MUSICLAB

About music made with
virtual instruments in-the-box
and in virtual worlds

Category: Events in Second Life

  • A Limb and and his secret life in Second and First life

    A Limb and and his secret life in Second and First life

    A Limb is a well-known Second Life musician (maybe some knows as Mich Reblack), but he also has a real life, and he plays in several bands. Of the various bands he plays in, my favorite is ZAÄAR. a Belgian collective born from a rib of NEPTUNIAN MAXIMALISM, the cosmic free-jazz orchestra that in the last two years catalyzed the attention of those in love with psychedelic music, experimental drone doom and space ambient.

    Below is a short story about ZAÄAR , straight from the A Limb lips during a conference in Second Life.

    .

    Hello and welcome to my ZAÄAR conference and mini-concert.

    I will start by playing recordings of several bands linked to ZAÄAR, then Magická Džungl’a, our first album, while giving some explanations about its creation. Then I’ll play a 20 minutes (maybe more) concert in free improv, using the instruments I used for the album recording.

    So at the origin of ZAÄAR is another project called Lab’OMFI. It was a multimedia collective that welcomed all artists who wanted to experiment with improvisation.

    The creator and main leader of this group was Jean Jacques Duerinckx, a formidable saxophonist who played among others with some of the best improvisers: Lol Coxhill, John Russell, Paul Rutherford, Dan Warburton, Michel Doneda. He is also involved in the Belgian electro-acoustic scene.

    He also played on a Zohara album, published on Tzadik (John Zorn’s label)

    https://www.discogs.com/fr/Zohara-Scorched-Lips/release/1196212

    I was very interested by improv, Specially Jean Jacque’s approach (I always incorporated some improvisation in all my earlier projects, but until then it was not an end in itself) and became a member of this collective almost from the start.

    I played synths and iPad apps using granular synthesis. I’ll give some more infos about it later

    Other future ZAÄAR members also joined Lab’OMFI for more or less long durations: Hugues Philippe Desrosiers (bass) and Guillaume Cazalet CZLT (guitar and trumpet).

    After a while, Guillaume Cazalet left the band to found his own, Neptunian Maximalism, an excellent free doom psychedelic drone metal band. JJ Duerinckx joined this new project very soon, as well as the drummer Sébastien Schmit who later will become the drummer of ZAÄAR. And I was invited to join too some months later. Sébastien left the group almost immediately when I arrived, but all the links were made!

    Neptunian Maximalism made 8 albums already (some live ones), and toured in France, Germany, Holland, Denmark… We prepare now a tour passing by Duisburg, Paris, London and more to be announced

    https://www.leguesswho.nl/

    We were also n° 44 in the year 2020 top 50 of The Wire magazine (the bible of underground music)

    https://www.thewire.co.uk/audio/tracks/the-wire-s-releases-of-the-year-2020

    If you’re interested to listen/see more about this band, catch these links:

    https://neptunianmaximalism.bandcamp.com/?from=search&search_item_id=2678550793&search_item_type=b&search_match_part=%3F&search_page_id=2640153548&search_page_no=0&search_rank=1&logged_out_menubar=true

    Let’s come back shortly to Lab’OMFI. The problem with such open groups is that, very often, unwanted people who are not in phase with the spirit of the collective impose themselves, and sabotage the rehearsals. After a while we got tired of this formula.

    A little before the confinement, Lab’OMFI was abandoned to make room for LamaPhi, a core group of a dozen artists, the most motivated to really work on improv.

    LamaPhi performed in the streets during the whole confinement, even in winter 😀 . About 20 events. Most of them were filmed. You can watch them here:

    Now the effective ZAÄAR story.

    In the first days of January 2020, Philippe Desrosiers (Lab’OMFI’s bassist) called me.

    He said “I’m trying to organise an improv concert in St Gilles (Brussels), February 1st, with Jean Jacques Duerinckx (sax), Guillaume Cazalet (Vocals, trumpet, flutes, percs) and Sébastien Schmit (Drums, percs). Would you be interested to join?

    I answered yes of course. I can’t say “no”… Then he told me “It’s a very narrow place, you’ll see. We’ll have to get organized…”

    Indeed it was narrow. The place was a hairdressing salon!

    … but a very special one. It’s called Espace Moss, and Moussa, the hairdresser is a contemporary art lover. So he decided to use his salon as an art gallery.

    It sounds weird but it’s a great idea, from my opinion. Even when you visit a museum, you rarely have one hour to devote to watch a single artwork. In a hairdresser salon, you are even obliged to sit and watch.

    Of course Moussa makes arty haircuts too 😉

    A hair salon is usually not very large. But the artist invited by Moussa was Yoel Pytowski, an architect, who re-designed the whole shop interior by adding walls, transforming the shop in a sort of middle-east market one-way street. So it was even more narrow.

    Anyway, we found some place to install our instruments. When we started playing, the shop was full of people drinking and making noise. But despite this they listened and enjoyed the concert.

    The name of the event was called “A Triptych In Sound” because we played 3 improv sessions during the evening. It was rather audacious, because the ability to concentrate during improv is strongly solicited.

    But to our surprise we made the good connections right away, and it lasted until the last note. I had only played once with the drummer, and rarely with the bassist, but it was as if we had been playing together all our lives, and our three sessions were quite excellent, full of groove and creativity.

    Hmm, the special homemade fruit alcohols served by beautiful fairies were free for the musicians. Maybe it helped too.

    So when we left the event we were very happy and satisfied of ourselves.

    Sadly, some days later started a quarrel. I was not involved in it, and don’t want to give you details about it. But after this argument, I didn’t give much chance for this band’s future…

    … and then COVID arrived, so our musical activities fell into hibernation. The concert became a pleasant but already distant memory

    But it’s not finished of course…

    In February of 2021, we suddenly got an e-mail from Guillaume. It said: “Hey, maybe you didn’t notice, but I recorded the concert with my pocket digital recorder. I spent months cleaning and masterising the tracks. I think it sounds good. If you’re ok, I already have agreements with 2 disc companies so that a double vinyl album could be published this year. What do you think?”.

    The album art was ready too (made by Peter Kľúčik – Untitled). Everyone agreed.

    Personally I consider Guillaume to be a true mixing genius. Getting an album that sounds so good out of a concert recorded in the middle of a noisy crowd, in a reverberating room, with the only internal microphone of a pocket recorder, is a real miracle.

    … and 2 Neptunian Maximalism albums were made the same way. We never went into a studio. It’s simply concerts and rehearsals recordings…

    I think what makes the strength of this band is the bass and drums sections. They are both flexible and reliable. They can range from pure noise to rock funk rhythmics, while keeping a full coherence. It makes the improvisations of the other members very comfortable and it is very inspiring

    Guillaume is a very skilled guitarist. But in this band he abandons his favourite instrument to devote himself to the flutes, the voice and the trumpet. He is very interested in occult sciences, religions and cults of the past, voodoo,… So you often hear throat singing, murmurs or readings of texts in unknown languages. All this was handled by its many effects pedals. For the most recent concerts, he gave up the effects and it still sounds awesome, more than ever.

    On my side, I often use an iPad app called “Samplr“.This allows me to record what other musicians are playing, to select live very short excerpts and then to process these sounds with effects, to loop them, etc. That’s why it’s sometimes difficult to distinguish myself from other musicians, because I use the same sounds.

    I also use a modular synth application called miRack. It is a kind of equivalent of Reaktor, for iPad. It is possible to build your own synths or your own effects. It produces some great experimental sounds.

    https://www.musictech.net/news/mirack-modular-ipad-synth/

    And finally I also play the MicroFreak, a small synth that is also very experimental, with touch sensitive keys.

    So now everyone reconciled, we started rehearsing for more concerts, and noticed the magic was still there when we played together. And now we have already new recordings for more albums. A new one is planned for the end of this year.

    The first album was out November 5th, 2021 in a 2×12″LP Vinyl format in Gatefold Sleeve, Ltd 700 (350 Yellow, 350 Green) – Available on Bandcamp of course.

    Colored vinyls 😉

    https://zaaar.bandcamp.com/album/magick-d-ungl-a

    The album is financially produced by 3 labels:

    I, Voidhanger Records, excellent experimental metal label:

    https://i-voidhangerrecords.bandcamp.com/

    WV Sorcerer Productions 巫唱片, an avant-garde esoteric music label managed by a wonderful chinese/french artist called Ruò Tán:

    https://wvsorcerer.bandcamp.com/

    https://www.facebook.com/wvsorcerer

    … and HOMO SENSIBILIS SOUNDS, Guillaume Cazalet’s own label:

    https://homosensibilissounds.bandcamp.com/

  • Music Listening Meditation 2: disable the filters

    Music Listening Meditation 2: disable the filters

    It starts with listening

    Click here to listen to Laurie Anderson & Kronos Quartet – Riding Bicycles Through the Muddy Streets

    You were curious enough to open this link, right? And while you listened, you experienced a short moment of concentration, of focus. A moment where past and future did not matter, a moment where you were just listening.

    There are not many times where we are surrounded by complete silence. And even then it is probably the smallest sound that will make us fully aware of the silence: the scream of a bird, the closing of a door, a rustle of the wind.
    Being surrounded by sounds does not mean we always hear all of them. We are capable of filtering out background sounds, or even filtering out all sounds, until the unusual will warn us to pay attention: a barking dog, a siren, the doorbell. We are capable of applying a ‘judgement filter’, that can both make us extra vulnerable for annoying sounds, or make sure we shut these out. The judgment filter can also cause us to only hear our music and for example completely filter out the traffic outside our window.

    disable the filters

    With Music Listening Meditation, we try to disable the filters. We could just sit still and try to focus on all the sounds, near and far. It is an interesting practice, if you listen closely you might hear for example your breath, maybe your belly, your chair as you move, a bird close by, people talking, a bird far off, leaves in the wind, music from other places, cars, a plane. Keeping focus for a longer time can be very hard and it seems that the more sounds there are, the harder it is to continue to try and hear them all.

    Music or “orchestrated sounds” make this a little easier, although two sessions of 20 minutes each can still feel long. I promise, over time it becomes easier!
    It is important to open your mind and try to disable your filters. That includes the judgement filter. Of course it is perfectly okay to enjoy what you hear (please do!), but don’t let it carry you away. You can also get annoyed by sounds, but that too should not distract you from just listening. Stay curious always.

    Okay, but why would we do this? For me, meditation is trying to reach a state where body & mind work together on a single focus. This can be by repeating a question, by following a guided meditation, by counting from 1 to 50 and back (yes, I have done that for many weeks and it is very boring and hard and frustrating how many times I would lose count), by watching a flower, or … by listening. Relaxation is what might follow from taking mind & body away from their usual affairs, or ‘buzz’ as I call it.
    Sometimes it works, sometimes it doesn’t. It is a journey for me, too, and I am happy to share my steps on the way with you. And to hear about your journey as well.

    join a session in second life

    When you join us for a session on Monday from 8-9 am SLT , or Wednesday from 12-1 pm SLT, all you have to do is take a seat and let the sounds be what they are, laid out for you, following one after the other. Almost like breathing.

    We call it meditation, but never try too hard, let it happen and if something else happens … that is okay too!

    Here is where we meet: http://maps.secondlife.com/secondlife/Pelican%20Reef/31/156/22

    You can read part 1 of my journey here: https://slmusiclab.com/2023/05/04/music-listening-meditation
    Part 3: https://slmusiclab.com/2023/09/04/music-listening-meditation-3-we-listen/

    Disclaimer: as you may have guessed, I am not a professional or even amateur meditation teacher. However, I strongly believe that there is a level of meditation that anyone can practice, in any given situation. To get away from the buzz.

  • Tia Rungray at The Hexagons, the full performance in Second Life

    Tia Rungray at The Hexagons, the full performance in Second Life

    Tia uses this combined real video/virtual video formula that works a lot, is informative and interesting. Yesterday’s concert on the roof of the Hexagons was excellent, good music, good people, friends. Perfect.

    Like those times you feel like you’re in the right place at the right time.

    There isn’t much more to say. Listen to good music, it’s good for mind and body.
    Hope to see Tia-san on the roof of Hexagons again. Always welcome.

    The location of the event, The Hexagons, is hosted in Museum Island and is open to anyone who wants a place where and can play in a context other than the classic “club” or “opening” one, The stress of competition does not exist here, and we are not interested in having crowds but on good music. Peace, love and coffee.

    Thank you all and sayoonara.


  • The Quantum Gate in Second Life: The Story

    The Quantum Gate in Second Life: The Story

    UPDATE: actually dismounted in search of a new home.

    Visit at secondlife://royal%20opera/40/130/24

    This is a long story, which began many years ago when there were no CDs and vinyl objects called LPs were used to listen to music. I had several of these LPs, including some from a band that fascinated and frightened me at the same time.

    This band was called Tangerine Dream, and it explored territories unknown to me, because electronic music was little known and to make it you needed tools that were unattainable for me, even if only for the cost.

    Tangerine Dream performing at Coventry Cathedral, Warwickshire, 4th October 1975. Left to right: Edgar Froese (1944 – 2015), Christopher Franke and Peter Baumann. (Photo by Michael Putland/Getty Images)

    Their leader, Edgar Froese, seemed to me to be shady and diabolical, and the music evoked strange echoes inside me.

    But damn Phaedra was really fascinating.

    The band has changed a lot over the years, also due to its longevity (it has been active since 1967, incredible), with ups and downs as is normal.

    In 2015 Edgard Froese died, but the band continued its history under the guidance of Thorsten Quaeschning, who was in Tangerine Dream since 2005.

    Thorsten is truly a special person. I’ve never seen someone as dedicated to music as he is, the live performances prove it. I once asked him what the trick was, it’s impossible to play electronic music live like he does, and the answer was disarming: Livio, I love music. I play hours every day and I live for the music. That’s all.

    It is from him that I first heard about this Quantum Gate, during a online event called Behind closed doors with​​​.​​​.​​​.​​. Idea was very simple: we go on stage and we let that music talk, live. LIVE? After two concerts, was clear for me that something exceptional was happening.

    This is live jam session… dropped jaw. Let’s face it, shiller seems like a poor guy, but yet look at the esteem and gratitude at the end of the session, So it’s done. Softly, with kindness.

    On stage he is gigantic, What is this Quantum Gate, Thorsten? You will find out for yourself, the answer. Know that there are rules to understand, it’s a special place that Edgard has worked hard on. So I started exploring Tangerine Dream’s music in search of hidden messages, arcane harmonies, rules of composition, secret portals to unknown spaces. Ok, I know, sometimes I’m stupid, it certainly wasn’t that, this was just the easiest way for me

    Time ago. I had read about a place where the stories of all the lives that have appeared and will appear on this planet are kept. Immediately in my mind the image of an immense library was formed, where all the papyri with this information were kept. Once I talked about it with a wise friend, who told me Livio, look at the sky every now and then. that is your library.

    So, slowly I too learn to be a little wiser, to admire these soundscapes with simplicity, accepting them for what they are and what they say without building endless and even useless stories on top of them, calm down and listen to music, there is no need for anything else

    To thank for the teachings and the love that transpires from all this beauty, I wanted to create an installation in a simultaneously real and unreal place like a virtual world can be. There is something further on, much more solid and concrete than one might think.

    My Quantum Gate in Second Life is an installation based on the videos I produced to accompany the music of Tangerine Dream, collected in a video list on Youtube.

    I have no pretense of explaining to anyone what the Quantum Gate is (also because it could be different for everyone), it’s enough for me to imagine that someone is intrigued and ventures down the road and offers them a shortcut, perhaps when they visit this place.

    From presentation of Quantum Gate work: Thorsten Quaeschning, Ulrich Scnauss and Hoshiko Yamane worked together to realize Edgar’s visions and expectations of a conceptual album that attempts to translate quantum physics and philosophy into music. New member Ulrich Schnauss comments: “at the moment hardly any other area of science questions our concept of reality (linearity of time etc.) as profoundly as research in Quantum physics – it’s no surprise therefore that Edgar was drawn to these ideas since he had always aimed at reminding listeners of the existence of ‘unopened doors‘.” 

    Just surrender :). And smile thinking that Thorsten Quaeschning did a serie of exceptional live concerts called Behind Closed Doors, maybe for tease Edgard (ei look, i am opening doors).

    In anycase, Froese himself is credited on all but one track, mostly due to musical sketches he left behind, so he is never dead or missing, he is still really a member of actual Tangerine Dream.

    This is the gift of Quantum Gate, printed on The Emerald Tablet. As above, so below.

  • Tia Rungray Concert LIVE at Second Life Music Composers Directory || 05-27-2023 1PM SLT

    Tia Rungray Concert LIVE at Second Life Music Composers Directory || 05-27-2023 1PM SLT

    .

    I will perform at The Hexagons, owned by the Second Life Music Composers Directory, on 27 June at 01:00 PM PDT. I am looking forward to seeing you there.

    Tia Rungray LIVE in Second Life Music Composers Directory || 05272023
    LIVE MUSIC with “Piano & Noise” in Metaverse & YOUTUBE LIVE
    └ https://tiarungray.com/live/2023-05-27-sat/

    DATE:
    May 27, 2023

    START TIME:
    01:00 PM (PDT)
    29:00 (JST)

    TELEPORT (in Second Life):
    The Hexagons in Museum Island
    https://maps.secondlife.com/secondlife/Museum%20Island/64/127/1495

    ORGANIZER:
    Second Life Music Composers Directory

    COOPERATION:
    Museum Island
    https://maps.secondlife.com/secondlife/Museum%20Island/118/215/22

    SOUND & ART PRODUCER:
    Takayuki Noami (Non-REM Studio)
    https://non-rem.com/

    PR:
    ART PROMOTION by Violet Boa
    https://www.facebook.com/violet.boapr.1

  • Harmonizing Chaos, My Journey in Music: Tia Rungray in Second Life

    Harmonizing Chaos, My Journey in Music: Tia Rungray in Second Life

    Introduction

    The quest for a unique sound can lead artists down unexpected paths in music production. For me, Tia Rungray, that path led to a harmonious blend of cacophony and melody, chaos and order. I found my unique sound in the unlikely pairing of noise and piano, creating a musical style that challenges the conventional boundaries of genre. While introducing noise elements in music is not a new concept, composers like John Cage and Karlheinz Stockhausen have explored this territory, so my approach is deeply rooted in a philosophical exploration of sound. This exploration goes beyond the mere combination of noise and piano, delving into the essence of sound and its potential to evoke a wide range of emotions and thoughts. This article will take you through my journey, my process, and the art of creating music that marries the discordant allure of noise with the timeless beauty of the piano. It’s a journey that goes beyond the notes and rhythms into the philosophical underpinnings of my unique sound.

    Video footage of Draxtor Despres interviewing me in 2021.

    Background

    My journey in music-making began in my early childhood home, filled with the electrifying sounds of rock music. That expression may have been overstated for us. However, the guitar’s distortion, a staple in rock, was a familiar sound that would later play a significant role in my music production.
    But the movie “The Piano” sparked my interest in the piano, leading me to explore classical music. I became enamoured with the works of composers like Erik Satie and Sergei Rachmaninoff, their music resonating with me profoundly. As I delved deeper into the world of music, I stumbled upon a track in a music game that would change my perspective on sound. The way was a hardcore techno track, and it introduced me to the intense, high-energy sound of Gabba Kick. Intrigued by its raw power and energy, I decided to try creating it. While experimenting with Gabba Kick, a thought crossed my mind: “What would happen if this method of sound-making was applied to the piano?” This curiosity led to “my noise sound”, a unique blend of noise and piano. The result was a captivating soundscape where I could hear the beauty of the piano thinly through the noise. This sound struck me like light shining through the leaves of a noisy, rustling forest. I realized that the wild noise could express the most extraordinary wildness of human emotion, which seemed impossible to communicate with the piano’s super-strong notes (forte fortissimo) alone. However, it was also possible to subtly tell the quiet movement of emotions by saying the maximum roughness. This realization deepened my connection with noise and piano, and I knew I wanted to share this unique sound with others.

    The selection of “My favourite 42 albums” is not limited to piano music.

    The Art of Combining Noise and Piano

    Creating my unique sound involves a delicate balance between the piano and noise, achieved through software instruments, audio signal manipulation, and real-time performance. The process begins in a Digital Audio Workstation (DAW), where I use the latest software instruments to create piano sounds. These sounds serve as the foundation upon which the noise elements are built. Making the noise involves a process known as bit crushing:

    1. I multiply the audio signal from the piano track via AUX using a “Lo-Fi” effect. This effect reduces the audio quality or “crushes” the bits, creating a distinctively gritty noise.
    2. I apply a generous amount of reverb to add depth and space to the noise. Once the noise is made, blending it with the piano is time.
    3. I simultaneously play the original piano and noise sounds, creating a unique interplay between the two.

    The balance between the piano and noise is crucial, and I control it using the fader on the DAW.
    Additionally, I use the velocity signal input from the MIDI keyboard to control the volume of the piano and the noise. The real-time performance of the piano and noise is a crucial aspect of my process. It allows for a dynamic and organic interaction between the two elements, resulting in a constantly evolving sound and never precisely the same twice.

    Case Study: Live Performance at Okinawa New Year Festival 2022-2023

    One of the best examples of my unique sound in action is my improvised live performance at the Okinawa New Year Festival 2022-2023. This performance, available for viewing on YouTube, showcases the dynamic interplay between noise and piano that characterizes my music. In this performance, the real-time control of the piano and noise volumes was crucial. As it was an improvised live performance, there were moments when it was challenging to adjust the faders in detail. However, the MIDI keyboard provided a valuable tool for controlling the volume of the piano and noise in real-time, allowing for a responsive and organic performance. In addition to the noise and piano, I also used a looper in this performance to add depth to the sound. The looper allowed me to layer sounds and create a rich, immersive soundscape that captivated the audience. This performance is a testament to the power and potential of combining noise and piano. Despite the challenges of live improvisation, the result was a captivating musical experience that truly embodied the philosophy of my music.

    Impact and Reception

    The journey of my electroacoustic music project has been a testament to the power of innovation and the exploration of sound. Advocating for “noise classical,” I’ve self-produced and released several albums, each one a unique exploration of environmental sounds, piano, and noise. My first album, ‘Foresta,’ was released in May 2013, marking the beginning of my live performances in both virtual and real spaces, including Tokyo and Saitama. Influenced by the ideas of Erik Satie and John Cage, my music focuses on instrumental compositions that depict the inner world of human beings. This unique style incorporates ambient, post-rock, and noise music elements, distinguishing it from traditional healing or meditation music. Over the years, my music has received recognition and praise. The release of my album ‘MindgEsso’ on the label “Cat&Bonito” in April 2018 elicited a response from composer Akira Senju, who said he had heard the air of the future in my music.
    My music video, ‘Dancing Fly in My Head’, was co-operated by the Akira Senju Office, Tokyo University of the Arts COI, and YAMAHA. In July 2020, I released the album ‘Juvenile’ on the label “Tanukineiri Records,” a collaboration with Yorihisa Taura. Furthermore, my music video ‘Soft Strings’ was selected for the Tokyo Metropolitan Government’s arts support programme ‘Yell for Art’. More recently, in June 2022, I performed at the “Second Life 19th Birthday Music Fest (SL19B)”. In August of the same year, I released the album “Ghostmarch”, followed by a performance titled “LIVE: Ghostmarch” in September, featuring video projection by Hebeerryke Caravan. Through each of these milestones, my music has continued to evolve, pushing the boundaries of sound and challenging conventional notions of genre.

    Conclusion

    The journey of creating music that combines noise and piano has been a fascinating exploration of sound and its potential to evoke emotions and thoughts. This unique approach to music production, which I’ve termed “noise classical,” has led to numerous performances, collaborations, and recognitions. One such recognition is my inclusion in the ‘Second Life Music Composers Directory’. This directory, initially set up by musician Livio Korobase as part of the now-defunct Second Life Music LAB within the Second Life Endowments of the Arts, is dedicated to introducing and supporting musicians working within Second Life. It also shares music-related technical knowledge through web media and other means. My inclusion in this directory is a testament to the support and generosity of the music communities in Second Life, for which I am deeply grateful.

    Through my music, I aim to challenge conventional boundaries and invite listeners to experience the captivating interplay between noise and piano. It’s a journey that goes beyond the notes and rhythms into the philosophical underpinnings of sound and its potential to resonate with the human experience.

  • YADLEEN (DREAM MUSIC), ECHO STARSHIP (LIVE AMBIENT) AND A LIMB (LIVE ELECTRO) AT STUDIO M in Second Life

    YADLEEN (DREAM MUSIC), ECHO STARSHIP (LIVE AMBIENT) AND A LIMB (LIVE ELECTRO) AT STUDIO M in Second Life

    TP to the concert: http://maps.secondlife.com/secondlife/Gangkhar/20/15/3898
    You should land on ground level. There is a large Obelisk with a TP Pad

    12:00pm SLT: YADLEEN is a composer of electronic dream music and the result is uniquely special. Her compositions can vary tremendously creating an ambience which is purely Yadleen. She also has an emphasis on India which is an extraordinary twisted work for electronic music.
    https://soundcloud.com/clara-music-1

    1:00pm SLT: ECHO STARSHIP
    Taking its form as mostly a live improvisational music project, Echo Starship is heavily influenced by an experimental/psych spectrum of sounds ranging from Drone, Noise, Ambient, Contemporary Minimalist music and all the way to Post-Rock, Krautrock, IDM, Synth Wave elements.
    https://transonic-records.bandcamp.com/…/moribund…

    2:00pm SLT: A LIMB
    A Limb is a kind of artistic Frankenstein, exhuming all sorts of music corpses from their graves, stitching an ambient body with funk legs, punk feet, experimental arms, jazz hands, a drone head, inserting a big ethnic music heart and krautrock lungs… then bathing the whole “body” into a dub effects bath, until an electro thunderbolt strikes it and… omg… it’s… alive! Hmm… sometimes science goes too far, but it’s too late to back-pedal…
    https://soundcloud.com/a-limb/tracks

  • Music Listening Meditation 1: away from the buzz

    Music Listening Meditation 1: away from the buzz

    So, what is meditation?

    There are many traditions and religions and trends that define what meditation is or should be. The Wikipedia page on Meditation gives a nice overview of where to start if we want to go into depth with that and I surely encourage you to do so if you are interested.

    For the purpose of this blog – and the Music Listening Meditation sessions I host weekly in Second Life – I stick to my own words “Away from the buzz”. Meditation is an activity that can take your mind off the ‘buzz’ it is occupied by.
    Whether your buzz is shopping, or partying, or grief, you may need a break. Whether you are looking for quietness to cure a hangover, to catch up with sleep or to find inner peace, no judgement here. It is your buzz, and your wish to get away from it.

    And what is Music Listening Meditation?

    There is a difference between ‘listening to music while meditating’ and ‘meditating through listening to music’. In the first case, music provides a calming background to whatever form of meditation someone practices; ambient music that is not supposed to disturb or disrupt.

    In the case of Music Listening Meditation, it is the music itself that triggers an active form of listening, it is the center of the attention, the heart of the meditation.

    Music Listening Meditation in Second Life

    The music – or sounds – I select for the sessions in SL are not meant to make you feel relaxed. They are not elevator music that calms you down. They are often sweet and beautiful, yes, but also unexpected and at times they will be annoying and harsh and strange. It takes effort to listen in concentration and with an open mind, to let all vibrate in your ears and brain and body. It takes effort to observe how the sounds affect you, without judging.
    And thát is what will take you away from your buzz. (At least, that is how it works for me.)

    Having said all this, the sessions are also nice to just listen to good music in good company. The music varies from Philip Glass to Brian Eno, from Benjamin Britten to Sigur Rós, from Xavier Rudd to Pauline Oliveros. And guaranteed no pan flutes!

    If you want to experience it for yourself, join us in Second Life on Monday from 8-9 am SLT or on Wednesday from 12-1 pm SLT. Both sessions in one week have the same playlist.

    There is always a seat available for you at http://maps.secondlife.com/secondlife/Pelican%20Reef/31/156/22 .

    You can find part 2 of my journey here: https://wordpress.com/post/slmusiclab.com/701

    Disclaimer: as you may have guessed, I am not a professional or even amateur meditation teacher. However, I strongly believe that there is a level of meditation that anyone can practice, in any given situation. To get away from the buzz.

  • The Hexagons, second life music composers directory

    The Hexagons, second life music composers directory

    Music is present in any SL event, and there are many categories of musicians: DJs, cover bands, singers, instrumentalists, and anyone who uses music as a form of entertainment.

    Among all these types of musicians, there is one in particular that fascinates me: who compose and play their own music.
    In general these are really passionate people, who over time have built their own personal studio by spending time and money in this passion and they also use SL to play their own music.
    I think it’s easy to see the difference between this type of musician and all the others: what you hear is a performance built on one’s sensitivity and skill, and the result is presented in public. A very delicate relationship.

    The Hexagons is a place dedicated to those who produce and play their own music, a catalogue of musicians who produce or have produced their own music in Second Life.
    In the installation there are frames with the images of these musicians: a click on the frame will give you a folder containing the image and a text with all the information about the selected artist.

    The Hexagons also has a stage on the roof where occasionally events can be organised.

    Why all those stairs? Well any composer does scales all day, major, minor, pentatonic, blues. mixolydian, eolian, so on and so forth.

    Do I like Escher? Yes, I like his work but in this case the stairs are practicable and you can also walk them upside down.

    The current artists are certainly not all those present in SL, for now they are only those I know personally. So if you are a musician who produces your own music and plays it in SL, send me a photo of you and a notecard with your information, I will be happy to add a new frame to the directory.

    The Hexagons is located at http://maps.secondlife.com/secondlife/Museum%20Island/89/103/1478