Cool Maritime on Dublab / Thur 8.11

[shellfritsch]

i’ll be playing new cool maritime music on dublab this thursday. tune in at 11am PST

http://dublab.com/events/16120/live-broadcast-frosty-celsius-drop/

UPDATE: archive now available - i join the program at the 1 hour mark
http://dublab.com/frosty-wguest-cool-maritime-celsius-drop-08-11-16/

[tehn]

20 minutes from now y’all

[shellfritsch]

I will be joining the show at 11 - but yes, very soon!

[dan_derks]

edit: up and runnin – this is great, @shellfritsch!

[ioflow]

the intro track, with its pads and field recordings of wavelets lapping against the shore…so soothing. the rapid arps and meandering melodies of later tracks are like an early autumn wind scattering leaves. some really nice sounds all throughout this set.

[elquinto]

great set @shellfritsch!

[shellfritsch]

Thanks for tuning in! I will link the archive when it goes up.

[nuun]

Missed this, seeing forward to listen to it thru the archive.

[shellfritsch]

the archive is up! added to the top post.

and thanks for the kind words, @dan_derks @ioflow @elquinto

[dan_derks]

necrobump.

just re-listening to this today. absolutely georgeous live set, an insane masterclass and wowowow am i looking forward to whatever album comes outta you next.

@shellfritsch are you willing to answer a few q’s, s+p style?:

• this set was a bit before you were using kria as a compositional workhorse — but that first movement sounds so wonderfully kria-y. i know it was a while back, but was that mostly teletype sequencing? if so, how did you approach scripting those rhythmic variations?
• each of the voices in these pieces converse so well together, tonally. they’re also more groove-y than SSOWP, which feels like a very natural extension/expression/progression. could you reflect a bit on this phase of your compositional process? was there an intentional shift toward this direction? what practices/methods did you incorporate in this exploration?
• the mood of these tunes is dinstinctly playful, something I struggle with when I’m composing. is this something that resonates as an accurate descriptor? how do you keep this levity and lightness consistent?
• your case has always been smartly organized, relying on multifaceted modules that can travel in many directions, depending on need. something that’s remarkable about this set is how clean your transitions are between pieces. you’ve mentioned teletype is the anchor for your live approach…is that doing the heavy lifting here, along with intuitive patching? how do you structure your scenes and set so tightly?

no pressure or expectation to answer, i am just so in awe of this set and am thankful it was documented so it could be revisited! any reflection would be wicked appreciated.

[Jonny]

I love a necrobump - never saw this!

[shellfritsch]

@dan_derks you’re a sweetheart! thanks for all the kind words i’m happy to know this is getting some listens still.

now i have a bomb to drop on you.

it was a dj set!!!

everyone on lines gasps

at the time i wasn’t really trying to use a modular as a live instrument. i compose thru my studio so it made more sense to share works in progress rather than put together a live set. also i was crazy busy at the time!

i’ll do my best to answer your thoughtful questions within this new paradigm…

this set was a bit before you were using kria as a compositional workhorse — but that first movement sounds so wonderfully kria-y. i know it was a while back, but was that mostly teletype sequencing? if so, how did you approach scripting those rhythmic variations?

teletype + meadowphysics are a dream team. a few tracks in this set were all built in a similar workflow. teletype pulling from banks of patterns and meadowphysics providing plenty of polyrhythms. i have scripts set up that let me shift around octaves and add swing. i think i was working from one voice so i did lots of clock-synced live looping.

each of the voices in these pieces converse so well together, tonally. they’re also more groove-y than SSOWP, which feels like a very natural extension/expression/progression. could you reflect a bit on this phase of your compositional process? was there an intentional shift toward this direction? what practices/methods did you incorporate in this exploration?

yeaaah! i love dancing so i thought i should start making music i would want to dance to. some of these pieces have beats now

the mood of these tunes is dinstinctly playful, something I struggle with when I’m composing. is this something that resonates as an accurate descriptor? how do you keep this levity and lightness consistent?

i’ve been told that before and it definitely resonates with me. i just try and embody that spirit when i’m writing. it doesn’t always come together - and those tracks never see the light of day! but when it does it clicks and i’m stoked and i just keep going. i think part of it is timing. current mood, etc. also having the tools dialed in to be fun and ready to go is key. if i have to set up a bunch of stuff or i’m tired it’ll likely be a fruitless endeavor.

your case has always been smartly organized, relying on multifaceted modules that can travel in many directions, depending on need. something that’s remarkable about this set is how clean your transitions are between pieces. you’ve mentioned teletype is the anchor for your live approach…is that doing the heavy lifting here, along with intuitive patching? how do you structure your scenes and set so tightly?

well as you now know those nice transitions were cuz dj

but these days, yeah, teletype + ansible + mp + es + er-301 tie it all together very nicely. structure is achieved through lots of practice & a setlist.
i’m also having a total laptop + MLR renaissance right now and loving it.

one more note to add - not everything you hear in this set is modular. i’m not a modular purist by any means. it’s so fun but i like other things too!