Not many music games aim to cultivate their players’ artistic expressivity: players can’t usually develop their own musical identity through performance or composition, nor can they create interactive mechanisms, such as instruments. How can we approach these game and sound design challenges?
This blog post explains the process of my Exorcism project, which explores dance/club music’s relationship with chaos and loss of (bodily) control. How much space is there – in terms of music, ritual, social interaction and performance – for rhythms and structures that bend and break the stability of trance, groove, hypnotism...?
I composed most of the Protokols album between 2011 and 2016, experimenting with the parallels and contrasts between 20th century classical music and techno. Both genres reveal a certain ambiguity between ancient and futuristic...
My favourite chiptune has stolen all its influences (from pop, prog rock, funk, (italo) disco, reggae, baroque, Chinese traditional music, and what not) and disregarded the idea to sound “human”, warm, organic, original, or any of those notions (which are often very esoterically misused anyway). The evolution of chiptune was powered partly by video game culture, and partly by hacker/cracker (demoscene) culture. I think composers on both sides of that spectrum had a healthy ear for absurdity.
Something poppy for a change ;). Something chilled-out. Last year I felt the urge to compose some alternative r&b / trip-hop music, as I did before with Dutch-Turkish band Hypnotic School… For Next 2 U, brilliant fusion-bass player Bram van der Hoeven was willing to re-arrange and perform the bass line. Vocalist Angelina Caplazi did […]