Monday, June 29, 2015

David Earl Buddin

About the Chord Catalogue

Chord Catalogue for electronic music (2014) was constructed by using the interval ­class integers of a pitch­class series to determine the number of pitches engaged in each harmony ranging from one to six. These are applied to four simultaneous layers of pitch material so that I get overlapping chords (or single pitches) varying in density from one to six notes per line. I use the same series to determine the speed that the constituent notes are arpeggiated at and the duration of each harmony. The end result is four harmonic layers articulated at different, varying speeds over the course of the piece. The lowest line of harmonies moves the slowest, the highest the fastest.

This is all done with the "random" setting of the Korg Triton arpeggiator with Dominika Michalowska assisting in the real­time manipulation of the tempi while I manipulate the timbre. The more complex timbres are assigned to the lower, slower- moving passages. More transparent timbres are appropriated to high, quick writing.

All this was done one track at a time and the finished product was mixed by me using Audacity for no money. No paid musicians were used in producing this work, which makes it better. I think I speak for everyone when I say I look forward to the day when music is no longer dependent on musicians or, for that matter, people.

--David Earl Buddin, 26 June 2015

Produced by BJ Rubin
Recorded by David Earl Buddin & Dominika Michalowska
Mastered by Josh Bonati
Artwork by Lauren Martin

Chord Catalogue (Pukekos)
1. Chord Catalogue

One copy of this was cut to vinyl, which will be premiered tomorrow night:

Thursday, June 18, 2015

Nandor Nevai

Juvenile Profanity (1978-1998) (Pukekos)
1. Free Korus On John Williams 78
2. Seasick Shore
3. (Herald_ov) The Flemish Masters Organization
4. Synchromesh
5. My Microphone
6. Multiple Personalities
7. (Biomecha) For Magnetik Tape & Two ARP Axxe
8. Jesus Got High
9. Music For Sound Effects
10. Indentur'd Servitude
11. Evil Moisture Draculina Princess Stomach Gas [Rough]
12. Synthestrated March No.1 (Branca is Campbell)
13. Nite Owl End Title

NANDOR NEVAI | 1978-1998 | Digital Compilation Available Free to The Publik until Spring 2017

Don't like my foul mouth? 
Welkom to Earth; This One's For YOU (1). Would it help if I told you I was just a Boy?
I took a Metal Briefkase to Skool instead ov a Knapsak and was disciplin'd for absent-mindedly perkussing on its different surfaces with my hands in klass. At Home I ran a Mikrophone thru the Television Speaker and us'd it like an elektroakoustik drumstik, beating on re-purpos'd street signs. Even adding Piano and Vokals the results wasn't busy enough for Me so I let the Pause Button on the Tape Rekorder do the Kondukting (4). 
In Kollege I approach'd the foleying and sound-editing for motion pikturs as a kross-discipline, inkorporating Sound Effekts, Incedental Musik and Film Skor so that their mix'd applikation bekame indistinguishable (9). I got into Seriously Komposing Musik Thru Motion Piktur Soundtrakking. Soon Thereafter I Form'd an LSD-Improvisation Quartet to do Third Stream and Modern Psych. We shar'd the Stage at Club Baby Head in Providence with Power-Violence Powerhouse DROP DEAD and I felt emaskulated in komparison. Thus was I driven to kompose my first Heavy Metal Song, written on Harpsikord and arrang'd for Guitar/Drums Quartet. In it, You kan Hear the Metallik Perkussion Station that ERIC ANDERSON help'd me Weld (8). My Kollege Advisor was delinquent So During Graduation I was Handed a Blank Diploma. Thanks, RISD (I never return'd to skool again After That except to study sight-reading at The Drummer's Kollektiv).
After the Second Time I was Nearly Kill'd Working as a Bicykle Messenger in Manhattan, I mov'd to Chicago to liv in a tent in the front of an Industrial Space in the Freezing Filthy South Loop and began developing my Brutal Klassikal Style on the Komputer in Kompositions for MIDI (3) and in MIDI Synthestrations ov Kompositions for Physikal Arrangements (11). The latter kind was the First Phase of the Four-Stage Evolution ov my Style ov Heavy, Violent Neo-klassikal Musik which kame to be kall'd "Klassikill". During my last Year in Chicago I created a Short Film, "The Nite Owl" (Viewable on my website) and Rekorded the Skor (13). 
Returning to New York City to Aggresivly Pursue Fame and Fortune, 1997 saw lots ov Songwriting on Four-Trak (10)(6) and my Penetration into Success and Influence. I work'd with TERRY RICHARDSON both In Front ov and Behind The Kamera, and on Tour with Terry in the latter Kapacity, Krafted an Ambient Road Movie/Field Rekording involving things like surreptitiously Rekording Terry's konversation with the Female Warden ov A Women's Prison in Misourri in Preparation for his Cheesecake Photo Shoot ov A konvikted Murderess. The Resulting EP by my Anti-Musik/Bad Art "Group", THE RESTAURANTS, which was entitl'd "Computer Downs", is Now Lost. Terry, like a lot of Privileg'd Nepotists, had dubious artistik ability and only Middling skill at Photographik Kraft but was Quik to Disparage my almost Photo-Realistik Pencil Drawing ov ALBERT AYLER overblowing his Sax with His eyes Rolling to the Bak ov his Head. "Jazz. Cool." Terry would offer sarkastikally.
Everyone was doing a Lot ov Drugs (7) in Publik and Private and Maybe that Help'd HARMONY KORINE Appreciate my Heavy Metal Songs for Two Trombones (2) which had been rekorded in San Rafael, Kalifornia with the Surprise Mixing Assistance of KENDALL JONES, EX-FISHBONE. If I knew then that Korine Further'd his Kareer by Kavorting with Paedophiles and Stealing the Skript for "KIDS" from another Young Writer, I wouldn't hav left my Musik at his Apartment. 
Disillusion'd with the Extramarital Narko-Solipsism ov New York's In-Krowd (12), I mov'd out to Los Angeles to Penetrate the Success and Influence ov the Big Time, working Dawn 'til Dusk 7 Days a Week as a Skab News Editor at ABC-TV During the Strike in '99 (Don't Quote me but Franco's Hairstyle in Korine's Anemik P.o.S. "Spring Breakers" is almost certainly the result of my adopting it rather riskily in CRENSHAW DISTRIKT in '99: The Hairstylist Pull'd so Hard on My Roots I really FELT the Transgressions of my Race; That's the Price of Frontier). During my rare time off from the News I Kontinued working on my Songkraft, now fokusing on Material Females Kould Like (5), the Ultimate Challenge for A Kontrarian like me being to Adapt and De-Limit my Limited Appeal.
After the Strike Ended I did Manage to Break In to the Film Skor Business but in the End I valued my Heart and Soul mor than the Opulence ov a Lukrativ Kareer and thus was Mov'd to Rejekt the Lucky Apprenticeship I had been Granted at the Most Ikonik Rekording Studio in Hollywood. I Kan't Love Musik when I'm Paid to Write Other People's Shit All Day and NO, I Will Not "do it in a Reggae Style".
So Here I am; the Need to Make Musik has been almost Entirely Burned Out ov Me by Life's Kallous Neglekt but I am kloser to Whole than I would Be Otherwise...
...and Eitherway Musik Itself has bekom Largely Ubiquitous and Superfluous and thus Valueless.
So Here YOU are; Here YOU go, it's FREE.

~NN, Spring 2015