FlAsHcOrE ?!?!
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- joni_speedbass
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FlAsHcOrE ?!?!
by joni_speedbass » Mon Dec 10, 2007 5:45 pm
any body into the "flashcore" sound ?
theres few interesting things on the web about it, cant seem to find owt about flashcore on here so i thought id post some of it up :
interview taken from http://www.scottishhardcore.co.uk
http://www.scottishhardcore.co.uk/inter ... terview=16
LA PESTE, owner of the Hangars Liquides record label, is an electronic music composer/producer who's works comprise of experimental sounds with Hardcore-esque elements. A true musical artist, La Peste defines his work as 'Flashcore', opting for his own brand of noise which he releases through his Hangers Liquides label in France. With his recent performance in Glasgow casuing such a stir we tracked him down to ask the man a few questions on what it is that he does so well....
1. So La Peste, how long have you been making music for and where did this fascination for experimental sounds come from?
As a child I was singing to myself kind of 'violent' ritournelles inspired by the Atlantic ocean, war aircrafts, or thunderstorms. I followed the Conservative courses, but it ended in depressing me by realizing it'd take so many years to have an orchestra playing my imaginary works. With the democratization of electronic music in the early 90's, I realised I could hear the soundscapes I dreamt of with no intermediaries, and this was a true revelation. By the end of 1996, my 1 Gb macintosh hard drive was mostly occupied by files generated on sound edit... But my very first solo published track was released two years later. I am fascinated by unexpected sounds, since I believe the only way to reach a contemplative state is to feel detached from the object of our thoughts. If something is integrated by our representation schemes, however, we cannot freely let our mind fly. That's what happens when you hear a voice in a track, if you're high - you can't stay.
2. You've been quite bold in your choice of musical direction by tackling the often discredited styles of Hardcore and Experimental Electronica, what is it about this kind of music that appeals to you?
There is a word used to describe sounds from which you cannot tell where they come from : acousmatique. To me it's like the gravitationnal force of a black hole, there are no lights at all around it, and I am attracted into it, absorbed by the energy of the unknown.
3. Do you feel an attachment to the European Hardcore scene or would you regard yourself as more of an experimental artist?
I feel european, from a socio-historico-psychanalogical standpoint, but that's all, I have nothing to do with the "European Hardcore scene". What does this mean ? I don't know. Two weeks ago I was told that sometimes in the UK, Hardcore refers to something I'd personnaly call fast dance. In France, what they call Hardcore has become a big fluffy cheesy gabberised shit, with pseudo dark (very funny imo) anthems. 10 years ago I remembered moments during parties where people were wondering what the fuck was happening to them, because of the audio waves reaching their virgin souls, it was then used to say : "that's hardcore". Now this word is overused, as is breakcore btw, it refers to anything that is supposed to be harder than something else (?). This is well too vague for describing things. The word experimental is generally used to qualify a scientific procedure, I'm not in a computer science student approach. Call it avant-garde or anything else, it is an artistic CHOICE - even if the sound results are sometimes far out of my expectations. As a live musician or a composer, each second I must wonder what is my intention.
4. I'm sure many people ask you this but could you maybe explain to us what is 'Flashcore', and what would you like people to take away from your particular brand of music?
Flashcore is the name I'd give to a sound art that relies on the computer’s increasing speed to go beyond the idea of musicality with the ambition of moving air molecules to widen the field of consciousness. Music is thought as a mental/spatial experience, experimenting the possibilty to travel multidimensionnally, opening or closing spaces which do not necessarily fit with an euclidean representation. Also, whilst the aesthetics of power electronics or sound installations rarely integrate the time factor, duration is an essential dimension in flashcore. I tried to tell it with my words at the HL website opening page. I believe the Universe itself is a miracle, there could have been nothing instead. Being astonished by the infinite complexity of the universe is, to me, the best way not to fear death. I want the music I release to celebrate the beauty of that complexity. If it works on people, then I am really happy. Flashcore is made to be wasted.
5. Your label, Hangars Liquides, has made quite an impression on people around the globe, where would you like the label to progress in the next few years?
Horizon is too wide and complex that it would lead to mistakes to follow one only direction. HL has not any marketing plan.
6. Are there any producers/labels that are impressing you just now?
My masters are : François Bayle, Bernard Parmegiani, Iannis Xenakis, György Ligeti...
7. What's your opinion on the European Hardcore, or at least the Speedcore, scene at the moment?
To my ears, most speedcore is definitively too basic. I'm not interested either into pseudo-arty broken bits. It's a pitty when the audience is getting trapped into poor music sequences.
8. Your performance the other week at The Big Joint here in Glasgow was (IMO) amazing. How important is performing live to you and what do you use for your sets (hardware/software I mean)?
Live is essential to me when comes a moment music is broadcast on a big sound system, with people gathering to celebrate the emergency of life. At that specific time, I think it's a an imposture to "play" something pre-programmed. I feel it as an existential obligation to give a real live performance. To do so, I use Ableton's live that I configure so that it allows me to really play it, as a meta-patch packed with audio and midi data feeding customised plug-ins and virtual synths. I like to use flexible softs, such as bidule, which allow me to have a tweakable matrix with extensive modulation capacities. I spend quite a lot of time designing patches to turn my live set into an instrument I can 'fly' with the ambition of going at the place I dream of at specific moment in time. Everything fits in a powerbook, a firewire audio interface and 2 usb controllers. I have never brought kyma on stage, but I plan to do so at the end of the summer.
9. I hear you're staying/working in Glasgow at the moment, how are you finding life in Scotland? What do you think about the electronic music scene here?
I was in Fort William in fact. I wished I could have had time to at least climb the Ben Nevis, but I did not. When travelling from there to Glasgow by train, I discovered how beautiful those landscapes are. I would really like to come back and play at an open-air concert in the Highlands! I've seen much more of Loch Line's marine life than the pubs, in fact I can't tell you much more... I expected the weather to be much colder, in fact I found it quite warm to be honest, in comparision to a winter in the Pyrennees - where I live. I have no idea about the Scottish electronic music scene, I guessed it's mainly a club scene, isn't it ?
10. Have you tried Buckfast yet?
I did not !
Big thanks to Monseuir La Peste for taking time out to answer my Q's
For more information on La Peste you can visit his label's website @ www.hangars-liquides.com
Interview by Flood, March 2006
© 2006 scottishhardcore.co.uk - No un-authorized nicking
err this 2 taken from http://www.flashcore.org/
WHAT WE CALL FLASHCORE IS WHAT WE'RE ON ACTUALLY... ///
COMPUTERS'S INCREASING SPEED LEADS TO MORE AND MORE POWERFUL AUDIO SOFTWARES. THIS HAS FORCED SOME MUSICIANS TO PUT THEIR MUSIC INTO QUESTION - WHILE OTHER COMPOSERS (THE MAINSTREAM ONES) USE THOSE SHARPER TOOLS ONLY TO RE-CREATE THE SAME PATTERNS SINCE YEARS.
IT'S TIME TO ACTUALLY RETHINK MUSIC AS SOMETHING THAT CLEARLY GOES BEYOND THE IDEA OF HARMONY AND RYTHM.
WE ARE ACTUALLY MUCH MORE INTERESTED IN ANY ACTION ON AIR MOLECULES THAT WIDENS THE FIELD OF CONSCIOUSNESS THAN INTO MUSIC THOUGHT AS AN END IN ITSELF.
WHAT IS TRULLY INTERESTING WITH THE NEW GENERATION OF SOFTWARES IS THE POSSIBILITY TO SHORTEN THE TIME IT TAKES FOR MENTAL IMAGES TO COME AND TO INVENT NEW FORMS OF MENTAL REPRESENTATIONS. FOR INSTANCE, REAL-TIME MORPHING TOOLS CAN OPEN NEW WAYS OF EXPLORING THE INTRACACIES OF OUR FACULTY TO ASSOCIATE SOME IDEAS WITH OTHERS, AS WELL AS GRANULAR SYNTHESIS HAS ALLOWED TIME TO BE THOUGHT AS NOTHIND MORE THAN A SUBJECTIVE POSSIBILITY : NOTHING MORE THAN THE LENGHT WE WISH IT TO LAST.
FLASHCORE IS THE SPATIAL AND TEMPORAL CONCEPTION OF AIR LANDSCAPES OF WHICH ' SONIC ATOMS' (=THE SMALLEST PARTICLE OF SOUND WHICH IS THOUGHT AS AN ENTITY IN ITSELF) ARE BEING CONTROLLED WITH THE EXCLUSIVE AIM OF MAKING US EXPLORE OUR MINDS AND PERCEIVE ANY KIND OF TRANSCENDANCE. AS FOR ATOMIC ENERGY OR DRUG ACTION, WE ARE REACHING A POINT WHERE IT'S POSSIBLE TO PROVOKE NANO-AUDIO-EXPLOSIONS WITH QUIETE SOME BIG RESULTS FOR THE MINDS.
OUR CELLS ARE NOT AWARE OF THE UNITY OF OUR OWN CONSCIOUSNESS. BUT THEY'RE ACTING 'AS IF', FOR THE SAKE OF WHAT WE THINK IS OURSELVES - OUR UNIQUE 'BEYOND EVERYTHING' EGO - AND ARE NOT SO MUCH DISTURBED BY THE POSSIBLE NON SENSE OF THE TASK. ARE WE, HUMANS, AWARE OF ANY SIMILAR TRANSCENDANCE ? IS THERE ANY SUPERIOR CONCEPT FOR WHICH WE WOULD WORK ?
IF SO, I WOULD BELIEVE THAT THING IS ONLY A PART OF SOMETHING ABOVE, AND SO ON, DRAWING KIND OF A FRACTALIAN STRUCTURE WHICH IS ABSOLUTLY NOT CONCEIVABLE BY OUR LIMITED MINDS. I FEEL IT AS A PERSONNAL EMERGENCY TO FLY OVER THERE. AND FLASHCORE COULD HELP, FOR SURE. THE EXTATIC PLEASURE WE FEEL RECEIVING THE MESSAGE FROM THE AIR MOLECULES IS A STEP TOWARDS SUCH META UNDERSTANDING. WHAT'S THE MEANING OF BEAUTY ?
theres few interesting things on the web about it, cant seem to find owt about flashcore on here so i thought id post some of it up :
interview taken from http://www.scottishhardcore.co.uk
http://www.scottishhardcore.co.uk/inter ... terview=16
LA PESTE, owner of the Hangars Liquides record label, is an electronic music composer/producer who's works comprise of experimental sounds with Hardcore-esque elements. A true musical artist, La Peste defines his work as 'Flashcore', opting for his own brand of noise which he releases through his Hangers Liquides label in France. With his recent performance in Glasgow casuing such a stir we tracked him down to ask the man a few questions on what it is that he does so well....
1. So La Peste, how long have you been making music for and where did this fascination for experimental sounds come from?
As a child I was singing to myself kind of 'violent' ritournelles inspired by the Atlantic ocean, war aircrafts, or thunderstorms. I followed the Conservative courses, but it ended in depressing me by realizing it'd take so many years to have an orchestra playing my imaginary works. With the democratization of electronic music in the early 90's, I realised I could hear the soundscapes I dreamt of with no intermediaries, and this was a true revelation. By the end of 1996, my 1 Gb macintosh hard drive was mostly occupied by files generated on sound edit... But my very first solo published track was released two years later. I am fascinated by unexpected sounds, since I believe the only way to reach a contemplative state is to feel detached from the object of our thoughts. If something is integrated by our representation schemes, however, we cannot freely let our mind fly. That's what happens when you hear a voice in a track, if you're high - you can't stay.
2. You've been quite bold in your choice of musical direction by tackling the often discredited styles of Hardcore and Experimental Electronica, what is it about this kind of music that appeals to you?
There is a word used to describe sounds from which you cannot tell where they come from : acousmatique. To me it's like the gravitationnal force of a black hole, there are no lights at all around it, and I am attracted into it, absorbed by the energy of the unknown.
3. Do you feel an attachment to the European Hardcore scene or would you regard yourself as more of an experimental artist?
I feel european, from a socio-historico-psychanalogical standpoint, but that's all, I have nothing to do with the "European Hardcore scene". What does this mean ? I don't know. Two weeks ago I was told that sometimes in the UK, Hardcore refers to something I'd personnaly call fast dance. In France, what they call Hardcore has become a big fluffy cheesy gabberised shit, with pseudo dark (very funny imo) anthems. 10 years ago I remembered moments during parties where people were wondering what the fuck was happening to them, because of the audio waves reaching their virgin souls, it was then used to say : "that's hardcore". Now this word is overused, as is breakcore btw, it refers to anything that is supposed to be harder than something else (?). This is well too vague for describing things. The word experimental is generally used to qualify a scientific procedure, I'm not in a computer science student approach. Call it avant-garde or anything else, it is an artistic CHOICE - even if the sound results are sometimes far out of my expectations. As a live musician or a composer, each second I must wonder what is my intention.
4. I'm sure many people ask you this but could you maybe explain to us what is 'Flashcore', and what would you like people to take away from your particular brand of music?
Flashcore is the name I'd give to a sound art that relies on the computer’s increasing speed to go beyond the idea of musicality with the ambition of moving air molecules to widen the field of consciousness. Music is thought as a mental/spatial experience, experimenting the possibilty to travel multidimensionnally, opening or closing spaces which do not necessarily fit with an euclidean representation. Also, whilst the aesthetics of power electronics or sound installations rarely integrate the time factor, duration is an essential dimension in flashcore. I tried to tell it with my words at the HL website opening page. I believe the Universe itself is a miracle, there could have been nothing instead. Being astonished by the infinite complexity of the universe is, to me, the best way not to fear death. I want the music I release to celebrate the beauty of that complexity. If it works on people, then I am really happy. Flashcore is made to be wasted.
5. Your label, Hangars Liquides, has made quite an impression on people around the globe, where would you like the label to progress in the next few years?
Horizon is too wide and complex that it would lead to mistakes to follow one only direction. HL has not any marketing plan.
6. Are there any producers/labels that are impressing you just now?
My masters are : François Bayle, Bernard Parmegiani, Iannis Xenakis, György Ligeti...
7. What's your opinion on the European Hardcore, or at least the Speedcore, scene at the moment?
To my ears, most speedcore is definitively too basic. I'm not interested either into pseudo-arty broken bits. It's a pitty when the audience is getting trapped into poor music sequences.
8. Your performance the other week at The Big Joint here in Glasgow was (IMO) amazing. How important is performing live to you and what do you use for your sets (hardware/software I mean)?
Live is essential to me when comes a moment music is broadcast on a big sound system, with people gathering to celebrate the emergency of life. At that specific time, I think it's a an imposture to "play" something pre-programmed. I feel it as an existential obligation to give a real live performance. To do so, I use Ableton's live that I configure so that it allows me to really play it, as a meta-patch packed with audio and midi data feeding customised plug-ins and virtual synths. I like to use flexible softs, such as bidule, which allow me to have a tweakable matrix with extensive modulation capacities. I spend quite a lot of time designing patches to turn my live set into an instrument I can 'fly' with the ambition of going at the place I dream of at specific moment in time. Everything fits in a powerbook, a firewire audio interface and 2 usb controllers. I have never brought kyma on stage, but I plan to do so at the end of the summer.
9. I hear you're staying/working in Glasgow at the moment, how are you finding life in Scotland? What do you think about the electronic music scene here?
I was in Fort William in fact. I wished I could have had time to at least climb the Ben Nevis, but I did not. When travelling from there to Glasgow by train, I discovered how beautiful those landscapes are. I would really like to come back and play at an open-air concert in the Highlands! I've seen much more of Loch Line's marine life than the pubs, in fact I can't tell you much more... I expected the weather to be much colder, in fact I found it quite warm to be honest, in comparision to a winter in the Pyrennees - where I live. I have no idea about the Scottish electronic music scene, I guessed it's mainly a club scene, isn't it ?
10. Have you tried Buckfast yet?
I did not !
Big thanks to Monseuir La Peste for taking time out to answer my Q's
For more information on La Peste you can visit his label's website @ www.hangars-liquides.com
Interview by Flood, March 2006
© 2006 scottishhardcore.co.uk - No un-authorized nicking
err this 2 taken from http://www.flashcore.org/
WHAT WE CALL FLASHCORE IS WHAT WE'RE ON ACTUALLY... ///
COMPUTERS'S INCREASING SPEED LEADS TO MORE AND MORE POWERFUL AUDIO SOFTWARES. THIS HAS FORCED SOME MUSICIANS TO PUT THEIR MUSIC INTO QUESTION - WHILE OTHER COMPOSERS (THE MAINSTREAM ONES) USE THOSE SHARPER TOOLS ONLY TO RE-CREATE THE SAME PATTERNS SINCE YEARS.
IT'S TIME TO ACTUALLY RETHINK MUSIC AS SOMETHING THAT CLEARLY GOES BEYOND THE IDEA OF HARMONY AND RYTHM.
WE ARE ACTUALLY MUCH MORE INTERESTED IN ANY ACTION ON AIR MOLECULES THAT WIDENS THE FIELD OF CONSCIOUSNESS THAN INTO MUSIC THOUGHT AS AN END IN ITSELF.
WHAT IS TRULLY INTERESTING WITH THE NEW GENERATION OF SOFTWARES IS THE POSSIBILITY TO SHORTEN THE TIME IT TAKES FOR MENTAL IMAGES TO COME AND TO INVENT NEW FORMS OF MENTAL REPRESENTATIONS. FOR INSTANCE, REAL-TIME MORPHING TOOLS CAN OPEN NEW WAYS OF EXPLORING THE INTRACACIES OF OUR FACULTY TO ASSOCIATE SOME IDEAS WITH OTHERS, AS WELL AS GRANULAR SYNTHESIS HAS ALLOWED TIME TO BE THOUGHT AS NOTHIND MORE THAN A SUBJECTIVE POSSIBILITY : NOTHING MORE THAN THE LENGHT WE WISH IT TO LAST.
FLASHCORE IS THE SPATIAL AND TEMPORAL CONCEPTION OF AIR LANDSCAPES OF WHICH ' SONIC ATOMS' (=THE SMALLEST PARTICLE OF SOUND WHICH IS THOUGHT AS AN ENTITY IN ITSELF) ARE BEING CONTROLLED WITH THE EXCLUSIVE AIM OF MAKING US EXPLORE OUR MINDS AND PERCEIVE ANY KIND OF TRANSCENDANCE. AS FOR ATOMIC ENERGY OR DRUG ACTION, WE ARE REACHING A POINT WHERE IT'S POSSIBLE TO PROVOKE NANO-AUDIO-EXPLOSIONS WITH QUIETE SOME BIG RESULTS FOR THE MINDS.
OUR CELLS ARE NOT AWARE OF THE UNITY OF OUR OWN CONSCIOUSNESS. BUT THEY'RE ACTING 'AS IF', FOR THE SAKE OF WHAT WE THINK IS OURSELVES - OUR UNIQUE 'BEYOND EVERYTHING' EGO - AND ARE NOT SO MUCH DISTURBED BY THE POSSIBLE NON SENSE OF THE TASK. ARE WE, HUMANS, AWARE OF ANY SIMILAR TRANSCENDANCE ? IS THERE ANY SUPERIOR CONCEPT FOR WHICH WE WOULD WORK ?
IF SO, I WOULD BELIEVE THAT THING IS ONLY A PART OF SOMETHING ABOVE, AND SO ON, DRAWING KIND OF A FRACTALIAN STRUCTURE WHICH IS ABSOLUTLY NOT CONCEIVABLE BY OUR LIMITED MINDS. I FEEL IT AS A PERSONNAL EMERGENCY TO FLY OVER THERE. AND FLASHCORE COULD HELP, FOR SURE. THE EXTATIC PLEASURE WE FEEL RECEIVING THE MESSAGE FROM THE AIR MOLECULES IS A STEP TOWARDS SUCH META UNDERSTANDING. WHAT'S THE MEANING OF BEAUTY ?
- Silent Frog
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by Silent Frog » Mon Dec 10, 2007 7:54 pm
Sounds like it could be interesting but that was a rather long post. Any chance someone can explain what it's all about in a short sentence for me?
by hue-e » Mon Dec 10, 2007 10:39 pm
YaY.. another "core" 
hue-e
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- Silent Frog
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by Silent Frog » Mon Dec 10, 2007 10:48 pm
Thallium wrote:tl;dr
I wish I could just write that for the essay on Kant's Critique of Pure Reason which I'm meant to be doing.
I actually would like to know what this Flashcore thing is, I just can't really deal with lots of words at the moment.
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by Silent Frog » Tue Dec 11, 2007 1:46 am
Reading that article, these flashcore guys just sound like those modern art tossers who paint a white square on a white piece of paper and sell it for $500,000n:
"WE ARE ACTUALLY MUCH MORE INTERESTED IN ANY ACTION ON AIR MOLECULES THAT WIDENS THE FIELD OF CONSCIOUSNESS THAN INTO MUSIC THOUGHT AS AN END IN ITSELF."
Listening to that feed, I can kinda see their point. It's interesting, in a good way, but the sound isn't anything new. Fair enough, the musical process may be, using high powered computers or whatever, but post-modern, avant-garde and serialist composers have been making this stuff for the best part of half a century.
"WE ARE ACTUALLY MUCH MORE INTERESTED IN ANY ACTION ON AIR MOLECULES THAT WIDENS THE FIELD OF CONSCIOUSNESS THAN INTO MUSIC THOUGHT AS AN END IN ITSELF."
Listening to that feed, I can kinda see their point. It's interesting, in a good way, but the sound isn't anything new. Fair enough, the musical process may be, using high powered computers or whatever, but post-modern, avant-garde and serialist composers have been making this stuff for the best part of half a century.
- HORSE FORCE
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by HORSE FORCE » Tue Dec 11, 2007 2:10 am
i agree with silent frog. i read the spannered article, and it explains the concept of "flashcore" pretty well. the idea of sonic particles, or unrelated audio fragments, is not a new one (see Ligeti do it with classical and Cecil Taylor do it with jazz) Le Peste certainly creates original music that any breakcore producer can appreciate, but it draws most of it's appeal through it's explanation. Like modern painters and sculptors, La Peste is relying on intellectual explanations and buzzwords to push his interesting work into the spotlight (silly frenchman.)
To me, breakcore does not rely on its intellectual explanation to draw appeal, but on its intense energy. In my music, i think conceptually and mathematically to create, but in the end, its about the energy and drive of the music. I'm not saying Le Peste is making bad music (in fact its one of the most interesting things ive heard lately) its just that ive seen so many modern artists in other fields take the arty-philosophical route, and the result ends up needing to be constantly explained.
To me, breakcore does not rely on its intellectual explanation to draw appeal, but on its intense energy. In my music, i think conceptually and mathematically to create, but in the end, its about the energy and drive of the music. I'm not saying Le Peste is making bad music (in fact its one of the most interesting things ive heard lately) its just that ive seen so many modern artists in other fields take the arty-philosophical route, and the result ends up needing to be constantly explained.
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by Fez » Thu Dec 13, 2007 1:04 am
This stuffs a lot like the stuff from Digital Vomit and V/VM.
I'm really into this stuff unfortuantly, and I try to incorporate it into my music quite a bit.
It's stuff like granulising, modulating and shifting, proper acid music.
I think the term flashcore is a pile of bollocks to be honest, just some scottish scenesters trying to claim ownership of something thats been around for decades (check out merzbow for early examples of this kinda stuff)......
Sorry to rant, just thought I'd give my opinion.
I'm really into this stuff unfortuantly, and I try to incorporate it into my music quite a bit.
It's stuff like granulising, modulating and shifting, proper acid music.
I think the term flashcore is a pile of bollocks to be honest, just some scottish scenesters trying to claim ownership of something thats been around for decades (check out merzbow for early examples of this kinda stuff)......
Sorry to rant, just thought I'd give my opinion.
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by matt bleak » Thu Dec 13, 2007 7:03 am
Fez wrote:This stuffs a lot like the stuff from Digital Vomit and V/VM.
I'm really into this stuff unfortuantly, and I try to incorporate it into my music quite a bit.
It's stuff like granulising, modulating and shifting, proper acid music.
I think the term flashcore is a pile of bollocks to be honest, just some scottish scenesters trying to claim ownership of something thats been around for decades (check out merzbow for early examples of this kinda stuff)......
Sorry to rant, just thought I'd give my opinion.
no need to apologise...fuck the fuckers who wanna fucken intellectualize noise...to quote the late great bill hicks : PLAY FROM YOUR FUCKING HEART!!
- joni_speedbass
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by joni_speedbass » Thu Dec 13, 2007 5:37 pm
ok even if u just egnore the whole theory behind the flashcore that la peste + jon weinel discusses in the links above, then u are still left with some realy great interesting music. if u dont agree with all the intellectualized stuff then surely u simply just enjoy the tracks by artist such as atombhead / undacova / la peste / neurocore etc ?
- matt bleak
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by matt bleak » Thu Dec 13, 2007 5:41 pm
joni_speedbass wrote:ok even if u just egnore the whole theory behind the flashcore that la peste + jon weinel discusses in the links above, then u are still left with some realy great interesting music. if u dont agree with all the intellectualized stuff then surely u simply just enjoy the tracks by artist such as atombhead / undacova / la peste / neurocore etc ?
dunno, will have 2 check em out
by Fez » Thu Dec 13, 2007 7:31 pm
Ah its not that, I do really agree with the science behind it, it's just been around for decades and doesn't really seem that new....
Has anyone here heard/seen Justice Yeldham at all?
He does this sort of stuff using panes of glass with mics attached and some sort of body suit modular synth, he then procedes to smash the glass over his face and chew it.
It's probably one of the most amazing live acts I've ever seen.
I've uploaded some stuff like this I've made to a myspaz today, its all improv synth glitching/over loading and granulising type stuff, check it out if you fancy it.
www.myspace.com/herecomesthefloodband
Definatly check out some videos of justice yeldham, its fucking intense!
Has anyone here heard/seen Justice Yeldham at all?
He does this sort of stuff using panes of glass with mics attached and some sort of body suit modular synth, he then procedes to smash the glass over his face and chew it.
It's probably one of the most amazing live acts I've ever seen.
I've uploaded some stuff like this I've made to a myspaz today, its all improv synth glitching/over loading and granulising type stuff, check it out if you fancy it.
www.myspace.com/herecomesthefloodband
Definatly check out some videos of justice yeldham, its fucking intense!
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