Computer Recital
by Lullatone
ryan allen
ryan allen
Classic minimal computer glitch music. A must have.
Favorite track: Make This Sound.
amoeba
Marcus Wilson
Jelly Bot
Alaskan Tapes
hayden1002
Dave Heaton
foster kitten
Ryan Ruppe
worm emoji
bandrew
waltergraham
Loquat
RICK
nofearsecretary
Arthur
startrail
briarsweetbriar
Steve Lake
muddylucifer
MKO~
xxdhxx
Radical Badical
Ricky Katowicz
georgekhut
cgodzz
IcewaterOasis
Ant Nguyen
Rocktumblr
brenda_jmnz
Phil GE
liantasse
Joe Harper
Matvei Stefarov
seismicity
Sarah Nawotka
Paul
Kirk
Gabriele Lenzi
caroline
uncusto
Bansuri Bashyal
ORGANISATIONEN
Nintendzombies
Eric Rumble
Tim Leborgne
Iann Troalen
Drew Almendarez
john
Aelva Duckhugger
hails.
AKX
Grant Hunter
Aaron Johnston
FunkyWalrus
Emma
Justin Edmund
cjcahala
Justin Spooner
Miguel Teixeira
Jargoneer
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1. |
Make This Sound
06:13
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2. |
Tracing
03:35
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3. |
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4. |
Coloring
02:45
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5. |
Resound
04:04
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6. |
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7. |
A Slow Waltz
03:37
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8. |
Poppy
01:07
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9. |
Huffy
01:22
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10. |
Bye Bye Bye
02:45
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about
"Consider the sine wave. It's the purest tone possible, a smooth wave without overtones. A sine wave, if reproduced properly, sounds exactly the same as another sine wave at the same frequency. Perhaps because few sounds in nature are true sine waves (some insects come close), we associate sine waves with machines. Ryoji Ikeda builds much of his music from sine waves, and the tone of his music reflects an abstract, mechanized and mathematical world. Ikeda has made some mind-blowing music that, to me, doesn't sound particularly human. It's music that seems pulled from some philosophical plane and injected directly into my brain.
But Ikeda's ideas are only part of the sine wave story. I wonder if-- for American kids, at least-- a lifetime of exposure to the emergency broadcast system tests hasn't given sine waves a twinge of humanizing nostalgia. I remember tests while Electric Company played, and I remembered the real thing when a tornado would touch down in the area. I hear sine waves now and it triggers vague memories of being huddled with my family in a damp basement with the radio on, hearing the branches rattling against the house as the wind whipped outside: "Bzzzzz. This is the Emergency Broadcast System... a tornado warning is in effect for..." The familiar EBS tone was not actually a sine wave; the combination of two tones, 853 Hz and 960 Hz, gave the sound a slightly grating edge meant to signal "danger." But it was close, and it was the kind of thing you paid attention to when you were a kid. The EBS tone, though ostensibly a warning, had a certain comfort to it.
On Computer Recital, Lullatone has found a way to take sine waves and arrange them into soft, gentle little lullabies, and I can't help but wonder if Shawn Seymour (Lullatone's driving force) feels a similar sense of nostalgia. This is music that instantly seems connected to pleasant childhood memories. Lullatone gets some of his warmth from the sine waves by not being a purist. While he makes regular use of clean tones, he mixes them with tones enriched with a dollop of harmonic distortion, in addition to tossing in some other instruments occasionally. So you get some organ, little hints of percussion, and even a subtle vocal.
Lullatone's melodies are the repetitive and sequenced sort that minimalist composers added to music's vocabulary, and though tracks are easy enough to tell apart, the mood from one to the next varies little. Computer Recital is a calm, clean, reflective musical space that seems intimately connected with sounds coming from Japan, despite Lullatone's home base in Louisville. More than any single record, Computer Recital reminds me of the patient, measured melodicism of Nobukazu Takemura collaborator Aki Tsuyuko's solo album Ongakushitsu. It definitely sounds like something that could have come out on Childisc (witness titles like "Coloring" and "Plastic Toy Record Player"), and, deepening the connection, Lullatone's only other release is a split-single with Takemura alias Child's View.
Even with these obvious inspirations, Lullatone doesn't seem derivative-- or, more accurately, the fact that it may be derivative doesn't much matter. There's something in Computer Recital's single-minded pursuit of simple beauty that personalizes the record. Everything about it radiates smallness and intimacy; it's intended for one-on-one communication, and hence, consideration of outside references seems unimportant and possibly even intrusive. The only requirements for enjoying Computer Recital are ears and the ability to daydream." Pitchforkmedia
But Ikeda's ideas are only part of the sine wave story. I wonder if-- for American kids, at least-- a lifetime of exposure to the emergency broadcast system tests hasn't given sine waves a twinge of humanizing nostalgia. I remember tests while Electric Company played, and I remembered the real thing when a tornado would touch down in the area. I hear sine waves now and it triggers vague memories of being huddled with my family in a damp basement with the radio on, hearing the branches rattling against the house as the wind whipped outside: "Bzzzzz. This is the Emergency Broadcast System... a tornado warning is in effect for..." The familiar EBS tone was not actually a sine wave; the combination of two tones, 853 Hz and 960 Hz, gave the sound a slightly grating edge meant to signal "danger." But it was close, and it was the kind of thing you paid attention to when you were a kid. The EBS tone, though ostensibly a warning, had a certain comfort to it.
On Computer Recital, Lullatone has found a way to take sine waves and arrange them into soft, gentle little lullabies, and I can't help but wonder if Shawn Seymour (Lullatone's driving force) feels a similar sense of nostalgia. This is music that instantly seems connected to pleasant childhood memories. Lullatone gets some of his warmth from the sine waves by not being a purist. While he makes regular use of clean tones, he mixes them with tones enriched with a dollop of harmonic distortion, in addition to tossing in some other instruments occasionally. So you get some organ, little hints of percussion, and even a subtle vocal.
Lullatone's melodies are the repetitive and sequenced sort that minimalist composers added to music's vocabulary, and though tracks are easy enough to tell apart, the mood from one to the next varies little. Computer Recital is a calm, clean, reflective musical space that seems intimately connected with sounds coming from Japan, despite Lullatone's home base in Louisville. More than any single record, Computer Recital reminds me of the patient, measured melodicism of Nobukazu Takemura collaborator Aki Tsuyuko's solo album Ongakushitsu. It definitely sounds like something that could have come out on Childisc (witness titles like "Coloring" and "Plastic Toy Record Player"), and, deepening the connection, Lullatone's only other release is a split-single with Takemura alias Child's View.
Even with these obvious inspirations, Lullatone doesn't seem derivative-- or, more accurately, the fact that it may be derivative doesn't much matter. There's something in Computer Recital's single-minded pursuit of simple beauty that personalizes the record. Everything about it radiates smallness and intimacy; it's intended for one-on-one communication, and hence, consideration of outside references seems unimportant and possibly even intrusive. The only requirements for enjoying Computer Recital are ears and the ability to daydream." Pitchforkmedia
credits
released June 17, 2003
license
all rights reserved
tags
discography
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Nov 2022 -
Mar 2019 -
Feb 2016 -
Oct 2011
contact / help
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