installment 2 of weekly track from rreplay
installment 2 of weekly track from rreplay
installment 2 of weekly track from rreplay
Gonna try and put up a rreplay track each week. This one floats away on guitar and bass then transforms into the bomdiddybom bewaka before exploding, after which the pieces all float down. Named after the things in your eye that float around looking like they are there but aren’t.
rreplay’s new album, Live from the Uncanny Valley is available for streaming on SoundCloud:
Ok, so some people have been asking if rreplay’s new album, “live from the uncanny valley” is really live. Somewhat ironically, the human automaton that monitors CDbaby titles added “(live recording)” to all our tracks when it caught the title, and I had to get a real human to go in and remove them all after explaining.
The title comes from the idea of the uncanny valley in gaming and animation circles. The idea was first proposed by robotics professor Masahiro Mori in 1970, and much of the research on this aspect of robotics comes out of Japan. I only say this because my partner — demonstrating the disturbing nature of the uncanny valley — responded to seeing a picture of a realistic-but-not-quite-there Asian woman with “What’s this orientalist shit?” Sending me off searching for another image. I settled on the one at the top after the one of Christopher Reeves as superman was deemed “not creepy enough” on the forum where it was posted as an example of the uncanny valley. I don’t know, I think it qualifies.
The idea is that people form emotional attachments to images, particularly moving ones, and that as long as an animation is suitably unrealistic, people can make their attachments unpreturbed. But as soon as animations start getting closer to realistic without making it all the way there, people start getting bothered by the familiarity combined with the cognitive dissonance of some parts of the rendering still being off. This gets at the heart of what early twentieth century theorists called the “uncanny.” Supposedly, if animation gets good enough, it can make it across the uncanny valley and into photorealism without setting off our alarms. Figures that the gamers on reddit would think that Superman, a White Guy if ever there was one, would get there first. And let’s just avoid altogether various Hollywood plastic surgery disasters…
OK, but what about the album? rreplay’s new album is not live in any traditional sense, although all the parts are recorded at once in a live fashion with no overdubs. It is thus part of the way there. But there is more to its uncanniness, which in the aural realm is not always a bad thing (at least that is where we are placing our bets).
In synthesized music, when the sound is suitably distant and artificial, it is comedically cheesy. To escape that trap, it needs complexity and a dynamic between predictability and unpredictability. It is probably no coincidence that one of the adjectives that crops up most often in describing the uncanny valley’s visual realm is borrowed from the sonic: “dissonant.” The past decade or so has seen the fetishization of the analog warmth of early synths, with their unpredictable, non-linear quirks that come from the imperfect renderings of math in vacuum tubes, rare earth, and silicon. Analog synths are generally far enough away from any acoustic instrument to not enter the downward slope of the uncanny valley, although some of the renderings could be supremely creepy, as in synth/singer 70s nowave duo suicide’s uncanny ghost rider with its interplay of anxious and urgent vocals over an unquantized sequenced backing. Not always a bad thing.
With the digital, the uncanny valley comes back in force. Much of the supposedly cold clinical feel of digital music probably arises from the audio uncanny. In digital, there are no non-linear, erratic human elements unless they are put there, whether programmed, or via the filters of digital controllers, or via underlying touch. I’ll refrain from demonstrating the bad with some 80s DX7 synth hit because it will undoubtably be someone’s favorite song.
The feel, touch, and timbre of a piano, an acoustic guitar — or for that matter, an electric played through a tube amp — are all difficult to emulate. Digital synthesists have long had problems emulating “real” instruments because the variables are simply too many and too ineffable to get all of them reduced to algorithms even with mega-gigabite round-robin samples — though great music continues to be made. The best answer I have found (partly because I can’t afford the latest greatest bestest synths and samplers, partly because without overdubbing, I would need a computer farm to play them live anyway) is not to break on through to the other side a la Superman via more and better algorithms, but to mix the controllers (and like a good controllerist, I like to get as many of those digital balls in the air as I can) and digital (vst) synths with the touch and feel of electric and acoustic guitar, themselves emulated digitally at the amplifier end — and in the case of the acoustic sound, via convolution — but played on an actual guitar and bass at the other.
The mixing together of the two in “Live from the Uncanny Valley” makes for what we hope is an uncanny adventure, strangely familiar with a dose of dissonance, perhaps even sometimes disturbing, but always recognizable for that which it is a simulacrum of by the human touch on the guitar and bass underlaying all the maths and controllers. Hope you will give us a listen — preview will play the full album.
Also, if you are in Honolulu, please stop down at Manifest in Chinatown Weds, 5/13 from 6-8 for our record release party, featuring an uncannily live performance from rreplay crossed with the dj sounds of count weevil.
rreplay is releasing its second album, live from the uncanny valley, on Weds, May 13, from 6-8 at Manifest in Chinatown. Eric and I hope you can make it to celebrate. This will be perhaps our one and only live gig, so don’t miss it! You can listen to the whole album by clicking preview at the link above.
count weevil will be laying down beats in a chill kinda LA style, and he may keep going when rreplay is on.
For the uninitiated, rreplay is an experimental improv duo. Rich plays guitar through the laptop, synthesizing it, granulating it, chopping it up, and sometimes just playing it. Eric plays fretless bass, also through the laptop, providing melodic and rhythmic grounding and ever leading the improv process into and sometimes back from more adventurous territory. We both work on the beats, and chop them up some more while playing. I’d describe the music, but you can listen for yourself above and live next Weds. Hope you can make it!
Manifest is at 32 North Hotel Street. They have excellent food and great drinks. Happy hour is 5-7.
Went to hear Ozomatli and an East LA band that I had not heard of before, Upground. Both were great. Ozomatli was one of the best live gigs I’ve ever heard. More later, once I get done with some of my real job.
After a very busy couple of months, finally a little post. Just finished mixing rreplay’s dnb piece “multigrain serial tiller.” Give it a listen! I have lots to write, just no time to write it. There are some great developments on the DIY scene, bringing multitouch to the masses. I have to post some of my soundscapes from last summer’s trip to Kolkata. One of my favorite bands, deerhunter, has a new album out…soon come, byem bye writem.
Eric and I are slowly sorting through our collection to find candidates for the next album. I’ll post a couple of mine for right now because I haven’t gotten to remixing Eric’s mixes, as he only has Garageband and the mp3s sound kind of fizzy when processed by it. As always, it’s just Eric on bass and me on guitar and laptop. No overdubs, all live. First up is “cutter” — the mix of the day with a lead in the middle that sounds to me like very acidy Beatles. “Sizzle” is a bomping one-note workout. The hosebeast, one of arcDev‘s creations turned all into a single note with lots of different tones. But its a great note. “Cubanecho” vaguely recalls exile-era Stones trying to play a Latin groove from the bottom of a swimming pool. Ksshuck emulates ZZ top playing disco with a whomping bass drum…watch yr woofers. As always, leave comments if you listen…we’d love to hear from you.
Another plugin maker who makes cool music is Skye Klein from Australia, who plays under the moniker of Terminal Sound System along with a bunch of other projects. His music, in TSS anyway, is dubby, minimalist, occasionally bordering on ambient but at other times moving towards industrial glitching. His latest album is Compressor, and another, Constructing Towers, is due out soon You can hear the latest music at the TSS site. His older stuff is all downloadable from Embryo Records. Among my favorites from the old stuff are minimal tolerance to injected errata, deep trauma, and tomorrow will not come, though I have not really listened to the whole catalogue yet.
His plugin and software site is arcDev Noise Industries, which has a frustratingly cool web interface that evokes some alien version of DOS or the ancient gopher net protocol. Type ‘help’ if you can’t figure it out.
I use two of his plugins a lot. The first is the aptly named hosebeast, which you can hear in action on rreplay‘s sizzle. Hosebeast is a “5-part fx processor for noisy, lofi, glitchy and general audio mayhem” with a filter, granulator, warper, bitcrusher, and ring modulator in any combination, including multiples of the same. In other words a FSU device.
The other great arcDev plugin is arcDev’s entry in the 2007 KVR Developers’ Challenge plugin contest, Ellipsis. It, along with mdsp‘s livecut, which I’ll discuss in its own post some time, are responsible for the drums in cubanecho and f it from rreplay. Cubanecho also relies on mdsp’s entry in the 2006 KVR Developers’ Challenge, fire. If you take a guitar and set it standing up with the strings against a tabletop, then pull it away a little and let go, then the strings will bounce on the edge of the tabletop ever more rapidly, just so: Booooooooing Booooing Boooing Boing Bng Bn bn bnbnbnbnbn (I take no responsibility for any damage to guitars or furniture this may cause). Mdsp has figured out how to mathematically model that warping speed change using delays in fire.
The way Ellipsis works is that you load ten samples into it, most usefully, drum loops that will more or less go together. You have to tweak the settings a bit to make the drums play at the right (or wrong!) speed. Then when you hit a corresponding note on your midi controller (usually a keyboard, but I use a footboard), it triggers the loop. You can set it for any BPM and it will speed up or slow down your loop accordingly, or sync it to your plugin host. If you only like the last half or the first quarter of the loop, you can play just that, or play it in reverse. One useful way to set it is to put the same drum loop in several times and play different portions of it frontwards or backwards to give some variation to the drums.
So that’s it for today. I couldn’t find any of mdsp’s music to play for you, but I hope you enjoy rreplay and Terminal Sound System.
Ahh well, Eric has gone back to Boston, thus ending for now one of the funnest musical projects I’ve had in a while. rreplay recorded our last-for-now session on July 1. It was a bit out there for a number of reasons on my part. First, I had not regularly practiced in a month while I was away in Kolkata and Japan (more on the sounds from there later…), so the ideas were bubbling up but the fingers were a bit sluggish. Second, I had just returned from Tokyo, where Monisha and I stayed a few extra days so I could catch the avant gard Japanese experimental guitar festival (also about which more later). So what’s to listen to? My favorite for weird factor is “squelch.” What is not bass is manipulated guitar echo. “drip grind” has a cool wash thing going that mutates over time. I think my favorite is “nothing to declare,” though “spider camp” and “flow control” are kinda cool in an experimentalist sort of way…all three are in the key of z. That leaves “low town twilight” where I was trying too hard to evoke a particular mood instead of just going with it, and “neither flotsam nor jetsam.” Not bad all in all. I’ll certainly miss rreplay-ing. We’ll put together an album or two more from it…if you find anything in the rrepository particularly compelling, in part or in whole, let us know in the comments here!