r/experimentalmusic

I have completed a launch pad, free use. Enjoy!

Our new album is out now. The links to all the streaming platforms are in the description. Leave a like or a comment if you enjoyed it. Thank you for your time and support 🤘

I wanted to create something for experimental musicians so they could share their ideas without the social media attachment. No profiles, no login, no names, no subscription.

They get 45 minutes to do whatever they want.

I can’t control it.

An anonymous live transmission platform built for original artists to send music out into the ether. Signal numbers are assigned and appear on an SDR style waterfall display when someone transmits and fade when the transmission ends. Multiple people can broadcast simultaneously.
On desktop, listeners can blend up to 8 signals at once in 3D headphone space.

The anonymity allows a different kind of creative expression. There is such a broad mix of styles within the transmissions.
Eclectic doesn’t quite cover it.

The 45 minute window lends itself to sets that can travel, that can build, that can fall apart and recover.
Some transmissions qualify to return later, processed and degraded.
Ghosts or reflections of themselves. Those ghosts can also ghost.

https://nullband.org/

And for a different experience

https://nullband.org/view

If you like and want to hear the short song version, it's here:

https://blcktau.bandcamp.com/album/koil

And also you can put your feedback in on rym to help me out majorly! https://rateyourmusic.com/release/album/cfe/%D1%8Fe%D0%BAoii/

Either way let me know what you think of my magnum[dong]opus long song

Well, what is more avant garde than repurposing an isolated vocal track by Mariah Carey and having her sing on top of your doom/industrial/experimental metal track?

If you had to introduce your friends to experimental music, which albums would you have them listen to?

New project called Memory Spools.

This piece is titled "formica dreams".

Drone meets mutated samples connecting to memories and nostalgia. All dawless. Only edits were to crop the piece and the video component.

Enjoy!

This is a direct question to others and an organization of personal thoughts.

I've found that compelling experimenters are first and foremost compelling theorists. I don't mean that they blabber in lengthy treatises populated with big words, but they have a defined concept that is testable through the medium of music. It's not at all my intention to gatekeep the term, but it's my opinion that "experimental" implies a pursuit similar to science.

There are many faces I can point to, but one that always stands out is Brian Ferneyhough. His central concept is that of a work which is unperformable, only approachable, by human beings. The scores are crowded with hyper-specific dynamic changes, microtonal shades, shifts from inconvenient time signature to inconvenient time signature. Inevitably, due to the sheer number of demands, the performer/performers have to decide which elements to prioritize and which to disregard. A sonic product can be created, but it is always consciously off the mark of the ideal. And that concept has sustained itself in Ferneyhough's work.

I think of concepts as mannequins that are given different dressings. However, it's not necessary to have more than one concept, a single concept can carry a lifetime of experiments (Nancarrow's concept of transcending human ability may be a good example of that).

That's really the required extent of theory: to say, "this is my goal and music is the means I will show it through". In the case of Nancarrow, he demonstrated his concept by stipulating playing speeds much faster than a human can attain (in one instance, one thousand notes per second) and individual voices that far exceed the number and reach of human fingers. Those are two dressings for the mannequin.

In my own work I'm mostly occupied with the concept of maximal boredom. Excessive stasis or variation, incessant repetition, lack of meaningful direction, durations ranging from a number of hours to multiple days or years... all of these are possible dressings for boredom. Multiple dressings can be overlapped. Currently, the piece I'm making is in multiple sections which will total a length of six days. The first section will last half of that, and consists only of a distorted, swelling bass microsound. Although, with any experiment, there is a chance an intended result isn't achieved. It's not the end of all things. Archive it and try again.

To close, I really would like to know: what are you motivated to evoke in your own experiments?

I’ve been making small sound sketches regularly using field recordings, processed sounds, improvisation, and electronic textures.
Recently I’ve started wondering where the boundary is between a sketch and a finished work.
Sometimes a piece made quickly feels more alive to me than something I’ve carefully arranged and polished. If I continue editing it, I can actually lose something that was present in the first version.
This has made me think more about intuition, listening, and knowing when to stop.
For those of you making experimental music: how do you decide when something is finished?
Do you make a clear distinction between sketches, studies, experiments and finished works — or do those categories eventually disappear?

this is my piece called The Transitional Period to Pyrrhic Sacrifices, runtime 9:47:02. its released on major platforms in 5 parts about 1:57:24 each, and the linked youtube video is the whole thing in one go if you want to experience it uninterrupted. made in fl studio and paul stretch over roughly a month, and it took 2 DAYS to render on my midrange laptop. inspired by some bull of heaven songs i enjoy, and partially built on Beethoven's Piano Sonata no. 10, Op. 14 no. 2 (I. Allegro). about the title, so a pyrrhic victory is one that costs you SO much that winning it doesnt count,. and so pyrrhic sacrifices are like the things you give up where the trade never really pays off. the transitional period is the stretch before you get there, where youre already not who you used to be but not who youre turning into either, (kinda cliche but you get the idea xd) as for the sound itself, its a ambient drone that changes slowly. nothing repeats for more than like 30 seconds to a minute its all unique material shifting gradually with volume changes, rather than looping like a lot of endurance pieces (BoH lol).

hope you enjoy it!!

My second album. I’m really liking this album but let me know what you think

Hi everyone! I’ve released a new composition from my upcoming album “(non)Eternal Life”, titled “Death.”
And yes, after discussing my previous release with you, I’ve stopped using AI-generated images for my covers and other design elements. In this case, I’m using “Still Life with Skull” (also known as “Vanitas with Tulip, Skull and Hourglass”), a painting by Philippe de Champaigne from 1671.
This composition is written in the Symphonic Industrial Metal genre. I hope you enjoy it!
Happy listening!

I’m heading to Los Angeles for the first time next month. I feel like I’m only familiar with venues that were made famous years ago, including Enfield Tennis Academy now. I’m looking for the contemporary spots. Where should I look for music while I’m in LA next month?

cross posting to r/jazz