experimental music

Above: Explorations I – Hommage à John Cage (April 2020)

Above: Make Noise 0-Coast Krell Patch – Landscape Stereofield Variation #1 (May / June 2020)

Make Noise 0-Coast Krell Patch – Landscape Stereofield Variation #1

»Stunningly musical performance and awesome variety of sonic events and gestures! (...) I'm delighted to see you get so much out of this sparse and deep setup. Clearly you put in the time to grok the areas of different randomness and chaos and wrangled them wonderfully. (...) it does my heart good to see you take the Krell patch to new heights. More anon. Best Wishes, Todd.« Todd Barton, Creator of the Krell Patch, Message to Nicolas Constantin regarding the Krell Patch Variation #1, June 2020

My Krell Patch Variation #1 is particularly meant as a deeply grateful homage to Todd Barton. Thanks from the heart for immense inspiration, the kind exchange and the great honor and joy to read such wonderful words regarding my explorations.

The Krell Patch has been created by Todd Barton, inspired by the very first all-electronic film score, composed by Bebe and Louis Barron for the 1956 sci-fi thriller Forbidden Planet. The Patch is a famous realization of so called generative music, characterized basically through self playing and evolving structures, driven by random elements.

My interpretation introduces some radical and subtle noise from the Landscape Stereofield to the Krell structures, travelling excursively from one sonic landscape to another in a seemingly chaotic, but actually meticulously elaborated and well-rehearsed way.

Crucial point and problem regarding composition and performance is the experimental investigation of the interaction of random systems, as the Landscape Stereofield is a genuinely chaotic CV controller, atonal feedback sound & noise generator and also an audio processor.

After the tonal transformation the meditative journey is finally arriving at and returning to the modified Krell structure, fading out reposefully from 5:14 on. You could skip to that part, but the crucial point is of course the experience of the whole sonic exploration.

A meditation on the history of electronic music and beyond.

For my version of the Krell music, I thankfully rely on the patch that Walker Farrell created for the Make Noise 0-Coast and presented in one of his inspiring videos, thx from the heart for these precious resources, for the kind exchange and the good vibes!

Sound refined by the Fairfield Circuitry Shallow Water, fitting in a perfect way to the random driven sources by its unique random modulation approach, caused by the »K-field (Simulation mathematics), an undefined, two-dimensional, non-linear field where past and future forces interact at irregular intervals. The random quality of the modulation begins in a simple program residing on a microcontroller. Its output resembles steps of random voltages, seperated by random time intervals.«

From a personal view, this performance holds a seminal importance, because some circles are closing and opening at once. Opened up are new realms for experimental music and a circle closes somehow in a wonderful way regarding my long lasting admiration for John Cage, who realized his Project of Music for Magnetic Tape with the technical assistance and studio facilities of Louis and Bebe Barron. (Holmes 2016: 104-106)

Amp: Mesa Boogie Lone Star
Cabinet: Mesa Boogie 2x12

Bebe and Louis Barron

Krell Patch

Landscape Stereofield

Holmes, Thom (2016): Electronic and Experimental Music. New York: Routledge


Experimental music and performance based audi-visual composition

For the relation between experimental music and my approach of performance based audio-visual composition, see the major interactive installation Variations IX, 2015.

Regarding experimental music I have been deeply inspired by John Cage. More information upcoming.

A particular seminal experience has been a performance of the Ensemble Intercontemporain, conducted by Pierre Boulez, 2001, Munich, Prinzregententheater. After the very moving live experience, the booklet of the series »musica viva« gave me additional insights in the working process and approach of Pierre Boulez. Particularly the annotations regarding Dérive 1 / 2 and Sur Incises have been from great impact to me. More information and first modular experiments upcoming.

[all works from nicolas constantin © nicolas constantin romanacci]