Mostra on film 🖤
It felt like a dream, but it was real. Mostra left us inspired and energized to push forward. We danced, we laughed, we hugged, we cried.
Thank you Mostra family for a lifetime of memories. Until next time 🖤
📸 by @nulltestmusic
Some old friends, some new friends, a couple of CDJs, a fog machine, some good music, one fractured ankle, two World Series games, a lot of laughter, a lot of dancing, a lot of napping. In a Barn, in upstate New York, on Film (and digital) c/o @_____delayed
A while back, when I first started getting into modular synths, I became fascinated with the idea of synthesizers making music indefinitely. I imagined a room full of machines that would make and continue to make music long after humans were gone. This made me think about intentionality and authorship in electronic music. I am very privileged to study at an institution that encourages and promotes creative projects, and so for my media studies capstone project I was able to explore these ideas. The result is a short EP and audio visual installation titled “something for when we’re gone.” It is an exploration of generative ambient electronic music and authorial intention. It ranges from Brian Eno-esque tone clusters to dystopian Blade Runner ambience. The EP is available to download now via the link in my bio and the installation is open to friends and fellow students for viewing.
From the gallery title card: An audio-visual installation that examines Roland Barthes essay, “The Death of the Author,” and the perceived mechanization of electronic music. Generative ambient music inspired by the works of Brian Eno and Hiroshi Yoshimura is synthesized live by eurorack modular synths. Recorded clippings from an interview with producers Gordon Huntley and Griff Fulton are triggered randomly and examine intentionality in the creation of art as well as the humanity of electronic music. A recorded soundscape from Carmel Valley is also triggered sporadically. Video transcriptions of Barthes’ essay, the synthesizer patch notes, and the course essay which analyzes Barthes, are altered in real time by the synthesizers.
Been a minute since I talked music on here and almost a year and a half since I put something out. Been a weird and often frustrating few months but at the same time I have had the opportunity to work on and make some music that I’m very proud of. Some of it is quite different (as you might have seen from my stories) but all of it has been an absolute joy to work on and I am very excited to share more with you in the coming months.
When I first discovered electronic music and started DJing, Pierce’s songs were literally among the first 20 files on my computer. We’ve only had the chance to meet and talk in person a few times but he was one of the few people I looked up to in music who had honesty and integrity in their work and was genuinely just a down to earth nice person. He really taught me so much not just about music but about being an artist and making art that is true to yourself. Honestly the reason I take so fucking long to finish songs is I because I’m constantly comparing my stuff to his and asking myself whether I am making the most honest music I can that I will be proud of. I really can’t overstate how much of an impact he had on me. This really fucking sucks.
