Filtered Noise Podcast Faulty Cat Productions

Another treat for our regular listeners, we talk to Bribery (a.k.a. - Mitch Catterall). When Vince and I made the first episode of this podcast, he said,

"Mind if we use my mate Mitch's music for the intro and outro?"

I was absolutely open, but a little apprehensive. Then I heard the tracks and... wow. Dark, energetic, and visceral. Somehow; playful, uplifting, and fun. There's something about Bribery, as a multimedia project, that ticks every box.

https://www.instagram.com/p/B22-jkLBShb/?utm_source=ig_web_copy_link
Bribery is an experimental electronic musician from Melbourne, Australia focusing on glitchy, crunching beats, alongside warped and twisted vocals, heavily influenced by digital and organic corruption/mutation sounds like Burial remixing Radiohead and John Frusciante.

Mitch Catterall was the recipient of the 2019 Adolphe Spivakovsky Scholarship for Music Composition for his project, Bribery.

In this episode, we talk to Mitch about:

Social Media use
Multi-media as a journey
The inception of Bribery (including using low budget equipment to achieve aesthetically pleasing results)
Processing video using CV
Stagecraft and live performance as an electronic musician
Other projects Mitch has been a part of during his illustrious career, including solo projects Slacktivist, and Lo.Fi.stro
The Filtered Noise Podcast will regularly discuss approaches to making music, what outside influences have shaped the music of our hosts and guest(s), and give some shout-outs to artists who have done (or are doing) cool things – see ‘Music We Talk About’ below.

We love talking about music. Follow us on instagram @filterednoisecast and you can email us filterednoisecast@gmail.com. We also have a Ko-Fi account which you can donate to, if you feel like we’re doing a good job – https://ko-fi.com/filterednoise. Music in the intro and outro is by Bribery : https://bribery.bandcamp.com/

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In this episode of Filtered Noise, we talk to our inaugural guest, Allison Wright, aka - No Compliments. For regular listeners, you'll be familiar with our fandom of No Compliments debut EP.

Allison Wright (1993, AUS) is a composer, arranger, producer, sound designer and trumpet player living in Amsterdam, The Netherlands. Since finishing her performance studies at the Australian National Academy of Music, Allison enjoys a diverse career as a collaborative musician and freelance trumpet player, performing with major orchestras and production companies as well as working as a composer, arranger, producer and sound artist on independent creative projects and commissions. Allison is has been a fellow of many national and international festivals and residencies, notably the Bang on a Can Summer Festival (2016), Eighth Blackbird's Creative Lab (2018) and Melbourne Electronic Sound Studio's (MESS) Professional Development Course 2018. 

In this episode, we talk to Allison about:

DAW Workflow
The creative process, from the perspective of a cla**ically-trained musician and an electronic music-maker
The influences on Allison's music
Chaos Hands; a collaborative, improvising ensemble with drummer Nicole Patrick and visual artist/filmmaker Xuan.
Coding live multi-media for a planned international tour with Bec Plexus
Adapting to the current pandemic situation in the creative industries; including planning and hosting a 24-hour Livestream Release Party.
The Filtered Noise Podcast will regularly discuss approaches to making music, what outside influences have shaped the music of our hosts and guest(s), and give some shout-outs to artists who have done (or are doing) cool things – see ‘Music We Talk About’ below.

"This music is path orientated, not goal orientated." - Peter Evans

I thought I'd start the show notes with this quote, as it's a pertinent part of the discussion at the top of the show. Music making is more accessible than it has ever been. Part of the making process, however, is a constant growth and expansion of ideas which leads us to create the music we do.

We also discuss the efficacy of subscription streaming services, crowd funding, digital pre-releases, and other popular strategies for funding music. This leads to a conversation about the state of music economics and distribution and how they have aged, particularly with new ideas and technologies being explored as a response to the coronavirus lockdowns. Are these methods still fruitful ways of funding, creating, and releasing music? Is the crowd-funding platform now excluding those who it was intended for? What does Joe Rogan's $100-million deal with Spotify mean for artists, and the value of music as a whole? We discuss these questions and more.

Within these two topics we also talk about developing communities and how that creates canonical growth and maybe even inspiration.

We also talk about:

Experimental music and musicians, including Peter Evans, Richard Barrett, Morton Feldman, John Cage, and others
The unpredictability of (some) modular gear, particularly referring to SOMA Labs and Make Noise instruments and modules
Scores and prompts for intuitive music making
Warren Burt's articles and essays on new electronic music
The Melbourne Synth Festival
The Filtered Noise Podcast will regularly discuss approaches to making music, what outside influences have shaped the music of our hosts and guest(s), and give some shout-outs to artists who have done (or are doing) cool things – see ‘Music We Talk About’ below.

We love talking about music. Follow us on instagram @filterednoisecast and you can email us filterednoisecast@gmail.com. We also have a Ko-Fi account which you can donate to, if you feel like we’re doing a good job – https://ko-fi.com/filterednoise. Music in the intro and outro is by Bribery : https://bribery.bandcamp.com/

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Orenda Records - https://orendarecords.bandcamp.com/

Sugarstick and Xerox - https://opaltapes.com/album/sugarstick-xerox

Rovox 625 - https://invisiblecityrecords.bandcamp.com/album/too-close-to-home

tape loop - https://tapeloop.bandcamp.com/album/contagion-2020

Peter Evans - https://peterevansmusic.bandcamp.com/album/into-the-silence

Dan Rosenboom - https://orendarecords.bandcamp.com/album/absurd-in-the-anthropocene

Caleb Dolister - https://orendarecords.bandcamp.com/album/daily-thumbprint-collection-3-the-wandering

Mr Bungle - https://open.spotify.com/artist/2zq0uqN9Wq12tqrQQt1ozw?autoplay=true&v=A

King Crimson - https://open.spotify.com/artist/7M1FPw29m5FbicYzS2xdpi?autoplay=true&v=A

Morton Feldman - https://open.spotify.com/artist/3Vmj59eAzsbiISxcCBHRCM?autoplay=true&v=A

Mark Applebaum - https://open.spotify.com/artist/0H9VJTe5YIHfLKqor9C5Ln?autoplay=true&v=A

Devin Townsend - https://open.spotify.com/artist/6uejjWIOshliv2Ho0OJAQN?autoplay=true&v=A

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Make Noise 0-Control

Make Noise 0-Coast

Make Noise Maths

SOMA Labs Pipe

SOMA Labs Pulsar 23

SOMA Labs Lyra 8

Folktek Mescaline

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Mental blanks. It actually took me a while to think of that because I was having one. In this episode we continue our electronic music journey by delving into electronic music performance, particularly some of the adaptations we have considered (and in Vince's case, made) during the current global pandemic. We even hypothesize what impact this may have on the arts moving into the future.

In summary, we talk about:

Tools for computer music including Max MSP, VCV Rack, Tidal Cycles, and DC coupling via interfaces such as the iPad
Patching options in modular and eurorack
Vince's performance at Lebowski's live on Facebook (the recording of which is available on Vince's Bandcamp)
Our approaches to making music which incorporates improvisation
The Filtered Noise Podcast will regularly discuss approaches to making music, what outside influences have shaped the music of our hosts and guest(s), and give some shout-outs to artists who have done (or are doing) cool things – see ‘Music We Talk About’ below.

We love talking about music. Follow us on instagram @filterednoisecast and you can email us filterednoisecast@gmail.com. We also have a Ko-Fi account which you can donate to, if you feel like we're doing a good job - https://ko-fi.com/filterednoise. Music in the intro and outro is by Bribery : https://bribery.bandcamp.com/

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John Zorn's Naked City - https://open.spotify.com/album/1ZJtXPcSA64FHSo5mHzvaZ

Tilde New Music Festival - https://tilde.net.au/

Marie Guilleray - https://marieguilleray.com/music.html

Félicia Atkinson - https://feliciaatkinson.bandcamp.com/

tētēma - https://tetema.bandcamp.com/

Oskar Sala - https://www.youtube.com/watch?v=-tQQEChMq1A

North Of North - https://immediata.bandcamp.com/album/imm006-the-moment-in-and-of-itself

Suzanne Ciani - https://www.youtube.com/watch?v=M_q3dnrQus4



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Moog Subharmonicon

Moog DFAM

Make Noise 0-Control

Make Noise 0-Coast

Tidal Cycles

Valhalla Supermassive Reverb

Koma Field Kit

Koma Field Kit FX

Oscillosaurus (Mutated Clouds)

Critter and Guitari Organelle

Open Broadcast System (OBS)

VCV Rack

Max MSP

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When Moog releases anything, be it a firmware update or a new product, Brae gets all excited and goes into debt trying to acquire it. In this episode, Brae fanboys really, really hard over the release of the Moog Subharmonicon. Along the way, there's a bit of discussion about the influences behind the Subharmonicon through the lens of history.

We cover:

Moog Subharmonicon: the current reviews on YouTube (Look Mum No Computer, Loopop, Hainbach), the influence of the Rhythmicon, and the Trautonium.
Early influential electronic composers including; Evangelisti, Stockhausen, Messiaen, Hindemith, Sala, Ciani, Italian Futurist Machines, and more
Ethics of software and hardware consumption, manufacturing, etc.
Apple's new Logic X and Macbook Pro release
The integers of Energy and Quality and being unafraid of judgement (a follow-up to The White Pube article
Economics of electronic music and the possible impacts of COVID-19 on manufacturing
DIY Synthesis and the accessibility of electronic music (both software and hardware) including: The Channel at The Arts Centre, Andrew Huang's guide to modular, Look Mum No Computer's simple DIY oscillator and Myles Mumford's philanthropic endeavours
Funding in the music landscape, and how curators control the narrative of elitism in music
Ian Parson's 3MT on Stockahusen's Licht
The Filtered Noise Podcast will regularly discuss approaches to making music, what outside influences have shaped the music of our hosts and guest(s), and give some shout-outs to artists who have done (or are doing) cool things – see ‘Music We Talk About’ below.

We love talking about music. Follow us on instagram @filterednoisecast and you can email us filterednoisecast@gmail.com. Music in the intro and outro is by Bribery : https://bribery.bandcamp.com/

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Billy Eilish - When We All Fall Asleep, Where Do We Go?

4utechre - Twitch Live Stream

Karlheinz Stockhausen - this performance of Studie II by DezvezesDez Heteronimus

Melbourne Digital Concert Hall

Suzanne Ciani - Demonstrating the New Subharmonicon and Concert at Phil Niblock's Loft

Paul Hindemith - 7 Trio Pieces for 3 Trautoniums

Oskar Sala - Elektronische Imprissionen

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Reaper Recording Software

Apple Logic X

Moog Subharmonicon

Make Noise 0-Control

Super Collider

Raspberry Pi

Arduino

Linux

Filtered Noise
S01.E01 - Let's Get Philosophical
*Explicit Content*

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In the first 'official' episode we get a bit, well, philosophical. That's not to say we don't also cover the latest in electronic music making, including gear that caught our eyes, ideas that captivated our minds, and sound that stole our hearts.

In this episode we talk about:

Contemporary composers, including Richard Barrett, Aaron Cassidy, Morton Subotnik, and more
Andrew Huang's approach to sound design, particularly the idea of conventional instruments being a preset (or plug-in), and sculpting unique sounds to make music.
The release of (and how to pronounce) the Make Noise 0-Control. We also drift into a discussion on what YouTube channels made great quality reviews of the 0-Control: HAINBACH, Loopop, among others.
Serialism
Zizek's The Sublime Object of Ideology - https://en.wikipedia.org/wiki/The_Sublime_Object_of_Ideology
Lacan's Three Orders - https://nosubject.com/Order
Gabrielle de la Puente's response to a workshop with Thomas Hirschhorn, in The White Pube
and, The energy and/or intent of music, and how it relates to our practice as composers, improvisers, and performers
The Filtered Noise Podcast will regularly discuss approaches to making music, what outside influences have shaped the music of our hosts and guest(s), and give some shout-outs to artists who have done (or are doing) cool things – see ‘Music We Talk About’ below.

We love talking about music. Follow us on instagram @filterednoisecast and you can email us filterednoisecast@gmail.com.

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no compliments – https://nocompliments.bandcamp.com/

clipping. – https://clppng.bandcamp.com/

Bribery – https://bribery.bandcamp.com/

Eels - https://www.eelstheband.com/

Fiona Apple - https://open.spotify.com/album/0fO1KemWL2uCCQmM22iKlj

Dot.AY - https://dotay.bandcamp.com/album/dot-ay

Antagonist A.D. - https://antagonistad.bandcamp.com/

Morton Subotnik - https://karlrecords.bandcamp.com/album/silver-apples-of-the-moon

Hainbach - https://hainbach.bandcamp.com/

Steve Lehmann - https://stevelehman.bandcamp.com/album/s-l-b-yone

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Tidal Cycles

OP-Z

Moog DFAM

Make Noise 0-Control

Make Noise 0-Coast