After almost a year of weekly sessions ‘Music Listening Meditation’, I can still be pleasantly surprised by the difference between listening on my own, and listening with some other people who have come together with the same intention. We listen.
I know that in real life some of them may be driving, some may be cleaning their kitchen, some could be sitting quietly on their chair. We are in different times of our day because of the time zones, we bring a different mood because we are different human beings. So it seems the intention to listen is maybe the “only” thing we have in common. We listen.
We always do two sessions of approximately 20 minutes within the meditation hour. During the second session I ask the participants to try and focus on the group. This can be as much as being aware that there are others around us that hear the same sounds, that listen to the same music, that experience the same vibrations in their body. I am not sure if this awareness can create a physical connection, but it can have an impact anyway.
For me, that impact is like this: I enjoy the company of familiar and new people, I am grateful that people care to join. At times I choose music that is a bit hard to digest, and then it helps to know we are not alone in going through that. Sometimes a visualisation of how sounds go around in the circle is enough for me to bring up a smile, or to sense a new tingle at the back of my neck. Often the music sounds more intense than when I am listening alone. I hear more when I listen better.
Music Listening Meditation will probably not cause major transitions, but it can give you one hour of awareness, of intentional and focused listening. You observe, and don’t judge. You don’t have to try too hard: just let it happen. And if something else happens, that is ok, too.
The 4th edition of this online micro festival, which is part of the “Transonic Second Life Sessions”. These events offer, in different Second Life venues, concerts and audio-visual performances by bringing together around a community of sound and multimedia artists, visitors who, in a spirit that is both playful and adventurous, discover or follow the evolution of international talents performing under various avatars.
Organisation and scenography: A Limb & Livio Korobase
This new series of performances by artists associated with the Transconic label in Second Life is also part of the NoLA – No Lockdown Art initiative of Transcultures and European Pepinieres of Creation since the first confinement due to the health crisis since March 2020.
As maybe someone remembers, some time ago we opened this space in Museum Islands, which aims to be a kind of directory of producers of their own music in Second Life. It is all explained in this earlier blog post. The hexagons has also been added to the Second Life destination guide.
We have started a series of concerts, the season opened by Tia Rungray and which will continue in July with a small festival with various musicians active in Second Life and RL. The artists who have already joined the initiative are the following (in no order):
Tia Rungray A Limb Yadleen Echo Starship Bsukmet & Imniali Daddio Dow Livio Korobase Art Olujia Cypress Rosewood nnoiz Papp Martin Dimitrov Music Mish Musicat Chouchou Poppy Morris SM2 Mao Lemieux Morlita Quan Space Invaders Aleatorica
I invite all business owners in Second Life to view their biographies at Hexagons, each portrait provides a folder with the artist’s name, his image and a bio.
I also invite interested musicians to send an image and a bio, so as to make the directory even more complete.
The Hexagonsit’s a great opportunity for musicians to showcase their work and for businesses to support local talent. I hope many will take the chance to get involved.
The doors are always open, and on the roof there is a space available for events and concerts, and also as a rehearsal room.
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.
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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)
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
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.
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.
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!
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 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.
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.
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.
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:
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.
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.
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.
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
I know, there are more noble relatives, as Mixxx or Virtual DJ, but i have a sympathy for this freebie little guy (free software for Windows, MacOSX, and iOS).
He is very light and doesn’t need the large resources requested by other dj software, but it has everything you need to start dj as a pro, including Loops, Hotcues, and Freeze Mode.
Traktor DJ 2 does not have a direct interface to Shoutcast, but it works well with Butt. Put some tracks in Traktor and start broadcasting with Butt, it is all that you need to dj on Second Life without having to worry about whether or not the computer will make it (if you don’t know how to use Butt for streaming, you missed our guide “How play music in Second Life: the definitive guide“. Take a look).
