When I released Belizean Heat back in February of 2018, I had hopes of making videos for at least some of the songs using GoPro footage I shot while there. I still haven’t gotten around to putting any of them together, so I figured it was about time I at least put them up on Youtube for people to listen even if they don’t have any fancy visual element to go with them. I realize a lot of people listen to most of their music on Youtube these days for convenience, so it makes sense to have it up there. Of course the album is also available on Spotify and Bandcamp along with other online sources if you prefer those.
You can find the playlist of the album below.
The open-ended architecture of eurorack synthesizers make them very capable of processing live instruments in all kinds of exciting new ways. However, this open-ended architecture can also be overwhelming for those wanting to get started. With this article from September 2018 I hoped to demystify the concept and offer some ideas for how to get started. I still regularly see people asking about this sort of thing on Reddit and in other forums.
You can check out the article here: https://ask.audio/articles/using-external-instruments-with-modular-synthesizers
Rather than writing a review in July 2018, I instead wrote an article on some alternative ways of patching things in the world of eurorack. You can view the full article here: https://ask.audio/articles/modular-synthesis-using-audio-as-cv-cv-as-audio
Eurorack users often find that their patches can take on a life of their own, and this is actually one of the goals in the creation of generative patches. Generative patches, or generative music, is the concept of connecting your modules in such a way that they basically play themselves with little or no interaction from the user, yet the music evolves and changes without repeating itself. This is sometimes also referred to as Procedurally Generated Music, and it is something that modular synthesizers and computer programs are uniquely qualified to do. In fact, the term was originally coined (not surprisingly) by Brian Eno while working with software. He used this term to describe “any music that is ever-different and changing, created by a system”. The approaches to generative music can be almost as varied as the results, but there are a few ingredients and techniques that are essential. Continue reading “Making Generative Music With Eurorack Synths”
While staying at Caves Branch Lodge, we took a tour into Guatemala to visit Tikal, the former Mayan capital. While there, our informative guide told us stories of Mayan history and legends, as well as the efforts being conducted to uncover and restore this ancient site. It is his voice that you hear at the start of this song, telling the story of the twins that managed to trick their way out of Xibalba, and the lethal authority of the Mayan priests. The Mayan priests installed themselves as a necessary conduit for the people to be able to communicate with the gods. They were considered divine, and the people weren’t even permitted to look up at them. They would have to approach them and depart with bowed heads, or risk having their heads chopped off. To make matters worse, decapitation was an even less attractive option then because the obsidian axes they used were fairly dull, and the executioners had poor aim because they were often tripping out on hallucinogenic mushrooms.
Xibalba (pronounced She-ball-ba) is the name for the Mayan underworld. Stylistically this song was largely influenced by my discovery of Chicha and Cumbia music. A sort of South American surf rock from the 60s. If you’re not familiar with it I’d highly recommend giving this album a listen. It’s quite fun.
Xibalba is by far the most ambitious one on the album as it features me playing more acoustic instruments than any of the others. I played a few tracks of trumpet and trombone, as well as something called Xaphoon, which is sort of like a recorder with a saxophone reed. I also played a number of percussion instruments like shakers and hand drums. I even made a cabasa out of an old tin and some bottle caps. I’m not much of a guitar player, but I played a few chords and some slower sustained notes with an electric. The rest came from my poly evolver and sample libraries. I’m quite pleased with how this one turned out. I feel like it provides a nice contrast to the other songs without being too much of a departure stylistically.
This brings us to the end of the making of Belizean Heat. I hope you found this interesting and that it helped to deepen your enjoyment of the music. If you have any questions or feedback regarding the album I would be happy to hear it.