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If you put a synth after the Guilt system and play chords or melodies, it will play the notes that you're holding down almost like an arpeggiator, but play them at the times that you determine on the multi-slider. Did you design the live set with a view to being able to improvise more on stage? It's a pitfall for anybody doing something on the technical side of music, but I just put limits on myself. Some tips from 74 Creative Strategies for Electronic Producers. Watch Talks, Performances and Features from Ableton's Summit for Music Makers. In September 2001, New Orleans’ Telefon Tel Aviv, high school friends Joshua Eustis and the late Charles Cooper, joined the conversation with their debut album, Fahrenheit Fair Enough, released by Hefty Records. But the records are all so different from one another, a lot of people think of it like three different bands across three different records, so my thinking this time was to try to incorporate elements of all the records into one record. New Orleans–derived, Chicago-based American electronic music act, formerly comprising Charles Cooper and Joshua Eustis. Formed in New Orleans by Joshua Eustis and Charles Cooper, the project made its debut in 2001 with Fahrenheit Fair Enough, a collection of glitchy, melodic IDM instrumentals. Telefon Tel Aviv discography and songs: Music profile for Telefon Tel Aviv, formed 1999. A band that steadfastly refused to adhere to genre conventions or kowtow to expectations, their cult status has only deepened over time. This was just less than two weeks after the limited Midwest opening of New Port South, a film written by Hughes' … Now that can also trigger other things. There are a lot of points on Fahrenheit Fair Enough where a rhythm is programmed according to the Fibonacci sequence, or things break apart according to the Mandelbrot Set. I have this thing where I don't really sit down and tinker with song stuff. Telefon Tel Aviv ... Composers: Charles Cooper Wesley, III - Joshua Eustis. 03:11 07. Immolate Yourself. Telefon Tel Aviv, until recently, was a fondly remembered electronic duo with a catalogue of critically acclaimed releases spanning from glitchy, ambient IDM to synth pop and industrial. There's a Tragedy system [originally built by Alessio from K-Devices] which is similar, but it's basically a polyphonic MIDI note repeater which has LFOs built into it for velocities, and that can fire together with Guilt if you want to do it a different way. On their second disc, the Chicago lap-top duo Joshua Eustis and Charles Cooper (a/k/a Telefon Tel Aviv) display the necessary skill to reclaim these tried and true ingredients from the java-house milieu and make them sound sexy, campy, comical, and alluring again. It’s basically a big standalone app I built in Max, which I then parted out into individual pieces for Max for Live, for working within Ableton Live. Enter your email address to stay up to date with the latest offers, tutorials, downloads, surveys and more. Their second album, "Map Of What Is Effortless", came out in January 2004. I knew that [Live] was gonna be the canvas for this thing because of its implementation with Max. Telefon Tel Aviv creates experimental electronic music which filters a wide variety of intense emotions through highly advanced sound design. A little bit of Map [Of What Is Effortless], a little bit of Fahrenheit [Fair Enough] a little bit of Immolate [Yourself] and then whatever else it's gonna be. If I've only got a set amount of time for this musical idea to happen, how far can I take it within that time? At the convergence of hip-hop, electronic, and soul music, these artists sought to carve out their own lane. Formed in New Orleans by Joshua Eustis and Charles Cooper, the project made its debut in 2001 with Fahrenheit Fair Enough, a collection of glitchy, melodic IDM instrumentals. I was working 60, 70 hours a week, and I was justifying it to myself saying, ‘I'm not gonna be able to make the record until I have this tool kit done.’ At the worst part of it, it felt like I was allowing myself to do all this extremely tedious technical work so I wouldn't feel guilty about not writing the record, but then the tool kit really started coming together and Ghostly [International] were like, ‘Hey dude, are you gonna do this record?’ I already knew what all the song titles were gonna be, I had all the themes worked out, most of the melodic stuff was written. It was an attempt to think about the space between notes. Three years later, Hefty released a compilation of Telefon Tel Aviv remixes that included their take onNine Inch Nails, Ammoncontact, Slicker, and Apparat among others. I took the Kadenze course online, which really blew the doors open for me. There's a track for video, there's a track for triggering lights, there's a bunch of auxiliary stuff, but then basically what happens is using Max I've built a graphical overlay that goes on top of everything, so I'm not even looking at Ableton [Live] when I'm playing. Originally hailing from New Orleans, the duo of Josh Eustis and Charles Cooper quickly drew an avid following with their 2001 debut album, Fahrenheit Fair Enough. Downloads, Share this: Could you tell me more about the technical vision you had for the record? You can use this to trigger other things. I wanted to exercise a little bit of self-censorship and leave space. Ableton on FacebookAbleton on Twitter. I don't want to say it's a folk record, but it ended up being more like that than it ended up a dance record. Second Woman – Josh Eustis’ collaboration with Turk Dietrich of Belong takes more direct aim at the dance floor. What Guilt does is, you can set a time period of, let's say two bars, and then instead of dividing those two bars into two bars of 32nd notes, you have 32 steps that can be any length. Electronic music creation can lend itself to a non-linear, un-composed approach, but were you still coming at it from a song-writing perspective? How do you feel that Dreams Are Not Enough relates sonically to the rest of the Telefon Tel Aviv legacy? Music like. I've made so many records in the interim time for myself and for other artists, I got to a point where I had a cockiness about the process of making records and I thought I knew everything. I let myself program Max during the day, but if I was gonna work in the evening it had to be just tinkering with melodies or a beat, it had to be something creative and not technical. Understandably, returning to Telefon Tel Aviv was a conflicted decision for Eustis, but as his work with Dietrich brought him back into a similar sphere of music production, ideas for the project began to present themselves. Albums include Immolate Yourself , Fahrenheit Fair Enough, and Map of What Is Effortless. Keep up with Telefon Tel Aviv on Soundcloud, Posted on Oct. 8, 2019 in Artists, He passed away on January 22nd of 2009. It was definitely on my mind. Formed in New Orleans by Joshua Eustis and Charles Cooper, the project made its debut in 2001 with Fahrenheit Fair Enough, a collection of glitchy, melodic IDM instrumentals.Earning critical acclaim as well as devoted fans, the duo … Other side projects include the score for the 2001 film New Port South. Music like Telefon Tel Aviv Music. After five years trying to figure if I was even gonna do the damn thing in the first place, I had to figure out what the sound was gonna be. I knew exactly what I wanted to do, but I had no clue how to do it, and so I just had to iterate on the idea until it worked. I didn't want this record to be too full, or 70 tracks in a session like the old Telefon stuff. Telefon Tel Aviv is an experimental electronic duo formed in 1999 by two New Orleans high-school friends, Joshua Eustis and Charles Cooper. 4.1 / 5. We always got bored of whatever we were doing and took a hard turn each time we made a new record, so maybe this one is like the others in that it is a bit of a departure again. 9048 fans Top tracks. The vocals even sound like a young Dave Gahan from Depeche Mode singing skittering beats. Technically I started writing the album in 2016-ish, and I had three songs done before I even really sat down to do the record. It goes all the way back to the very beginning of Telefon Tel Aviv. He notched up repeated stints in alternative rock megaliths such as Nine Inch Nails, A Perfect Circle and Puscifer as well as production credits for Tropic Of Cancer and Vatican Shadow, and much more besides. I sort of knew what they were all going to be ahead of time. Formed in 1999 in New Orleans, Telefon Tel Aviv eventually got signed to Chicago's Hefty Records and released their acclaimed debut album in the fall of 2001. Following Cooper’s death the Telefon Tel Aviv project went on hold. Following years of playing in various local bands and learning the ropes of electronic music production, Eustis and Cooper wrote the demos for what would become Telefon Tel Aviv in 1999. Add to list See details. Learn the fundamentals of music making right in your browser. Charlie was the one half of the Telefon Tel Aviv. I listened to promptings from the label, and it was good for me. In September 2001, New Orleans’ Telefon Tel Aviv, high school friends Joshua Eustis and the late Charles Cooper, joined the conversation with their debut album, Fahrenheit Fair Enough, released by Hefty Records. It can store patterns, it can morph or interpolate between patterns, which is a really cool feature. They spent the rest of that year writing their debut album, Fahrenheit Fair Enough, released in September 2001, as well as the soundtrack for the movie New Port South, written by Hughes’ brother James and released the same year. Following the untimely passing of Charles Cooper in 2009, bandmate Josh Eustis wound-up the project and spent the next several years embarking on a series of new collaborations and solo … So to make the remaining six tracks, were you firing up the system and feeding pre-prepared ingredients into it? How long did it take you to strike upon this process? Telefon Tel Aviv is a New Orleans, Louisiana-derived, Chicago, Illinois-based American electronic music act. Ableton just feels like home right now. I also wasn't sure it wasn't going to be rooted in dance music anyway, because I love that. For guys who've worked closely with Nine Inch Nails, Telefon Tel Aviv's Charles Cooper and Josh Eustis sound remarkably calm and contemplative. I would say live performance in electronic music culture values things like improvisation very much. It all has to do with changing the way time is divided. I just had to sit down and produce it. A brooding, stormy record at once reminiscent of TTA and equally not like any previous album, Dreams Are Not Enough arrives on Ghostly International as the wholly appropriate follow up to one of the most singular projects in the history of US electronica. When the last Telefon Tel Aviv record came out, the band already had a tangled legacy behind them. Did you strike upon an angle of approach you thought would be the right thing to do for Telefon Tel Aviv? Josh Eustis breaks down his studio set-up. And that also deals with doing stuff like that to the vocals. 01. Darker and synth-driven, this third album took yet another dramatic left turn, this time towards a more unabashedly pop-minded sound. Following years of playing in various local bands and learning the ropes of electronic music production, Eustis and Cooper wrote the demos for what would become Telefon Tel Aviv in 1999. "We always got bored of whatever we were doing and took a hard turn each time we made a new record, so maybe this one is like the others in that it is a bit of a departure again.". Introductory Nomenclature, by Telefon Tel Aviv. I had to put limits on myself. I dream of it often: Telefon Tel Aviv. I can play the song exactly as it is off the record if I wanted, or I can take it somewhere and make a complete mess out of it, and that to me is kind of the fun part of it. Tom Hall from Cycling ‘74 helped me a lot with a couple of things. It's the same feeling I had the very first time Charlie and I started working on music together in the Pro Tools window, when we really didn't know anything at all. 04. And this ties into the Second Woman stuff I've been working on with Turk, where we started trying to think about things being fluid and loose, not on the grid. Genres: IDM, Downtempo, Synthpop. It breaks my heart to inform you all that Charlie Cooper, my better half in Telefon Tel Aviv, passed away on January 22nd. 15 Dislike. Expanding on the opening song from Telefon Tel Aviv’s 2009 album Immolate Yourself, Joshua Eustis and Charles Cooper start off the 2012 EP The Birdswith a title track that owes more to '80s synth-pop than the IDM style the duo began with. The device requires Live 10 and Max for Live. Subsequent albums Map Of What Is Effortless and Immolate Yourself each represented a departure from its predecessors, simultaneously confusing existing fans while acquiring new ones. Their initial combination of micro-sampling techniques, folky songwriting and expressive sound design remains a unique proposition that mutated over time. While doing all that, I spent two and a half years building the tool kit I needed to make the record. 13 Meh. View more news Having earned a reputation for the high production values of the TTA material, Eustis forged a productive career in music that found him working as a sound designer, producer and mastering engineer for a variety of projects. The t… read more View full artist profile It's just about compartmentalising those things and making sure you don't just make busy work for yourself. Way, way beyond anything I thought I would ever be able to do. Joshua from Telefon Tel Aviv posted the following on their myspace page Wednesday: Hello, Everyone. Every time it receives a bang from one of the other devices it will start an amplitude envelope on whatever's coming through it, so you can break something up pretty interestingly that way. It was an incredible, liberating, mind blowing experience. He also formed Second Woman with Turk Dietrich – an acclaimed project that mutates bruising club aesthetics through intense signal processing and sound design. Helen of Troy . Originally hailing from New Orleans, the duo of Josh Eustis and Charles Cooper quickly drew an avid following with their … 199 Like. Telefon Tel Aviv. Telefon Tel Aviv creates experimental electronic music which filters a wide variety of intense emotions through highly advanced sound design. At the convergence of hip-hop, electronic, and soul music, these artists sought to carve out their own lane. When Cooper tragically passed away in 2009, Telefon Tel Aviv went on indefinite hiatus, leaving behind a small but prominent body of work for listeners to reflect upon. Telefon Tel Aviv has one of the most intense sound palettes in electronic music – atmospheric, emotive, swirling and intricate, all at the same time. Having come up with the idea and technical approach, what did you set about trying to do going into Max? High school friends Joshua Eustis and Charles Cooper formed Telefon Tel Aviv in 1999. Getting into Max took me out of the kiddie pool and threw me in the deep end with no floaty. The main system is called Guilt. Read Full Biography. Then there's Pity, which is a gate that also keys off its own timing system, or it can key off the main Guilt timing system. I started to notice this about myself as I was working on this record. In between the German and U.S. release of Immolate, Charles Cooper passed away unexpectedly. 04:58 09. still as stone in a watery fane. With this graphical user interface I can send timing data to MIDI that's already playing, change it or manipulate it in ways that I think are interesting. Without sounding like I got too proud of myself, I was really stoked that I somehow managed to do it and it was way beyond what I thought it was gonna be. Get started with synthesis using a web-based synth and accompanying lessons. New material under the Telefon Tel Aviv moniker is currently being written. Varied electronic music as emotive as it is experimental; originally a duo of Joshua Eustis and Charlie Cooper, later a Eustis solo outlet. Born on April the 12th of 1977. This return coincides with a reissue of the debut album on Ghostly International and Eustis’ first live shows under the name, which began in the spring of 2016 with a North American tour alongside Moderat. We have been friends since high school, and began making records together a decade ago. It was either learn Max and deal with the idea of Max For Live controlling timing in Ableton, or learn Javascript and try to do it in Logic, and that seemed much harder. Yeah, I could have probably just worked on this Max MSP stuff for the rest of my life without ever really writing a record. Telefon Tel Aviv is an experimental electronic duo formed in 1999 by two New Orleans high-school friends, Joshua Eustis and Charles Cooper. While his decades of experience in music production had provided him with more than enough tools to solve most conventional production problems, Eustis struck upon a particular concept about time manipulation that couldn’t be solved by conventional means. Add to a new list. We caught up with Eustis to find out more about the process behind the long awaited return. In 2009, ten years after they first began working together, the duo returned with Immolate Yourself, via Ellen Alien’s BPitch Control label. Can you explain how your live set is laid out? Telefon Tel Aviv, the Chicago-based electronic duo of Charles Cooper and Joshua Eustis, debuted with the full-length album Fahrenheit Fair Enough (Hefty, 2001), one of the most original instrumental dance works of the time. How much more developed is the system now compared to your original idea? Josh Esutis has kindly shared one of his own Max for Live creations, a simple tool for designing kick drums and generating low-end frequencies, used in the making of the latest album. In 2016 he started trying to realise that idea by immersing himself in the world of Max MSP, all the while developing musical themes that would eventually manifest in the fourth Telefon Tel Aviv album, Dreams Are Not Enough. Yeah. Telefon Tel Aviv creates experimental electronic music which filters a wide variety of intense emotions through highly advanced sound design. After a four-song demo made its way to John Hughes III's Hefty label, the duo issued a set of fractured yet melodic instrumentals, Fahrenheit Fair Enough, in September 2001. I just started to like the way space sounded in music and it became a very rewarding feeling. I get married to the way things should be and I have a hard time wrapping my brain around how to improvise, so what I'm constantly trying to do is find ways to improvise on it. 9 Save. It's laid out as scenes in session view, and there are instruments that are just tone generators that are open, and MIDI clips and vocal chains and stuff like that. Telefon Tel Aviv: Shifting Time When the last Telefon Tel Aviv record came out, the band already had a tangled legacy behind them. In the context of songs, improvisation for me doesn't work very well. But while Eustis and Cooper emerged within a specific context that provided their continuing work with a solid foundation, they spent the next decade taking risks and grappling with the idea of what an electronic duo could be. Beyond the central production ideas about time shifting on Dreams Are Not Enough, it also seemed like there was an emphasis on spatial processing and breathing room in the mixes. I've always been obsessed with curved rhythms, but while we did a lot with sound design and complex programming, I didn't really dig in a lot on this curved rhythm idea. “A Younger Version of Myself” from the new Telefon Tel Aviv album “Dreams Are Not Enough”. I wanted to explore it more deeply in the context of melodic material, but also to try to make something that was just fun to listen to and didn't really sound like anything else. Did you ever feel at risk of losing focus on the creative aspect and just obsessing on the technical side of the system? Can you explain the system you built in Max? It was this incredible feeling of the world being your oyster and not knowing how to do anything and just tinkering until things sound cool or interesting or new. When it comes to melodic stuff or basic song structures, I have a real good idea of where I'm going a lot of the time. In September 2001, New Orleans' Telefon Tel Aviv, high school friends Joshua Eustis and the late Charles Cooper, joined the conversation with their debut album, Fahrenheit Fair Enough, released by Hefty Records. I needed to figure out a way to mess with the timing of things. What was it like when you began the actual production process, and how did it flow? The quick answer is that I think it totally picks up where the last record left off. Yeah. So each step can have its own time value, and so you're constantly getting these different time divisions. Dreams Are Not Enough. MUTEKLIVE001 - Telefon Tel Aviv Live @ MUTEK Montréal 2003 In dedication to the late great Charles Cooper of Telefon Tel Aviv, the MUTEK podcast series opens with a look back to the early days of the dynamic duo, captured here in fine form at the Musée Juste Pour Rire in Montreal, on May 28, 2003. TELEFON TEL AVIV RELEASES FIRST FULL LP AFTER THE DEATH OF CHARLIE COOPER, BELIEF DEFECT "DELIVERANCE” (TELEFON TEL AVIV DUB), ‘In the house of lovers, the music never stops, the walls are made of songs & the floor dances’ ~ Rumi. Telefon Tel Aviv. We used actual math to program a lot of that stuff manually, to get these curved rhythms. Not only does the hyperfunk of Fahrenheit Fair Enough blend Brian Eno's early piano-based ambient pieces, Squarepusher's drum'n'bass frenzy, and … I knew I was gonna have to worry about words and themes and setting a picture – I knew what the songs were going to be about but I didn't know exactly how I was going to say it. Absolutely. Each step can be its own length, and you can draw in step lengths using a multi-slider or a graph, and it'll loop around those two bars perfectly, but the distance between steps is not measured in note length, it's measured in a pure time value. Most of it deals with manipulating MIDI, and how MIDI timing is computed, and it's all really pretty simple. Shaped by a diverse set of influences that included British electronic music (Autechre, Aphex Twin, Jega) and Black American music (house, techno, bounce rap), Telefon Tel Aviv were the latest in a growing lineup of American musicians that sought to carve their own lane and add something meaningful to a growing international conversation about what the meeting point between hip-hop, soul, and electronic music could be. It was actually the most fun I've had making music since the very beginning of trying to make electronic music. It took years. Telefon Tel Aviv is a Los Angeles-based group formed in 1999 by Josh Eustis and the late Charlie Cooper, originally based in New Orleans, and then Chicago before Cooper's death. You’ve been playing live sets as Telefon Tel Aviv for a few years again, and there are dates scheduled around the release of the new album. As previously reported, electronic duo Telefon Tel Aviv this year lost their Charlie Cooper. After years of self-doubt, Eustis decided to revive the Telefon Tel Aviv alias in 2016. In 2004, they released their second LP, Map Of What Is Effortless, a bold attempt at solidifying the romantic elements of their debut into a modern r&b sound and featuring vocal contributions from Damon Aaron and Lindsay Anderson. It's pretty simple, but also totally open-ended. Telefon Tel Aviv Shed Light on Member Charlie Cooper's Death As previously reported, electronic duo Telefon Tel Aviv this year lost their Charlie Cooper. In 2014, Eustis released a solo album on Audraglint Recordings as Sons of Magdalene called Move To Pain. 10 years ago, Telefon Tel Aviv, the glitched-out Chicago-based electronic duo, ended in about the saddest way possible. It breaks my heart to inform you all that Charlie Cooper, my better half in Telefon Tel Aviv, passed away on January 22nd. Once I got my brain around that it was like, ‘Oh, I'm not gonna be able to do this with my current skill set.’ I realised I had to dig in on Max, so I started learning Max online around 2016 and then spent two years while tinkering with little melodies and lyrics and saving them. Formerly comprising Charles Cooper and Joshua Eustis, Telefon Tel Aviv continues with Eustis as the sole official member since Cooper's death in 2009. Complex, interlocking patterns – a hallmark of Telefon Tel Aviv’s sound since their debut album “Fahrenheit Fair Enough”. 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