samedi 23 septembre 2023

Penetrate the Facade on True Reality

Electraumatisme aime bien donner de la visibilité à des groupes qui passent sous le radar alors qu'ils rentrent parfaitement dans les styles musicaux soutenus par le podcast sans bénéficier de la communication des labels en place.
Penetrate the Facade fait partie de ce genre de projet et nous a surpris avec un premier album True Reality sentant l'application et le respect pour les styles Dark Electro/EBM un peu à l'ancienne.
Ils se soumettent donc à la Kitchen Notes et entérinent pour de bon le fait que Reason est le logiciel de prédilection pour les styles qui nous intéressent. Etonnant, non ?

Electraumatisme always tried to put the light on bands that act undercover despite the fact they fit perfectly with the musical styles promoted by the podcast without benefiting from already settled labels communication facilities.
Penetrate the Facade is part of this kind of project and their first album True Reality was a pleasant surprise, with feelings of diligence and respect for kind of old school Dark Electro/EBM styles.
So they submit to Kitchen Notes and ratify for good that Reason is the prefered software for the style we like so much. Surprising, don't you think ?

 

 



Gears and software

What gears/softwares did you use for True Reality ?

Unfortunately, I don't have a hardware synth. Because of lack of space and of the costs.
I only use a midi controller and Reason for making music.

Your favorite gear(s)/software(s) ?

Reason!  
I've been using Reason since version 1, currently version 12.
Reason offers for me everything I need, even after years of using Reason. With the wiring on the back of the rack, there is so much that can be changed in terms of sound. I only use the so-called rack extensions for Reason, no VSTs. I think there are a lot of great synths and other instruments. Sure, Reason has its rough edges, it's certainly not the perfect DAW, but which DAW is perfect? The main thing in the end is that you have achieved what you wanted to achieve, are satisfied with the result, no matter which DAW you use.
 

Any evolution in your setup ?

Nothing is planned at the moment. I'm happy with what I have so far.

Sound Design

Do you use/tweak presets  ?

Yes, I find presets to be a good basis. I change it until the sound fits.
 

Do you design you own sound  ? On which synth/plugin in particular ?

No, as already mentioned, I use presets and change them until the sound fits. Or several sounds are layered until I have found the desired sound.  
My favorite synth is the Obsession, an Oberheim X emulation.  
I've often used it in the current album.

Any particular synth history  ?

I started making music many years ago, in the mid-80s.
At that time still with a C64 and a tracker. Then came the Amiga, I also used a tracker.
At the beginning of the 90s, I’ve got my first PC and a short time later I had a Roland MT-32 sound module. LA synthesis. In between there were several longer breaks until I bought Reason in 2001. Between 2007 and 2021, there were also several longer breaks.
I've been using Reason 12 since 2021 and the learning curve is steep...
But, I've always used a PC or software synths.

Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ? ...


It varies greatly. Sometimes I have a beat in my head, or a bassline, or even an arpeggiator. Often, however, I just sit in front of it and play a bit, build a loop. If it's good, then I try to make a chorus to go with it. If it fits, then I try to sing to it.
The lyrics are written by my wife. She always writes several texts in advance. So I always have a few to choose from. A lot of lyrics are relatively long, so the songs are quite long. But you want to tell a story, and you want to tell that story to the end. In any case, I'm looking for the right lyrics to the loop and chorus and sing along. When everything fits, the song structure is built up and the song takes shape.
So far, this has always worked very well for us. The beat, bassline, melodies and so on, always fit well with the theme of the lyrics.

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...)

Yes, I produce exclusively on the PC as well as mixing and mastering.

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?


Every single step in the production of a song is a challenge, but at the same time a lot of fun. Sometimes it happens very quickly from the beginning, sometimes it takes longer.  You can't find the right beat, the bassline doesn't fit, the chorus doesn't match the rest, and so on. When the song is finished, it's time to mix and master. To do this, we listen to the song on various speakers, in the home studio, in the living room, of course in the car and also through headphones.
We try to make our songs sound equally good to everyone.  
Sometimes I or we hear small mistakes after days or even weeks and then this is changed again afterwards.

 

Contact info

Facebook : https://www.facebook.com/PenetrateTheFacade
Bandcamp : https://penetratethefacade.bandcamp.com

eMail : PenetrateTheFacade@outlook.com

mercredi 20 septembre 2023

Electraumatisme du 20/09/2023

On aura peiné à s'extirper de la première moitié des années 90 dans cette édition régulière d'Electraumatisme. Mais bon, c'est là qu'il faut continuer de creuser pour trouver des sons encore "fait main", même si c'est souvent sale.

Petrified Entity - Faith
Stahlschlag - Apocalypsis
Emile Strunz - One Step Closer To Heaven
Corroded Pulse - Communion
Sektor B - Enter
Our Echoes Scream - Death in the Morning
Ondska - Storm
Mastertune - Emotions
Corrupt - Vision Of Lust
THD - Hypo (S.A. Mix)
Ancient Step - Fckw
Digital Convention - Digital Time

Release of the week:


 







Download : http://electraumatisme.info/broadcast/20230920.mp3

 

lundi 18 septembre 2023

Dague de Marbre on Likeness of the Offender

Antoine Kerbérénès est la voix de Chrome Corpse, l'entière énergie de son projet solo null split et maintenent le cerveau derrière Dague de Marbre qui associe ces éléments à une base d'instruments classiques échantillonnés pour un résultat des plus intéressants.
Il nous explique dans cette Kitchen Notes comment il fait des trucs avec sa bouche, comment il ose interrompre un film en plein visionnage pour collecter les sons constituant la pâte unique de son album Likeness Of The Offender et c'est passionnant.

Antoine Kerbérénès is the voice of Chrome Corpse, the whole energy of  his solo project null split and now, the brain behind Dague de Marbre that associate these previous elements to a base of sampled classical instruments for a very interesting result.
In this Kitchen Notes, he explains us how he did stuff with his mouth, dared to interrupt a playing movie to collect sounds assembling the unique pastry for his album Likeness Of The Offender and it's fascinating.


Gears and software

What gears/softwares did you use for Likeness Of The Offender ?

The instrumental section of the album was entirely done using VSTs within the Reaper DAW. In particular, I made extensive use of an emulation of the Kawai K1 called Nils’ K1v, which I find excellent. DDX10 is another good one I used for FM type, metallic sounding basslines,basically a DX7 emulation with a simplified interface (as compared to Dexed for instance). I used TAL Bassline for either more mellow or acid sounding bass sounds. Then it’s mostly samples, played using Reaper’s basic sampler.
I used many classical instrumentsand choir samples from the Sonatina bank, but they tend to lack texture and articulation. To find texture and articulation to lay on top ofthese sounds, I sample orchestral pieces by myself, looking for single instrument parts (I have my go-to composers and pieces for this). I also sampled from recordings of a (pretty well known)traditional and ancient music orchestra, for richer and more rhythmic or narrative samples.
Finally, I used a very cool Aston Origin microphone to record my vocals. It’s probably my first full release since I got it, so it’s a good time to thank my friend Youssef Futur for the recommendation!

Your favorite gear(s)/software(s) ?

Not necessarily the ones I use the most, unfortunately. I love my octatrack and my Behringer MS-1 (Behringer’s SH-101 clone), which I use way too little because I lack the room and furniture to keep a permanent setup. VST-wise, I’m a fan of anything by Rurik Leffanta, an indie developer also known as Xoxos, who’s made a plethora of cool weird plugins to make anything from animal sounds, surface rubbing sound, engine noises… any sort of noises really. I used some of his stuff, combined with samples, to make metal hit sounds, background noises and textures in the Dague de Marbre album, but I use them even more extensively in null split, my other industrial music project.
 

Any evolution in your setup ?

Not really, except for the addition of Nils’ K1v, which is employed in every song, and a much wider use of orchestral and traditional music sampling compared to my work on null split.

Sound Design

Do you use/tweak presets  ?

I mentioned that Likeness of the Offenderrelies heavily on an emulation of the K1, which is not a synth that allows for a lot of tweaking. In general, I start from a preset which I do tweak, if only to decrease the attack time and sustain level, because I’m such a sucker for plucky sounds. I also feel that when you work with FM synths/VST, tweaking and automating the modulation is an absolute must as it’s the source of the awesome expressiveness of those synths.
 

Do you design you own sound  ? On which synth/plugin in particular ?

I very often use recorded sounds as the basis for an instrument, and I nearly always layer bass, pluck, and pad sounds with samples to enhance their textures. You’d be surprised how many of the sounds I use are made with my own mouth.
 


Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ? ...


For Dague de Marbre it was varied so I can’t generalize. Several tracks started with selecting various samples of orchestral or traditional music recordings, then cutting them and arranging them to create something interesting, that was at least the case of Baptisms, Naked in the Winter and the introduction to Towers of Mankind. The verse part of The Truth that binds you was salvaged from, if you can believe it, an old cover of Front 242’s Headhunter…

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...)

I mix entirely in software, and almost always with dedicated mixing plugins, rather than using the VST’s settings. I use distortion a lot to enrich the original sounds and make them slightly dirtier, although, in Dague de Marbre, I did less of that than in null split.

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?


Making these tracks was way easier and quicker than any null split project, because the intent was clear, the set of influences was well delineated, it was consistent.
My ordeal these days with both projects, is writing verses -both music and lyrics. I may find a catchy intro and chorus quickly but getting the song from one to the other is a pain. Nobody says tracks should be structured like songs but that’s what I’ve been going for lately. Sometimes I must be doing it wrong or in the wrong order because things don’t flow that naturally.
I used to hate mixing, and now I love it. It can be frustrating because it forces you to deal with your own bad arrangement decisions… or (usually) the inability to make these decisions and keep focus. Mixing on Dague de Marbre wasn’t so difficult because the sound isn’t very crowded, and each instrument has a clear function. At the same time, I enjoy losing myself in fine tuning filters, eqs and compressors, kinda puts my mind in the same place as drawing or folding paper, a very soothing place.

Antoine's Tips

My current mindset is dominated by working on the next null split album, so the tips will be more relevant to that than to Dague de Marbre… but that’s what I care about right now, so I guess it’s the best I can give!
Get used to recording sounds in everyday life, which begins with having a shortcut to the recorder on your phone. As a true cinephile, you, Popman, will hate this but I would advise to be on the lookout and ready to hit pause when you’re watching movies too; that is, get audacity and set it up to recording using stereo mix… Just sample away!
Although I use samples to reinforce the textures in synth sounds, what’s really key to me is that the sample has rhythm, different phases and tells a little story. I know that kontakt-style sample banks will not give me that, although they will give me texture. The“narrative” kind of samples usually come from things happening in real life, other music, from movies. They are more of a source of inspiration that gets something going, than a resource used selectively to achieve a desired result. It’s typically the case of the main sample in the introduction to The Towers of Mankind in the Dague de Marbre album.
 

Contact info

Instagram : @sternest_descent, @daguedemarbre, @nullsplit

 

mardi 12 septembre 2023

Playlist Electraumatisme du 12/09/2023 - Fasciné par la mort une fois de plus

Et oui, cette semaine dans Electraumatisme, on a choisi une poignée de projets electronique ou non qui ont en commun de ne pas avoir de problème a regarder la mort (des autres ?) en face et à l'évoquer dans leur musique...en tous cas, c'est l'impression que çà donne.

Corroded Pulse - Torchlight
Stoneburner - Corvomancers
Negant - Censor!
Haus Arafna ‎– 45 Minutes In New York
Garden of Delight - Agony
The Dream Disciples – A Thousand Yard Stare
Human Vault - Mirror Without Reflection
Frozen Eye – Dark Contemplation
Ordo Equilibrio – Sic Transit Gloria Mundi... In Extremis
KnK - Creeps in the land of the creeps (Abstrackt Black Remix)
In Slaughter Natives – Clean Cathedral Of Deliverance
Arcana – Chant Of The Awakening
Therion – Calvicula Nox

Release of the week:


 







Download : http://electraumatisme.info/broadcast/20230912.mp3

 

mardi 5 septembre 2023

Electraumatisme du 05/09/2023

On a peiné à sortir des années 90 pour cette édition classique d'Electraumatisme.

Desolation Colony - Prisoner Cinema
M/A/T - Noise
Operating Strategies - Soft Rain
Spankthenun - Madman
Les Berrtas - Killer
Emile Strunz - Merck 274350
Multiple Man - Power Fantasy
the Bleeding Stone - To Prepare a Face
Cyberthreat - Liers
Parasite - Dreamscape
Frame of Mind - Braindead
Nejet Nok - After Stars Fall


Release of the week:

 

 












 

mercredi 30 août 2023

Playlist Electraumatisme du 30/08/2023 - Penser à la piqûre de rappel

Une sélection de groupes dont les chanteurs n'ont pas l'air à jour dans leurs rappels de vaccins dans la seconde partie de cette édition d'Electraumatisme. Conclusion, çà fait quand même un bruit bizarre quand ils essayent de chanter.


Spankthenun - On The Run
Chem - Heta my (Outpost 11 remix)
Ultranights - The Seppuku files
Hocico - Untold Blasphemies
Consequence – Psyrulent
Hydra Division V - Ostracized
Volition – Diversity 2
The Retrosic - The Storm (enhanced)
Distorted Memory – Seven Voices Of Hate
Dawn Of Ashes – Hellbound (Club Mix)
Blank - Sick and dead
Kontrolled Demolition - Kollateral damage
L'Âme Immortelle – Die Zeit In Der Die Freundschaft Starb

Release of the week:

 

 







Download : http://electraumatisme.info/broadcast/20230830.mp3



vendredi 25 août 2023

Kitchen Notes : neat_less on More Monsters

Tout prolifique qu'il soit, Philipp Münch trouve même le temps de répondre aux questions qu'on lui pose à propos de la réalisation de More Monsters, la dernière sortie de son projet darkelectro neat_less que je n'avais pas vu venir. Cà aurait dommage été passer à côté d'une excellente surprise. Et depuis quand n'avez vu pas vu de D110 utilisé ?

As prolific as he can be, Philipp Münch even find the time to answer questions on his More Monsters release, the last delivery for his Darkelectro project neat-less I didn't see coming. It would have been a pity to miss such an excellent surprise. And since when did you have seen a D110 in use ?





Gears and software

What gears/softwares did you use for More Monsters ?

recording and mixing: Ableton Live 10 Standard, Soundtoys Suite

rhythm: roland D 110, roland t 8, roland mc 101, roland mc 707, roland tr 6s, behringer rd 8

synths: behringer cat, model d, wasp, prophet 800, td 3 mo, Roland S 1, Roland MC 101, Korg Opsix, Korg Delta, Korg MS 20, Roland D 110, Soma Lyra 8, custo eurorack modular, dsi evolver, pioneer as-1


Your favorite gear(s)/software(s) ?

I like all all of my synths, it depends on the music i make which ones are most suitable.
 

Any evolution in your setup ?

Some instruments come and go, others stay here for ages

Sound Design

Do you use/tweak presets  ?

Mostly I’m doing my own synth sounds from scratch
 

Do you design you own sound  ? On which synth/plugin in particular ?

Yes, on my hardware setup. I’m not a big fan of software synth. I need that haptic feeling
 

Personal synth story ?

I started playing with synths in the late 80ies. there would be too many stories to tell…


Writing/composing method

What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ? ...


I have some vague ideas, most comes by playing around. Discovering, experimentaton, the joy of the game itself. Usually lyrics come after most of the music is done.

Producing/mixing method

Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...)

Even if I love hardware synths I do all the mixing in the box. my space is limited, and this is the most effective way to do it.

What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?


All steps are part of the game and they all are enjoyable. since i’m doing my music for pleasure and not for living i can do or leave what i want.


Philipp's Tips

Take the time to discover the possibilities of your instrument. don’t buy that much. less is more.
 

Contact info


https://www.facebook.com/philippmuench.de

https://www.facebook.com/TheRorschachGarden/

mercredi 23 août 2023

Electraumatisme du 23/08/2023

Une courte édition régulière d'Electraumatisme à nouveau cette semaine. J'en profite pour remercier celles et ceux qui m'ont souhaité un bon anniversaire. J'en ai encore sous la pédale, vous savez (je me comprends, je me comprends...)

Survival Paradox - Natmaskinen
Diesel Dudes - New Muscles
Depressive Disorder - Near To Death (Final Step by Mastermind)
neat_less - Snake Pit
Operating Strategies - Walk On Broken Glass
PP? - I'm the Devil
Frames A Second - Disoriented Xpress
Psychosomatik vs Obe - Release me
Clark-Nova - Venus In Furs
Switchboard Of Souls - Don't bother me
Plastic Noise Experience - Close my Eyes (sex)

Release of the week:


Survival Paradox - Dysfunctionalism


 







Download : http://electraumatisme.info/broadcast/20230823.mp3

 

mercredi 16 août 2023

Playlist Electraumatisme du 16/08/2023 - Total Rougna Pawoua Part. 49

Le très prolifique Philipp Münch en a encore fait une, et une bonne. Présentation en première partie de cette courte édition rougnesque d'Electraumatisme.


 

neat_less - lethal seeds
Noronsoff Intestate - Fabriquer des monstres
G.H.T - Apologize
Ooomph! - Ich bin du
KlocK101 - The Delusion
Degenerated Sequences - Divine Redemption
All Systems Out - Electrified
Bionic Bitch - Bleed (B. Rosberg Remix)
Black Agent - Modern Mannequins
Töt - L'impasse
NGHTLY - Dimensional Strength
Confrontational - Replay

 

Release of the week:

neat_less - more monsters


 







Download : http://electraumatisme.info/broadcast/20230816.mp3