CONVEX VISUALS AT GLADE FESTIVAL 2012 - PROMO VIDEO COMING SOON
MIGRATION ROUTES EP - FREE DOWNLOAD
MIGRATION ROUTES EP is Convex Collective's second release (CNVX002) as Convex
Records we could not be more pleased with the dedication of our artists,
pumping out some of the most fascinating and innovative music for us all to
EP has been crafted by our number one European artist. Gherat, a
producer/visual artist from Amsterdam, he has a promising year ahead. The
production of this EP is undeniably intricate and with echoes of sound
reminiscent of Flying Lotus and early Rephlex material, Migration Routes
contains some of the most rich, intelligent and colourful sounds we have heard
Large image of EP Artwork by Graphic Surgery below....
"With every track on this EP being a memorable and enjoyable experience it will take you on a journey of weighty bass lines, intricate melodies and unbeatable production. All around this is a great listen and one you will constantly have on repeat for years to come!"
We are happy to confirm a Digital Release date of May 7th for the much anticipated Siebe Janssen aka Gherat EP! Exciting artwork details to follow, More info comng very shortly! Watch out for this one, it's massive!
Felix Thorn was born on 23rd December 1985 in Brighton, UK. At an early age he attended Brighton Steiner School where his affinity for the arts gave rise to a preoccupation with drawing, a passion that later developed into oil painting. Then at the age of 7 he was formally introduced to music as he began studying the piano. His lack of inclination towards reading music preempted an obsession with jazz improvisation in his teenage years.
At college, Felix developed this sensibility into a new media of music creation when he discovered a keen interest in electronic music production via computer software. He had a love for making music with computer synthesizers and an ability to create in a range of styles, something that often derived from his organic means of creation that lacked preconception. His continued passion for art saw him continuing sculptural and painting work during his art foundation course at Brighton City College in 2003.
In this time of music-making and painting Felix was primarily concerned with finding ways in which the two media could be united. Whilst a focus upon the theme of synaesthesia dominated the theoretical side of his work, he continued to exercise the more traditional types of art such as life drawing. The visual side was seemingly interrupted when he chose to study Sound Art at The London College of Communication, University of the Arts, London, however this did not stop the artist from finding ways to incorporate drawing and sculpture into his sound projects. In order to achieve the effect, Felix began to teach himself electronics.
All the while, Felix’s Machines have been in development and were most notably upgraded for a live collaboration with Warp’s Plaid for a live show in Bordeaux. Beside involvement with the arts, Felix was selected to lecture to an exclusive audience at TED in the summer resulting in worldwide recognition. 2009 ended with a performance at the Barbican Center in London. 2010 has included exhibitions in Berlin, Paris and a placement as artist in residency at during Ether Festival at SouthBank Center.
1) How much do you value the
visual aesthetic in relation to the function of your machines?
"I find that making something work usually leads to something that
looks good. As the machines are made up of lots of similar mechanisms, I tend
to spend time on their visual arrangement to maintain a sculptural effect even
while they’re not playing."
2) Was it your intention to
compose music specifically for the sculpture itself?
"Yes, the machines are my set work area. Making
adjustments or adding new sections takes too much time to do mid composition.
Once they’re at a certain stage I have to accept it and make a piece within its
limits as a musical instrument. Although this is usually difficult - as certain
sounds may not work properly, limitation is a useful compositional tool. It
means you have to make the most of what’s available (as opposed to having any
sound/effects available electronically) and the results can be interesting."
3) Is any aspect of the Fluxus
movement/sensibility an influence on your ideas?
held some inspiring roots to my own experiments with sound and visuals, and my
work naturally links to many ideas brought up around this time and in earlier
great movements such as Dada. I do however aim to divert from the conceptual field.
Art-music, or Sound-art of today likes to show off its processes and intellect,
which can be great for some, but irritating when it overpowers the final result.
I think it’s equally, if not more important to make art and music accessible
and pleasurable enough for anyone to enjoy it the moment they see/hear it,
regardless of what they know about art."
4) Did you try to create an
‘original’ medium for your music? If so, how did you think the compromise
between the physical machines and musical information would translate and
communicate better to an audience?
"Having spent 8 or 9 years messing around with
computer-made music, the machines grew out of an obsession to make electronic
sounding music with physical objects. Through building my machines I discovered
differences between the sampled/synthesised world and real instruments. It’s
important to remember that real (traditional) instruments are sound making devices,
which have evolved for people to play. Removing the human performer and providing
a robotic replacement is not only very tricky, but also pointless. I realised
that instead of an attempt at copying the human performer, a position should
be taken against it; one that focused on the capabilities of what ever I could
build myself – instruments should be adapted to suit visually attractive
mechanisms. If there were a specific medium for creating my music it would be to
compose with the sequencing potential of a computer and perform with characteristics
of a physical non-human moving objects."
5) The idea of triggering your
machines to respond and perform accordingly to midi data is quite a simple
concept and has been done in various ways before. But creating the balance
between the two is the most interesting part. Do you feel settled with the
balance you have? How do you feel you can expand on your sonic journey and push
the boundaries further, and what is your ultimate visual aim in relationship to
"Yes, the technology I currently use is nothing new. However,
my approach to the midi-instrument setup is directly inspired
by the music of today. Music
has become specially designed for speakers. Software can produces a range of sound
taking advantage of what a sound system can do. There are enough companies out
there rapidly advancing software modelling and sound reproduction all fit for
sound systems, and all tried and tested for producers to create with. I’m
interested in the treatment and adaption of musical instruments alone – how
they can become performers in their own right. In a way a musical instrument is
a speaker with less sound making potential. But this can be enhanced with robotics
and lead to exciting ways of making sound with acoustic amplification. Above
all, this approach automatically fills the visual gap that most music makers want.
Robotic design and engineering need to play a larger role in music making. My ultimate visual aim is to make as many
sound making kinetic machines (without need for speakers) as possible!"
6) What is the relationship
between the performance of the machines and the interaction of the audience?
"This works best in a gallery space where the audience
can come up close to the machines and hear the detail or stand away to hear
their effect in the acoustics of the room. I do have a setup with an interface using
sonar sensors to read how close an observer is standing; the nearer they get
the faster the preprogramed musical sequence plays. There are various options
for gallery and installation setups and I’ve experimented with a few.
Personally I’m keener on building the machines as performance devices. I find
audience interactive pieces can sometimes be gimmicky and therefore
7) What is the most important
part of your work, to you?
"Building the machines is probably the most enjoyable
part. Using tools in a workshop to eventually make something I can plug my
laptop into is more important than making a piece of music on a laptop alone. Its
important to look at how other skills may influence a music making process."
New track up called 'Two Legs Good' by Cornwall Producer and musician JRPD who now resides in London. He is currently working on new material which encompasses a methodical approach to resampling and composes his tracks through use of instrumentation and high attention to detail! We are very excited to hear more music emerge soon, it is likely you'll be catching JRPD live alongside the likes of Miles Courtney, Gherat, Manaca, Mawe Rae, Dan King in early 2012!!!
There's a lot lined up for the week ahead! A few mixes and remixes are in the making as well.... Keep attentive to new posts this week!!
Firstly, we will have a new track up on the soundcloud from one of Convex's core members tomorrow! There has been mystery surrounding this Producer/Visual Artist and Film maker from Looe, Cornwall. With a new lineup of material underway, it's looking like you'll be receiving some exciting goods very shortly. There will be more information on this artist when we post up his track!
'Now housing four of the most recognisable independent record labels – 4AD, Matador, Rough Trade and XL Recordings – The Beggars Group in the last decade has gone from strength to strength, not only confirming their position as one of the largest independent groups of labels in the world, but also, by allowing their artists the time to develop, affording them freedom and support, releasing the best the decade had to offer.'
Artists on the bill they have worked with include Radiohead, Bon Iver, Beirut, The Prodigy, Sonic Youth, Thom Yorke, Boards of Canada, Sigur Ros, Warpaint, M.I.A and other big acts!
All the best to Davy, this is huge! We look forward to seeing some work... as for now Davy will be working with us for upcoming releases including Miles Courtney, Gherat and Manaca.
Also in the pipeline, we are working towards our visual/projection ideas for the Convex Launch party with the very talented Visual Artist, Illustrator and Film maker Mark Prendergast. Check out his work, it's awesome!
We will be hosting monthly Friday night's in Brighton in 2012...all shall be revealed soon!
Today has been spent getting into the specifics of the packaging design for the Miles Courtney E.P.
Artworks finalised, screen printing studios getting booked and the sample materials are in.
The plan is to make the whole thing as aesthetically pleasing as possible. Given that CD releases have be superseded almost entirely by downloads we believe for something to be cast into hardcopy it must be in every way complimentary to the excellence of the music it holds and a desirable object in its own right. The finest (and most ecological) build of materials accompanied by beautiful artwork all made by the hands of Convex is what we're talking here. No messin'.
In other release news we've been listening to Donky Pitch's up and coming Russian connection 813. A preview for his latest sonic venture Spectrum Riff makes for tantalizing listening and is set to be released on the 12th December (vinyl) and 9th January (digital). Shouts out to them guys, it's sounding heavy!
Kit Pops artwork has arrived! Just waiting on the final press pack before we'll be getting it up online. The release date for this will be 15th December but you can pre order through Paperchain
Keep posted for some afternoon news and while your at it check out Canadian Producer 'Woulg' who Matt Wakefield worked with Briefly last year. This guy has some serious talent and builds musical structures in a very unique way, focusing specifically on Rhythm, texture and the fragmentation of Audio Sampling - wizardry! with a cutting ambient twist that lingers throughout! Check out 'Broken', has a feel slightly similar to that of Mistabishi 'Printer Jam'.... but downtempo and dark!
Manaca >>>> aka Barney Thorn is the latest member of Convex. He is brother of the mysterious and prolific Visual Artist Felix Thorn also known as Felix's Machines and has a very distinct sound. He has a strong backlog of material that we are all great fans of with tracks such as 'Orange, Dyslexic Jokes, Vodka and Correct Weight' to name a few. He is currently working on a project producing sound for a film piece (all will be revealed) and has also been producing brand new material that we've all been waiting for! Manaca will be visiting a producer called 'Julien Mier's and taking part in a Sound/Visual event called 'Jagerland' which looks very interesting. Julien Mier's is an up and coming producer from Holland and is certainly one to look out for. With a tour on the horizon with Warp records 'Plaid' his opportunities are mounting and his ability is evident in his sophisticated use of electronics. It's possible he'll be coming over to the UK sometime in the new year!
Gherat >>>> has been working on Various 3d Animation projects recently keeping very busy in Amsterdam, but we are pleased to learn that new music material is being produced as we speak and you can anticipate a fresh new lineup of tracks for a release date tba in January 2012! his sound is undeniably intricate and very well composed with echoes of sound reminiscent of Flying Lotus' warm, colourful textures. You can expect Gherat to be coming over to the UK very soon for a Live show...
Kit Pop >>>> Smoke cloud E.P release is drawing in close and one to look forward to. Independent label affiliates 'PaperChain' are co releasing it with us and it will be distributed in London and Brighton on arrival.
Kit Pop has been doing plenty of shows In Australia, recently with SBTRKT, and a big show supporting Africa Hitech and Martyn will be taking place on New Years Eve! Huge shout out to Kit Pop and the PaperChain crew!
'Midnight Kush is the first single cut from Kit Pop's forthcoming EP Smoke cloud. click the link below and have a listen and while your at it grab a download of his Gucci mane remix which is up for free.'
Miles Courtney >>>> The first Convex release is due very shortly indeed. The tracks are being mastered and the artwork finalized before it becomes available online. Pressed copies will be manufactured in the run up to the Convex Launch Party that will take place in Brighton (details tba soon) and there will be a limited stock available for purchase..we will be getting Miles Courtney's Espresso E.P over to Australia as soon as possible!
>>>>>> M I L E S C O U R T N E Y<<<<<<
The much anticipated Espresso E.P from Convex's very own consisting of 6 tracks including the well acclaimed and distinct sound of 'Elephant Sweat' as the opener, followed by a run up of brand new material...
Dave Grinnel and Pete Taylor are back with another great lineup with a special appearance from Brainfeeders rising name 'Lapalux'. We are looking forward to the next Donky Pitch nights in the new year!
'After a great first session we return to Rik Tik for our second party, with a line up so special we can't even believe it's still free entry. Headlining will be Big Dada's Offshore, whose crunk laden services we employed for our second 12''. Then steps in Brainfeeder's Lapalux, a man whose music is so special we've fawned over it in our radio shows, mixes, on our blog and any other way possible. Support comes from Moscow, GMT and two of our residents Ghost Mutt and Grinel.'
Gherat - Migration Routes EP is Convex Collective's second release (CNVX002) as Convex Records. Migration Routes EP has been crafted by our number one European artist. Gherat, a producer/visual artist from Amsterdam, he has a promising year ahead.
The production of this EP is undeniably intricate and with echoes of sound reminiscent of Flying Lotus and early Rephlex material, Migration Routes contains some of the most rich, intelligent and colourful sounds we have heard to date.
Convex Records is happy to present what will be the first in a series of releases over the coming months.
Miles Courtney is first out of the gate with the "Espresso" EP. A record that all of us here at Convex are immensely proud to support. Its acid tinged swirling melodies and off kilter beats and bass conjure up an electronic atmosphere all its own, a unique sonic journey exploding with colour.
Kit Pop, an Australian producer is part of the independent label PaperChain. He has a particularly big presence, encompassing a diverse range of fresh hip hop beats and bass driven synths crossed with atmospheric textures and prominent melody. We aim to get him over for a show in the UK. Expect to hear a lot more from him in 2012!
M O D E S E L E K T O R L I V E ( M O N K E Y T O W N T O U R ) D I G I T A L C L U B
B R I G H T O N
v i s u a l s b y P f a d f i n d e r e i
'It's a testament to the popularity of Berlin duo Modeselektor that at midnight on a Thursday, Digital is rammed, and not just with students – a fair few sickies are going to be pulled tomorrow. The show's promoting their third album, 'Monkeytown.' Released in September to rapturous delight, this album is a dance music how-to, spanning electro, techno and house with equal grace, and featuring guest collaborations from Otto von Shirach, Antipop Consortium and none other than Radiohead's Thom Yorke. Intelligent, innovative and surprisingly accessible, 'Monkeytown's deserving of the buzzing atmosphere that's packed the club out.
The night is the first endeavour of Brighton's Convex Collective, a group of tight-knit allies bonded over a deep love of all things electronic. As any promoters in Brighton will tell you, putting together an event as large as this without much prior experience is a tough job – but they've done it. Well-selected support acts warm up the crowd and as Modeselektor reach their zenith, monkey masks drop from the balconies to an appreciative and receptive crowd.
From the hard, pounding trance of 'Evil Twin,' to the hip-hop clicks of 'Humanized,' the set blasts by quicker than seems reasonable, and leaves a club full of sweaty fans to grin their way home.'
(The Source Magazine Brighton - words by Jessica Marshall Machattie)
Convex Collective is a community of like-minded individuals bonded over a deep love of creative electronic music and visual art.
Having worked alongside a number of Brighton’s top venues and
promoters, Convex have provided artists, DJ’s, and forward thinking
visual performances at numerous events both in the UK and abroad.
After a solid promotional debut at Brighton’s Digital Nightclub featuring
an extraordinary live visual performance from Berlin Techno gurus
Modeselektor, 2012 is a thoroughly exciting year which will see Convex
Collective’s record label arm 'Convex Records' continue to churn out a
catalogue of rich and colourful releases from the likes of Gherat,
Manaca, Max Buzuk, Miles Courtney, Laughing Buddhas, Khoteh, and JRPD,
as well as a series of ‘Convex Collective Presents...’ showcases in
Brighton and London. We also look forward to a continued involvement
with like minded organisations including Donky Pitch and Playgroup
Most importantly, Convex will continue to
expand and evolve a communal space for creativity, expression, and
performance, delivering hand crafted music with passion on every