#12 this weekLeft!Over.
| 1 | 1:38 | 686 Streams | |||
| 2 | 4:15 | 500 Streams | |||
| 3 | 5:18 | 358 Streams | |||
| 4 | 2:07 | 241 Streams | |||
| 5 | 3:20 | 267 Streams | |||
| 6 | 3:57 | 250 Streams | |||
| 7 | 4:26 | 203 Streams | |||
| 8 | 4:50 | 173 Streams | |||
| 9 | 3:05 | 166 Streams | |||
| 10 | 3:40 | 201 Streams | |||
| 11 | 3:01 | 157 Streams | |||
| 12 | 3:52 | 148 Streams | |||
| 13 | 3:46 | 140 Streams | |||
| 14 | 5:33 | 139 Streams | |||
| 15 | 3:05 | 131 Streams | |||
| 16 | 3:39 | 150 Streams | |||
| 17 | 4:13 | 145 Streams |
This is pretty much the back catalogue of my production from 1999-2001. Some of the tunes, however, are amongst my personal favourites due to various reasons. Often because a great deal of time investment and technical knowledge was implied.
Other sketches, less elaborate, carry the usual bold leftist political substance which i have tried to voice through "edgy" electronics.
Buzz Digital Composer was the sole composition suite used, with occasional usage of auxiliary sound editors and a vocoder from Analog-X.
Sound fonts, built-in soft synths and effects processors have been extensively used, pushing the modest hardware resources i was working on far beyond what i have initially forseen. All in all, most of this stuff was written on a Pentium MMX 200.
Almost 8 years after i have ceased to compose, i am still astonished at Buzz's extraordinary possibilities. In my opinion, it remains the most powerful suite ever created, even without any new releases since Oskari lost the source code in 2000. Had Buzz been released under the GPL from the very beginning and many other features would have been rolled out, including a much needed native port to *nix systems.
Property software defintely sucks.
On the musical side of things, besides an obvious electro-industrial influence, several tracks showcase new incorporations to my shelf; Felix Kubin, Aavikko and other "glamtronic" references (all neo-retro, keen on nonsense and decay). "Matiné no Adro" is probably the best representative of this trend and by far the most comic tune i have composed. An awkward blend of portuguese vintage kitsch, known as "música pimba" ("volksmusik" in Germany, "disco polo" in Poland, "synth pop" elsewhere), phased white noise and industrial clicks.
1 rezensionen
lethyro • 2009-04-01 00:30:54
