OEM: What is Organic Electronic Music to You?

Sometime in 2007 I came up with the term, “Organic Electronic Music” to describe music I was producing with bassist Nils Westdal in our project, Keston and Westdal. I’m sure that I wasn’t the only person to think of this combination of words, and in fact, a quick search reveals several artists, labels, and others using the phrase. Our use of the phrase was a reaction to our distaste for genre labeling. In hindsight it would have been sensible to define the meaning of the phrase there-and-then, instead of simply using it in a few descriptions for tracks and albums.

In any case I found myself thinking about this recently and decided that it wouldn’t hurt to define what I mean by the phrase and perhaps discover some new music that ACB readers feel fits into my definition. In my view any style of electronic music can be considered organic electronic music (OEM). Dub step, house, downtempo, experimental, or even minimal techno can be “organic” as long as the music meets one or more of a few simple criteria. Click the link to read my brief list of parameters.
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Video: Duet for Synthesizer and the Washing

Note: This video was produced with binaural sound. Please listen with headphones to experience the binaural effect.

In this “duet” I am using the Korg Monotribe to join in with the laundromat ambience as if it were a conscious participant in an improvisational ensemble. The activity in the space produced oscillations that caused sound waves forming drones and rhythmic patterns. I responded with basic oscillators like pulse, saw, or triangle waves. I manipulated the filter, LFO and pitch to create more complex textures that alternately blend and contrast with the ambient sound.

The ambience was recorded with a set of binaural microphones. When wearing stereo headphones the playback of a binaural recording accurately positions the direction of each sound for the listener, immersing them in the spatial soundscape. In contrast the synthesis was recorded in mono, without additional processing. This simulates a process called phonomnesis, or imagined sound, by placing the signal in the center of the listeners sound-space.

Concept, Music, Sound: John Keston
Camera, Binaural Head Model: Web Baker

Diego Stocco at the Art of Music in LA

I have recently become aware of an excellent sound design and music event series held at the Bleicher Gallery in Santa Monica, CA. The series is titled The Art of Music and on March 25, 2012 they will feature a showcase by one of my favorite sound artists, Diego Stocco, as well as a performance by Nat Evans. The purpose of the series is to present “…an oasis in Hollywood for criminally overlooked music, giving media professionals a unique chance to discover new resources, discuss upcoming projects and forge new creative partnerships.” Checkout the details at artofmusicla.com.

Eyeo: Using Digital Imagery to Generate Sound

The first ever Eyeo Festival was last June and the second iteration looks to be just as amazing as the last. Here’s a video of a presentation that I gave at Eyeo last year on using digital imagery to generate sound. I also have the HTML5 slideshow available (use the left and right arrow keys to navigate). A big thanks goes out to Dave Schroeder for creating Eyeo and sharing these videos.

Barrio Drop

I’ve had the week off from work so I’ve been able to spend some late nights in the studio. This piece was recorded and produced in only two sessions – long ones. I put aside my usual spastic bass playing and used a different left hand muting technique making for a more earthy or woody tone. I wish I could say I was even close to having a vintage synth collection such as John Keston does but I’m not even close. In this track I’m mainly using Analog Factory. All of the drum sounds were sampled and then programed with the exception of my skillfully played shaker! Barrio Drop is just a working title for now.