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Cosmosis and Ajja - Live at The Giger Museum

Ajja and Cosmosis and  - Live at The Giger Museum

Cosmosis Destiny's Child Remix?

Q. So, is Cosmosis working with Beyoncé now?

Yeah, I wish : )

Cosmosis - Live Looping - (loops download)

A while ago I posted this video of me creating music on the fly by "live looping".

Polyphony - Simultaneous Melodies

Question:

I have a question on leads. On your track "Keys to the Innerverse", before the break at 4:35, you have multiple melodies playing at the same time. When ever I try this, it just sounds like garbage.
 
All the melodies are fighting with each other, but when you do it, it sounds great. Can you give me some pointers? I've have some knowledge of music theory, but just can't get the feeling right. A finger in the right direction would be great!
 

Bill says:

First off, credit where credit's due, Key to the Innerverse was very much a a co-written track. Props to the Laughing Buddha himself: Jez Van Kampen.

 At that time, Jez and I were living out of each other's pockets musically and financially and practically living in the studio and out partying in London when we weren't.  So the track was born from that environment. And like all successful collaborations I like to think the result was greater than the sum of the parts. So; that said...

 

Creating the Cosmosis "Contact" Album

>Hey Bill,

>The sound that comes in on 1:52 in "Contact", the "AA EE OO", vocal sound. Was the synthesized? I assume it >was two band pass filters? Can you explain the 'architecture' behind the sound? 
 
>BTW, Contact is a brilliant song, so much movement. Great sounds as well.  Thanks for all your help!
 

Hello matey,

below are the sleeve notes to the Contact track, taken from the sleeve notes to the album.  ( whole album track notes at the bottom)

______________________________________

As I mentioned, the title track contains a key monologue which unlocks the underlying concept. I wanted the music to support this by conjuring up otherworldly images. So I created a (hopefully) evocative, spacious intro sprinkled with a few appropriate samples. Also I deliberately avoided using any familiar or clichéd melodic intervals (as far as is possible in composing music anyway) as it would sound familiar and therefore not otherworldly. To this end I ended up playing any melodic phrases using harmonics via the cutoff knob on some resonant synth patches, which gives a different flavour. In addition I used a square wave-form, which unlike a saw or pulse wave, has an unfamiliar sounding harmonic series, which also adds to the overall weirdness. All melodies apart from that is, the spooky sounding melodic theme played with a bell like sound, which make it's first appearance right at the intro in the intro and occurs throughout the track.

The vibe of the track also called for a slower tempo, as it is difficult to convey the type of poignant emotion and space that I had in mind with faster tempos. So I used a dub style bassline coupled with a slow funk groove, which then progresses up into a slow trance groove for variety. It also gives the track somewhere to go dynamically. By far the most difficult thing technically was to tune into the frequency to receive the alien transmission. In the end I had to interview a earth resident alien and pretend that I had recorded one of the real transmissions broadcast from somewhere beyond Sirius ; ) 

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>>The sound that comes in on 1:52 in "Contact", the "AA EE OO", vocal sound. Was the synthesized? <<

Yes, an Access Virus Indigo B. (not that you need a Virus btw...)

>>I assume it was two band pass filters? <<

Yep

>>Can you explain the 'architecture' behind the sound? <<

Here you go: http://cosmosis.co.uk/tips-and-tricks/creating-talking-synth-sounds

Do that, then add a bit of distortion...

Cheers,

Billy Cosmosis

 Music Webshop: http://cosmosis.bandcamp.com


 

Summer and Studios

The weather today was just too beautiful to be sitting in a darkened studio making music, so I snuck off for a walk resolving to carry on with the studio stuff once the sun had gone down.

Being an aurally focussed type of guy, I took a small handheld stereo recorder (Yamaha Pocketrak CX) with me to catch any interesting sounds that may present themselves.

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More Pre Cosmosis Music

A old bandmate just sent me a recording of a track that I played on while playing in the Acid Jazz/Hip Hop/Soul/Arthouse band Ute.  YouTube's great for that, I get to hear some of my re

Cosmosis Live - Slow Motion

Short clip shot at Sunrise Party in Leeds U.K. by someone in the audience with a slow motion camera.

I think it's part of the guitar solo in Martian Blues...

Interview before the show at Tel- Hai, Israel 26-5-2011

A Fantastic event!”: One on one with Cosmosis, a trance legend, moments before he conquers Tel-Hai College.   Interview by Oded Oron & Liron Gavenda – Student Newspaper “Holech Batel”

Waking up after a long night of celebrations, thousands of hung over students started piling up the compliments on a successful Student-Day, conducted and produced by the student-body. We interviewed Bill “Bilbo” Halsey, a.k.a. Cosmosis a few minutes prior to his set, Halsey spoke of touring, music and his upcoming projects – And there were no hesitations with compliments.

 

Cosmosis at Club ZZ Tripo Tel Aviv 26th May 2011

ZZ Tripo Tel Aviv - a club with an excellent underground party vibe...

Cosmosis at Synthetic Dreams, Moscow May 28th 2011

A couple of videos of the Cosmosis show at the Synthetic Dreams Party near Moscow last weekend...

 

Peaking Goddess Collective - Recording Sessions May 2011

Background

Over the last few years I'd bumped in Ajja several times on the road in Brazil, The U.S and Switzerland as we seemed to be getting booked at the same festivals.

Cosmosis at Purim Galactic party 25-3-2011 Eilat, and Club Gossip 28-3-11 Tel Aviv, Israel

Purim Galactic Rave - Ashram, Southern Desert, Israel - 25th March

 

 

Maitreya Festival, Melbourne , Australia

A couple of short YouTube vids someone shot at the Maitreya Festival, Victoria, Australia 11-14th March 2011...


Billy Cosmosis onstage with the Acid Jazz/Hip Hop band "Ute"

This one's good for a laugh...

Billy Cosmosis onstage with the Acid Jazz/Hip Hop band "Ute" back in 1993 (I think...)

The name of the TV programme escapes me, but the show was broadcast live on Saturday nights from 24th flòor Canary Wharf, London.

 

 

 

MySpace? SadSpace more like...

 

MySpace. Been there lately?  SadSpace more like.

Contrary to it's earlier days not so long ago when it was a fun to use interface, with people leaving personal comments on each other's profiiles and using it to keep in touch via the emails, it's now like walking through the ruins of a bombed out city with the only population a collection of hollowed out mindless zombies with only a single all encompassing mantra playing over and over in their little minds: "I must promote myself, I must promote myself."

Vibing at the Vibrazone - Cosmosis New 2011 Releases

Here's what I've been up to in the my studio  at the end of 2010 and beginning of 2011.

There's some different new tunes, new remixes and some interesting collaborations for you to check out  

First up is an unusual collaboration with D3viant. A remix of  "Caged Lion" which was originally a Cosmosis/Avalon Psytrance track.  In this incarnation it's been transformed into a grinding Dubstep version:

....


Next up is a Cosmosis and Headroom collaboration titled "High Volume".  Adam Headroom and I wrote the track at his studio in Cape Town while I was on tour in South Africa.

 

It was interesting working with Adam. The approach to bassline and percussion was very easy to agree upon but the melodic component was another story and took quite some time, with us both floundering around trying out and discarding a huge amount of different ideas before we could even begin to agree upon something that may have satisfied us both 100%.

What I found really interesting is that we appear to have an almost perfectly opposed melodic sense. I'd describe Adam's approach as a chromatic modal approach in which all 12 notes are melodically available and are just considered by their relationship to the tonic (a la Arnold Schoenberg) and in which he tends to favour the dissonant intervals, whereas I tend toward a scalar approach with it's inherant harmonic potential and tend to favour the consonant intervals. Which is about as opposite as you can get.

This is my take on the tune which I mixed once I got back to Switzerland.