not make it to appear officially yet. Maybe some of them will, some don’t. Maybe. I think they are beautiful as they are. Some of you might know that I am not interested in harmonic melodies that much. What I love are moods and repetitions with their micro alterations which you might not even notice. I am hoping to let you float and give room for own interpretation and imagination. 

For the fist «Safety in Solitude» tracks I am working with the talented photographer from Spain, Juan TRakO.
I asked him for three pictures of his choice… 

Enjoy Upon and Merry Xmas! 
(Headphones recommended) 

Head over to Bandcamp to be Backstage -> Subscribe!

FABRIKAT oder was?

Das norwegische Bergen ist nicht nur eine wunderschön verwinkelte Kleinstadt (ich kann es seit 2015 bezeugen), sondern auch eine kreative Schmiede. Für viele schöne Dinge. Neulich auch für kreative Pedale, seit dem Knut von Pladask Elektrisk zunehmend weiterentwickelte, schöne (Lo-Fi-) Kreationen auf den Markt bringt. Ich besitze den MATRISE Mixer und bekam nun das FABRIKAT, dank meines Busenkumpels Joel Gilardini, in die Finger...

Ich habe von Pladask Elektrisk gehört und gesehen, bin aber nie richtig überzeugt gewesen. Einfach nur aus dem Grunde, weil ich nie zuvor dessen Pedale «in den Händen hielt». Naja bis ich halt den MATRISE kaufte (Hier meinen Post dazu lesen…). Auf gut Glück. Hoffte die Qualität stimmt, alle Kabel sind korrekt gelötet und und und. Im Nachhinein alles gut und cool. Das interessante an Knuts Pedalen ist das schlichte Design. Die Vintage-Verkleidung lässt völlig richtig vermuten: Pladask Elektrisk ist eine Kleinstschmiede, die einfach geiles Zeug macht, denn unter der Haube verstecken sich vielerlei kleine Überraschungen. Wie beim FABRIKAT.

Es gibt inzwischen viele Videos zum Thema, weshalb ich nicht auf die Details eingehen werde. Mein Beitrag dient einfach zum Aufzeigen, ob und wie sehr es sich lohnt, solch ein tolles Pedal zu kaufen oder auch nicht. So, falls Du inzwischen ein «Glitch»-Pedal hast und damit bedient bist – so bedingt (vielleicht zur Erweiterung), falls nicht und Du auf der Suche bist, so unbedingt. Hier ist eine Auflistung nicht aller, aber der meisten tollen «Glitch»-Pedale auf der Glitchipedia, die dir hilft den Überblick zu bekommen/behalten.

Doch was bedeutet Glitch?

  1. In der Elektronik bezeichnet man mit Glitch [glɪtʃ] eine kurzzeitige Falschaussage in logischen Schaltungen und temporäre Verfälschung einer booleschen Funktion. Diese tritt auf, weil die Signallaufzeiten in den einzelnen Gattern niemals vollkommen gleich sind. Diese Verfälschung wird daher auch als Race Condition bezeichnet. Die Anfälligkeit für Glitches steigt mit der Komplexität, der Geschwindigkeitserhöhung und der Verkleinerung der Schaltungen, kann aber auch bereits bei sehr einfachen Schaltungen vorhanden sein. Sie stellen ein wesentliches Problem bei der Entwicklung moderner elektronischer Schaltungen und schneller Mikroprozessoren dar, das war aber auch schon bei der älteren elektromechanischen Relaistechnik so. Ein Glitch wird manchmal auch als Hazard (engl.: „Gefahr, Risiko, Zufall“) oder Spike (engl.: „Spitze, Dorn“) bezeichnet.
  2. Als Glitch [glɪtʃ] wird in der Fernseh- und Videotechnik eine kurzzeitige Falschausgabe von Bild- oder Toninhalten bezeichnet, ähnlich den Glitches in der Elektronik. Diese Fehler treten häufig beim Spulen innerhalb eines Filmes bzw. beim Wiedereinsetzen des Filmes nach einem Spulvorgang auf, wenn die benötigten Daten nicht schnell genug zwischengespeichert und wiedergegeben werden können. Ebenfalls entstehen Glitche(s) beim Interpolieren von einzelnen Datenbestandteilen des Signals, die bei einem Kopier- oder Übertragungsvorgang verfälscht oder ausgelassen wurden. Im Bild wirkt sich das durch vermehrte Artefaktbildung oder gar andersfarbige Klötzchenbildung aus. Beim Ton kann es zu störenden Verzerrungen der Frequenz oder zu Nebengeräuschen kommen.

Verbindet man beide Welten so bekommt man etwas Wunderbares, das ein «Glitch»-Pedal nachahmt. So erkläre ich mir das Phänomen. Aber hört/seht doch selbst, was das FABRIKAT kann und entscheidet selbst. Bitte vom alten Aussehen des Pedals nicht irre führen lassen. Das Video ist von 2018 und das Design ist veraltet. Ich denke, dass Knut ebenso weiter an den Presets geschraubt hat…

FAZIT: Das FABRIKAT ist ein verspieltes Pedal und ich empfehle es Jedem, der für solche Effekte empfänglich ist. Allerdings nur bedingt, wenn man bereits 1-2 Pedale dieser Sorte hat. Ich selbst besitze das Arcades von Cooper FX und ZOIA von Empress mit denen ich das Spielfeld der Glitches bediene. Es ist recht schwierig Glitches zu beschreiben und den Klang zu definieren. Das FABRIKAT klingt vergleichsweise «schön»-verspielt-anders.

Kurzum: Es ist es wert. Kaufen und bedient sein :-)


Quellen: Wikipedia, Youtube, Pladask Elektrisk

«Where We Meet» Review by SoWhat

https://sowhatmusica.wordpress.com/2020/12/01/an-moku-stijn-huwels-where-we-meet/

Un lungo piano sequenza che si estende disegnando i labili contorni di un ambiente onirico placidamente avvolgente. È questo il risultato dell’incontro tra le istanze sonore di Dominik Grenzler e Stijn Hüwels, connubio virtuale che racconta della volontà di due amici/artisti di sentirsi vicini malgrado i limiti e le difficoltà dell’attuale momento storico.

Fuse in un’unica liquida corrente sonica, le peculiari visioni dei due musicisti danno forma ad una sinuosa traiettoria ipnagogica in cui caldi bordoni trasportano minute risonanze a tratti orientate alla formazione di fragili e luminosi nuclei melodici. È uno sviluppo lento eppure costante, privo di soluzione di continuità che gradualmente rapisce infondendo un quieto stato ipnotico a cui interamente abbandonarsi privi di qualsiasi riserva.

È un accurato lavoro di cesello che conduce alla costruzione di micro stille armoniche prive di consistenza materica aleggianti in uno spazio diafano,  un paesaggio silente libero dalla gravità che offre una preziosa via di fuga da un presente sempre più inquieto ed incerto.  

English:

A long sequence shot that extends to draw the faint outlines of a placidly enveloping dreamlike environment. This is the result of the meeting between the sound demands of Dominik Grenzler and Stijn Hüwels, a virtual union that tells of the desire of two friends / artists to feel close despite the limits and difficulties of the current historical moment. Merged in a single liquid sonic current, the peculiar visions of the two musicians give shape to a sinuous hypnagogic trajectory in which warm drones carry minute resonances at times oriented to the formation of fragile and luminous melodic nuclei. It is a slow yet constant development, without solution of continuity that gradually kidnaps, instilling a quiet hypnotic state to which to abandon oneself entirely without any reserve. It is an accurate chisel work that leads to the construction of harmonic micro drops without material consistency floating in a diaphanous space, a silent landscape free from gravity that offers a precious escape from an increasingly restless and uncertain present.

Tips and things for approaching Labels

Jogging House hat neulich einen Post veröffentlicht, der mir zur Zeit aus der Seele herausschreit. Eventuell habt auch ihr gegenwärtig mehr Zeit um Musik zu machen, die ihr gern veröffentlichen wollt. Zur Zeit ist der kreative Output aber besonders hoch und ich denke, aufgrund der anhaltenden Situation auch nicht unbedingt ringer. Mr. Jogging House hat auf seinem Patron-Kanal eine schöne Zusammenfassung an Tips veröffentlicht, die helfen, einen Überblick bei Demos und Labels zu behalten. Ich hoffe, Du bist mir nicht böse, Mr. Jogging House, dass ich dein Content 1:1 übernommen habe ;-)

As many of you know, I run a little label called Seil Records. And by doing so, I receive a lot of demos by artists from all over the world. So over the time I gathered some experiences on what inquiries work better (at least for me). And I thought I’d share what I consider a decent way of introducing your music. Of course I can’t speak for other labels, but my guess is, their experiences might be similar.

First off: Be ready for disappointment. Finding a label is really tough and a bit of luck is involved, too. Most small labels simply don’t have the capacity to squeeze your music in, even if they like it. For a label with the size of Seil, one release per month is A LOT. But I easily receive enough well made demos to release an album every day.

Now that we got that out of the way, here are some tips:

1. Be honest to yourself

Try to evaluate as objective as you can, if the quality of your music is on par with other releases on a label. Deep down you will know if you are really ready or just enthusiastic.

2. Mastering is not necessary

I often receive mastered albums. Which is fine, but it also means that an artist could have saved some money just sending the unmastered version. Many labels will have one or several mastering persons at hand and will most likely get a better rate than individual artists. But if there is a specific mastering person that you trust and consider an essantial part of your sound, that is a different story of course.

3. Demo Policies

Make sure to check the demo policies for each label you want to approach. Find out if they are receiving demos and how they want to receive them. Some will simply not listen to your music, when you send it the wrong way.

4. Use email

Unless mentioned differently in a demo policy, only send out emails. Don’t send messages on social media. And don’t write something like ‘I couldn’t find your email address, so I’m writing you here’. There is always an email address.

5. Don’t send follow-ups

If you sent out your mail, that should be it. The label will have received it and made a conscious decision to either check out your music or not. As frustrating as that may be. If you send follow-up mails it will only lessen your name for future inquiries.

6. No Mass Mails

If you receive a lot if demos, you can tell if a mail is writting for you or just copied and pasted. Take the time to write an honest personal message to your desired labels. This will also help you to filter out the countless addtional labels you would have included in you mass messages.

7. Be brief

Keep it short and sweet. A few sentences about you, an equal amount about your album. That’s it. You can share your life story after the label showed interest in your music.

8. Use Soundcloud

Yeah, Soundcloud sucks. I personally don’t like it at all. But it is still the best option to share a streaming link. With things like Dropbox or Google Drive, you can’t listen to all tracks in a row (at least I can’t) and things get even more complicated on mobile. If you don’t have an account, you can just create a dummy account. The only reason not to use it, is if the label requests a different kind of service in their demo policy. Or if there is another service that basically works the same on all devices (and then please let me know what that is).

9. Don’t send out too many demos

In the first round, only chose the labels you like the most and find the most fitting for your music. On souncloud you can see how often a demo was played. If these numbers are too high, it will be in your disadvantage.

10. Share some socials

For me personally, an artist’s number of social media followers isn’t super important. That may vary from label to label. But in general, it is nice to know that an artist is active in some way or another. Just so the label isn’t all alone in promoting a release. It is also a decent way of finding out more about you, should they be interested. I’d say just include links to your 1-2 most used platforms.

11. Don’t send out released music

A link to a release on bandcamp is not a demo. If you want to release your music with a label, keep it secret from the public until that happens. And should you think, that it does not matter if your music is public or private since you don’t have that many followers anyways, you are mistaken. A bandcamp release with no (or only a few) supporter badges underneath it might even give a label the impression that your music won’t sell.

12. Let the label decide how they like your music

This one is really personal, so please just take it as that. But I would highly recommend not writing something like ‘Here is an album that will fit your label perfectly’. The label people will know what they like when they hear it. In my experience, only bad restaurants will mention on their menus that their food is delicious.

13. Don’t let it bring you down

Seriously, don’t. I’ve been on both sides. And I know it can be soul crushing. By deciding to send out demos, you are basically asking the world to hurt you. But a decline from a label (or no answer at all) is not a statement on the quality of your music. Stay on your course and keep at it, no matter what. If you feel the process is too hurtful, think about self releasing your album. It is also a good way of learning more about promoting yourself, which in return might help you to get the attention of a label.


FAZIT: Nehmen wir uns das zu Herzen und halten uns vor die Augen, dass wir keine «Stars» werden und wenn doch einwenig persönliches Fame dabei herumkommt, freuen wir uns dann über das kleine Taschengeld für eine Tasse guten Kaffees! Als kleinen Zusatz zum Lesen empfehle ich: 16 Things to avoid when approaching a Record Label.

Wie vielleicht einige von euch wissen, leite ich ein kleines Label: EndTitles. Jogging House’s Punkt 6 ist allerdings das No-Go #1 für mich. Falls jemand von euch, der das gerade liest, niemals eine Antwort von mir bekommen hat – das ist der Grund. Bleibt persönlich, zeigt dass es euch wichtig ist und achtet, dass die «An»-Zeile einen einzigen Adressaten enthält.


Quelle: Patreon, Productionmusiclive

Review by Headphone Commute

In yesterday’s Out Today column for November 6th, I briefly mentioned a new record by An Moku & Stijn Hüwels, but I actually meant to write a little more about it. As you can see from that very small sampling of music coming out these days, it is absolutely impossible for me to listen to every single album, let alone cover each one in detail. And so the best float to the top. Speaking of floating – it is precisely the feeling I get when playing through this gorgeous half-an-hour piece [in fact, it is often left on repeat, to play for an hour, and sometimes for two]. James Murray‘s newly launched Lifelines digital series of releases has graced us with music, with art, and with words, most recently appearing on these pages with Mathieu Karsenti‘s Downstream Blue EP. And yet this new collaboration between Dominik Grenzler[that’s An Moku’s real name] and Stijn Hüwels is something else entirely. Born out of the exchange of ideas [yes, during this lockdown], Where We Meet is a magnificent exploration of texture and tone, often approaching the spiritual, the angelic, and the divine. Microfibers of elemental particles sparkle and drift through the marvelous ambiance of abundant reverb, expanding harmonics, and minimal piano [?] notes. This atmosphere continuously evolves and moves and whispers, like an early morning mist, spreading substance through vapor and breeze. “Here, on the duo’s first collaboration together, carefully weighted melodic gestures and micro-textured sound design merge effortlessly with long-form, widescreen ambient drone, resulting in a dreamy and beautifully judged display of integrity and restraint.” It’s a gem of a track, even as a single release for the series.  And it’s only enhanced by the art from June Murray and the mastering touch by Ian Hawgood on his analog gear. Give this a play, and I’m sure you’ll be looping this track all through the winter. Lots of encouragement from my side for a full-length release!

https://headphonecommute.com/2020/11/11/an-moku-stijn-huwels-christopher-bissonnette-pinkcourtesyphone-and-the-ideal-setback/