Tukker
SyntherKloas
- Lid sinds
- 21 juli 2007
- Berichten
- 1.169
Alleen met hardware gemaakt, in live improvisatie sessies direct in de G5 met Ableton Live 4. Minimale editing achteraf. Alleen reverb, compressie, delay en een klein beetje erosion hier en daar.
Harde waar gebruikt:
-Behringer JT mini
-Behringer ProVSmini
-Arturia MicroFreak
-Novation K-station
Engelse release notes:
'Akse' is early ‘80s synth exploration with live improvisation, minimal editing and a fresh, futuristic edge. Distilling the essence of Kraftwerk’s hypnotic simplicity, Vangelis’ emotive depth, some of Yello’s quirkiness, Miyashita’s meditative flow and Jarre’s playful exploration, combining it all into something nostalgic yet timeless. A unique Gandavon blend of gritty ambient effects with clear, analogue tones striking a raw but polished, straightforward yet surprising atmosphere.
I let the hardware lead —pressing buttons, twisting knobs, adjusting sliders, tweaking arpeggiators, and laying down sequences on the fly: embracing the machine’s voice and seeing where it takes me. The minimal post-editing keeps it honest: as much of a live performance as possible, channeling the ‘70s and ‘80s synth pioneers who didn’t have endless DAW tools to overthink things.
Kit list:
Behringer Pro VS Mini and JT Mini: Vector Synthesis and Jupiter-inspired tones bring that lush, evolving waves sound and analogue warmth: perfect for early ‘80s vibes.
Arturia MicroFreak: a truly freaky instrument and a bit of a wildcard! Its hybrid weirdness adds unexpected harmonies and textures.
Novation K-Station: A sleeper hit —its punchy, clear tones capture the crispness that adds an extra fresh overtone.
Ableton Effects: Just enough delay, reverb, and "corrosion" to give it atmosphere without overcooking it. An exercise in restraint.
Track list:
The Mirrored Structure of the tracklist, centered on track 5 shows a deliberate symmetry in themes and phrasing:
AWAKENING
PRESSED FOR TIME
PIGEONS COOING
LIKE GRAINS OF SAND
YOU IN ME, ME IN YOU (the pivot)
A WEAKENING
PLAYING FOR TIME
BUZZARDS SOARING
OUT OF MY HANDS
Tracks 1 and 6: AWAKENING and A WEAKENING
Something of an 'internal bookend', these illustrate the journey with a clear contrast —starting with a beginning (awakening) and moving to a decline (weakening). It’s like the rise and fall of energy, mirroring life’s cycles.
Tracks 2 and 7: PRESSED FOR TIME and PLAYING FOR TIME
Both deal with time, but in different ways —urgency, being pressed bý time in track 2, and a more reflective, strategic approach in track 7, trying to manipulate fór time. It suggests a shift from stress to a more relaxed but uneasy acceptance of the ebbing of time.
Tracks 3 and 8: PIGEONS COOING and BUZZARDS SOARING
Here is nature imagery: pigeons (grounded, gentle, urban) versus buzzards (sky-bound, predatory, wild). It’s a contrast, moving from a lazy, soft and intimate soundscape to something expansive and untamed.
Tracks 4 and 9: LIKE GRAINS OF SAND and OUT OF MY HANDS
Both evoke something slipping away. Sand through fingers, and things -time- beyond control. It’s a progression from a tangible loss despite seeking to hold on to, to a more existential surrender, fitting the album’s arc toward release.
Track 5: YOU IN ME, ME IN YOU
The centerpiece is like the axle (or Akse) of the album: a moment of unity, connection, and reflection. It’s the still point around which everything turns, emotionally and structurally. It is deliberately kept very minimal and contemplative.
How This Shapes the Album:
This mirrored structure reinforces the "Life Wheel" concept—everything revolves around a central axis (track 5), with themes echoing outward like ripples. It gives the album a sense of balance and inevitability. The pivot at "YOU IN ME, ME IN YOU" gives a moment of intimacy or equilibrium before the journey moves toward surrender in the later tracks.
Inspired by my Catholic faith and thoughts on the 'emergent universe'; how God's continuous,timeless emantating, creative Thought carries and permeates us in our blip of an existence, it is the album's "eye of the hurricane" of life in all its movement and agitation. It is He Who is 'in us' and in Whom we must find our being.
The symmetry is organic: I discovered it through the process rather than forcing it, which aligns with the ‘70s/‘80s synth ethos of letting the machines guide me. The thematic mirroring: beginnings/endings, time pressuring us/we trying to manipulate (for) time, grounded birds/soaring birds, loss/release, gives the album a narrative arc without needing lyrics, which personally makes it feel like a very emotional work.
At least, that's what Í think. What do yóu think?
-Gandavon
The title of the album was inspired by the photo of #GustavVigeland 's "#Livshjulet" ("Life Wheel") sculpture, with the sun as the axle ('Akse' means axle in Norwegian) in the middle. Photo taken by Melanie Marcus, 2024.
The poem by Olav Hauge was edited slightly to give it a better flow in English and reflect the album's structure a little.
Harde waar gebruikt:
-Behringer JT mini
-Behringer ProVSmini
-Arturia MicroFreak
-Novation K-station
Engelse release notes:
'Akse' is early ‘80s synth exploration with live improvisation, minimal editing and a fresh, futuristic edge. Distilling the essence of Kraftwerk’s hypnotic simplicity, Vangelis’ emotive depth, some of Yello’s quirkiness, Miyashita’s meditative flow and Jarre’s playful exploration, combining it all into something nostalgic yet timeless. A unique Gandavon blend of gritty ambient effects with clear, analogue tones striking a raw but polished, straightforward yet surprising atmosphere.
I let the hardware lead —pressing buttons, twisting knobs, adjusting sliders, tweaking arpeggiators, and laying down sequences on the fly: embracing the machine’s voice and seeing where it takes me. The minimal post-editing keeps it honest: as much of a live performance as possible, channeling the ‘70s and ‘80s synth pioneers who didn’t have endless DAW tools to overthink things.
Kit list:
Behringer Pro VS Mini and JT Mini: Vector Synthesis and Jupiter-inspired tones bring that lush, evolving waves sound and analogue warmth: perfect for early ‘80s vibes.
Arturia MicroFreak: a truly freaky instrument and a bit of a wildcard! Its hybrid weirdness adds unexpected harmonies and textures.
Novation K-Station: A sleeper hit —its punchy, clear tones capture the crispness that adds an extra fresh overtone.
Ableton Effects: Just enough delay, reverb, and "corrosion" to give it atmosphere without overcooking it. An exercise in restraint.
Track list:
The Mirrored Structure of the tracklist, centered on track 5 shows a deliberate symmetry in themes and phrasing:
AWAKENING
PRESSED FOR TIME
PIGEONS COOING
LIKE GRAINS OF SAND
YOU IN ME, ME IN YOU (the pivot)
A WEAKENING
PLAYING FOR TIME
BUZZARDS SOARING
OUT OF MY HANDS
Tracks 1 and 6: AWAKENING and A WEAKENING
Something of an 'internal bookend', these illustrate the journey with a clear contrast —starting with a beginning (awakening) and moving to a decline (weakening). It’s like the rise and fall of energy, mirroring life’s cycles.
Tracks 2 and 7: PRESSED FOR TIME and PLAYING FOR TIME
Both deal with time, but in different ways —urgency, being pressed bý time in track 2, and a more reflective, strategic approach in track 7, trying to manipulate fór time. It suggests a shift from stress to a more relaxed but uneasy acceptance of the ebbing of time.
Tracks 3 and 8: PIGEONS COOING and BUZZARDS SOARING
Here is nature imagery: pigeons (grounded, gentle, urban) versus buzzards (sky-bound, predatory, wild). It’s a contrast, moving from a lazy, soft and intimate soundscape to something expansive and untamed.
Tracks 4 and 9: LIKE GRAINS OF SAND and OUT OF MY HANDS
Both evoke something slipping away. Sand through fingers, and things -time- beyond control. It’s a progression from a tangible loss despite seeking to hold on to, to a more existential surrender, fitting the album’s arc toward release.
Track 5: YOU IN ME, ME IN YOU
The centerpiece is like the axle (or Akse) of the album: a moment of unity, connection, and reflection. It’s the still point around which everything turns, emotionally and structurally. It is deliberately kept very minimal and contemplative.
How This Shapes the Album:
This mirrored structure reinforces the "Life Wheel" concept—everything revolves around a central axis (track 5), with themes echoing outward like ripples. It gives the album a sense of balance and inevitability. The pivot at "YOU IN ME, ME IN YOU" gives a moment of intimacy or equilibrium before the journey moves toward surrender in the later tracks.
Inspired by my Catholic faith and thoughts on the 'emergent universe'; how God's continuous,timeless emantating, creative Thought carries and permeates us in our blip of an existence, it is the album's "eye of the hurricane" of life in all its movement and agitation. It is He Who is 'in us' and in Whom we must find our being.
The symmetry is organic: I discovered it through the process rather than forcing it, which aligns with the ‘70s/‘80s synth ethos of letting the machines guide me. The thematic mirroring: beginnings/endings, time pressuring us/we trying to manipulate (for) time, grounded birds/soaring birds, loss/release, gives the album a narrative arc without needing lyrics, which personally makes it feel like a very emotional work.
At least, that's what Í think. What do yóu think?
-Gandavon
The title of the album was inspired by the photo of #GustavVigeland 's "#Livshjulet" ("Life Wheel") sculpture, with the sun as the axle ('Akse' means axle in Norwegian) in the middle. Photo taken by Melanie Marcus, 2024.
The poem by Olav Hauge was edited slightly to give it a better flow in English and reflect the album's structure a little.
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