Posts Tagged ‘Synthesizers’
September 19, 2016 | by Dan Piepenbring
Don Buchla invented some of the first electronic instruments—not synthesizers, he insisted, but electronic instruments. To him, the word synthesizer implied some attempt at emulation, as if these new machines could do nothing more than imitate preexisting sounds. Buchla believed that his inventions offered an aural palette every bit as distinct as a trumpet’s or a clarinet’s. It was only marketing that made listeners hear something derivative in them.
“An instrument has to exist long before performance techniques can be developed and a repertoire arises,” he told Keyboard Magazine in the eighties, explaining why there are so few new sounds in the world:
Because of this, the market for the instrument doesn’t exist for many years after the R&D that goes into developing a truly new instrument. With short-term profits a primary motive, the big corporations are simply not interested … When you open up those other possibilities, you'll alienate the people who are coming from a rock-band orientation and want instant gratification. They don’t want to have to figure out some other relationship between their actions and the instrument’s response. Read More »
June 25, 2014 | by Bob Stanley
Recalling the heyday of Prince and Madonna on the thirtieth anniversary of Purple Rain.
Twenty-four-hour music television, the brainchild of a TV-spawned pop star, the Monkees’ Michael Nesmith, began broadcasting in August 1981 with the Buggles’ “Video Killed the Radio Star.” MTV was everywhere within eighteen months. If new pop and postpunk had gleefully and rapidly rewritten rules, taking music forward in a constant revolution of purpose and invention, their aftermath was an era of momentum for its own sake. Things got ever shinier, greed and need replaced innovation: conservatism was a force and a problem both outside and within eighties pop.
Two new names appeared in this froth of newness. Both stood out from the crowd, both clearly demanded attention, worship, devotion: Prince and Madonna. These were names that couldn’t have existed at the dawn of modern pop, names that baited royalty and religion.
Both based their sound on electronically processed dance music, allowing them the opportunity to change style from record to record in a way that seemed innovative, one step ahead of the pack, like Dylan or Bowie before them. Both had egos the size of mansions. Both had a new hunger for success, for money. Both used MTV to become stars, and both used movies (Desperately Seeking Susan, Purple Rain) to make the jump from stardom to superstardom. Sex! Religion! Gigolo! Whore! Purple! Cone bra! No one could accuse Prince or Madonna of underplaying their hands. And, eventually, both challenged Michael Jackson’s place at the very top of the pop empire; by the eighties’ end Madonna had (arguably) toppled him in the popularity stakes, and Prince had (certainly) creatively eased past Jackson with the most streamlined, silver-finned R&B of the decade. These were their similarities. In other respects they were quite different.
Prince had first appeared with the itchy falsetto disco of “I Wanna Be Your Lover” (no. 11, ’79) and was presented—not least by himself—as a teenage prodigy. He grew up in the largely white city of Minneapolis: “The radio was dead, the discos was dead, the ladies was kind of dead. If I wanted to make some noise, if I wanted to turn anything out, I was gonna have to get something together. Which was what we did. We put together a few bands and turned it into Uptown.”
He wanted to be everybody’s lover and—unlike most disco acts—was quite at home with lyrics about oral sex, incest, and Dorothy Parker. This set him apart. By 1983 he was channeling Sly Stone and the Beach Boys on “Little Red Corvette,” and a year later Newsweek was calling him “the Prince of Hollywood” as Purple Rain—starring Prince as the Kid—grossed $80 million. Read More »
April 4, 2014 | by Dan Piepenbring
Andrew Pekler is an electronic musician based in Berlin; Resident Advisor has described his music as the “cold alien groove of a midnight jazz café reemerging in the world of clicks and bleeps.” I came to him by way of a video, “Composition No. 1 for Electronic Toothbrush, Voice, and Synthesizer,” in which he plays a Philips Sonicare toothbrush—with his mouth, in the usual way—to harmonize with a Moog Prodigy synthesizer. It’s an entrancing wash of beautiful, dentally hygienic sound.
Pekler works primarily from found materials. His latest album, Cover Versions, draws from the music and imagery of postwar exotica records—those kitschy aural forays to faraway lands, rife with congas, vibraphones, and theremins. With an eye toward a certain aesthetic, Pekler bought dozens of secondhand records and appropriated their music and their covers for his own work. Cover Versions was printed in a limited run of three hundred (all of them, alas, long since spoken for), each with its own individually designed cover; featured here are thirty of Pekler’s favorites. He explains his process: Read More »
January 15, 2014 | by Lary Wallace
The way the story most often gets told, Marvin Gaye with What’s Going On (1971) liberated himself from Motown’s formulaic method of music-making and achieved total artistic independence, whereupon the music—if not, to be sure, the man himself—went on to live happily ever after. But the story gets told incompletely, because What’s Going On was only the start of it—it was how Gaye leveraged the potential for his independence, but it wasn’t how he ventured out and completely seized that independence. To tell that story, you have to tell about Trouble Man.
It’s a story that can now be told more elaborately, with a wonderful fortieth anniversary reissue of the original album, complete with some newly released material and a supplementary booklet. Trouble Man is absolutely sui generis within the Marvin Gaye canon for being not only a blaxploitation film soundtrack—the only film score he would ever do—but for being jazz-based and largely instrumental. The booklet does a commendable job articulating Trouble Man’s importance, while the artifact itself sings, as always, with perfect eloquence to the same thing. Except that now it sings even better. Read More »