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For the second GLASS TEMPLE session, similar tools from the first session were used to arrive at a completely different result. The Arturia Microfreak is a paraphonic digital synthesizer with an analog filter, and an extensive and esoteric array of features beneath its surface, which allow me to facilitate completely hands-free automated patches (which I would otherwise have to accomplish via the modular system or a DAW), and I've developed many such patches with for the purpose of capturing generative organ music.
The first patch was used to create the first GLASS TEMPLE session, which routed the Microfreak through a Lexicon Alex racked digital reverb unit, and a Yamaha KM-802 analog mixer from the 1980s, while this second session manifested fully in the digital realm, migrating the Microfreak's recorded output from a Zoom H1 recorder and further processing/transfiguring it within two different DAW configurations.
Notably, GLASS TEMPLE II uses a nearly four-hour runtime to accomplish its purpose, with a deliberately lowered volume level used to further disengage the listener from actively 'following' the melodic developments of the piece, as well as softening many of the higher octave/higher frequency passages that weave in and out of the patch.
Musically, it can be imagined that this is the same GLASS TEMPLE as before, merely heard from a greater distance away, with the sound dispersing and elongating through wind, empty acoustic space and other elemental interference that might shape and filter what is audible. Philosophically, especially within the framework of the Vibratelepathos series, there is never any going back to what came before. Everything moves forward and backward and even inward and outward in all directions, and no compass operates as it should in these lands. Time and space are strange here, but not threatening - this is simply a pocket universe where the inevitability of entropy and the fear of isolation are disconnected, and we can be left in perfect peace for as long as we wish to remain there.
credits
released March 11, 2022
W/P by Brian Grainger. Recorded at White Pillar, December 13-14, 2021, using an Arturia Microfreak in conjunction with a Zoom H1 recorder, FL Studio and Goldwave. Mastered by The Analog Botanist. Text and design by ABM&D. This is Milieu Music number AVB40, 40th in the Vibratelepathic Antiviral Broadcasts series. (C) + (P) Oscillog ASCAP 2022. All lights observed.
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