I wasn’t very good at listening emotionally to where she wanted to take a particular track. Mastering Essentials Part 3 - How loud should I master?

What led you to that one ? Drew Daniels : We worked quite a lot with her at the beginning. And I think there is better and worse, more and less egotistical ways, of serving the interests of a song. “You could have no excess baggage.” Their motto is “the best show is the most prudent show.”. She manages to remain entirely at the cutting edge of her art while collaborating with anyone she chooses to produce music that the mainstream embrace. The whole thousands and thousands and thousands of people looking at you was very different from the shows that we play generally too. Drew Daniel : It was around the time that laptops were a new thing that people listened to music on. I don’t know.

... Björk (9) So Percussion (9) Distance travelled: 288,116 miles. But it’s good too, ’cause we aren’t getting in each other’s way. Obviously I couldn't push him around. Martin Schmidt and Drew Daniel met in the early '90s when the latter relocated to the Bay Area from Louisville, Kentucky. Whatever the answers, a novelty group is a novelty group is a novelty group. They can see that there’s an aspect or parameter of the sound that’s being transformed. ", One other key piece of equipment, used by Drew to create the skipping guitar solo in 'Y.T.T.E.' And that is part of the humbling reality. Because it was the first time I did microbeats, I felt that some of them were a little bit wooden and that I needed somebody who was a bit of a virtuoso in the field. Drew : We’re a sample-based band, so the majority of what we do involves coming up with a concept and then executing it by creating a situation, recording that situation, and then chopping it up and manipulating it into a song. That is weird. One of these days, when I have an extra month to learn where they've put Copy and Paste...", "Yeah, we're using 2.7 still, we're totally living in the past," laughs Drew.

I think Björk has always had a team of people who can make you kind of bulletproof, and she wants people that are a little bit sloppy and a little bit rough and aren’t so used to that. “We worked on that remix for a good two weeks,” says Drew Daniel, the other half of Matmos.

In November 2004, Matmos spent 97 hours in the Yerba Buena Center for the Arts as artists in residence, performing music with friends, musical guests and onlookers.

Frankly, the last time they updated Digital Performer, a lot of the changes were definitely for the worse. Beaucoup moins présents sur Medulla (seulement un titre en production) ils ont joué un rôle de conseillers, révélant ainsi le japonais Dokaka. And while their Emu 6400 was obviously flightcased and taken on the road, their faithful Roland W30 came too. That’s really our focus.

Oneohtrix Point Never – Magic Oneohtrix Point Never.

But it kinds of sounds like a pencil hitting a desk or something, it's really boring. She started singing “Pagan Poetry” right next to me as I was at the computer recording her. ", As far as synths are concerned, they use a Korg Mono/Poly, a Roland SH101 and the newest addition to their stripped-down studio environment, the Korg MS2000B. Remix, Björk et Arca en couverture du numéro anniversaire d’i-D, Exposition de M/M (Paris) et nouveau livre, Björk au casting du prochain film de Robert Eggers, La tournée Björk Orkestral repoussée à 2021, Matmos - Rose Has Teeth In The Mouth Of A Beast (2006). -

You have an old Roland classic onhand, the SH-101, which you use both on record and onstage, but rumor has it that your first Roland synth, a Juno-60, died a cruel death.

One or two oddities aside (these being Björk’s forgetting of the first verse lyrics in Bachelorette, the microphone that wouldn’t decide whether it wanted to be on or off for Frosti and the largely criminal lighting), this was an accomplished performance by a supremely gifted and endearing lady. "I run Logic 4.7 on my G3 laptop. She kind of likes to mix together people who know what they're doing with people who're just kind of oddballs. Will be vaguely remembered as one of the many "mainstream fringe" phenomenas that made the supposedly controversial appear decidedly uninvolving. You're in this environment that's so charged on the level of your sympathy as a human being, but you're also there to gather it as audio and so you're just thinking about it in terms of sound. I have a Peavey PC1600X with different parameters of the banks of sounds mapped to each fader controller. So we had this weird skeletal half-arsed thing going on with some of the bass lines and kick drums playing off the Logic rack and nothing at all coming off my rack. True ? All of these field recordings were made in California by Drew with patients who'd volunteered to have their operations committed to audio. "Shuffler.

Today, back in San Francisco, Matmos is hard at work on their next album with an arsenal of classic and cutting-edge synths, samplers, and audio gadgets. Perhaps it was inevitable that at some point Matmos's sonic experiments would come to the attention of the queen of otherworldly techno, Björk. Martin had played a melodic line that I liked and I took each note and I bent the right and left channels slightly off of each other.

", The duo's most prized purchase of late is a Barcus-Berry 4000XL Planar Wave Transducer, the latest in a line of various contact microphones Matmos have bought or borrowed. I don't even know what brand it was.

"We're not cutting-edge, but it's not like the equipment doesn't matter. Drew : I know it really well. It was like, filtered through human beings ! "It's an incredibly thorough exploration of a very stripped-down set of sounds," Drew explains. "When they do the osteotomy in nose jobs, they slide a chisel inside the nose and they break the bones of the face with a hammer. When I heard that it was onto 4.0 or something, I was like 'Really?' They are right in the human voice range. We had only made records at home in our bedroom until, all of a sudden, we are at Olympic Studios with Spike Stent and he has mixed Spice Girls, U2 and Madonna and we’re sitting there going: “Maybe you should have a breakdown here.”. In plaats daarvan houdt ons systeem rekening met zaken als hoe recent een recensie is en of de recensent het item op Amazon heeft gekocht. She doesn’t care about making a hit.

"And I'm a real scaredy cat. Martin Schmidt generates another sample to receive the Matmos cut-and-paste treatment.

Whereas from our point of view, we are all about collage and all about sound and chopping radically and avoiding belonging in a genre and using voices, which hog the midrange. Martin : And sure, you can do the same thing with some knobs on a controller, but how interesting is that ? They were just running patches and trying to coax the most eerie squeals out of these modular synthesizers.

The result was Matmos providing the electronic rhythm section for Björk's three-month world jaunt in 2003, in a touring band that also featured the Icelandic String Octet and harpist Zeena Parkins.

... Matmos didn’t encounter Björk getting reconstructive work … Find information on all of Matmos’s upcoming concerts, tour dates and ticket information for 2020-2021.

Live streams; Seattle concerts. I kind of like making Matmos records where I get to make all of it, even if only 10,000 people hear it or 15,000 people hear it versus millions of people hearing a Björk record. The wonderful Cocoon from Vespertine featured one member of Matmos literally stroking the other while Björk softly sang about the physical intimacy of love, of having her man “inside of me”. And you know that you're probably never going to be able to reprogram these sounds. For instance, on 'Lipostudio' from A Chance To Cut Is A Chance To Cure, Drew says "We sort of thought, OK, liposuction is the sound of sucking through tubes, so we brought in a clarinet player and then we got Martin breathing and sucking through a pen in a bowl of water, so we're moving back and forth between the field recordings and the music."

Björk thought it was really funny, which is why she's a pretty good boss.". The amount of gear he has onhand there is unbelievable. It was like a stupid MTV show, Imposters Go to Rocktown. "Our first couple of records were made with not even a Shure 57," remembers Martin, "but a Shure 57 knock-off.

And everyone falls silent in the room and goes: “Who are you?” I was like, “I am sorry that I said anything, I am so sorry! So now I'm gonna get a computer program that simulates a mixing board, and then get a mixing board to mix it?

Matmos. Matmos recently rebuilt their studio in a San Francisco arts centre, creating an installation with which members of the audience could interact. Item kan niet op de lijst worden gezet. There’s no shortage of hardware synths and outboard gear here in your studio. "On 'Hidden Place', some of the rhythms that were programmed are the sound of cards shuffling, so when we played it on stage, Martin would shuffle cards — it was like doing sound effects for a radio play. They were like, ‘Sure mate, we’ll take two of ’em.’” Another favourite gizmo is an acupuncture point detector. I mean, I've passed out giving blood. But now that Martin has the firepower of the V-Synth, I’m kind of running scared [laughs]. ", Even though the system was supposedly bullet-proof, as you might imagine, the proceedings weren't entirely hitch-free.

“When she heard it, she told us : ’I‘m flab-ber-gas-ted.’ So that was the start of our friendship and musical collaboration.” Björk enlisted Matmos as guest programmers on the song “Hidden Place” from the Vespertine album, and “it just sort of snowballed from there.” Soon Martin and Drew were part of Björk’s live-band lineup, which would embark upon two world tours, including stops at Coachella and Live 8 in Tokyo. In the past, I was always the one who used the samples, and Martin would play instruments or objects. Normally the surgeons would listen to music.

I think Björk has always had a team of people who can make you kind of bulletproof, and she wants people that are a little bit sloppy and a little bit rough and aren’t so used to that. You don’t want to stop human voices, you just want to stop mine. Skipping across the stage and curtseying her way off, the audience were charmed enough to demand two encores. I also love the ability to change the sample loop points in real time, which let’s you do things like this [demonstrates how he transforms a sample from smooth to stuttering].

Then for the song 'Aurora', Martin would walk on rock salt to create the rhythm. "We're a funny sort of mixture of 1989 and 1993. We get lost in: “No, but what about this fucked up weird detail?”, “Why do you want one snare? Drew had to point out to me about 1,000 times during that thing that people who make pop music hopefully want to make pop music. "It's probably much better for people who have those breakout digital mixing boards where it's all slaved to an external thing," Martin points out. Almost all the hurdy-gurdy sounds in 'Regicide', if you listen on headphones, the right and left channel are always swimming in and out of line with each other. They lay it over the patient and there's air streaming into it and sometimes it sounded really nice. wonders Martin. Drew : It just seems much more musically intuitive to use all ten fingers on a piece of hardware.

Drew : Nobody ever said, “Let’s go out and see that band that didn’t have to schlep a lot of gear to the gig.” That’s not the point for the audience. People sometimes tell us that we could slim down and use less equipment, especially for our live shows.

Drew admits that often, the more dramatic the surgical procedure, the less interesting the sound was when he got the tapes back home. "It was great for us," Drew admits, "because we weren't really sure of how to work with a vocal that hogs the mid-range and a lot of the frequencies that we normally fill with some freaked-out cut-up.

Martin : The crazy thing is that she actually asked us to help her mix Vespertine, which was pretty flattering business. "It's a little bit like a lie detector in that it measures, very crudely, the conductivity of your skin," Martin explains. Avec des interviews de Matmos, Zeena Parkins et Björk.