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Put your hands on the remote! browse music »Bestiary by Robert Rich
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fave it Ambient | Experimental
8 tracks | 53 minutes
Released Sep 2006
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- sample lyrics "DOWNLOAD" 08:00 Mantis Intentions lyrics BUY MP3 08:00 Mantis Intentions lyrics "GIFT MP3" 08:00 Mantis Intentions
- sample lyrics "DOWNLOAD" 12:45 Nesting on Cliffsides lyrics BUY MP3 12:45 Nesting on Cliffsides lyrics "GIFT MP3" 12:45 Nesting on Cliffsides
- sample lyrics "DOWNLOAD" 03:05 Dante's Anthropomorphic Zoo lyrics BUY MP3 03:05 Dante's Anthropomorphic Zoo lyrics "GIFT MP3" 03:05 Dante's Anthropomorphic Zoo
- sample lyrics "DOWNLOAD" 06:17 Bestiary lyrics BUY MP3 06:17 Bestiary lyrics "GIFT MP3" 06:17 Bestiary
- sample lyrics "DOWNLOAD" 03:12 Carapace Hides the Delicacy lyrics BUY MP3 03:12 Carapace Hides the Delicacy lyrics "GIFT MP3" 03:12 Carapace Hides the Delicacy
- sample lyrics "DOWNLOAD" 05:34 Folded Space lyrics BUY MP3 05:34 Folded Space lyrics "GIFT MP3" 05:34 Folded Space
- sample lyrics "DOWNLOAD" 03:51 Sharpening Her Talons lyrics BUY MP3 03:51 Sharpening Her Talons lyrics "GIFT MP3" 03:51 Sharpening Her Talons
- sample lyrics "DOWNLOAD" 10:21 Premonition of Circular Clouds lyrics BUY MP3 10:21 Premonition of Circular Clouds lyrics "GIFT MP3" 10:21 Premonition of Circular Clouds
This musical bestiary maps a perplexing mindscape, shapeshifting organisms painted in sound, a sonic surrealism. Rhythmic, energetic, bizarre and very glurpy.
Editorial review
Thematically, Robert Rich's Bestiary seems to consist of some kind of otherworldly, almost animalistic electronic ambience, with titles like "Dante's Anthromorphic Zoo," "Mentis Intentions," and "Sharpening Her Talons." This work is strange contextually, both from the standpoint of Robert Rich's previous work as well as other electronic music; nevertheless, though, this is a strangely evocative and emotive recording. One of the things that's really distinct about this recording is Robert Rich's use of the MOTM modular synthesizer, which brings an almost Kraftwerkian machine-like aesthetic to this work, an aesthetic that Robert Rich's work really hasn't had in the past; in fact, his work has always been quite organic whether he was working in an ethno-tribal idiom or more of an experimental idiom. Robert Rich's Bestiary is certainly a new chapter in his book of artistry. This is an interesting recording that reveals a more experimental side of Robert Rich's work. ~ Matt Borghi, All Music Guide
Bio / Background
Bestiary
Medieval bestiaries depicted strange and mysterious creatures, allegories from distant new lands filled with wonders. Today, these new worlds lie inwards; so this musical bestiary maps a perplexing mindscape, shapeshifting organisms painted in sound, a sonic surrealism. Like the liquid forms that populate the paintings of Yves Tanguy or Joan Miró, each sonic event takes on the qualities of a living thing; yet each appears evanescent, unnameable and foreign.
Bestiary is rhythmic, energetic, bizarre and very glurpy. It's filled with mutated electronic textures from the MOTM analog modular synthesizer, granular synthesis, chaotic feedback systems and formant filtering, and peppered with twisted contributions from Forrest Fang, Andrew McGowan, and Haroun Serang. Cover art is by John Bergin.
Recording Notes:
Many of the sounds on Bestiary come from the MOTM modular synthesizer by Synthesis Technology.
↓ more ↓The album actually started with the intention of making a second ACID loop library for Sonic Foundry, following Liquid Planet. I started developing a library of extreme analog sounds, which could only have come from a modular synth. As the synth began to grow, I became more enchanted by the range of timbres it could produce. It sounded so much better than the modular synth that I had built back in the seventies, yet the working method was still visceral and familiar. At a certain point I decided that these new sounds should form the backbone of my next solo album, so I stopped working on the ACID loop concept and began structuring the sounds into compositions.
I assembled the album as one continuous piece, with all of the crossfades and transitions built into a single 53 minute file in Cubase VST32 on a Macintosh G3. Actually, I only used the audio features of Cubase. MIDI played a very small role, since I performed most of the parts directly to hard disk from the modular synth. Most of the additional parts came from processed acoustic sources, often mangled with time-domain algorithms in Tom Erbe's SoundHack or a strange utility called Argeiphontes Lyre. Other methods included feedback techniques similar to those that I used on Troubled Resting Place and Below Zero. I recorded and mixed the album at 24 bit resolution, through the Mackie d8b digital mixer, and downsampled to CD at the final stage of mastering.
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