Tag Archives: Jupiter jenkins

Rhythm Factory :: From 5A to 6A – The Singles [Day 074]

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Found6 :: What Part Of Us [Day 068]

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“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.

Found5 :: The Source [Day 058]

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“Found5: 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.

Rhythm Factory :: The Case of the Elaborate Hoax [Day 064]

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Found4 :: Maps [Day 048]

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“Found4: 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.

Rhythm Factory :: The Case Of The Singing Parrot [Day 062]

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Found3 :: Water [Day 038]

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“Found3: 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.

Rhythm Factory :: The Mortal Mickey [Day 054]

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Found2 :: A Stone [Day 028]

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Unlike anything else found in this catalogue, “Found2: A Stone” (Day 028) takes the listener along a naturally evolving, atmospheric journey, leading to unknown sonic realms… a series of underground railway stations, back alleys, cloisters, and disused quarries… Found merges raw sound recordings into an ambient electronic musical score.

Rhythm Factory :: Music For Targeted Television Advertising [Day 052]

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“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.

Found1 :: Listen: A Multi-User Soundspace” [Day 018]

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“Listen” (Day 018) is the first installment of musique concrète of the Found series. Originating as a library of rejected snips from the multimedia audio design process, these ten themed pieces (Flutters, Bodily Noises, Voices, Percussive Rhythms, etc.) also form the basis for much of the audio design in Day For Night’s commissioned work, and installations by Found.

The multi-user soundspace at NIGHTlinkRail Station 018, comprises ten reactive environments and sound toys, admitting one or more users and allowing each to respond to a 360° space and interact with experimental and unusual audiovisual sensors and lighting. This installation opens early 2004.

Rhythm Factory :: Save The Day [Day 044]

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Rhythm Factory “Saves The Day” (Day 044) draws further from ambient, jungle and progressive house, as composer / producer Eric Scott unveils a series of electronica miniatures.

Rhythm Factory :: On the Trail of the Latin House Lover [Day 042]

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“On the Trail of the Latin House Lover” (Day 042) shows Rhythm Factory exploring – while getting lost in a pre-Autumnal – new musical territory. Composer/producer Eric Scott is at his most spatial here, opening with a meditational trilogy: the beatless “AESM (Light Remix),” melding into the percussive ambient mind-field of “The Stenotelegrapher” and resolving upon the lush trance-drone of “The Acid Room“…

The fanciful and upbeat Northern-pop of “Deaf In Ishen” sets the stage, though the humble introductions are soon over, replaced by the progressive house of “Headboard” and “Okapi,” and flanked by the alternately eclectic IDM of “Lap Dog Of Luxury” and “14 Months Peach,” the junglism of “Bornes” and the drillier “Dark Pork,” and the light-hearted disco-distractions of “Acid Skiffle” and “Mondays Alive“… Train music for your next holidays abroad.

Found :: Official Site [Day 075]

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Found: Experimental | Musique Concrète

http://foundscapes.co.uk

Found on Day For Night

Rhythm Factory :: The Case of the Chiming Clock [Day 034]

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Rhythm Factory “The Case of the Chiming Clock” (Day 042) lifts the shroud, and reduces the fictitious, mystery-solving electronics trio to a solo artist. Producer and composer Eric Scott draws influence from the ambient (“Drumbience Modulator”), drum’n’bass (“Snake Charmer,” “Swing Kids Fly Off”, “®-018”) and breakbeat (“Gamma”) as much as straightforward techno (“Burst Image Bank,” “Deep Dog,” “Cosey Inner Fanni”) and progressive house (“Sawtunthe,” “Filmy”).

Rhythm Factory :: Helix [Day 032]

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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.

Rhythm Factory :: Brum ‘N’ Dass EP [Day 024v]

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“Suck” (Day 024) evolved quickly – beyond the simple companion EP to “Push” it was intended to be – into a proper album on its own. Rhythm Factory’s ten new tracks are fueled by the darker Drum’n’Basscounterpanes of “Zikcfukc (Livin Large),” “Zaouk (Petropolis),” and “Zuq (Itch To Scratch)”… Meanwhile, anthemic basslines and guitars draw blood during housier excursion “262111 (Clubsexy)”… A further exploration by composer/producer Eric Scott into breakbeat junglism.

Brum’N’Dass EP

Rhythm Factory :: Suck [Day 024]

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“Suck” (Day 024) evolved quickly – beyond the simple companion EP to “Push” it was intended to be – into a proper album on its own. Rhythm Factory’s ten new tracks are fueled by the darker Drum’n’Basscounterpanes of “Zikcfukc (Livin Large),” “Zaouk (Petropolis),” and “Zuq (Itch To Scratch)”… Meanwhile, anthemic basslines and guitars draw blood during housier excursion “262111 (Clubsexy)”… A further exploration by composer/producer Eric Scott into breakbeat junglism.

Brum’N’Dass EP

Rhythm Factory :: Push [Day 022]

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“Push” (Day 022) shows Rhythm Factory as a shadow of its former self, in this long-awaited reinvention, ditching its identity as protagonist of “journey musics,” and immersing itself deeper into a progressive, dreamhouse bath. Composer/ producer Eric Scott returns to the studio after a 4-year hiatus (…after singing mostly the equivalent of 95 separate C90 cassettes’ worth of dictaphone-demos), and refines the cream of the crème here into a hybrid IDM/house symphony.

Featuring chiming lead lines and elements of anthemic techno (“Panic,” “Pearl”), Push fuses strains of world-indie (“Prawn,” “Psalm”) – its 16 tracks are an upbeat, while introspective, new offering.

Rhythm Factory :: Official Site [Day 075]

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Rhythm Factory: Progressive Techno / IDM / Drum ‘n’ Bass / Leftfield

http://rhythm-factory.com

Rhythm Factory on Day For Night

Rhythm Factory :: All Mine! [Day 014]

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“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.”

Rhythm Factory :: Play House! [Day 012]

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In the late 1980s, and on into the year 1990, Rhythm Factory remixed a total of 11 tracks by Eric Scott, as “Play House!” (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. “House” 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 :: In The Acid [Day 004]

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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 :: Technopolitan [Day 002]

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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.

Found :: Gallery