We’re constantly fascinated with the creative process here at Flavorwire, and one of the most important components of that process is the space in which it takes place. For musicians, at least as far as the recording process goes, this place is the studio, and as such we thought we’d take a look at the studios of some of our favorite musicians. The contrasts on display are intriguing, from the endearingly chaotic to the pristine and very expensive, from analog to digital, from minimalist to decked out in all sorts of crazy-looking… Read More
Of all the great albums out this month, we’re perhaps the most excited about the return of Gudrun Gut. Her new record Wildlife is a fantastic piece of work, and the latest installment in a career that’s spanned three decades and a seemingly endless variety of electronic sounds. Electronic music has long been indebted to female pioneers, so to celebrate, we’re highlighting some other great female innovators in the… Read More
There’s been a fair amount of quibbling about the relatively uninspiring nature of the soundtrack album to The Hunger Games, which only includes three songs actually featured in the film and devotes the rest of its tracklisting to a rather incoherent selection of indie artists (and, um, Maroon 5.) The music in the film itself, however, is rather interesting — particularly the presence of a piece called “Sediment” by pioneering ’70s electronic composer Laurie Spiegel. A fascinating article in Wired reveals that the dark, ambient nine-minute piece dates back to 1972 — it was recorded an early analog synth (the Electrocomp 200), and its evocative textures recall the work of the great Delia Derbyshire. It’s used to great effect to accompany the tributes’ entrance into the arena and the ensuing bloodbath, and is one of several unexpected pieces of music in the film — apart from Spiegel, there’s music by minimalist composer Steve Reich and Icelandic composer Ólafur Arnalds. You can hear “Sediment” after the jump — let us know what you think!
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