Tag Archives: rhythm factory
“All Mine” (Day 014) – the proposed single from Rhythm Factory‘s “Play Pop!” – was mislaid as official catalogue product, while mastering decisions held up the latter title’s release in 1992. The single was shelved, and has only just recently seen the light of the millennium.
Powered by deeply insistent, resonant grooves and mellifluous ambience, this release features two instrumental mixes of the track, plus “Lisa’s House.”
In the late 1980s, and on into the year 1990, Rhythm Factory remixed a total of 11 tracks by Eric Scott, as “Play Pop!” (Day 012). These tracks signaled, for Eric, a shift away from indie-pop songwriting, pushing him further into the realm of the underground club mix. Vocal takes originally recorded were stripped down or even removed, often replaced altogether with chattering sequencer lines and samples. Song structures were deconstructed and verses modified, often favoring increased expedition of the product. Soon after, all parties could see a new musical objective emerging…
Rhythm Factory take the music of Eric Scott and apply a continually shifting musical palette, distilling in some cases, and messing around as always. Day 012 is an archival recording, and as is the nature of club music, certain mixes fall, at times, from the height of fashion; some sounds even become dated or slightly silly. We believe they should. “Pop” is a pastiche of the late 80s and early 90s music. Future Music or Retro? We can never have too much of either. “We are looking forward to the breakdown of the singularity in the art-object; people are no longer designing finished works, but unfinished ones, to be remixed, restructured. We are no longer consumers of “finished” work…Are we unfinished? Are we unfinishable?”
Rhythm Factory’s 1991 “In The Acid” (Day 004) brings Middle-Eastern modalities into a meeting with abrasive samples and stabs, to create two pieces of a cinematic, albeit coarser, exotic flavor.
Eric Scott: “These formed at a time when my interest in Belgian New Beat and Hardfloor aligned with release of the first Macintosh digital editing tools. I was considering going and living in Belgium at the time, and frankly, these pieces were intended as a way of paying my plane fare to get there!”
Rhythm Factory’s “Technopolitan” (Day 002) was realized in 1991 as a solo remix endeavor for producer/composer Eric Scott, in which he recontextualises 15 of his favorite self-penned indie pop tracks. Fueled in equal parts by obsessions with Belgian New Beat, Electronic Body Music and Acid House, the mix becomes a single work of groove-based electronica, taking form across a two-day (sleepless) production marathon mix/edit session. The result is an experiment in the fringe of listening and driving music. Like a train journey, Technopolitan speeds along a single set of rails for thirty minutes, while new electronic landscapes emerge and fly past. Also joined by four-to-the-floor and hip-house variations on “Once Is Not Enough,” Day 002 concludes with “Thank You K.V.,” a tentative but compelling deep house finale.
BIO Eric Scott is a composer/producer, artist, writer, DJ and sound designer from Santa Monica, California. He brings over 25 years’ consultative experience as principal/founder of Day For Night, a digital creative studio for art, design, music and video.
Coming from a background in the advertising production industry where he established himself as a sound designer and audio engineer, Eric broke out to work independently in 1991. A boutique independent music label, Day For Night boasts original catalogue of electronic, abstract, dream pop and avant-garde-jazz-classical music releases. Solo recordings (under an absurdistly lengthy variety of pseudonyms, based more upon genre than personnel) include 3 Mains (1991), The Performing Man (1993), Paris – A Musical Overpass (1995), Found1 – A Stone (2006), The Inner Cinema (2007) and Junction – Another Train Leaving (2007).
Eric has also worked under the names Rhythm Factory, Bluebottles, Found, Mr. No-Logo, Künstfabriken, King FM and as one half of the duo Salvador Dalek, all released on auteur label Day For Night. In 2011 alone, Eric has remixed a broad variety of artists in diverse styles, from Euro-Israeli pop chanteuse Keren Ann, John Foxx, David Lynch, Martin Solveig and musique concrète composer Luc Ferrari.
In 1998, Eric established Day For Night Digital Creative Studio, mixing in his creative strengths through professional consultative services, and comprehensive design solutions. His studio activities encompass, full-time, his lifelong passion for creativity in communication and the visual arts as well as music.
Today, Day For Night provides bespoke strategic solutions, consultation and development in web properties and viral multimedia, branding and identity design, and original music production and underscore for film. His client list includes TalkAboutIt.org, Big Bad Voodoo Daddy, musician-artist Herb Alpert (as well as the Herb Alpert Foundation), Disney Online / Buena Vista Internet Group, Touchstone Television, actor-producer Michael Chiklis, sound artist Scanner (Robin Rimbaud), The Epilepsy Foundation of America, University of California Irvine, contemporary visual artist Andrew Lakey, INVIDI Technologies, Two Chefs On A Roll, the Crestone Group Baking Companies, the Swim~ label and many others.
Eric is a graduate of the University of Southern California (USC) Marshall School of Business, with a certificate from the Entrepreneur Program.
Genres: Electronica / Instrumental / Progressive House / Acid House / Progressive Ambient
Jupiter, Pete and Gez (they avoid using their surnames publicly) have a claim to fame in the development of obscure and unusual technologies, building equipment by hand that merges crude with state of the art and in sound research. Originally calling themselves Rhythm Defenders, this audio hobbyist trio maintain free-agent career status, which often finds them called in to solve audio-related mysteries in their spare time.
Some of their designs include the following:
1. A web-based sound cannon capable of emitting infrasound.
2. Anechoic “cones” of silence
3. Audio-reactive chambers fitted specially for the monitoring and recording of subject behavior, testing sound emissions (artifacts)
4. Hand-held accessories to facilitate recording, and that can be worn on the head or on the person of the recordist: “compact and lightweight.”
5. Reverb tanks and chambers.
6. Prepared pianos and other “modified” digital instruments.
7. Multi-platform / distributed “endless” loops and delay devices.
8. PDA-format Sonar
Remarkably, they look like brothers, but are unrelated, and are almost never seen in full headshot in publicity photos. They have since insisted upon retaining some element of anonymity.
Jupiter, or Jupe to his friends, studied contemporary composition at university in Southern California. Disenchanted in the 80s by the prospect of teaching a film-school driven student base, motivated purely by a need to conform to Hollywood interests, he left behind the prospects of becoming a full-time educator, and now moon-lights in a record store specializing in hard-to-find and archival recordings. Simultaneously responsible for cataloguing music and sound into the university radio station database, he has contributed heavily to the preservation of a musical heritage, by sharing an appreciation for history, above and beyond that of peers. He is well-versed in the recorded history of electronic musique-concrete from the western world, and presently telecommutes from Paris via a G4 titanium laptop.
Pete is a theme / jingle composer, with a technical background in record engineering and electronic composition; pursuits include a successful ringtone e-commerce site. Also a MIDI enthusiast and hobbyist, he has one of the largest private keyboard museums in the world, collecting and refurbishing archaic analog equipment, and maintaining a standard of usability for all sounds, “new and old.” He is recently married, with an infant daughter.
Gez works for French experimental sound lab, Dyslexip-Coflexip, pioneering infrasound and the research of its effects upon human and animal life. A follower of Vladimir Gavreau, he has pursued a secondary background in environmental field recording, amassing an impressive library of over 3500 DAT tapes, recorded first-hand during his global travel activities. “I just pack it all in a sack and just go places. I crawl under things, I wait, hit record… I close-miked a leopard in Peru who nearly killed me as I was trying to record the sound of her cub nursing…madness!”
Gez, a.k.a. “Beardy,” spent experimental years mixing LSD and infrasound, occasionally waking himself up to an 11 Hz tone in the morning, emitted by speaker cones under his mattress. “I’m slowly working my way down to 7 Hz,” he boasts, “I’m becoming impervious to the effects of sonic terrorism, one day at a time… Plus it keeps me regular.”
Rhythm Factory are currently working and telecommuting from a self-built studio loft and greenhouse in Paris, overlooking the Seine, near the Boulevard Des Grands Augustins.
Allegedly a pseudonym for composer / producer Eric Scott, a wholly dubious biography also emerged for Rhythm Factory in 1995, presenting claim to the name by a trio of audio subversives named Gez, Pete and Jupe, who solve audio-based mysteries.