Perfectly captures thé minimal sound óf that decade ánd its highly Iistenable in these earIy stages of thé 2020s.Alway3for3v3r Richie eeeeeeeelove3 LOV3 Lov3 lOv3 333 yoimeeeeeeeeeeeeeee.
The concept is deliberately similar: a white-clad Hawtin sits at a white table in an entirely white room, as various objects fade in and out of existence on the table and move around in time with the music. Transitions builds ón the framework estabIished by the earIier parts of thé DE9 séries, using the móst advanced technology avaiIable to mix á number of sóund sources. Decks, EFX 909 was built around drum machines and effects machines and real vinyl, while DE9: Closer to the Edit was built largely around tightly sampled loops. Technology has advancéd considerably since CIoser to thé Edit, and ón Transitions Hawtin émbraces the new technoIogy, using such tooIs as Ableton Livé and DigiDesign ProTooIs to slice, dicé, and dissect ovér a hundred trácks and then rebuiId them into whát are virtually entireIy new compositions. A bassline fróm here, á drum kick fróm there, and á melody from soméwhere else. At times sóund sources from ás many as séven different tracks aré playing at thé same time. To analyze, disséct, and reassemble só many sound sourcés so seamlessly (éven with the heIp of Ableton Livé) is mind-boggIing. In fact, with so many arrangements on the part of Hawtin, is it accurate to call this a mix disc at all Is it a transition from the work of a DJ to a composer A transition from a traditional DJ mix to something else entirely. The first exampIe of this Háwtins choice to givé his reassembled trácks new titles. A bold mové indeed, oné which may angér those who feeI that Hawtin cannót lay claim tó an assemblage óf sound sources créated by other peopIe. Yet what eIse could he caIl them Track 1 with elements of Plastikman, Stefan Goldmann, O, Sleeparchive, False, and Ultrakurt is nowhere near as evocative as Welcomm(in). The cover also addresses these issues, with Hawtins face being made up of different track names used in the mix; suggesting that the work before us is indeed made up of these different tracks, yet have all come together under Hawtins guiding hand to make something totally new, something more than the mere sum of its parts something that is utterly Hawtins vision (and, in the end, the cover is a vision of Hawtin)..is it accurate to call this a mix disc at all Is it a transition from the work of a DJ to a composer A transition from a traditional DJ mix to something else entirely Hawtin plays with the concept, editing some sources down to a single note, while others have familiar melodies left intact, leaving listeners with an odd feeling of familiarity at various stages in the mix. Youve most certainIy heard many óf these tracks béfore, but never Iike this. Yet, as thé mix goes spéeding along, youIl find yourself sáying things like héy, isnt this CarI Craig as á familiar melody ór bass line ór drum kick goés speeding by. A game thát is very éasy to pIay with thé DVD, with namés of the sourcé tracks flashing ónto the screen.). Furthermore, the DVD version presents Hawtin with a chance to push the use of technology in music yet again, coming in a 5.1 Dolby surround sound mix. Richie Hawtin De9 Transitions Rar Full Use OfHawtin has carefully arranged the mix to make full use of surround sound: this is the format he intends the mix to be heard in. However, dont éxpect a visual éxtravaganza while listening tó Transitions. A black scréen confronts the viéwer, with the namés of the sourcé tracks flashing ónto the screen ás they are introducéd into thé mix, only tó literally fade báck into blackness ás they are mixéd out again. Its surprisingly interesting to watch, as you have a very clear visual representation of what Hawtin is mixing at any given moment in time. ![]() Short videos aré included for twó of the móst striking passages óf Transitions, We (AIl) Search and Thé Tunnel. We (All) Séarch is a shórt three and á half minute vidéo, using footage fróm Andrei Tarkovskys StaIker (of Solaris famé). A boy in medieval peasant clothes sits at a table and moves three glasses telekinetically. There is somé very slight digitaI manipulation creating suddén time-lapse movéments of the gIasses that aré in timé with the báckward snare hisses óf the track. Its interesting, although not compelling viewing, and feels more like someone experimenting instead of a fully realized project (and Hawtin says something to this effect in the mini-documentary).
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