ARCHIVES: EXPERIMENTAL MUSIC

Showing posts with label EXPERIMENTAL MUSIC. Show all posts

Wednesday, September 13, 2017

Kontroljet - Unconnected.8

Download Audio + Artwork

UNCONNECTED.8

a mixself by Kontroljet

Selected from the compilation albums 2015 – 2017 period

Artwork by Pandu Hidayat

Java – Indonesia

MMXVII

Release 09.13.2017
PLASTIK NOTLABEL

PNC-053

Free Streaming via Mixcloud

Sunday, April 9, 2017

EXPERIMENTAPE

NOISE IS NOT MUSIC.
WE DON'T CREATE NOISE BECAUSE WE WANT MAKE MUSIC.
ALL LIVING THINGS PRODUCE NOISE.
-MAYUKO HINO-

Kontroljet is an experimental noise project by Pandu Hidayat from Java, Indonesia. Also Known as CONTROL-Z (2008-2014). kontroljet.blogspot.com

Friday, March 17, 2017

Kontroljet Discography

Kontroljet

2015 - present

MIXTAPE

MIXMAX (Mixtapeblastingproject, 2015)

UNCONNECTED.8 (Plastik Notlabel, 2017)

SPLIT

Kontroljet / Haiiyuuko - Super Project (Plastik Notlabel, 2015)

Kontroljet / Maryah Marymotto - OIOIOI PHANTASM (Plastik Notlabel, 2015)

Kontroljet / Nakayubi - Hanbun Ni Kill (Plastik Notlabel, 2015)

Kontroljet / J.A.P. - Born, Connected & Making Noise (Plastik Notlabel, 2015)

Theo Nugraha / Kontroljet - DK25 Split W/ Kontroljet (Net Release, 2016)

The Defective Products / Kontroljet – 2 WAY SPLIT (Gerpfast Kolektif, 2016)

Kontroljet With SARANA & Jeritan (Data Imp., 2018)

V/A

The Interviews (SuRRism-Phonoethics, 2015)

BURRRNNN! (Mindblasting Netlabel, 2015)

Noise For Nepal (NFN, 2015)

KONTINGENT II (Kontingent Records, 2015)

The Xmas Compilation (Petroglyph Music, 2015)

INDONOISIA: Indonesian Noise & Experimental Sounds (HNM Records, 2016)

ABSTRACTIONS VOL. 1 (Lurker Bias, 2016)

Noise Against Racism (Blackened Death Records & HNM Records, 2017)

About

Kontroljet is a sound project by Pandu Hidayat, from Java, Indonesia. This project based on experimental music. Focussed on the art of improvisation and fun with live-processing.

Background Information

Project Name: Kontroljet

Also known as: CONTROL-Z (active: 2008-2014)

Member: Pandu Hidayat

Origin: Java, Indonesia

Genre(s): Experimental-Noise, Live Electronics

Style(s): Sound Collage, Cut Up, No Input, etc

Instrument(s): Analog Synthesizer, Stompboxs, Tape, Object, Laptop, Everythings.

Years active: 2015 – present

Label: Plastik Notlabel

Thanks to all the Artists and Labels

Artist(s): Haiiyuuko / Youko Heidy (Tokyo, Japan), Maryah Marymotto (Madrid, Spain), Nakayubi / Naoyuki Hitomi (Tokyo, Japan), J.A.P. (Spain), Theo Nugraha (Borneo), The Defective Products / Togawa aka TGW and Tomoaki Okimoto (Hiroshima, Japan), Uncle METEK (Sweden), SARANA & Jeritan (Samarinda, East Borneo).

Label(s): SuRRism-Phonoethics (Frankfurt, Germany), Mindblasting Netlabel (Yogyakarta), Noise For Nepal, Kontingent Records (Sofia, Bulgaria), Petroglyph Music (Norway), Gerpfast Kolektif (Malang), HNM Records (UK), Lurker Bias (Chicago, Illinois), Data Imp. (Indonesia)

Thursday, March 10, 2016

Pandu Hidayat - VOLUME

VOLUME I Download

VOLUME II Download

VOLUME III Download

Pandu Hidayat - Volume EP

01.Manusia=Machine

02.Fragmen Kematian Satu

03.Fragmen Kematian Dua

04.Kisah Sang Rebab

05.Dehidrasi Stadium Akhir

all tracks by Pandu Hidayat

Self-Releases 2008

Download

Plastik Notlabel’s Catalog [PNC-001]

Tape Safe [TaSe-95]

April 12th, 2015

Stream & Download

Pandu Hidayat - Volume II | Live 2008-2010
01 Fiction | 2008
02 Cermin Berkarat No. 2 | 2009

Volume II contains live recordings from 2008 to 2010 period. Sounds and structures from Eastern musical traditions overlap with digital noise in a clash of subtle balance between empty and full. Pandu Hidayat with the support of other artists and with a massive use of an experimental equipment not exactly traditional like phone cellulars, toys, voice-overs and various samples, exports the Indonesian experimental art breaking down geographic border.

http://www.nostressnetlabel.com
http://pndhd.blogspot.com
CC License: BY-NC-ND 3.0
(Live 2008-2010)

DOWNLOAD

Plastik Notlabel’s Catalog [PNC-010]

Pandu Hidayat - Volume III

"Volume III" is the kind of album that improves with patience. At first, it might seem impenetrable and intentionally dense, but upon closer examination, Mr. Hidayat’s skewed talents start to become apparent. This is extreme experimental noisy expression that also succeeds as an involved listening experience. Pandu is like a mad scientist who doesn’t allow his creations to venture too far beyond his control, and his strength lies in the fact that his "alchemy" does not fit easily into any single style, taking bits and pieces and molding them into something very personal, poetic, visionary, fascinating and unique.

Music Composed & Produced by Pandu Hidayat

Artist: Pandu Hidayat (Kontroljet)

Album: Volume III

Length: 41:51 Minutes

Period: 2013 - 2015

Origin: Java, Indonesia

Label: Hortus Conclusus Records

Release Date: 19 - 01 - 2016

Equipment(s): Analog Synth, Laptops, Voice, Contact Mic, Strings, Objects, FM Radio, Stompboxs, Tape-MC30, Sample(s)

Files: MP3 320Kbps

Artwork: Pandu Hidayat with Original Picture by Metro Doc.

License: CC-BY-NC-SA

Description of the tracks:

01 Purgatory Flesh (22:22)

'Purgatory Flesh' is an audio-playback / OST for Aizen Kaguya & Marica Innocente's Performance - Live at The Flying Dutchman, 156 Wells Way, SE5 7SY London - UK (June 11th, 2015)

02 Pulang (14:41)

‘Pulang: Paris As Viewed From Jakarta’ its about Light, Sound, Decoding, Emotion, Direct Interpretation and Improvisation

Live Studio Session Featuring Atieq SS Listyowati (Indonesian Poetess) - Bouitenzorg, Indonesia (October 16th, 2014)

03 Le Métro Intro (04:48)

Part of ‘Le Métro’ a Collaboration Project: Puppet Show & Audiovisual Performance Live Improvisation at Institut Français d'Indonésie - Centre de Surabaya, Indonesia (November 22th, 2013)

LINKS:

pndhd.blogspot.com

plastiknotlabel.blogspot.com

DOWNLOAD

***

PNC-046

Monday, February 8, 2016

Pandu Hidayat - Volume III

DOWNLOAD

Label: Hortus Conclusus Records

Release Date: 19 - 01 - 2016

Equipment(s): Analog Synth, Laptops, Voice, Contact Mic, Strings, Objects, FM Radio, Stompboxs, Tape-MC30, Sample(s)
Files: MP3 320Kbps

Artwork: Pandu Hidayat with Original Picture by Metro Doc.
License: CC-BY-NC-SA

Description of the tracks:

01 Purgatory Flesh (22:22)
'Purgatory Flesh' is an audio-playback / OST for Aizen Kaguya & Marica Innocente's Performance - Live at The Flying Dutchman, 156 Wells Way, SE5 7SY London - UK (June 11th, 2015)

02 Pulang (14:41)
‘Pulang: Paris As Viewed From Jakarta’ its about Light, Sound, Decoding, Emotion, Direct Interpretation and Improvisation
Live Studio Session Featuring Atieq SS Listyowati (Indonesian Poetess) - Bouitenzorg, Indonesia (October 16th, 2014)

03 Le Métro Intro (04:48)
Part of ‘Le Métro’ a Collaboration Project: Puppet Show & Audiovisual Performance Live Improvisation at Institut Français d'Indonésie - Centre de Surabaya, Indonesia (November 22th, 2013)

LINKS:
pndhd.blogspot.com
plastiknotlabel.blogspot.com

DOWNLOAD

Wednesday, August 12, 2015

Kontroljet - MIXMAX | Review by YIKIS

Artist: Kontroljet

Title: Mixmax

Length: 19:08

Genre: Experimental - Noise

Category: Mixtape

Label: Mixtapeblastingproject
Release Date: August 10th, 2015

Free Streaming & Download via IA
Audio | Cover + Backcover | Info in PDF
or Streaming via Soundcloud or Mixcloud

Kontroljet got it all under control. Well maybe not ‘all’ as that would make Kontroljet into some kind of divine creature, but music and especially sound wise it’s definitely under Kontroljet’s control. Well not in speaking terms of all music and sounds but in speaking terms of Kontroljet’s own MIX-MAX release.

It’s (I’m not good at math) around 19 minutes in length and did surprise me in a good way. For some reason the legs in nylon and the name printed on the release cover made me expect that it would be some kind of techno-house-dance kind of thing, but that turned out to be totally not the case. I love it when that happens; when you automatically judge a book by its cover and than you open it and it’s nothing as you would have expected. And so did MIX-MAX turn my prejudgement into a foolish one, as this release had nothing to do with dance music in the casual sense of the word. I mean considering that we live in a time and age that people are doing noise yoga, there is plenty or reason to suggest that there are people dancing on music or sounds that aren’t necessarily made to dance upon.

So Kontroljet’s MIX-MAX is as I see it more made for sitting down and silent admiration. Just open the ears and let Kontroljet’s controlled scenes of sound crisper in them. Kontroljet will take good care of both your ears and these sounds, mixing them in and out through kind ways, creating an active soundscape of fresh twinkling twinkles. I didn’t really feel it as an audio trip, but more as something that was nice and light, mixing and matching favorable sounds away in what appears to be one take with 3 different sound chapters. The beginning is coming across very light, material to get slowly used to Kontroljet’s control of sounds. Than the middle part which seems to be more full in volume and content, and then the end part in which the mixing in the max becomes a subtle abstract form of active ambient crispers.

You can hear it over at the following link:

Download
<KN> Yeah I Know It Sucks

Friday, September 20, 2013

Experimental Music

Experimental music is a compositional tradition that arose in the mid-20th century, particularly in North America, of music composed in such a way that its outcome is unforeseeable. The American composer John Cage is seen as one of the more notable composers associated with this music (Grant 2003, 174). In France, as early as 1953, Pierre Schaeffer had begun using the term "musique expérimentale" to describe compositional activities that incorporated tape music, musique concrète, and elektronische Musik. Also, in America, a quite distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller and Milton Babbitt. In 1958 Hiller became the first director of the Studio for Experimental Music at University of Illinois at Urbana-Champaign.

The Groupe de Recherches de Musique Concrète (GRMC), under the leadership of Pierre Schaeffer, organized the First International Decade of Experimental Music between 8 and 18 June 1953. John Cage was also using the term as early as 1955. Composer and critic Michael Nyman starts from Cage's definition and develops the term "experimental" also to describe the work of other American composers (Christian Wolff, Earle Brown, Meredith Monk, Malcolm Goldstein, Morton Feldman, Terry Riley, La Monte Young, Philip Glass, John Cale, Steve Reich, etc.), as well as composers such as Gavin Bryars, Toshi Ichiyanagi, Cornelius Cardew, John Tilbury, Frederic Rzewski, and Keith Rowe (Nyman 1974, 1, 78–81, 93–115).

Harry Partch as well as Ivor Darreg worked with other tuning scales based on the physical laws for harmonic music. For this music they both developed a group of experimental musical instruments. Musique concrète (French; literally, "concrete music"), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid overt references to recognizable musical genres.

Elements of experimental music include indeterminate music in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. There are many ideas broadly utilized by experimental musicians which are not, however, strictly experimental music concepts, having seen significant application prior to the advent of experimental music, particularly by the avant garde. Examples include: extended techniques (Instrumental or vocal performance techniques that step outside (often far outside) conventional performance techniques) and graphic notation (music which is written in the form of diagrams or drawings. Other elements include "Prepared" instruments—ordinary instruments modified in their tuning or sound-producing characteristics; using instruments, tunings, rhythms or scales from non-Western musical traditions; using sound sources other than conventional musical instruments, such as trash cans, telephone ringers, or doors slamming; creating experimental musical instruments for enhancing the timbre of compositions and exploring new techniques or possibilities; using a tape loop to create a tape phase; and removing perceived barriers of traditional concert settings by putting performers scattered among the audience. (((Read More)))

Kontroljet perform no-input-mixer/onkyokei 22.03.2015

Footage >> https://instagram.com/p/0h9YKbNIl3/

Wednesday, September 11, 2013

Pandu Hidayat & Bahagia PP - Improvised

Download Audio

Monday, July 22, 2013

Yang Muda di Bukan Musik Biasa

Yang Muda di Bukan Musik Biasa

Oleh: Zoel Mistortoify, Pengajar di Institut Seni Indonesia Surakarta.

Ajang Bukan Musik Biasa tak sekadar menampilkan yang aneh-aneh. Penampil dituntut mampu mempertahankan argumentasi atas karyanya.

Harapan I Wayan Sadra tampaknya mulai kesampaian. Forum “Bukan Musik Biasa” (BMB) yang dipeloporinya di Surakarta mulai diminati anak-anak muda. Di situ, komponis-komponis muda memperoleh tempatnya, merasa dihargai. Bahkan dominasi komponis muda kian nyata di BMB yang ke XI ini. Forum yang tidak membatasi ruang kreativitas, jenis musik, cara penyajian, asal kalangan, maupun usia tersebut, barangkali telah memberikan kenyamanan bagi pengunjung untuk menikmati dan berpikir dari berbagai sisi. Apakah ini suatu pertanda bahwa semangat kreatif pada dunia eksperimentasi musik sesungguhnya sudah beralih generasi?

Harus diakui, komponis muda—dengan kemudaan usia dan pengalamannya—umumnya lebih punya tenaga dan semangat untuk melahirkan karya-karya baru. Sementara, komponis tua berpengalaman semakin jarang nongol kiprah karyanya. Meski begitu, melihat geliat kreativitas komponis muda itu, selayaknya sudut apresiasi bukan semata-mata pada urusan kualitas kompositoris sebagai titik berat, melainkan pada kesadaran mereka yang mencoba “berani” melepaskan diri dari hegemoni musik industri yang notabene telah melingkupi bagian utama gaya hidup mereka. Semangat pengembaraan kreatif dalam menemukan kepribadian mereka itulah yang perlu dicermati, diberi penguatan, dan layak mendapatkan apresiasi lebih. Malam Minggu, 28 Maret 2009 lalu, di wisma seni Taman Budaya Jawa Tengah, lima komposer asal Yogyakarta, Pacitan, dan Surakarta menampilkan beberapa karyanya. Mereka saling menunjukkan keragaman dan sekaligus kekhasannya konsep, estetika, proses, maupun performing-nya.

Ragam Ketidakbiasaan Kompositoris

Dhika Maharani, 25 th (Surakarta), sebagai penampil pertama mengawali dengan permainan solo instrumen gu-zheng—alat musik tradisionil China, mirip koto dari Jepang, atau tergolong satu keluarga dengan kecapi Sunda. Atas dasar pertimbangan “hubungan keluarga” pada alat berdawai ini, menggiring ide musikal mereka mengarah pada orientasi garap Cina-Sunda. Melalui penggunaan ghu-zheng, kendang, djembe, siter, dan suling, mereka berupaya memadukan kedua tradisi musik tersebut. Pada momentum tertentu terjadi “peleburan” rasa musikal itu, namun secara mendasar tidak banyak mengubah struktur dan estetika dari kedua tradisi musik tersebut. Disinilah, masa “proses” menentukan kematangan capaian.

Verita Shalavita Koapaha, 22 th (Yogyakarta), menyuguhkan komposisi berjudul Nggandul dan Tinggi Rendah yang sengaja mengeksplorasi fenomena musikal Jawa dengan medium rebab, gitar, dan seperangkat kendang. Senggrengan Rebab berlaras pelog dan akord-akord gitar yang, menurut Verita, lebih maskulin dipertemukan dalam ruang laras yang ganjil. Kemudian berlanjut pada pola-pola tabuhan kendang yang datang membayangi dan berujung pada improvisasi free rhythm dan permainan sinkopasi. Nggandul, sebagai konsep, dalam hal ini berdiri dengan definisinya sendiri—meski sesungguhnya itu merupakan buah interpretasi dari konsep karawitan Jawa. “Hubungan aneh” yang terjadi di antara ketiga instrumen tersebut sayangnya kurang jumbuh (muncul, menyatu) manakala pencapaian teknik menabuh itu sendiri kurang memadai. Meski demikian, penulis menilai bahwa kelompok ini mengudar kebebasan eksplorasi di wilayah harmoni bunyi ala akademisi.

Sementara, Dimas Arnesto, masih dari Yogyakarta, menampilkan hasil kolaborasinya dengan seorang sound engineer-visual art asal Perancis dan seorang penari. Dimensi musik tak lagi homogen, melainkan bersinergi dengan kekuatan visual—tarian, lighting dan layar visual. Substansi yang ingin dicapainya adalah terbentuknya “persenyawaan” yang dihasilkan dari kerja kolaborasi tersebut. Diakuinya bahwa hingga pada pementasannya pun pencapaian masih misterius! Memang demikianlah adanya ketika kolaborasi ditegakkan dalam prinsip saling menghormati, maka tiada unsur yang menonjol atau ditonjolkan. Namun, disadari atau tidak, sisi kompositoris musik Dimas—termasuk permainan sound effect elektrik di dalamnya—terasa menjadi ilustratif (mengiringi) bagi medium lainnya, yaitu tari. Pernyawaan atau tarik-menarik fokuskah yang terjadi?

Cermin Berkarat, karya Pandu Hidayat, juga dari Yogyakarta, dinilai paling memiliki konsep yang jelas, sederhana, dan menarik. Ide gagasannya adalah “cermin”: konsep pantulan atau berkebalikan (inversi). Penjabaran dalam konsep musikalnya berupa permainan ritmik, dari hitungan matematis hingga lepas secara struktural dan bentuk. Ia menyediakan dua motif dasar dan dua motif variasi yang selanjutnya dikembangkan menjadi interpretasi 16 motif kemungkinan yang dibangun dari bunyi ritmis cow bell, piano toy, genggong, gong kecil dan metronom. Karya ini memunculkan pula aspek puzzle (teta-teki) yang menuntut ketangkasan si musisi yang berposisi sebagai pelaksana “pantulan” motif rikmik—yang kadang menjadi semrawut ketika pemantulnya tidak sempurna: analogi dari bagian cermin yang berkarat. Secara instrumentasi, karya ini tidak rumit dan apalagi hanya dimainkan oleh dua orang. Kompleksitas ritmik terjadi ketika ada penggandaan dan inversi motif. Namun sayangnya, detak bunyi metronome kurang menjadi bagian dalam kesatuan pola permainan motif ritmik tadi. Ada kesan, kedua pemain tersebut beberapa kali kehilangan pijakan temponya jika metronom sengaja dijadikan acuan pula.

Johan Perwiranto bersama kelompok “Jagrak”-nya dari Pacitan relatif memiliki keunggulan dalam hal kebaruan medium ekspresi dan kematangan eksplorasi bunyi. Barangkali karena ia relatif lebih senior (lebih berumur dan berpengalaman) dari komponis penampil lainnya. Pada karya pertama, ia menggunakan medium empat mesin ketik ukuran besar, tong dan terbang gede sebagai penampang resonatornya. Sedang pada karya ke duanya, ia menggunakan medium kepingan batu-batu granit yang demikian eksotik dengan aura kepurbaannya. Kematangan atas eksplorasi bunyi tercermin dari keragaman bunyi yang diperoleh dan perhitungan teknik menghasilkan bunyi yang terasa lebih meyakinkan. Namun sayang, pada tataran kompositoris, Johan hampir menenggelamkan citra eksperimentasinya ketika terperangkap dalam penyusunan musik yang menggunakan pola-pola ritme yang relatif umum. Atmosfir yang “original” atas fenomena bunyi—mesin ketik dan batu—hanya muncul pada tiap bagian awal repertoar. Barangkali akan berbeda jika sejak awal Johan juga menempatkan aspek kebaruan kompositorik sebagai hal yang utama, maka sempurnalah karyanya sebagai musik baru.

Perlu Dijelaskan!

Namun demikian, BMB tak membiarkan forumnya melulu menampilkan euforia musik yang eksentrik dan aneh-aneh, kemudian lepas tanpa opini atau diskursus. Seusai pentas, para penampil “diwajibkan” menjelaskan apa yang terjadi atas karyanya. Konsekuensi logis dari menawarkan sesuatu yang baru adalah menjelaskan secara definitif (konsep) terhadap sesuatu yang diinginkan, dibutuhkan, dan dihasilkannya.

Pertanggungjawaban yang bersifat penjelasan itu dibutuhkan oleh penontonnya. Setidaknya, sesi diskusi tersebut selain mendidik komponisnya untuk senantiasa bertanggung jawab “atas perbuatannya” (presentasi karya), juga mendidik penontonnya untuk menjadi arif dalam mengapresiasi karya “musik baru”—yang barangkali telah susah payah diciptakan. Stigma masa lalu bahwa mempertemukan pengkarya dan publiknya dianggap ajang “pembantaian”, menjadi tidak relevan jika kedua belah pihak sama-sama ingin belajar.

Sadra terus berharap, forum ini bisa mempertahankan sifatnya sebagai event community—suatu ajang yang benar-benar dibutuhkan oleh pesertanya. “Ini wilayah yang mahal untuk dapat ditemukan dalam kehidupan sekarang ini,” ujarnya.

http://www.gong.tikar.or.id

Gong_Edisi: 112/X/2009

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