In celebration of this time of year when things start to get a bit dark, a bit...sinister and haunting, this lesson will show you how to design an NI Massive horror synth that can be used in a wide range of projects!
'Spectres never truly vanish, and hauntology’s modus operandi is precisely the spectral realm. This puzzling cultural micromovement took its name from Jacques Derrida’s works: the term, originally a pun merging ‘haunt’ and ‘ontology’, predicted a state of civilization endlessly troubled by historical spectres, a destiny which the West would be trapped in after ‘the end of history’. In cultural studies, the term was first used near-simultaneously by Mark ‘k-punk’ Fisher and Simon Reynolds circa 2006, in reference to a then-emerging strain of music. The critics noticed similarities between artists from theGhost Box Records, Mordant Music, Boards of Canada and eventually Ariel Pink, all pursuing a shared aesthetic of skewed nostalgia, distorted memory, and evocations of the past as a peculiar, slightly uncanny wunderkammer. That was expressed by heavy sampling (1960s and 70s cinema, TV series for children, educational programmes), references to library music, musique concrete or early experiments with electronic music, and a penchant for outdated technology applied to sound.' - Halciion
H. H. Richardson Complex/Buffalo State Asylum for the Insane, Buffalo, New York In the U.S. prior to the early 1960s there was a government-run system of mental institutions, some housed in grand Gothic Victorian buildings with impressive grounds.
In todays installment of the Quick & Easy Massive Tutorial Series, I will walk you through the steps of creating a simple cinematic soundscape, ideal for situations that you want to conjure up emotions of darkness, mystery and suspense.
'Matthew Christopher's Abandoned America was started to capture the mesmerizing beauty and lost history of the various derelict buildings dotting our country's landscape. First and foremost, this site is an attempt to retain the history and essence of neglected sites before (and after) they are gone forever. As our industrial sector sags and many of the social institutions that once were the pride of our country now lie in ruins, it is vital that we remember our heritage and our achievements. Abandoned America is committed to partnering with historical preservation organizations, site owners, and communities to ensure that even when it is impossible to retain an historic structure, its unique characteristics, stories, and social impact are not forgotten and can be shared with the world at large. While sites are still intact Abandoned America advocates for rehabilitation and reuse by emphasizing the cultural importance of preservation. Through gallery showings, public presentations, and published articles it is my hope to reach out to those who might originally have seen an abandoned site as an eyesore and encourage them to rethink their estimations and strive to foster civic pride and partnership in these vestiges of bygone eras - thus looking forward to a future where we can build on our past rather than erasing it'
'There is a stretch of road between Pasadena and Glendale where I will always hear the rhythmic threadbare minimal techno of Monolake’s album Cinemascope, even if Led Zeppelin is blasting on the radio,even if I am deep in conversation on the phone or with a fellow passenger, even if the windows are open and letting in the sirens of passing police cars, all of which has happened. More than a decade ago, on a visit to the Los Angeles area, I blasted a CD of that album in a rental car after a long day of meetings, on my way to visit a friend across town, and though I have never again sat in that particular car, and I have long since parted ways with that employer, and my physical copy of the Monolake album is buried in a box in my closet, the music still hovers on the highway, waiting for me to trigger it simply by driving through it.' - Marc Weidenbaum
At the heart of the gothic is the haunted house. And it is almost impossible to avoid haunted houses in Irish visual culture right now. There are, in the DNA of Irish literature and art, three kinds of haunted house. There’s the big house: literally haunted in, for example, Joseph Sheridan Le Fanu; metaphorically so in the 20th-century traditions where, for example, the main characters of Aidan Higgins’s Langrishe, Go Down are like ghosts that haunt their own lives. There’s the abandoned house, the half-derelict building left behind by mass emigration, so spine-tinglingly evoked by the poet Derek Mahon.
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