BOXING: Everything You Need To Know (And For A Good Cause)

To celebrate the 10-year anniversary of my first project Boxing, I will donate ALL proceeds of your $10 CD purchase to Programa Sueños. This is a new charity created to assist and promote education for low-income children in Guatemala spearheaded by my friend Jazmin Carrillo. You can read all about it here.

What is Boxing? Now for the history.

Boxing was recorded in NYC between 1999-2001. Here is the original synopsis from my first website.

“Boxing
is a recording of instrumental music for guitar, bass, and drums. The idea originated in 1998 out of necessity/want for timekeeping while [literally] boxing. It eventually became a piece about format, overstimulation, and polytonality. The recording has nothing to do with sports, but uses boxing [metaphorically] as a parallel [re: vehicle] to transcendence. I wanted to do all that and still rock.”

My present-day edits are in brackets. I’ve become a better writer since then.

The format depicts a 12-round match via 3-minute “rounds” and 1-minute “breaks”. Pieces are titled as they are numbered 1-12. There (also) is an overall arc of activity: the bombast/exposition of Round 1, the open-throttle chaos of Round 6, the utter blackout of the last 11 minutes. One should refer to this graphic: it is the play-list.

The instrumentation is intentionally singular: guitar, bass, and drums. There is quite a bit of processing/design to it and (as much as I tried to stretch it) its monochromaticism is intentional theme-glue. Boxing takes genre cues from (only the many) punk, shoegaze, motorik, minimalist, noise/ambient areas. The iTunes Store files it under Classical and you can get it there as well.

There are some production flaws but you don’t rewrite your diary.

As if this wasn’t ambitious enough, I’ve decided to make a Boxing film. Here is Round/Break 1. You can also see it on my Vimeo and YouTube pages.

Thanks and enjoy!

 

 

 

 

 

Sound-film #1

Here’s some new sound-film action. Also on Vimeo. Enjoy!

Old (2005) Video Project

Artist/Musician,Graphics,Video Art — admin @ 8:35 pm

I just felt like posting something besides music.

These are collages using stills from a silent video project. The film uses shots of 4 different angles of moving railroad tracks with terminally saturated contrast. Shots were cut to specific lengths (8 frame multiples), numbered, and randomized. Any time the randomizer threw out 2 consecutive and equal frame-counts, I inserted a corresponding (third) black shot.

It’s definitely primitive. I made it on this computer (iMovie) in a couple of hours using LIRR footage = no great shakes. But I do like destroyed pixelated messes. Click here for the video.

 

Experiment #1 “Winter”

Artist/Musician,Video Art — admin @ 4:18 pm

This is another experiment in visual music using expressions in AE. Mistakes were made but I’m learning. One “mistake” was using very still shots; these are footage not stills. The original intent for these was using them as is. Whatever is lying around, I’m a big recycler.

There are 3 elements: the big(ger) transients, the low glissy drones, the metallic crackles. The transients trigger embossing, the low drones trigger red and blue drift via left and right channels, and the metal triggers the grid-like shutter parameter.

What I’m learning is: this whole format may be better served by creating sounds that will support visual transformations, rather than create stand-alone audio collages (“music”) and assign the “parts” to visual parameters. Not every sound deserves to transform.

This piece fails in the sense of: having a good concept or arc. There is the loose theme of winter shots (again, whatever is lying around) but it goes nowhere. But I can own the fact that good experiments often succeed by failing.

[u]ntitled

Since starting [P]LOSIVE my interest in AE (video in general) has continued to take permanent hold. I’m especially interested in multi-track audio to keyframe conversion (re: multiple comps) with expressions.

This is a simple test (mistakes and all) using the pick whip and basic/slightly modified scripting but the ideas are there. The color palette/shape set is very kindergarten but I just wanted to have some visual separation. The still graphics are the sources.

I’m (still after 3 years) just scratching the surface but am totally hooked.

[P]LOSIVE

Production Music,Releases,Video Art — admin @ 9:33 pm

I’m pleased to announce a new audiovisual project called Plosive. Here is the bio as ripped from our website and two video pieces I created for the launch.

Plosive is the duo of composer/sound designers Chris Jones and Flavio Lemelle who produce cinematic, forward-thinking electroacoustic music.

The music is created in two stages. First, there is the formulation of the sonic raw material. These sounds can range from organic (acoustic instruments, field/concrete/found sounds) and digital sound design abstractions using state-of-the-art software.

Employing innovative approaches, the material is then manipulated and molded into sound gestures that are arresting in their own right, and then arranged into visceral, evolving, epic widescreen experiences.

Their debut release “Acts” is an engaging and immersive excursion into 16 compositions, each split up into 3 sections covering all of the sonic and musical possibilities.

We’ve been working on this project since November of 2010 and are exclusively represented by Immediate Music. ALL licensing inquiries should be directed toward them.

Plosive [P] logo, music for Churning, website: Flavio Lemelle.
Films / Animations, music for Memorylock: Chris Jones

Complete Walking Loops

Artist/Musician,Video Art — admin @ 5:09 pm

I like simple animation using pics and image sequences rather than real-time video. These were created with a Blackberry Curve 2-megapixel camera while walking. I like the exposure/shutter defaults; it kind of has an old look. Point: Since the “motion” is created in your mind (analog) rather than a video camera (digital) the “motion” looks better. The only catch is: We can’t make those connections in real-time; time must be sped up so our brain takes those higher sample rates.

These will also make cool visuals at parties.

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