“Music For Targeted Television Advertising” (Day 052) shows Rhythm Factory – composer/producer Eric Scott – releasing an eclectic, electronic soundtracks compilation to coincide with the latest video scores.
Despite the Eno-esque references made by its ironic title, this 2005 collection is composed of professionally-commissioned soundtracks, representing Eric Scott’s underscores and output for commercial clients including INVIDI, artist Andy Lakey and ONE Media.
Genres: Eclectic electronica, beats and sound-scapes
Day For Night label compilation “The Inner Cinema” (Day 010) highlights multi-tasking composer Eric Scott in producer/instrumentalist roles. Donning his remix cap, he weaves 18 original tracks and presents us with his personal, sonic mind-map, mashing up the cinematic vs. the narrative; aggro vs. paranoiac; ambient vs. atmospheric. Included tracks range from solo guitar, to his alter egos as Rhythm Factory, Mr. No-Logo, Künstfabriken, Found and King FM – and collaborations with Pete Moraites as one-half of Salvador Dalek.
With “Primer” (Day 034), Rhythm Factory (producer/composer Eric Scott) replaces a darker outer coat of ambient IDM electronica, with a lighter, latex micropercussion as its dominant texture. Presenting a set of instrumental explorations: “Bianca,” “Microhomemusic,” “Auntie Nell’s Cash Skeleton” and “Quillocet” define the edges of the stage.
Depending upon one’s interpretation of the word primer; an elementary reader for young spellers, covering basic moral ideology and concepts – or equivalently the small charge before the main detonation – one’s listening emphasis may shift during this tour around the basic elements of Rhythm Factory’s own liturgical “Book Of Hours” – another primer in its own right.
Mr. No-Logo ups the energy levels on “Kino” (Day 069) from downtempo to wilder breakbeats, reflecting a trip-hop fusion of dark ambient and electro, and drawing from a mixed bag of vocalese sampladelics with electronica. “Tha Loop” picks up on a hummed bar of rare groove in this sophomoric release.
Mr. No-Logo ups the energy levels on “Graceless” (Day 059) from downtempo to wilder breakbeats, reflecting a trip-hop fusion of dark ambient and electro, and drawing from a mixed bag of vocalese sampladelics with electronica. “Tha Loop” picks up on a hummed bar of rare groove in this sophomoric release.
Mr. No-Logo ups the energy levels on “Graceless” (Day 049) from downtempo to wilder breakbeats, reflecting a trip-hop fusion of dark ambient and electro, and drawing from a mixed bag of vocalese sampladelics with electronica. “Tha Loop” picks up on a hummed bar of rare groove in this sophomoric release.
Künstfabriken – inspired by the kosmische rumblings of 1970s Düsseldorf – offers up “Ja Ja Nein” (Day 072), which finds composer / producer / recording artist Eric Scott paying hommage to the buzzing Krautrock forefathers, in a prog-like public freak-out.
Turning out a motorik, noodledelic grunge, and driving hard from the recesses of a controlled headspace, Künstfabriken takes on an split garage-driven approach (“Come Beat!” and “Bump” – pure thrash!) while “Siennapods” and “Jarresuite” get glam-funky to a break-step that can only seen as getting a little weirdy-beardy. Not exactly a music for the wee hours, just a bit of fun.
“Beat The Time” (Day 055) is the culmination mash-up of various live performances and by ambient and progressive cinematica artists Salvador Dalek. unleashing the label’s back catalogue to storming set of progressive house, trance, and drum’n’bass remixes.
Mixed by Eric Scott, this set melds progressive house and dancefloor-oriented grooves (even drum ‘n’ bass beats) from the Day For Night artist roster, also featuring Mr. No-Logo, Found, Rhythm Factory, Künstfabriken and Peter Moraites… and even Bluebottles… resulting in a blend of melodic sampladelia.
“Bluebottles” (Day 087) merges faux-nostalgia, breakfast-jazz and anemic (I think he means ‘anthemic’ – Ed.) 1930’s dance-band jingleism, to create a parody of a much maligned genre. Musical director Eric Scott proclaims “Jazz is part of much that is Day For Night… but that’s a relative statement.
“Improvisation is at the root of almost all of my own composition. I’m by no means a formalist. There are moments when I put on someone else’s definition of jazz, and frankly, that can be absolute murder to sit through. So somewhere toeing that line, there lives a peculiar but friendly hybrid of big-band, comedy-fusion and acid-breakfast jazz. That’s what Bluebottles is about; getting out a miniature Union Jack, putting on a carnation, doing that WW1-period crossword and spreading your legs to some light buffoonery over your eggs benedict and clotted cream. You won’t be disappointed.”
The evening of Saturday, May 20, 2006 marked the date for the Peter Moraites “Spelling Test” video album Launch Party, at Ocean Front Gallery, along the legendary henna-tatooed, roller-blading boardwalk in Venice, CA. Many thanks are due all-around to the friends who so kindly attended and contributed to the evening’s success.
After sundown, the courtyard space at 801 Ocean Front Walk rapidly became a buzzing outdoor lounge, complete with wine and appetizers, and illuminated by a pair of projection walls (one outdoor, the other inside the gallery) – and featuring a continual and mesmerising litany of classic music videos and intoxicating visuals throughout the night.
Inside the main gallery space, a hushed audience was treated to a soulful, pop acoustic set by Canadian artist Marianne Baker, after which came the anticipated, and warmly received screening of the video album/DVD “Spelling Test,” which comprises nine original Pete Moraites music/art videos, with soundtracks by Moraites (“Simpletongue”, “Twitterpation”, “Smokercraft”) and Salvador Dalek (Day For Night’s Eric Scott, remixing and collaborating with Moraites). The presentation was transformed by Moraites’ own closing speech; a poignant thanks to his closest collaborators – an inspirational hommage to the value of encouragement and the creative workshop process.
Eleven o’clock heralded the premiere live performance of Salvador Dalek (Eric Scott on laptop and mixing desk, with Pete Moraites providing visuals and live VJ-accompaniment throughout the set) – unleashing a storming set of progressive house, trance, and drum’n’bass remixes from the Day For Night back catalogue, spanning a breakneck-56-song live remix (in under an hour’s time) and highlighted by a glowing flute performance from soloist Kelly Wilson, during “Twitterpation” – another key highlight of the evening. Our ears are still ringing, and all in a good way.
The Salvador Dalek remix CD “Beat The Time (Day 055)” will be released soon, featuring highlights from this live set, plus a fully-remixed podcast of the set to also follow soon… Check back at this link for details very soon:
“Found5: What Part Of Us” (Day 068) takes the listener along a flowing atmospheric journey, leading through places and realms unknown…This ‘Found’ collection relies upon the sounds of our aqueous pursuits… An underwater experience for the weary traveler.
“Found4: The Source” (Day 058) takes the listener along a flowing atmospheric journey, leading through places and realms unknown…This ‘Found’ collection relies upon the sounds of our aqueous pursuits… An underwater experience for the weary traveler.
“Found3: Maps” (Day 048) takes the listener along a flowing atmospheric journey, leading through places and realms unknown…This ‘Found’ collection relies upon the sounds of our aqueous pursuits… An underwater experience for the weary traveler.
“Found2: Water” (Day 038) takes the listener along a flowing atmospheric journey, leading through places and realms unknown…This ‘Found’ collection relies upon the sounds of our aqueous pursuits… An underwater experience for the weary traveler.
Day For Night is a creative content developer and publisher of original electronica, modern composition, fiction and interactive media by artists including Eric Scott, Day For Night, Mr. No Logo, Künstfabriken, Rhythm Factory, Salvador Dalek, Pete Moraites, Found, King FM and Bluebottles.
“Control” (Day 067), the first family of NIGHTfonts, consists of 6 Truetype font faces available for Mac or PC: NF Stop, NF Order, NF Listen, NF Impose, NF Enjoy and NF Receive.
For “Manifesto” (Day 017) Day For Night rethink sub-urban planning, in a typographic journal and overview of Day For Night. Post-Situationist propaganda films covers the walls of NIGHTlinkRail, hammering on about the overthrow of cultural leadership and the entertainment channels that fuel “big news.”
Post-revolution theories abound; albeit tongue-in-cheek, while “Big ideas” cross pollinate with more Situationism to create a collection that is naturally an ongoing work-in-progress.
Peter Moraites is by nature a visual artist, and this shows through in his musical atmospheres. From his background as writer, director, illustrator, photographer and editor, Moraites leans every instrument towards its most percussive qualities; emphasizing hammered guitar strings, pizzicato trombones, tentative but mellifluous piano lines, and the occasionally identifiable 4/4 rhythm pattern in an otherwise odd-sox of tempos and time signatures. The impression is overall beguiling, especially as he has only been creating music for just a year.
The forty-three exploratory works on“Cinemathematica” (Day 088) evolve through gentle melodic shifts and drones amidst colliding rhythm programs and percussion centers, where experimental ambience reigns in a fourth-world kind of way. Tense and anxious, while alternately hypnotic and beautiful, Cinemathematica elaborates upon the young artist’s multimedia and film-scoring potential. Never lacking in gravitas, these abbreviated compositions – many under two minutes – flow together or signal an editorial sea-change.