On Monday, July 19, 2010, my latest trio featuring Jon Davis on bass guitar and bass clarinet, Tim Glenn on drums, and me on Rhodes and Sequential Circuits Pro-One, played at the Kitty Cat Klub for the Experimental Music Mondays series.
I recorded the set on my Sony PCM-D50 and applied some subtle mastering with Ableton Live. I’m pretty fond of how the music and the recording turned out other than the fact that the bass clarinet is too low in the mix.
Here are the three tracks of improvised music from the evening adding up to around fifty two minutes. If you like experimental improvised music be prepared to have a long and challenging listen.
My project Ostracon (John Keston and Graham O’Brien) has been selected to perform at the In/Out Digital Performance Festival in New York this September, 2010. The schedule hasn’t been finalized yet, but we’ll be playing either on the 17th or 18th of the month at the Tank Theater, 354 West 45th Street, New York, NY 10036. Last year’s lineup included Monome creator, tehn (Brian Crabtree), and Peter Kirn of Creative Digital Music. From the In/Out Festival website.
In/Out is an annual festival that features leading performers, developers, artists, and tinkerers of the digital design community in hopes bridging the gap between the forum based world and the stage. The festival seeks to bring digitally driven performances into the limelight with two full days of workshops and performances.
This video is a live studio piece shot by Ai student Josh Clos, and recorded at Ai Minnesota by John Keston and Graham O’Brien. It’s representative of the music that we are generating during our live performances. For more checkout the Ostracon tag here on ACB, or visit our bio on Unearthed Music.
The June 28 installment of Experimental Music Mondays starts out with music from EMM regular Terr the Om (Nathan Brende). Terr the Om combines circuit bending and laptop mangling to create glistening, quirky, and bit-crushed on-the-spot compositions with a break beat sensibility.
Next is Siamese Bug made up of drummer TIm Glenn and guitarist Jeremy Ylversaker. Tim Glenn (HeatdeatH, Squidfist) and Jeremy Ylvisaker (Alpha Consumer, Dosh, Andrew Bird) have played together in Fog and Ourmine, Individually they’ve performed everywhere from Sydney Opera Hall to your nightmares. Expect to hear the sounds from contact mics on torn cymbals and vintage transistor interference through guitar pickups and pedal arrays.
The final act of the evening is by noise masters Juhyo. “JUHYO is a collaboration between Minneapolis artists Brian Kopish (Surrounded) and Bill Henson (Oblong Box). Together they create horrifyingly beautiful soundscapes of pure noise. Armed with an array of homemade oscillators, delay units, resonators, samplers and sheer volume; aimed with composition, discipline and conscious, focused intent; JUHYO exists as an entity of creative expression, freedom, subtle beauty and eardrum bleeding power.”
I have converted a Max patch I build into a Max for Live device as an exercise for learning M4L. The original patch is a monophonic step sequencer that I wrote about in Step Sequencer Built in MaxMSP. I ran into some difficulties converting the patch along the way. Although it worked perfectly in Live, for some reason it was causing Live to crash after saving. It was also not storing the values in the Live number boxes, drop-downs, and sliders. The problem went away when I went through the tedious process of recreating the patch rather than copying and pasting my original work. This is a little worrisome since the next conversion will not be so simple (Multitouch Rotary Dial and X-Y Granular Exploration). Here’s an audio example with a little reverb to give you an idea of what it does.
This Saturday, June 19, 2010 from 7-10pm I’ll be performing at the opening night reception for Exquisite Robot, artwork by members of Rogue Citizen.
I’ll be performing solo material under my Ostraka moniker. Unicorn Dream Attack is also making music at the event. This event is free, and open to the public.
“Exquisite corpse” was originally developed as a game played by prominent Surrealists in France. The artists of Rogue Citizen have embraced this format to explore their own 21st century paranoid visions.
They capture the terror and excitement of new possibilities with their shared passions for drawing, experimental imagery and abstraction, playing an old game for a new world. All work in the exhibition will be available for purchase.
Part four of the Experimental Music Mondays series begins at 9:00pm on May 31, 2010 at the Kitty Cat Klub in Minneapolis with Heizerbaum & Panderton featuring Andrea Steudel from MinneapolisArtOnWheels.org, with sound artist Luke Heizerbaum (actually I don’t think that’s his real last name, but let’s go with it). Expect to see some fascinating projections including images from a microscope of a vinyl record as it spins on a turntable.
Next up is Ostracon (John Keston on electronics and Graham O’Brien on drums). We perform generative, improvisational compositions using the GMS (Gestural Music Sequencer), that converts video input into musical phrases. “Keston captures, layers, loops and processes melodic segments in real-time out of the stream of notes created by his gestural input, tailored with probability distribution algorithms. O’Brien accompanies these angular, electronic structures, with dynamic playing that, at times, verges on the chaotic. More about Ostracon can be found at audiocookbook.org and unearthedmusic.com.”
Closing the evening is Twenty Thirteen, “a trio, made up of Chris Robin Cox (Junkyard Empire, Minneapolis Free Music Society) playing electric trombone, Bryan Berry playing guitar through tons of effects and loops, and Kahlil Brewington laying down bad ass funky drums. The music is ambient, yet groovy as hell, and incorporates influences as diverse Portishead, Bitches Brew era Miles Davis, and classic hip-hop, drum n’ bass, and dub beats. It’s like nothing you have ever seen live. The band sometimes performs with a fourth member: a television, which sits facing away from the band, and channels can be changed by audience members; the band providing the soundtrack for a television they do not watch. It’s a bit of a social experiment.”
After installing Java for Mac OS X 10.5 Update 6 I discovered that the GMS wasn’t transmitting MIDI signals to Ableton Live via the IAC drivers. I updated the mmj drivers and noticed that two versions of the MIDI in/out devices showed up in the drop down menus. I removed the mmj drivers and found that they are no longer necessary. This is makes it a little easier to install and configure the GMS to work with Ableton Live, Reason, or other applications. If you’re running the GMS under Mac OS X 10.6 it might be worth trying the latest version of Java for Mac with the GMS v0.11. If anyone gives this a try, please let me know if it works.
This Friday, April 23, 2010 at around midnight I am very excited to be performing a rare solo set at McNally Smith under my Ostraka moniker.
I’ll be using a number of custom developed tools, including the GMS and my tentatively titled WTGM (Wave-Table Glitch Machine).
The event is called Sound Crawl and is being billed as “the official sound track for Art Crawl”.
Other artists include James Patrick and Timefog, Oliver Grudem, and Minneapolis Art on Wheels. More information and a complete schedule is available at:
Martin Inda recently informed me about his collaboration with Mel Mann, and documentation of the piece being performed at Panoramica, Buenos Aires. From Martin:
All of the material is filmed by me with an unexpensive Panasonic Lumix ZS3 camera, then composed in After Effects. The live performance is done with VDMX soft, and uses the audio analysis tool to trigger effects in real time using the sound. The image is composed by 3 projectors. Music: Mel Mann creates his music using synthesizers, samplers and acoustic instruments, like a ukulele and a harmonics flute, which he plays live combined with Ableton.
While reviewing my set for last night’s Ostraka performance, I noticed that using filtering followed by down-sampling produced a robotic vowel like sound applied to synth bass. It’s got a nice vintage vocoder or Speak & Spell graininess to it.
Finding this effect was really an accident, because I had been using this particular effect chain on my master track in this set for a while, but hadn’t stumbled across the settings that produced this sound until last night. Placing the filter before doing the the down-sampling is the key. It does not work the other way around.
Here’s a couple of minutes to illustrate how to apply the effect. I was making real-time adjustments to the frequency of the low pass filter, and the amount of down-sampling. Toward the end I upped the reverb to give it some tail.
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On Monday, July 19, 2010, my latest trio featuring Jon Davis on bass guitar and bass clarinet, Tim Glenn on drums, and me on Rhodes and Sequential Circuits Pro-One, played at the Kitty Cat Klub for the Experimental Music Mondays series. 
Part four of the Experimental Music Mondays series begins at 9:00pm on May 31, 2010 at the 
While reviewing my set for last night’s Ostraka performance, I noticed that using filtering followed by down-sampling produced a robotic vowel like sound applied to synth bass. It’s got a nice vintage vocoder or 