Around the same time, he began creating his own avant-garde electronic tracks, ascribed to a series of pseudonyms and invented personas, that reflected both his academic interests and his unalloyed infatuation with sound itself.
A Rhodes phrase is repeatedly played and altered, overlapping and reversing in complicated design so that the mottled sounds begin to bleed together with the calming effect of a Rothko painting.
Printed dictionaries and other books with definitions for Antithesis Click on a title to look inside that book if available: But the second song really had me worried; it's full of random sweeps and bleeps that by the end of the song are kind of annoying.
Synthesizer, drum machine, effects unit, sampler: Acoustic guitar and pounding toms rotate in Kraut-rock cycles while electric guitar lines slice linearly through the haze.
Venetian Snares Unlike much of his vast back catalog, Traditional Synthesizer Music by Canadian veteran producer Venetian Snares, real name Aaron Funk, was composed entirely on a modular synth.
Drums make their first appearance on the sixth track, creating a pounding tom rhythm amid the organ drones that swirl and sparkle around it. As if in response, "Obelisk For Kurt Schwitters " establishes the breadth of range that Whitman is seeking.
Antithesis is an aesthetically beautiful, if brief listen, and contains pieces that will spectrally come back to haunt the listener. Seed, his debut LP for Cleveland experimental label Spectrum Spoolsfound Naucke restricting himself not just to the instrument, but to using the same exact synth patch.
He released the best of them in as a faux "compilation" entitled Attention: Numerous releases document different aspects of his live performance explorations: There are multiple instruments on all of them; Whitman played them all.
What more could you ask for? To realize this a constitutional revision was necessary, which needed the support of two-thirds of both houses of parliament. Born inWhitman grew up in northern New Jersey frequenting record-collecting fairs, where he was exposed to all manner of "out" and esoteric 20th century music -- prog rock, psychedelia, free jazz improvisation, postwar classical composers, and early experimental electronica -- thereby forming the basis of interests that have continued to play out throughout his life.
Tribal drums reverberate, guitar distortion howls and an uneasy balance is finally realized. The four pieces on this short 27 minute vinyl-only release the first in Kranky's history were composed and recorded between andand are "ensemble" works that do not include any computer-generated processes.
Finally, on "Schnee," fromacoustic and electric guitars, hand- and found-percussion and cymbals, create a series of whole tone chord drones that are framed inside a kind of modal melodic architecture that opens out onto a terrain that is reminiscent of prime Popol Vuh explorations.
But the last four songs, which consist of the bulk of the album On "Obelisk For Kurt Schwitters " analog tape, guitars, shards of found-object percussion, and viola are concentrated into a stunningly beautiful and pristine soundscape.
Not only as a performing and recording musician, but also as a writer, educator, and entrepreneur, he has been an active and visible proponent of vintage and contemporary experimental and electronic music of all sorts. But it is valid at the abstract level of ordinary thought.
Whitman was invited to return to Harvard the next year for an extended residency, teaching workshops in exchange for access to the university's collection of rare and unique early electronic instruments including a prototype of the Serge modular synthesizer from the s and several Buchla Music Boxes from the swhich resulted in several of the compositions that would make up his second proper Kranky full-length.
Rhetorical Figures in Science by Jeanne Fahnestock Hence the antithesis is a primary stylistic tool for a whole host of arguments whose purpose is to force a pair of terms into opposition.
Born inWhitman grew up in northern New Jersey frequenting record-collecting fairs, where he was exposed to all manner of "out" and esoteric 20th century music -- prog rock, psychedelia, free jazz improvisation, postwar classical composers, and early experimental electronica -- thereby forming the basis of interests that have continued to play out throughout his life.
Often focusing on the modular itself, they show Sprague guiding waves of sounds, sometimes deliberately, other times allowing self-generating rhythms to gallop at their own pace. On "Obelisk For Kurt Schwitters " analog tape, guitars, shards of found-object percussion, and viola are concentrated into a stunningly beautiful and pristine soundscape.
Though, to its credit, the song almost saves itself with a pulsating rhythm that appears half-way through. Track 5 is a piece for "Yamaha Disklavier prototype, electric guitar, and computer" that wouldn't sound out of place as the soundtrack to sweeping shots of a Blade Runner-esqe future cityscape.
That album, using only an electric guitar and some effects processors, was a departure far from the glitchy laptop permutations and re combinations his earlier work wrapped itself in.
Naucke uses counterpoint, overlapping polyrhythms, and a mixture of organic and synthetic tones to weave blankets of sound into an album that reveals its many secrets slowly. The six original tracks, as well as the five bonus takes, show the two musicians guiding a series of generative patches driving only white noise samples.Keith Fullerton Whitman's album Playthroughs brought me both comfort and a feeling of being alone.
I experienced an aesthetic connection with that minimal ambient record that is arguably the. The American Keith Fullerton Whitman (Massachusetts, ), one of the leading figures on the modular synthesizer scene, has released more than twenty albums of electronic music since the nineties (many of them under the pseudonym Hrvatski, the Croatian word for Croats).Playthroughs (Kranky, ), one of his most acclaimed records, is a work.
A self-described electronic music obsessive, Keith Fullerton Whitman's sprawling output encompasses a considerable variety of (essentially non-dance-oriented) electronic forms and sounds, with releases ranging from meticulously constructed ambient minimalism to frenetic drill'n'bass (the primary.
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