mercredi 29 novembre 2023

Playlist Electraumatisme du 29/11/2023 - Häxan à l'Etrange Festival Clermont-Ferrand

Cette semaine, Electraumatisme propose la sélection qui a été jouée pour illustrer Häxan la sorcellerie à travers les âges à l'occasion de la clôture de l'Etrange Festival Clermont 2023 .

Deux versions de cette édition sont donc proposées en téléchargement, la complète incluant la première partie ou uniquement la sélection Häxan. Et si vous voulez tenter l'expérience avec le montage Criterion ou Potemkine, la musique commence dès le premier carton titre.

Pineal Stream - Join us
dISHARMONY - Synthetic playground
Chiasm - Cut Right Through (Mildreda mix)
In Tenebris - Morning Divide

Häxan Selection

===========
Sopor Aeternus & the Ensemble of Shadows - The Oblong Box
Dusk Sunlight - Stars Under Construction
Desiderii Marginis – Chaos Undivided
Arcana - Æterna doloris
Vangelis - Heaven And Hell Part 2
Arcana - In Search of the Divine
Rosa Crvx - Eli-Elo
Hazard – Who Blew Out The Northern Lights
Dusk Sunlight - Lifeless
Arcana - Icons
Funerary Call - Upon the Heath
Sinke Dûs - Contrition
Arcana - The opening of the Wound
Rosa Crvx - Orbem
Vyacheslav Artyomov - Tristia For Solo Piano, Organ, Trumpet, Vibraphone And Strings
Raison D'être – The Verge Of Somnolence
Sinke Dûs - Stonelore
Arcana - Chant of the Awakening
Darja Kazimira - Morpheus
Archon Satani - Nailed
Arcana - Cantar de Procella
Diamanda Galas - Free Among the Dead
Rosa Crvx - Slave Crvx
Archon Satani - You will burn
Darja Kazimira - Monochromia
Dusk Sunlight - Deathless
Diamanda Galas - Tragoutha Apo to Aima Exoun Fonos (Song from the Blood of Those Murdered)
Archon Satani - Chamber ov Death
Dark Sanctuary - Cet Enfer au Paradis
Gothica - Spirits of the Dead
Dusk Sunlight - Crystallized Skin
Raison d'Être - Of Dying Relics
Memorandum – Pura Dalem (Temple Of The Dead)
Darja Kazimira - Sky Insignificance
In the Nursery - Parkgate Ironworks
In the Nursery - Audley Range School
Dusk Sunlight - Runes for the Funeral

Releases of the week:

Pineal Stream - Join us


 


 

 

 

 

 

 

dISHARMONY - Pendulum


 

 

 

 

 

 

 

Download :
full : http://electraumatisme.info/broadcast/20231129.mp3
Häxan selection : http://electraumatisme.info/broadcast/20231117.mp3


mercredi 22 novembre 2023

Electraumatisme du 22/11/2023

Retour aux affaires avec cette édition régulière d'Electraumatisme et une sacrée surprise pour ceux qui ont aimé le son DAF de l'époque finalement pas si souvent bien imité que cela.


kFactor - Wasted Time
Zweite Jugend - Liebe für alle (feat Martin Bodewell)
Total Chroma - Don't Look Back feat. Kellarissa
Dissecting Table - Illusion
Radial Rails - CBDC
Fotocopia - Foto de un caballo durmiendo en un charco de líquido rojo
Fragment - Mental fatigue
Pro Patria - To See (VTM To Hell Mix)
Cyber - Noise
CryogenY - Mass experiments
Archon Of The Fairlight - Wax and Wane (Cocteau Twins)
Seventh Image - City of Light

Releases of the week:

 

 











 

 












 
 

samedi 11 novembre 2023

Kitchen notes : Lucifer's Aid on Destruction

En utilisant de plus en plus de logiciels et mettant un peu de côté le matériel, Lucifer's Aid revient en détail sur ses nouvelles recettes de composition et de production qui ont permis d'ouvrir son dernier album Destruction vers des horizons dépassant la "Klinik-Industrial" qui faisait sa marque de fabrique. Beaucoup d'informations intéressante dans cette Kitchen Notes.

By using more and more software and leaving hardware a little bit aside, Lucifer's Aid goes back in details on his new composition and production recipes, allowing for on opening his latest album Destruction to new horizons higher than his "Klinik-Industrial" trademark.
A lot of interesting information are waiting for you in this Kitchen Notes.

 


 

Gears and software

What gears/softwares did you use for Destruction ?

My main DAW is Pro Tools. I use it for writing songs, production  and mix. I know this DAW inside out and I work very fast with it. That is very important in the creative workflow. That you don’t get stuck in meny diving and have to figure out how to do things. It’s a very flexible and great DAW.
For Destruction I worked mainly with software synthesizers. Unlike my other albums where I worked mostly with hardware synthesizers. I needed a change in my workflow. There is an acoustic guitar and electric guitars on some of the tracks. I have no rules making music.

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

I do like the Serum and lot’s of Arturia’s soft synths. On Destruction worked with Native Instruments Battery and Maschine for drums. I work heavily on drum sounds and beats and those drum plugins fits perfect in my work flow.
I do like the Roland TR8S. It’s very creative and fast to program beats with. Analog Rytm and Analog Four sounds very good and have an awesome good UI. I don’t own the original 303 but my I use my Cyclone TT-303 a lot. The sequencer is very powerful. The Bass Station 2 is great too. It costs almost nothing and has a powerful and rich sound.
 

Any evolution in your setup ?

Not anything special. I do keep my studio updated as much as I can with the latest versions. I don’t work as much with hardware as before. I am very much into software these days. But that can of course change. I would like to start to explore Eurorack. It’s so flexible and you can get very lost in the creativity in the workflow. It looks like a lot of fun.

Sound Design

Do you use/tweak presets  ?

If I start with a preset sound I tweak it to fit the songs. I also use a lot of plugins to make the sound more interesting like distortion, flangers and so on. Everything that can make sounds more interesting and give them a unique sound.
 

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

Yes. Mostly with Serum and Arturia’s synths. And Korg synths too. They are very flexible and if I have in my head I can tweak them and form them with those plugins. I work very much with layering sounds. That makes it dynamic in the songs. Some certain sounds blend very nicely together.  I sometimes sample everyday sounds. I record it in Pro Tools and there I can manipulate them. I also like to sample from movies, documentaries. Like the electronic pioneers did in the 80’s.
Hardware synth I like to work with the Bass Station 2 and the Korg Minilogue.
What inspires me a lot is the sound itself. If I hear a cool synth sound I can start to write a song from just that particular sound. The same thing with a sample.

Any particular synth history  ?

Well, in the 90’s I had the classic korg MS-20, Roland SH-09 and Juno 106. Later on I sold them for almost nothing. The MS-20 I exchanged for an electric guitar. Sometimes I do regret it. But one thing led to another and I formed bands because I sold those synthesizers and bought other gear instead. I am not nostalgic.

 

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 often start with a drum beat or bassline. Then I listen to it in a loop and make adjustments so they blend together. I add things, delete things. Trial and error. It's a bit of a struggle because drums and bass are the main cores in my songs. It's very important to get it just right. My songs do change a lot during the process when working with them. So how they sound in the end is very different from my first idea.
I take ”pauses' ' from the song and let them rest for a couple of days. When I come back to them I usually get new ideas and angles. When in the production stage I usualy take walks listening to the song over and over again to hear what I have to change. I find it easier to listen to what I have to change when not listening to the song in the studio. It’s better for me to listen to it in another environment.

Producing/mixing method

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

I mix and produce everything In Pro Tools. It’s very convenient and I have great plugins that I like to make the mixes they way I want them. I work a lot with the mixing process.  Mastering I let another guy do.

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


I’d say arrangement. A song has to be dynamic and have ”surprise” moments. Sometimes you achieve that. I try to break the traditional verse, chorus structure. And to do that you have to be very focused and it takes a lot of time. But it is worth it in the end. I enjoy the mixing process a lot. There is where the songs take form.
The song gets it’s character during the mix. I listen to the mix in my AirPods outside during a walk or something. Then I come up with new ideas. It’s great not looking at the screen when reference listen to your tracks. They sound ”different” when listening  that way.
During mix it’s also where I come up with new ideas in the production flow. My songs often takes turns, change in shape during the whole process. I am not afraid to go away from the first idea of a song. The most important thing is that the song gets as good as possible.

 

Lucifer's Aid tips

Work hard and never leave a song that you are half satisfied with. Work, work and work with your songs. And take time to do a good mix. It’s your own creation you should be careful about.

Contact info

email : lucifersaid@gmail.com
#lucifersaid #darkwave #ebm #industrialmusic #recordingstudio

mercredi 8 novembre 2023

Playlist Electraumatisme du 08/11/2023 - Total Rougna Pawoua Part. 50

Edition rougnesque cette semaine dans Electraumatisme. Prochain podcast le 22 Novembre, d'ici là on se retrouve à l'Etrange Festival Clermont-Ferrand et spécialement le Vendredi 17 Novembre pour illustrer Häxan, la sorcellerie à travers les âges.


Radial Rails - In the system
Fotocopia - Captcha
Svaj. - It's more fun to be dead
Mesmer's Ghost - The Dark
Ortrotasce - Ignite Me
Randolph & Mortimer - Dream Hack feat. Neu-Romancer
Oomph! - Mein herz
Choke Chain - Burial
STAHLSCHLAG - Apocalypsis
Desolation Colony - Burn My Hands In Slow Fire
Petrified Entity - They Travel Through Mirrors
FRACTIONS - Tension
Survival Paradox - Succumb to Zero
Container 90 - Psycho Social Media
Diesel Dudes - Zamboni

Releases of the week

Radial Rails - Internet of bodies

 


 

 

 

 

 

 
 

 Fotocopia - S/T


 

 
 

 

 

 

 

 

Svaj. - Until We Fall


 

 

 

 

 

 

 

Download : http://electraumatisme.info/broadcast/20231108.mp3

 

vendredi 3 novembre 2023

Kitchen Notes : AkMD on Abstract Concept Of Mind

AkMD (Absolutely kinetic Mass Death) n'en est pas à son coup d'essai avec son dernier album Abstract Concept of Mind. Pas mal de titres et d'albums sont déjà sortis depuis qu'il a atteind nos oreilles en 2020 avec sa dark-electro expérimentale proche des canons de l’école texane (fans de Mentallo and the Fixer, si vous ne connaissez pas vous ratez quelque-chose).
Alex Kirdyashov a bien voulu nous expliquer rapidement comment il produisait sa musique, l'occasion de découvrir une solution (Nanostudio) dont j'ignorais complètement l'existence. Comme quoi, il y a toujours quelque chose à apprendre.


Abstract Concept of Mind album is not the first shot from AkMD (Absolutely kinetic Mass Death). Many releases have to produced since this project reached our ears in 2020 with its experimental Dark-electro matching the Texan guidebook (fans of Mentallo and the Fixer, if you don't know this one, then you missed something).
Alex Kirdyashov agreed to quickly explain us how he produces his music, the opportunity to discover a music making solution I wasn't aware of (Nanostudio). Saying that, there is always something to be learnd from these Kitchen Notes.

 

 


Gears and software

What gears/softwares did you use for Abstract Concept Of Mind ?

I mainly use programs like NanoStudio, which uses an interesting for me built-in virtual synthesizer, synthesizer plug-ins like DN-e1, polyphonic synthesizer MAGIX Revolta 2, a virtual version of a high-quality monophonic analogue synthesizer Korg MS20, Cakewalk by BandLab (for programming drums and percussion and adding effects to them) and more.

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

NanoStudio, DN-e1, Revolta 2 (Korg MS20)
 

Any evolution in your setup ?

I experiment all the time, it all depends on my curiosity.


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's always different, and there is a special structure in mind, I improvise with different instruments or melodies, or in general it all starts with just a simple sample from a film in my mind.

Producing/mixing method


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


The most enjoyable step is probably putting my favorite rhythms and effects into the melodic part of the material for my albums, and the most painful step is recording the vocals, it's very rare that I can record as I planned, either I have to learn and learn or I shouldn't go on at all. I'm constantly experimenting with vocals and it's a never ending activity.

 

Contact info

https://akmd1.bandcamp.com

https://www.soundcloud.com/alexandr-kirdyashov

https://www.facebook.com/AlexKirdyashov

 

mercredi 1 novembre 2023

Electraumatisme du 01/11/2023

L'avis de tempête menaçant de débarquer sur la région Nord-Ouest (bon courage les gars), Electraumatisme a préféré rester à la base et fignoler une édition régulière un peu plus dense que d'habitude.

Total Chroma - Such Filth
BAGGER 258 - Muskeln und Maschinen
Dead Man Sect - Now I’m Lost
Fermion - Crossing the Lines
KNULL - Spit
Signal Aout 42 - Man Woman
Anstalt - H.Int
Lucifer's Aid - Be afraid
Dissecting Table - Answer
Replicanti - Holding True
Sound Steffen - I Feign death
Night Terrors - Date Night On Union Station -Starlight Angel, Sleepless Night
Azar Swan - Shiksa
Blush Response - You Will Cry Out in Grief
Deus Ex Machina - Crisis De Identidad

Release of the week:















mercredi 25 octobre 2023

Playlist Electraumatisme du 25/10/2023 - Futurepop of the past

Quand la Futurepop a explosé, je ne sais pas s'il y a eu un consensus sur l'horizon de futur que ce style musical évoquait. 20 ans ont passé, çà a plutôt mal vieillit, donc est-ce qu'on devrait pas plutôt appeler çà de la Pastpop maintenant ? Vous avez une heure vingt, le temps de cette édition d'Electraumatisme.


Lucifer's Aid - Give you control
Icon Of Coil - Former Self (Radio Edit)
Lost Signal - Dissonance
Ginger Snap5 ‎– I disappear
Baza - Save Me (remix)
Lost Signal - Absence
Ivory Frequency - See the light
Colony 5 – Knives (Schallfaktor Remix)
Level 2.0 - Our last endeavor
Mnemonic - Humiliation
Level 2.0 – Betrayal (Silent Auction remake)

Release of the week:

 

 












 

mercredi 18 octobre 2023

Electraumatisme du 18/10/2023

Cette semaine on évoque la sortie du dernier album de Signal Aout 42 dans cette édition régulière d'Electraumatisme. D'ailleurs si quelqu'un a une idée de la raison du changement de nom du projet, çà m'intéresse (çà ne peut quand même pas être une histoire de marque de dentifrice ?)


Signal Aout 42 - From A to B
TC75 - What Tears Us Apart
Missing Witness - Crawling Down
AkMD - Smother The Pain (Darktron Remix)
Anstalt - Human input
What's - Motions and emotions
Fatal Casualties - Slut
Nordschlacht - Existence
#366: A Life Lived - Bible: The Devil's Just a Man
Autodafeh - Lessons to learn
Pyrroline - End of the path

Release of the week:

 

 











 

mercredi 11 octobre 2023

Playlist Electraumatisme du 11/10/2023 - Spéciale Subway Dance

Dans cette édition d'Electraumatisme on évoque la soirée co-organisée par Dr.Body et Neutral Zone qui aura lieu samedi soir à la Loupika à Lyon et les groupes qui occuperont la scène. On ne va peut-être pas évoquer tout de suite les bières qui occuperont le bar, en revanche.

AkMD - Abstract Minds
unitcode:machine - Emptiness
Vaselyne - Necromancer
Fragile Gods - Before the Stars Collide
Nekra Damage - Sacred Place
Frontmaschine – Uncontrolled
Kalt - I'm Leaving
Töt - Nuits sans étoiles
Frontmaschine – Kommando
Kalt - Bloodcracy
Töt - Evicted
Kalt - The anger device
Töt - Cancer
Kalt - TrusT - Casus Belli Mix By TÖT

Release of the week:

 

 











Download : http://electraumatisme.info/broadcast/20231011.mp3

 

mercredi 4 octobre 2023

Electraumatisme du 04/10/2023

Une édition régulière d'Electraumatisme plus riche et variée que la dernière fois cette semaine avec une fournée d'EP de chez Aliens Production en première partie.

TC75 - Shut Down Anyway
dISHARMONY - Pendulum
Emanation - Two Poles
Jash Teua - Inevitability
Matt Hart - Deep down city
Petrified Entity - Vortex
Sektor B - Their false revolution
Choke Chain - Despair (Misery Mix)
CSIBD - Intermittent
Missing Witness - A Shadow Passing Over
2nd Communication - Ascent
System der Dinge - Insight
Iron Court - Healing Wounds
the Orphobia - Time out
Yendri - The Truth behind

Release of the week:


 

 

 

 

 

 

 

 

Download : http://electraumatisme.info/broadcast/20231004.mp3

 


lundi 2 octobre 2023

Corroded Pulse on Swell

Moyens réduit pour efficacité plus qu'honorable, c'est le crédo de Corroded Pulse pour son premier album Swell, et le résultat est des plus encourangeant. Jakob nous décrit sa conception plutôt juste de l'EBM  dans ces Kitchen Notes.

Minimal means for more than honourable effectiveness, that's the principles for Corroded Pulse on this first release Swell, and the result is very promising. Jakob describes us his quite fair conception of EBM making in these Kitchen Notes.


 Greetings! This is Jakob from Corroded Pulse, and I just wanted to take a moment to express how humbling it is to have been invited to answer this questionnaire – I never, in a million years, expected my music to reach this far, let alone so early in my endeavors as a musician, so for those that are taking the time to read this; from the bottom of my heart, thank you so much.
Truth be told, all of this positive attention is very surprising to me. I never intended to get into music in any capacity. I’m not classically trained, I never paid attention in my music classes in school, and I never even cared about music until my very late teens. With that in mind, if I’m using any terminology incorrectly or anything like that, now you know why. I digress, though; let’s get into this thing!

 

Gears and software

The meat and potatoes of the Corroded Pulse studio are my laptop, FL Studio (all plugins edition), a microphone, and an audio interface. I couldn’t go so far as to say there’s been any evolution in my setup. If anything, it’s been a process of de-evolution! I say this because there was a MIDI controller involved in the very beginning, but it was accidentally left in my car for too long during the Arizona summer, so it no longer works. Truth be told, I actually never found much use for said controller to begin with, so it’s yet to be replaced (if it ever will).
 

Sound Design

With my lack of formal music knowledge in mind, this also means that I’m not savvy on synthesizers. Don’t get me wrong; synthesizers are cool as hell...I just don’t have a clue what everything on a given synthesizer actually does, and I don’t have the time or patience to sit down and learn, haha!
It’ll probably be of no surprise to anybody that I use presets pretty much exclusively. Granted, I try to tweak and bastardize them enough that I make them my own (which means I keep twisting knobs, pushing buttons, and adding effects until it sounds cool), but everything I do in terms of synths is based from presets. Whenever I start a track, I beeline straight to the Sytrus plugin, purely on the grounds that the default preset is exactly what I need for the basslines.


Writing/composing method

I’d like to start this with my personal philosophy on Electronic Body Music: when all of the superficial layers are peeled away in any given song, the foundation of a great EBM track ultimately boils down to a great bassline with a catchy beat. When any artist in the scene has secured those elements in a track, the rest of the song will gradually write itself.
Once in a while, I’ll come up with a beat or a synth line first, but most of the time, a Corroded Pulse song all begins with a bassline. Sometimes, I get a great bassline stuck in my head and rush to FL Studio to put it down. Other times, however, I’ll have a general idea of the overall structure and cadence of a song in mind, and I’ll put something down, but then I’ll play around with the bassline and keep doing so until I’ve got it catchy. The way I look at it; when I’m jamming and dancing to my own basslines as if it was somebody else’s music, that’s when I know I’ve got something worthwhile.


Producing/mixing method


All of Corroded Pulse’s music is mixed and produced at home within FL Studio. Mastering, however, is being taken care of by Eric Oehler (Klack, Null Device) at Submersible Studios – I desperately tried to learn how to master on my own, but I just couldn’t get the hang of it.
My absolute favorite part of track production is sampling. Firstly, I’m a huge cinephile, but music has taken so much of my free time that movies have unexpectedly taken a back seat in my life, so making the kind of music I do allows me to still keep in touch with the art of film that I deeply adore. And let me tell you; the satisfaction of not only finding a great sample, but finding out it fits in that one part of a song perfectly is absolutely unparalleled.
And my least favorite part is recording vocals. It’s cliché to say this, but I hate listening to the sound of my own voice pre-distortion, so vocal sessions become a form of torture.

Jakob's tips

This is hard for me to answer. I’m still very new to music-making, so I’ve still got a LOT to learn myself, but a couple of things I’d like to share with aspiring artists:
  • As far as technical aspects go, mix quietly. I know it’s tempting to want to make it loud, but a quiet mix will give your song much more room to work with during the mastering process (big thanks to Eric Oehler for this tip).
  • This next point pertains more to general creativity, but because it was the most important lesson I learned during ‘Swell’; always, ALWAYS stay busy. A part of why ‘Swell’ took so long to complete was because I would focus on one song at a time, hit a roadblock, and eventually (inevitably?) sit around waiting for creativity to spark. Finally, I said “Fuck it; I’m going to work on something else”, and the second I did that, the gears started turning again.

 

Contact info

Corroded Pulse can be found and contacted on the following:


FACEBOOK: Corroded Pulse
INSTAGRAM: @corroded_pulse
GMAIL: corrodedpulse@gmail.com 


For what it’s worth, I also DJ as DJ Sado_Naut, specializing in Industrial/EBM/Electro/etc.:
FACEBOOK: DJ Sado_Naut
INSTAGRAM: @djsado_naut
GMAIL: sadonaut242@gmail.com


Finally; for anybody interested, I’m planning a power electronics/harsh noise side project called Foremost Practitioner, so keep your eyes and ears peeled if that’s your kind of thing.
 
(While I keep an eye on all my inboxes regularly, contact me via Instagram for the quickest response)

mercredi 27 septembre 2023

Playlist Electraumatisme du 27/09/2023 - Ionic Belgique

Cette semaine Electraumatisme garnit sa seconde partie d'édition avec une belle portion de productions belges et en particulier de quelques titres de Ionic Vision qui avait l'habitude de pas mal jouer de la sauce blanche dans ses textes.


Choke Chain - Darkness
CSIBD - Corporate Justice
Grandchaos - Refuge
Ionic Vision - She is my favourite pornstar (masturbation mix)
Implant - Log on Log Off
Insekt - Pest Control
Ionic Vision - Watching you
The Juggernauts - Religion (V.2K16)
The Klinik - Sick in your Mind
KnK - the Hunger
Ionic Vision - Sleep (arp remix)
Leiscure 13 - Spastic motions

Releases of the week:

 

 











 

 











 
 

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