Ambiglitch - NintyScreen - Hi (File, Album, MP3)

AmbiBox Settings: 1. Use backlight: Checked 2. Mode: [Software] Screen capture 3. Method Of Capture: Usually keep default 4. Maximum FPS: 40 anything of 30 is fine 5. Device: Adalight 6. Glitchy static 3 - mp3 version Glitchy static 3 - ogg version Glitchy static 3 - waveform Glitchy static 3 - spectrogram Glitchy static 3. Another glitchy static probaly the glitchiest one of them.

System Sweep. System Interruption Corr A Corrupted signal noise. Glitchy Musical. A glitchy static sounding like a glitchy musical.

Glitchy static 2 - mp3 version Glitchy static 2 - ogg version Glitchy static 2 - waveform Glitchy static 2 - spectrogram Glitchy static 2. This works through periods of low humming spiral and layered pulses. Anybody who was at the recent Japanorama concert in Sheffield will be familiar with the concept of this album. Ikeda works in pure sound through digital recording processes, setting up a drone which imperceptibly changes, although more dramatic alterations can be made simply by making slight movements of the head.

It almost works like a homing device or a mechanism that allows sound to obliquely identify space or our relationship inside a space. It works the way Aube does with mounting waves of logarithmic tympanic dishevelment and a condition that can only be described as diuretic and constitutionally destabilizing. I mean this material just sits inside and plays with your marrow.

It moves from the initial notion that this will be annoying to something very satisfying, very moving. Perhaps something like the visual effect of a Rothko painting on our The Japanese contemporary tone musicians have an incredible ability to find beauty in austere Zen-like self-restraint.

Ikeda is the reigning master of what might be called ambiglitch. Unlike most of the artists who make their music from the sounds of skipping CDs, computer malfunctions, and other technical disasters, Ikeda works at the edge of rhythm and sometimes even audibility, using his clicks sparingly over shifting patterns of jostling low tones.

This can have a Cagean effect; the rattle of my heating pipes never sounded more musical than when the first of these two discs was playing. No instructions, either. A divided offering; will couples break up over which disc each one prefers?

Matrix bildet den Schlusspunkt der Trilogie auf Touch. Wie es wohl weiter gehen wird? Matrix for rooms , die erste CD, ist reiner Sinus. Zehn Variationen der Wellenform, die an allem Schuld ist. Sonische Therapie, nach der man nicht nur taub sondern auch generell mehr als geheilt ist.

Zeit und Raum, stehen, liegen, schweben, wer, wie, wo, was…alles komplett egal. Matrix is the last part of the Touch trilogy. How will it continue?

Time and space, standing, lying, floating, who, how, where, what … nothing matters. This two CD set, a hour and a half total, serves two purposes, as an environmental art work and hypnotic, trance-inducing meditative exercise. While most music seems to lose its gestalt when the listener distances himself or herself, here the sounds morph, changing pitch and frequency, becoming even more complex and interesting.

Each subsequent room with its independent acoustics provide yet another set of sounds. One is able to change the sound by walking through the listening area as well as simply shifting the listening position.

This sonic building — a virtual auto-interactive sound world of complex micro-rhythms? The sounds are set in layers to send the listener and their environment out of their current space and into another — or others as the sound field is moved around, within, across even. Matrix [For Rooms] makes up the hour-long CD1 of the set, and really does take hold of the space in which it is listened to, riding on microtones and tails of tones.

Where the stero spectrum meets is where the action is; trun the balance one way or another and a more singular drone falls back, revealing the harmonic interplay through its absence.

Wobbly, warbly, thrillingly dynamic over ageless stretches of time in a suitably Zen manner, and occasionally beautiful too. Systems music? Yes please! CD 2 has big lowering rhythms to wade through, a veritable bath of bass and the highest of squeaks. The space between jumps with implied and real energies, making for one of the more luxuriously-imagined mathematical soundscape compositions of these times, to recombinant effect as the glitches and bleeps take hold.

Matrix is the CD of ideal choice for anyone in possession of one of those cars with ultra-violet lights attached to the underside and huge great bass bins which are known to cruise city streets by night, blasting all and sundry with the appalling low-end residue of Swingbeat and Garage. Or even better, one of those quad bicycle-powered sound systems seen at street parties. Perfect revenge on anyone who has inflicted Top Ten misery on the neighbourhood — take Matrix for a spin around the block, laze away the summer daze in the garden or on the porch, experiment with the acoustic properties of the serried ranks of wind-tunnel towerblocks and railway arches, or simply pop it on in the kitchen while washing some dishes.

To dispel any initial doubts there may be regarding its nature let it be said that this is no clinical or scientific exercise. The tones are sensuous and invite interaction. They bathe the room if played at sufficient volume and create moir? The tones also pulsate, alternately reinforcing and cancelling, and set up arhythmic parabolic movements like those of a faltering gyroscope whose spin has spun out.

The work is insistent: it demands attention and a willingness to vary the listening position. Not surprisingly the effect is lost and is altogether less engaging read: flattened on headphones. However, small effort and some tenacity is amply rewarded.

Ikeda deploys thudding heartbeats and microscopic pinprick clicks to equal effect; bleeding together pulsating tones, hisses and blinking LEDs he makes full use of the stereo plane.

The ten parts can be taken in in one perfectly measured sweep. Easy listening. I saw Ryoji Ikeda doing his thang live at the Queen Elizabeth Hall some time ago — probably at start of year His music makes a lot more sense when played over a massive PA and with no restraints on the volume — which equals no respect for the eardrums and nervous systems of the listeners.

They penetrate your barriers with a precision that is matched only by the cartographers of the arctic waters. The second visual feast was slowed-down footage of young Japanese workers in the Tokyo underground system.

Whoever made this video was mainly interested in the white walls of the subway; the human beings were literally framed out of the picture. Nonetheless, they were there. It was halfway between an art installation and an advert sponsored by the airline — which in real terms is probably where Ikeda-san would like to be, both monetarily and aesthetically.

The packaging of this new release is spartan — back to the basics that characterise his other release4s for the Touch label. Op-Art style. Well, that shows you how much i know. Absolutely nothing! The high tones and bass tones are as ferocious as each other, and round here they caused every plate in the house to tremble in fear including my dental plate, you young whippersnappers. The sounds proceed to reverberate inside your head as they slowly fill up your room.

The idea is that you move around inside your dormitory while the disc is playing, thus transforming the pitches accordingly to your personal needs and desires. Not a new trick, as Charlemagne Palestine, Sachiko Matsubara and others will inform you, but still rendered extremely effectively.

A CD like this would make a good trap for destroying my enemies; if i could play it to them loud enough, in an underground chamber, it would shred them alive, slice by slice. There are at least three enemies at my workplace who need destroying; if anyone out there would care to join my revenge squad, please get in touch care of this magazine. De Japanner Ryoji Ikeda heeft sinds begin jaren negentig terecht een bijzondere plek binnen actuele elektronica verworven.

Added co-vocalist Carla Harvey : "When we were thinking of titles for our album, we wanted to find something that embodied sensuality, lust, danger and power. We kept going back to Lilith. We researched Lilith and her origins in different cultures and forms and knew that this figure, once feared but now a beautiful, symbolic middle finger to repression, would be a perfect representation of our album.

I couldn't be prouder of it. I think there's four songs where we do predominantly singing on it. And normally that would scare even me, 'cause I'm, like, 'I'm a metal girl!

I don't wanna be singing. So it's kind of ballady, but not too ballady.

COOL WC by odaxelagnia, released 14 June 1. COOL WC intro 2. grotbersjosthoddfessilk.idderremicawargazanpiekomsymplead.co3 3. hurrsigh 4. 30 minutes 5. 3hedonist5u 6. Auf Wiedersehen Monty (breakcore remix) 7. NES Theme (bend-hop mix by EsentPie) 8. cold toilet 9. Zuzia Le Face Face (not actually a finished remix) daddy odchód Guilt (feat. pHate) Le Face Face (another not really finished remix)

8 thoughts on “Ambiglitch - NintyScreen - Hi (File, Album, MP3)

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