Richard Lainhart, Wavelength (2005)
Richard Lainhart, Wavelength (2005)
“I found this track on a drive while looking for something else. It’s from 2005, and that’s all I know about it – I can’t remember when or how I did it. But I like it, so I thought I’d share it here.”
(from Richard via Soundcloud)
Richard Lainhart (February 14, 1953 – December 30, 2011)
Dear friends of Richard,
It is with a heavy heart that I that I must tell you Richard Lainhart, composer, musician, technologist, filmmaker, and digital artisan died Friday, December 30, 2011. On December 17, Richard complained of pains in his side and was admitted to the hospital for tests which showed an intestinal cancer. He was operated on on December 21. After the surgery (which showed the cancer had not spread), there were infectious complications which took his life on December 30.
He struggled valiantly to overcome his infection, but it was not to be. We are all in shock and cannot grasp the idea of his not making music, talking music, teaching, posting and playing.
Caroline Meyers
Richard Lainhart’s wife
I never met Richard personally but did exchange some emails with him and I was impressed with his lack of dogma when it came to electronic music. On one hand he a big part in the early days of electronic music but he was also embracing making music with whatever software or hardware that best helped him express himself. You can hear more of his music on his soundcloud page and also ImprovFriday members hosted a tribute posted dedications for him last weekend (Jan 5-7 2012).
Richard Lainhart Improv Friday Dedication, Jan 5-7 2011
Richard Lainhart SoundCloud Page
Richard Lainhart, archive.org
Vimeo
Youtube
Synthtopia obituary
Create Digital Music obituary
Quotes
“Lainhart crafts sounds in a tonal, musical fashion – sustained tones, drones, melodic fragments – and electronically manipulates them into beautiful tapestries of sound.” (Waterfront Week)
[His] “music reflects the spirit of possibility that once defined electronic music, bringing with it a sense of past, present and future that transcends time, technology and cultural assumptions. The spell- binding music seemed to evoke feelings that can’t quite be named, and suggest music I might rather imagine for myself in silence than trust most composers to compose.” (The Village Voice).
“He’s evolved a singular vision as a composer, performer and engineer of darkly seductive minimalism.” (Peter Marsh, BBC)
ve been weary of the day a member of ImprovFriday would pass away. In terms of his involvement with ImprovFriday: I could ask Richard to play live for IF and he would literally get back to me within hours and set it up. As most of you know, he also was generous enough to lend a tune for ImprovFriday Vol. 2 and participated in numerous events. We are really going to miss Richard. Next week’s theme will be “Richard Lainhart Dedications”
Richard was by far one of the true contemporary electronic music genius’s and his knowledge of its roots put him way ahead of most of us. Richard’s contribution to contemporary electronic music was immense and his knowledge of its historical applications was legendary. – Steve Moshier
Richard changed the way I listen to music – and there is no greater compliment that one musician can pay to another. He will be missed very, very much. – Paul Muller
Biography (via O-Townmedia)
Richard Lainhart is an award-winning composer, author, and filmmaker – a digital artisan who works with sonic and visual data. Since childhood, he’s been interested in natural processes such as waves, flames and clouds, in harmonics and harmony, and in creative interactions with machines, using them as compositional methods to present sounds and images that are as beautiful as he can make them.
Lainhart studied composition and electronic music with Joel Chadabe at the State University of New York at Albany. He has composed music for film, television, CD-ROMs, interactive applications, and the Web. His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan. Recordings of his music have appeared on the Periodic Music, Vacant Lot, XI Records, Airglow Music, Tobira Records, and ExOvo labels. As an active performer, Lainhart has appeared in public approximately 2000 times. Besides performing his own work, he has worked and performed with John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among many others. He has composed over 100 electronic and acoustic works. In 2008, he was commissioned by the Electronic Music Foundation to contribute a work to New York Soundscape.
Lainhart’s animations and short films have been shown at festivals in the US, the UK, Canada, Germany, and Korea, and online at ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. His film “A Haiku Setting” won awards in several categories at the 2002 International Festival of Cinema and Technology in Toronto. In 2009, he was awarded a Film & Media grant by the New York State Council on the Arts for “No Other Time”, full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four-channel playback, and high-definition computer-animated film projection.
Dave Seidel (Mysterybear), Following a Line Part II (2011)
Dave Seidel (Mysterybear), Following a Line Part II (2011)
“Another improv, this one for the ImprovFriday Jan. 13-15 session. Auduino, FM2 and FM3 Buddha Machines, Memory Man delay box, MoogerFooger ring modulator. Trimmed at the beginning and end.
This track is also available as part of the “Following A Line” release on the mysterybear netlabel:”
Jaime Fennelly (MindOverMirrors): Gearlidine (2010)
Jaime Fennelly (MindOverMirrors): Gearlidine (2010)
Mind Over Mirrors is the solitary reeling of American harmoniumist/electronicist Jaime Fennelly. Known primarily as a founding member of transatlantic gothic junk folk expressionists Peeesseye, and psychedelic free jazz trio Acid Birds, Fennelly developed Mind Over Mirrors while living on a remote island in the Salish Sea of Washington State from 2007 – 2010. Utilizing a custom made Indian pedal harmonium, oscillators, tape delays, and an assortment of synthesizing guitar pedals, Fennelly bends slowly-building, repetitive melodies into massive sonic mountains, that fits somewhere between American Primitive, Drone and Kosmische aural territory, and as XXJFG eulogized, sounds “like some drum-less-techno titan stalking the sand blasted bazaars of a near-future, eastern city.”
mindovermirrors.com
facebook page
http://www.sswilloughby.com/
Derek Rogers: Boxing Demons in Sleep (2010)
Derek Rogers: Boxing Demons in Sleep (2010) “I wrote this piece to demonstrate the five phases of sleep; that is, the moment of awareness before relaxation, the transition from lighter to heavier sleep, and the creation of dreams in the final REM sleep stage. ‘Boxing Demons In Sleep’ was created utilizing guitar, synthesizer, and electronics [...]
JC Combs: The Drone In My Life (2010)
JC Combs: The Drone In My Life: (2010)
Dark, mysterious combination of piano and menacing ambient atmospherics fashioned from processed piano sounds. Creates a feeling of anxiety as if in an alien cityscape at night. Tension builds nicely by the restrained suspension of long tones.
Here is what JC Combs writes about this piece:
“The Drone in My Life” is from a small scale set called “Affliction Suite ” … The piece consists entirely of piano improvisation, including the inside of the piano. As with the other works I employ post-improvisation (what I and others nowadays refer to as re-composition) techniques via audio tool platforms. As for its form, its split into two sections. The first showcasing free piano improvisation with the drone backing up the piano, and the second half where the drone permeates the piece – as the title suggests. Of course, I strive for some humor in my works, in this case the title word play on Feldman’s “Viola in My Life.”
James Ross-Undifferentiated Light (2010)
James Ross-Undifferentiated Light (2010)
Solo electric guitar and Boss RC-50 looper. Inspired by Aldous Huxley’s 1961 MIT lecture, “Visionary Experience.”
Undifferentiated Light by jrossmusic
James Ross at Goodbye Blue Monday, on Fri., August 20.
also performed (on video) were Alex Carpenter and Michael Waller with help technical help from Richard Lainhart, Jim Goodin and the folks at ImprovFriday for helping to make it a great night.
From Honey to Ashes – Baby Bats
Baby bats is an improvised performance from Jeremy Keenan, Matt Lewis and Edgar Curtis, otherwise known as From Honey to Ashes.The sound world is created through a combination of foley, granulation, comb filtering and audio pops and clicks. Real-time rhythmic synchronicity is achieved between players by using a central network through which patterns are passed around and instruments are interconnected.
Paul Bailey: Music for Controllers V (2009)
Paul Bailey: Music for Controllers V
via paul bailey:
“improvisation performed and recorded live created by using various “controllers” (macbookpro, ableton live, korg nanokey, iphone, (buddha machine and srutibox) originally performed on ImprovFriday event. October 16th-17th 2009″
Music for Controllers V by paul bailey
curated by Shane Cadman
Alan Morse Davies: The Sontaran Experiment in the Style of Jóhann Jóhannsson (2009)
The Sontaran Experiment in the Style of Jóhann Jóhannsson
notes via alan:
“Just a bit of fun… I was playing around with how Jóhann Jóhannsson uses little splashes of a melodic motif bound together with big tracts of connective tissue, and I had the idea of linking it with one of my favourite Dr. Who epsiodes where the Sontarans travel back in time to made DaVinci paint multiple copies of the Mona Lisa in order to make themselves rich in the future. The explanation probably over-hypes the result by some order of magnitude.”
alan morse davies (wordpress.com)
curated by paul bailey
thanks also to marc weidenbaum’s excellent site disquiet.com for introducing me to the music of alan morse davies (and many others)
Richard Lainhart: Autumn Afternoon With Rain (2009)
Richard Lainhart: Autumn Afternoon With Rain (2009)
“a realtime improvisation for electric guitar with laptop processing”
originally posted on ImprovFriday, October 9th-10th 2009
Randy Gibson: Mujeres de Juárez (2009)
Randy Gibson: Mujeres de Juárez (2009)
from http://randy-gibson.com/v+sw/
“Voices + Sine Waves is a collection of short works by Randy Gibson written over the last 10 years. These works represent the most primal and basic of materials; voices ethereal and guttural; sine waves pure and distorted. Most of these pieces have been scores for short films or dances, but exist on their own as recordings of a single performance.”
Performers on Mujeres de Juárez: Laine Rettmer and Randy Gibson
Dave Seidel (mysterbear): A Door Into Spring (2009)
Dave Seidel (mysterbear): A Door Into Spring
Description
A rhapsody in distressed metal.
Duration: 9:14
I made a recording just under seven seconds long of the sound made by the spring inside my dishwasher door when it’s opened and closed. Then I slowed it down to a bit over nine minutes in duration and played it back in six layers, each at a different pitch. The layers are staggered low to high, making it a canon. Besides being time-stretched and pitch-shifted, the sampled sound has also been filtered, compressed, and reverbed, all in a few lines of Csound code. No other sounds, sampled or otherwise, were added.
(For the sake of completeness, I recorded the sample as a stereo 96K/24-bit WAV file using my Zoom H4 recorder. Then I used Audacity to trim it and convert it to mono before using the sample in Csound.)
Files/Downloads
MP3 (21MB, 320kpbs, 44.1/16)
FLAC (24MB, 359kpbs, 44.1/16)
Original sample and Csound orchestra/score (2MB)
via david toub
Dave Seidel: Nur (2009)
Ecstatic light: a virtual dhikr.
Duration: 7:50
Nur by mysterybear
www.mysterybear.net
from mysterbear.net
“This is my first SuperCollider (SC) piece. Having just put out a CD-R release, the result of three years or so of working with Csound, it seemed like a good time to try something new. Another excuse for experimentation was provided by an invitation to participate in the first show in the Unique States series. As I prepared for this event, I ported my Csound Risset harmonic arpeggio instrument to SC and started playing around with it in real time (something which is much easier to do in SC than in Csound). This piece is what emerged. I performed it for the first time at the Unique States event at BUOY in Kittery, Maine on Friday, January 9, 2009.
While it is intended to be performed live, I have included a rendering of the piece (available below) for people who just want to listen. If you use SuperCollider, and would like to try this, the source file (also available below) contains comments that explain how to play it; you should find it quite straight-forward. (Please note, if you are an SC aficionado: I know that the piece could have been written more compactly, but I am still a newbie, and I chose to err in the direction of directness, simplicity and readability as opposed to elegance. Plenty of time to get fancy later.)
The piece itself is no radical departure from my previous work, but continues to explore some of the things I find interesting, in particular the use of interference patterns to create subtle rhythms, the tension between stasis and constant change, and the power of perfectly tuned consonance.
If you listen to this on speakers (as opposed to headphones), please turn it up — the sound should fill the room.”
Adam Kondor: I’m Angry and You’d Be Too
