Revisiting Dogmatic Music with the Novation Circuit, PreenFM2, and Moog Sub 37

Posted on May 16, 2017 by John C.S. Keston

I composed this track and performed it live while limiting myself to using three electronic instruments: Novation Circuit, PreenFM2, and a Moog Sub 37. Afterward I added a recording of a Tibetan tingsha bell that I captured using a matched pair of Rode NT5 condensers. The instruments were sequenced using the Squarp Pyramid, which might technically be considered a fourth instrument, but it is not a sound source.

I continually revisit dogmatic approaches to making electronic music and this approach in particular may yield some interesting results. The last collection I made like this was back in 2013 and can be found in the post Builders of the Fauxpocalypse: a Dogmatic Approach to Music Making.

The Taming of the CPU 4.0

Posted on April 19, 2017 by John C.S. Keston

This Friday, April 21, 2017 will mark the 4th event we’ve affectionately titled, The Taming of the CPU. This time we have the privilege of being hosted by the Icehouse Minneapolis. Tickets are on sale now and available at the doors (opening at 10:30pm). The performers include myself, Mike Hodnick (Kindohm), Lucas Melchior (MKR), and Chris Leblanc with Michael Lund doing their famous modular-analog-video-liquid-light show. Expect to hear a broad range of electronic music from Kindohm’s virtuosic live coding to MKR’s Ableton prowess. I’ll be towing an all hardware rig including Rhodes electric piano, Moog Sub 37, a Pyramid Sequencer, and several other bits and pieces. Here’s the official spiel:

Taming of the CPU 4.0 brings together three award winning electronic musicians with two like minded visual artist to create a futuristic, immersive multi-media experience. Huge sounding hardware synthesis is combined with intricate live coding, and lush laptop arrangements while modular video synthesis and liquid light shows are displayed and synchronized to the music.

Read on for more information about the artists including bios and video examples: Continue reading →

Sound / Simulacra: Cody McKinney & Jeremy Yylvisaker

Posted on March 26, 2017 by John C.S. Keston

The Sound / Simulacra series is hosted by myself and Cody McKinney at Jazz Central Studios in Northeast Minneapolis on the fourth Wednesday of every month. If you haven’t made it any of these shows you’re not entirely out of luck. They are all being recorded and I’ll be sharing excerpts here on AudioCookbook. The first event in the series was a duet with Cody McKinney and Jeremy Ylvisaker on January 25, 2017. Their gorgeous improvisations were faithfully captured by sound recordist, Dave Kunath. Enjoy!

Jeremy Ylvisaker is a multi-instrumentalist from Minneapolis, Minnesota. He is a member of the indie rock bands Alpha Consumer (with Michael Lewis and JT Bates) and The Cloak Ox along with Andrew Broder of Fog, Mark Erickson and Dosh. He plays guitar in Andrew Bird’s touring band alongside Martin Dosh on drums and Michael Lewis on bass.

Cody McKinney works with sound by actively theorizing, organizing, practicing and challenging its properties. He studied bass and improvisation under many luminaries including: Johannes Weidenmueller, Bruce Gertz, Jim Black as well as composition under Kirk Nurock, Rory Stewart, Steve Lehman and Diane Moser. Cody’s group, Bloodline, along with John Keston and Pete Hennig, have recently recorded an album due out mid 2017.

Wednesday Performance at the Triple Rock

Posted on December 13, 2016 by John C.S. Keston

This Wednesday I will be playing an improvised solo set of synth music at the Triple Rock Social Club in Minneapolis. I produced this teaser by crossfading a few clips from my rehearsal for the show. The bill, hosted by Hardcore Crayons, also includes Clustercuss and collaborative performances from everyone. Enjoy!

Solo Electroacoustic Piano Teaser

Posted on November 23, 2016 by John C.S. Keston

This teaser for my show tonight at Jazz Central Studios includes a handful of snippets from my rehearsals of the electroacoustic piano pieces I’ll be performing. It’s all acoustic piano with processing that includes delays, live looping, freezing reverb decay, and reverse. The last snippet also includes the use of a felt mute between the hammers and the strings. The tone is much darker, softer, and subdued.