>> | | |
>> | ,—.,—|,—.|—.
>> | | || |`—.| |
>> `—‘`—‘`—‘`—‘`—‘
>> playtime: 1:07
>> created : 2012-2016
>> mastering: twerk aka Shawn Hatfield @ audibleoddities.com

== tracktitles

$ ls -l *.wav
total 1142784
-rw-r–r– 1 91927916 Aug 16 14:21 ’01. Holoapostatischer Frühsperling.wav’
-rw-r–r– 1 150431084 Aug 16 14:21 ’02. Adhesive Skalarmäeutik.wav’
-rw-r–r– 1 162738238 Oct 10 01:24 ’03. Der-Name-des-Vaters vs. Der zerbrochene Spiegel.wav’
-rw-r–r– 1 220997000 Aug 16 14:21 ’04. Indifferentes transkraniales Yogakalkül.wav’
-rw-r–r– 1 162694640 Aug 16 14:21 ’05. Vexiertes Gestaltpathogen.wav’
-rw-r–r– 1 136782194 Aug 16 14:21 ’06. Progressive Regressionsnumerologie induzierter Operational-Konditionierung.wav’
-rw-r–r– 1 140716370 Aug 16 14:21 ’07. Malefizische Maschinenelenktik.wav’
-rw-r–r– 1 97618280 Aug 16 14:21 ’08. Kognitiver Quecksilbersee der Meinigkeit.wav’

A follow up to the straight psychedelic headfuck techno on
Helicon1 {retort records; RET08, May 22, 2014}, Helicon2 draws its references
mostly from 90s big beat, hip-hop and trance, with some occasional excursions
to 80s R’n’B.

The album is mostly a synthesis of the experimental composition
and processing techniques started for the Aero album and the playful,
melody-centric voice leading found in the lazer.eyes.love album.

The Helicon series explores the body<->sound relationship.
While contextually rooted in club music, compositionally all songs are
based around various techniques to interact with sound in real-time.
The series is, quasi, my playground to explore and discover
new methods while the “club music” & real-time control
impose contraints and limitations on the compositional form.
Helicon1 approached this search more conventionally with
hardware modular synth patches generating multi-track audio and simple patch
parameterizations that are controlled for the recording. Helicon2 forgoes this
and instead shifted towards more broadband and high-frequency control data
based on accelerometer sensors/multi-touch input/… to control DSP.
Afterwards, cross-modulation techniques have been employed,
even for the mix-down, to give the compositional elements the opportunity
to interact or react, thus extending the organic flow of the composition.

>> This organic meandering between different shapes and themes is probably
>> (appart from a, maybe, maximalist attitude) one of the few signature/defining
>> qualities of my last releases. I think that a static repetition of song
>> structures is just one genotype within a spectrum of forms that induce flow
>> within a composition. I like to discover and learn the other ones, too 🙂
>> And, as somewhat of the half-wit I am, I justify that necessary engagement in
>> listening to these tunes, with that listening forms to music have changed
>> and don’t force you to listen linearly.
>> One can always skip back to the “hook” if it felt neglected.

== about lodsb /
Born in the 80s. Grew up in the German hinterland next to cows and tractors.
Nothing to do in my youth. Started nerding, got to know the typical IDM folks
at that time. Imagined how strange the embedding culture must be for that kind
of music to happen – a stark contrast to the Bavarian folk music I encountered
daily! Became an eremite. Eventually got to know other nerds, started making
music and coding. Finished school, moved to Munich. Kept doing music. Did
way too much computer-science-y stuff (still doing it). Moved to Berlin recently.
released June 7, 2017

mastering: twerk aka Shawn Hatfield @ audibleoddities.com


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