Filed under: Music | Tags: attick, audrey's trance, Мишка, ennio morricone, haunted house, i saw her die, laura palmer, mishka bloglin, mishka nyc, spooktacular, twin peaks, twitchy, witch house, witchy
May 29th, 2011
How can your interest not be piqued when you’re presented with remixes of music from Twin Peaks and a deep Ennio Morricone cut? They were waiting suggestively in our mailbox today courtesy of The Tleilaxu Music Machine and they’re both witchy, twitchy, and pretty goddamned cool overall. Together, they’d serve well as the soundtrack for a spooktacular party at a haunted house, if you’re into that kind of thing.
The first track, “I Saw Her Die,” uses the framework of Ennio Morricone’s score for an obscure Italian film from 1972 and answers the question of its title. The intro is deceptively innocuous, but then the droning beats and sludging-up of the children’s chorus warps the track into more sinister territory. Based on a single scene in Twin Peaks in which Audrey Horne cuts a rug, “Audrey’s Trance” is slower and maintains a certain sensuality despite its propensity to freak listeners out. Blame it on Sherilynn Fenn, the actress who plays Audrey, whose voice makes a seductive cameo in the track.
It’s hard to make music that’s simultaneously eerie and danceable, but The Tleilaxu Music Machine makes it happen with these remixes…
Original post here
Filed under: Music | Tags: album reviews, cultural experiments, d bene tleilax, demon-rasta, diamond eyed coyote, frenetic house beats, gutteral snarls, hard-edged dance grooves, howls, jason baxter, rob zombie, sociological studies, the stranger, the tleilaxu music machine, ttmm, undead dread, universal studios florida, usf
Jason Baxter (also of Universal Studios Florida aka USF), writing about Diamond Eyed Coyote for Seattle’s weekly paper The Stranger, had some interesting tidbits to contribute to my ongoing sociological study in diverse reactions to cultural experiments:
I saw The Tleilaxu Music Machine perform at the Smell in LA over a year ago, and it was kind of a trip. Dude has that demon-Rasta Rob Zombie undead/dread look going on, and his hard-edged dance grooves are pretty fun in their own way, as if Zombie had drunkenly crashed his “Dragula” into a club with some actual taste. In TTMM’s music, the guttural snarls and howls of ‘90s dreck genres like nü-metal are transposed over frenetic house beats—a little jukey, a little janky, totally freaky-deaky.
Check out the whole article.
Filed under: Interviews | Tags: christian fundamentalists, communal music appreciation, composing, computer orchestra, d bene tleilax, different scenes, hardcore, indie emo, interviews, LA music, los angeles, machine music, new age party music, orange county, parties, performance, post-raves, potency, rawness, sean carnage, straight up noise, the tleilaxu music machine, video game music
Originally posted on Sean Carnage’s blog July 31st, 2010
D. Bene Tleilax’s The Tleilaxu Music Machine is one of those groups that, man, if it doesn’t make you go nuts and get happy you’ve got a really cold and boring heart. D. Bene’s music is way progressive which is the inspiring part—the man can write symphonies AND techno epics AND remix others’ songs. It’s electronica yeah but really it’s just him. D. Bene’s the music. And when you listen you are the music.
I caught up with D. Bene earlier this week and he laid it all out for me:
How old are you and where do you live?
27 years old, I live in and around L.A….in my car!
How would you describe your music to a stranger?
I have completely different sets of music depending on which scene I am performing in, which is to me an important aspect of what I do. But in general as good a description as any would be taking all the following and pulling 4 or so randomly out of a hat :: experimental electro rave screamo hardcore IDM gothic baroque noise psychedelic grind industrial dubstep cabaret
Describe your music-making role—are you primarily a composer, performer, instrumentalist, or…?
I’m pretty into being a composer, I’m compelled the most by the concept of a distinct created work. I’m secondarily a performer…since I make a lot of electronic music that is often difficult or impossible to really perform live as an instrumentalist, at very least by myself, it’s not that big of a thing. Also that’s not the point of my performances. Performance to me is helping to get people to appreciate the music together as a community. The computer is like my orchestra, I notate everything and it plays the majority of it while I dance, scream, bang on a MIDI controller or push people around.
Where are you originally from? Was music a part of your upbringing?
I grew up in Orange County, home-schooled til 7th grade by fundamentalist christians who were super restrictive about things “of the world”, such as music. I wasn’t even allowed to listen to christian radio! But I had Nintendo when I was a kid and I would make tape recordings of video game music and listen to that all the time…then in high school my parents slowly lessened their grip and I got into hardcore, DIY indie shit, and rave music and started going to tons of shows…and fancy that, here we are!
Who are three music influences that you keep returning to time and again?
I will always be influenced by old school indie emo & hardcore stuff, I love the rawness and potency of that sort of personal expression. Glitchy IDM & technical electronic music has a permanent place in my brain, I love machine music. And finally if I could say LA music in general as an influence, that is something that constantly informs what I do. I’m really into finding out what’s happening in local music communities and using that as an inspiration, since I’m into so much shit it helps give me direction sometimes.
What was the first music you remember spending a lot of time making?
At the very beginning, all my musical endeavors were about making straight up noise as weird as possible specifically for the purpose of taking psychedelics and listening to it. That’s pretty much all I did for a while!
Imagine that you are giving a tour to someone from out of town. Quite magically, everyone you might want to see is playing at your favorite venues here in L.A. What bands/venues or experiences would you take your visitor to?
I’m really weird like this, but honestly I don’t have favorite bands that I go more crazy about than others…there’s a lot of people worth seeing in LA. I’d just take them to whatever cool was going on at the time, and there is almost always something worth going to. Places like Pehrspace and Women are really cool and always have good shit going on in a fun environment, Cozy Castle and McWorld were fun while they lasted, Echo Curio, HM157, also I’d take em to whatever cool underground electronic parties were going on…I call them “post-raves”, they’re often at different random one-off type spots. The CIA in NoHo just to check out the decor, some warehouse art parties.
What’s a song you wish you had written and why?
I’m pretty stoked on the way things happen of their own accord, I love other people’s music because they do it in ways that I never would. Sometimes I wish I had as much skill and vision as other artists to apply to my own creativity, but that’s about as far as that goes.
If you have any projects you want to make folks aware of, please share.
Currently I’m working on a what I hope to be a series of party events which smoothly combines performers from the straight up tronix scene with the more electronically oriented peeps from “band” scenes… a bit of party cross-pollenation. It’s called “New Age Party Music”. That’s kinda my main project besides my ever-present music whatever.
Filed under: Live | Tags: anavan, d bene tleilax, epic lineups, extreme animals, faav, fun shows, I.E., live performance, lizard brains, moshing with the crowd, one-person rant, pummeling, puppy dog, rich rath, rolling on the floor, show reviews, the smell, the tleilaxu music machine, valentines day 2009, vday, way music
Rich Rath of Way Music had this to say about my performance on V-Day 2009:
The other act we caught was tleilaxu music machine, a one-person rant caromed over the top of superhyperindustrialdrummachinesynth pummeling. Outfitted in a lovely black sundress with striped kneesocks, arm hoisery, and workboots, the dreaded and bearded guy running the machine drove a bunch of people from the room when he started but then drew just as many back in…after a minute or two of acclimation to the sound, it began to take root in some part of the lizard brain and actually became compelling, and he put everything into the performance, moshing away with the crowd and rolling on the floor as he alternated between setting and playing synth patches and growling and roaring through the microphone.
Original post found here
Also performing were Anavan, Extreme Animals, Faav, I.E., & Puppy Dog. A super fun show, epic lineup!
Filed under: Music | Tags: a flow of code, anima mal nata, burningemptiness inc, d bene tleilax, empty, european zines, Minor Label, noise, reviews, rigodon, the tleilaxu music machine
The tleilaxu music machine-minor-CDR-machine sewn envelope: great!
I think we have to create a new genre: ‘stuttering glitch industrial’ where we could pigeonhole Groxyo and The Tleilaxu music machine. Saying his tracks are ultra-complicated anti-structured pieces of work gives just a remote idea of the hundreds ideas he puts in his little minutes tracks. Keep an eye on this.
From Rigodon #4 (March, 2006), a print zine from the Netherlands put out by Anima Mal Nata
What we have here? Sort of noisy break collage repetitive loop music. Quite a mouthful but it describes the music well. Runzelstirn & Gurgelstock on acid maybe gives a better understanding what to expect. Compared with R & G the Tleilaxu [!] Music Machine is less sophisticated. Sometimes the music gets really noisy and harsh. But they sure make good music. A release worth checking out.