In April, Anor Londo released his EP Caos & Materia, stems from an analogy between hermetic philosophy and the composer’s mindset. Heavely influenced by the practice of alchemy, the EP is an excellent body of work with outstanding sound design. Anor was kind enough to showcase some of the tools used in the EP’s creation. There is also a video to accompany the final track in the release.
Below is a video of Anor Londo – Visitors (Elementi Strutturali). “Visitors” is an audio-visual experience that attempts to analyse this process of encoding and decoding. The video confronts the spectator with a possible primordial code, a set of signs that change over time, but also return and repeat themselves, thus creating an unknown and as yet undeciphered communication.
This has been my favourite “piece of gear” since I discovered it. It’s an amazing emulator of the original Buchla Music Easel from the 70s. Many of the circuit choices made by Buchla may be peculiar or different from the norm, for this reason, it’s so unique and unpredictable. I made extensive use of it, and it took me some time to master it properly, but its wide tonal range and malleability make it the perfect companion for my experiments. I was about to forget about the random generator, which reproduces a finite cycle of random values that can be repeated after a certain time interval. Amazing feature in my opinion. Easel V always has some surprises in store for those who know how to take care of it.
Here we have one of my favourite “velvet pianos”, as simple as it is profound and dynamic. With the help of this buddy, I composed most of my drafts of “Caos & Materia”. In my productions, I make massive use of components that allow me to work in a generative way, which leads me to have a certain kind of layering and density of information. The simplicity and cleanliness of this piano help me focus on the essence of the composition flow without being distracted by superfluous “gadgets”. Super cool, nothing more.
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Game changer. Moog System can be seen as the antithesis of Buchla’s synthesis approach, now we are in the modular Moog’s world – rules are completely different. It has an enviable bass and pad range, when I am looking for something incisive, this is where I take refuge. It is a particularly comprehensive tool, rarely needing external configuration. Old but gold.
It’s the digital transposition of the Yamaha CS-80 from ’77, another synthesizer classic, made famous by the great Vangelis. It has exceptionally complete expression features and programming solutions. It is an instrument that leaves no one indifferent, full of pathos and cinematic memory. The sci-fi feeling that runs through Anor Londo’s compositions is probably due to the CS-80.
Another module from the 70s is among the first commercially available polyphonic synthesizers. I have no idea why my choice so often falls on emulators of machines from those years. I assure you that it is by no means premeditated, but that’s it. This instrument has a cool sequencer, and all the presets are really juicy. As the CS-80 retains that aftertaste of cyber decadence I love so much. I used it for everything from arpeggiated rhythms to deep pads. It has an easy, intuitive, and essential interface, I couldn’t ask for better.
In the last few years, I became very interested in generative art. More and more tools and synthesizers give you the possibility to interact in a different way from the traditional ones. Here we have some of the tools that are placed in succession and programmed to influence each other entering into a potential situation of infinite creative generation. The random factor is of great importance and allows you to get out of your comfort zone. In writing “Caos & Materia” I made massive use of dynamic and random parameters, both for melodies and rhythms. This workflow makes the composition much more organic and sometimes you end up with lovely, unexpected outputs.
Grab your copy here.