Chants & The Ritual of Trapeze

Chants & The Ritual of Trapeze

talented trapeze artist Poly Beker approached me to compose the score for a short video produced by nimrod gershoni. i found the ambience to be immediately communicative - our rituals; our chants. here is the result...

 

"variations in intensity" LP release on Confused Machines

"variations in intensity" LP release on Confused Machines

every fragment of recorded sound has a story behind it. spark o (itamar weiner) has become a good friend over a short period of time, probably because one of the core factors in our connection is our sense of wonder surrounding sound. itamar has an astonishing knowledge of electronic music. his dj sets are more like a magical library tour than some tracks thrown together just to make you nod your head.

after a brief but intense bout of mystical improvisations and live performances as "tamarix" along with barry berko, itamar approached me to arrange and mix a few tracks for his debut vinyl print. i was more than intrigued by the raw recordings, and so began another fruitful collaboration. 

"variations in intensity" is a true techno snowflake; a journey well beyond the four-on-the-floor dogma. i feel privileged to have arranged and mixed the first three tracks on this excellent album, which was released digitally and on vinyl by itamar's own co-founded label confused machines.

the album includes remixes by mule driver and klankman. listen/buy/order vinyl here.

"Variations in Intensity" by Spark O. Album artwork by Sharon Fadida.

"Variations in Intensity" by Spark O. Album artwork by Sharon Fadida.

 

 

CV Ensemble Present Modular Synthesis as a Meditative Tool

CV Ensemble Present Modular Synthesis as a Meditative Tool

"cv ensemble" was created for the sole purpose of sonic exploration without a map. the group underwent several transformations and it's still unclear as to who its members truly are. regardless of that detail (humans aren't really that important), cv ensemble was asked to perform as an opening act for allessandro cortini at the museum of art in tel aviv.

itamar weiner (spark o), harel schreiber (mule driver), and myself, got together with our modular synthesizers and some of our other more bizarre circuit boxes and headed to the museum. i took my microphone and a vocal processor as well as a copy of the tao by lao tzu.

what ensued can only be described as a ritualistic journey of improvised sound and introspection. as a vocalist, i often enjoy an intimacy with the crowd. even though the plush seats and polished parquet of the luxurious auditorium threatened to set a rather formal frame around the endeavour, i'm happy to say that the sound birthed a very real experience, human and spiritual.

thanks to ella c. mandelblat, here is a field recording of this performance...

 

 

Keep Your Friends Close and Your Enemies Cozy

Keep Your Friends Close and Your Enemies Cozy

it's high time to stop looking up. it seems we never graduate from our toddler mindset of being praised and prized for being "good", and punished for being "bad". this continues into adolescence. and while as adults we like to believe we're all responsible and self-driven, the evidence in our world - our work, our relationships, our expression - all points to the opposite.

what keeps us looking up for direction? is it a genetic tendency towards a patriarchal template? is it the early exposure to religious dogmatic values? whatever it is, it keeps us in a position to keep accepting, keep following.

this, of course, would all be fine if people were happy and kids weren't stepping on land-mines every day (yes, that happens. don't try to put it out of your mind). part of this acceptance is also the unquestioned belief that there are these major differences between us; differences based upon race, gender, religion, age, sexual preference, economic status and pretty much anything, as long as it serves to promote an increase in control over our ever-increasing masses.

fuck control. not only is the search for control limiting, it's completely irrational; and feeling comfort in the fact that others have control over us is just perverse. politics is a fucking joke and if you still can't see that, then wake the fuck up (sorry, there's no nice way of saying that). our "leaders" don't have our best interests at heart. and even those that seem that they might, waste so much time and money on publicising themselves that their efforts just can't be justified when those resources could be spent on way more pressing issues such as education, food, shelter and medicine.

the only way to create a situation where we can feel alive - really alive, not excited because we've just purchased a new piece of plastic trash - is if we take personal responsibility for how things occur in our own environments. unfortunately, the word "responsibility" has become the antithesis of anything with even a drop of sex appeal. it conjures up feelings of grayscale offices, mind-numbing routines and a level of predictability that seems to completely justify substance abuse.

my next musical article, a full-length LP under the moniker "ricatelli", will take on these matters from a different perspective than the one i'm used to. i won't be taking on the attackers. they are already weak (although i'll be back to that soon, i'm sure). with this album, i'll be attempting to strengthen the oppressed. not because i pity them (us), but because i believe that responsibility can actually be a lot of fun. that sounds a bit like an artificial "don't use drugs!" campaign aimed at high-school kids, but i'm serious yo.

imagine the feeling that day-by-day, week-by-week, our rifts and divisions are slowly crumbling away; that the tension we all hide within, created by a fabricated fear of "the others" is worn away, leaving us as humans to act freely upon our natural whims: to create, to explore, and to get down.

ir a.k.a. ricatelli

 

 

milking an extremely noisy synthesizer

milking an extremely noisy synthesizer

goddamit synths can be loud. instead of trying to tame the beast, i kinda just let it go wild most the time. it's too much effort the other way round. i've actually got a shit-ton of modular synth jams in an ableton file, but i felt that these 3 tracks seemed to go beyond the noodling and knob-tweaking into some noisy but picturesque atmospheres. and hence was born the ep - inventions for 3u 104hp eurorack...

Anyway, feel free to listen/purchase the album here.

ir.

live composition for Contemporary dance

live composition for Contemporary dance

i was approached by ayala frenkel, a young choreographer with a broad and captivating performance history, to provide the sound for a new duo she had been working on. instead of working based upon video sketches of the new piece, i opted to sit in at a rehearsal where she and dancer noa shavit were working. needless to say, i was at the very next rehearsal, armed with a synthesizer and a laptop for recording.

the piece, called "2HER" is both abstract and narrative, presenting a complex sequence of thoughts and emotions between two female characters. there's a sense of feminist statement, but it's also a kind of non-statement in that the idea is of course so profoundly basic - women are people. they are multi-faceted, dynamic, and infinitely diverse. so on one hand, 2HER offers a view of how women can be violent and maybe narcissistic too, but on the other, isn't that just being human? it is, but that's not what the piece is about.

by the time i joined the project, ayala and noa had already sketched out about 30 minutes worth of movement with no soundtrack at all. this was quite hard to get my head around since i had always assumed that music was an integral part of how dancers moved forward within a piece. it was actually quite hard to start producing sound alongside the dance since i almost felt like i was just adding distraction to something that was already quite whole. in fact, the industrial fans at the rehearsal space were already producing a nice hum that provided a fitting drone for the movement, but this also helped me understand that the appropriate sound atmosphere could push the piece even further.

almost all of the composing was done live, at the studio rehearsals. i would take my inspiration from the movement; the dynamics, tension, release and so forth. the soundtrack was completed and since then the piece has further developed as the sonic elements affected the choreography and then were affected in return.

2HER premiered at the 2016 Dance Arena Festival and is supported by the Mifaal Hapais cultural fund. The piece has been performed at a number of festivals in Israel and there is talk of taking it to the international circuit in mid 2017.

watch a trailer of 2HER here.

ir.

 

 

got darkpsy?

got darkpsy?

it's the middle of the night. almost everyone is at various stages of an acid trip. it's dark and you're outdoors surrounded by unfamiliar faces. if you could play any type of music you wanted to over an exaggerated powerhouse of a sound system, what would you play? obviously the most twisted and dark psychedelic music you could. hard 175 BPM beats laced with noises that sound like the last utterances of beings undergoing extreme torture in the depths of the abyss. this little track i spat out yesterday kind of reminded me of those kids that always made me smile at trance parties although they'd probably think it's elevator music.

keep on believing.

i r

the day i met cyndi lauper

the day i met cyndi lauper

well, i didn't really meet her in the physical-situational sense of the word, but i did read the lyrics of a song she sung in the eighties. here's the result of that rendezvous...

 

keeloo - the adventures of a fascist chocolate bar

keeloo - the adventures of a fascist chocolate bar

my collaboration with artist nimrod gershoni for the center for contemporary art in tel aviv resulted in an audio-visual performance piece. the piece follows the life cycle of a chocolate bar and its influence on a society undergoing thought engineering.

the performance is very reliant on the space. within the given space we create additional subdivisions. nimrod uses multiple screens to create the visual ring while i use monitor speakers to envelope the space. i used both pre-composed pieces and live sampling for most of the scenes as well as my trusty condor electric guitar [a.k.a. the cat from japan].

upon being asked to perform keeloo at the aza 13 art venue in jaffa, we decided to experiment with some unexplored channels within the realm of keeloo. the piece was further developed, with dancer and choreographer uri shafir taking the challenge of dancing to tracks that were often just read-out text with grace and much creativity. 

the result is a very immersive storytelling-type ambience that is intimate yet grants the artist space to complete the illusion. there's no direct translation of the hebrew word "keeloo", but it's one of those words that people often use to fill in the gaps when they don't know what to say yet. some translations could be: like; as if; kinda.

here is a video about keeloo

i r

 

 

live at anna lou-lou

live at anna lou-lou

music is weird. live performances only heighten the true liquid nature of the realm of sound. i see performance as ceremonial. ritualistic. i often feel the eyes and body consciousness of people in the audience. it's a sublime form of communication. a multi-directional transfer of emotional data. 

the gig at anna-loulou was normal in that it was weird. but it must have been ok since the day after i had a nice case of post-gig debbie-downerism. that's always a good sign. if you're feeling down, maybe it's because you felt really really good before and it's just your brain taking a bit longer than usual to compensate for those drained chemicals. give your brain a break.

i r

live audio-video experiments on your brain

live audio-video experiments on your brain

another collab with nimrod alexander gershoni has led us to the centre for contemporary arts in tel aviv.

this is part of an art exhibition by ohad meromi called "resort". the exhibition includes a number of pieces and a play written by meromi which i found both entertaining and reflective of the orwellian bullshit that seems to only be intensifying with every month that goes by.

nimrod and i are basically just pitching up with our equipment, plugging shit in and screwing around until something amuses us. some people have walked in and tolerated our shenanigans for differing periods of time. some just use the room to check their facebook profile in the shadows of the electric light-noise. 

we'll be there a couple more times before the exhibition closes. you're welcome to stop by. treats on us...

4.12 - 10 to 14

5.12 - 10 to 14

10.12 - 14 to 19

11.12 - 10 to 14

12.12 - 10 to 14

i r

"live at hanut 31" video release party on my couch

"live at hanut 31" video release party on my couch

i performed a continuous piece with my synths and some vocals at a small theatre down the road. it's a good place; used to be a store; clothing, or shoes maybe. now it's a very intimate performance space that seats about 20 people. they don't have beer. but they don't have a bathroom either so i guess it evens out.

my good friend and partner-in-art-crime nimrod alexander gershoni filmed the piece while another friend nir hermelin, brought on to help with the sound (thanks nir!), played around with his phone. it was an experience.

anyway, nimrod really sunk his teeth into the footage and now we have this pseudo music-performance video which is quite trippy and dark. both things we like.

you can watch it here.

the video was also reviewed by john doran in his "playlist" column in the guardian. if you don't believe me, look here. you have to scroll to the bottom because everyone knows that the best is saved 'til last. regardless of my mentioning though, it's a great column to peruse over if you're in the mood for some alt middle east.

i r

official ian richter website launch - yippee

official ian richter website launch - yippee

the internet is important. you are important. keep on believing.

after years of mucking about with crappy profile pages on half-assed social network experiments, i somehow gathered the patience to set up a website. thanks to advances in internet technology, it took about 35 minutes. i've been putting it off for about 5 years.

this will hopefully act as a source of information about my musical endeavours, mostly projects that i have worked on alone, but also collaborations. check back for updates on releases, videos, shows blah blah blah.

i am extremely excited. i hope you are too. actually, if you are a human and not a google bot reading this right now, i might even smile. pity i will never know.

i r