A short film by Gianmarco Del Re about London-based artist-maker Nic Webb. Nic makes spoons and other objects out of green wood which he sources in his immediate surroundings. The film documents the transformation of wood into spoon and features fascinating insights into the ideas that underpin the process. The accompanying music was formed and composed between January and March 2014 and like the green wood featured in the film the raw material has followed a slow process of transformation until it could really work with the narrative of the project.
Nic Webb Artist-Maker from Gianmarco Del Re on Vimeo.
Here is a mix I made for Futuresequence a while back. First and last track by the always incredible Oren Ambarchi – in between the mix follows a circuitous path through shadowed drones, saturated walls of sound and expansive soundscapes. The wonderful artwork which works perfectly with the mood and atmosphere of the music comes courtesy of Michael Waring who runs Futursequence. Some heavyweights in this mix but also some lesser-known artists – I hope you enjoy…
Pascal Savy Mix by Futuresequence on Mixcloud
This is a track I started sometimes last year (maybe in April 2013?) as a study for live performance but for some reason I forgot about it. If I remember correctly, the first version was made in one take with very minimal equipment – TX7 as sole sound source (sine wave patch I’d made earlier), ring modulator MF-102 used as a drive and tremolo effect and a bit of EchoBoy and El Capistan to give the sound more dimension. It’s only last November, when Dan Crossley asked me for some audio to go with his photo and field recording project Sleeping Giants, that I found it again on my hard-drive. I used this occasion to give the track more structure and re-arrange a bit the stems I had until it felt complete. I really like the track as it is now, but I’d like to come back to it at some point soon and develop it further to make a much longer version.
Yesterday I watched John Carpenter’s version of ‘The Thing’ released in 1982. In the movie, the opening scene is accompanied by an ominous bass line which was probably created on an analogue monophonic synthesiser equipped with a resonant filter. This bass line has inspired today’s patch. The TX7/DX7 has no filters of any sort, so I tried to emulate it using algorithm 8 which has one of the carrier operators modulated by a feebackable operator. I used the feedback parameter to give it a resonance-like sound and a quick decaying envelope to emulate the filter part. The other operators are used sparingly to enhance the percussive attack of the patch. In the film, the bass line is passed through a delay which I couldn’t do here because I only want to use the TX7 with no effects for those uploads. To emulate the delay, I created a MIDI sequence mirroring the main bass line and the delayed notes and I reduced their velocity to make them more delay-like. Of course it isn’t identical to the film’s music (and that wasn’t the goal) but it sounds quite big and analogue.