The Emperor · John Williams · London Symphony Orchestra
Star Wars: Die Rückkehr der Jedi-Ritter
℗ 2018 Lucas Film Ltd.
Released on: 1983-01-01
Producer, Conductor: John Williams
Studio Personnel, Engineer: Howie Weinberg
Studio Personnel, Recording Engineer, Mixer: Eric Tomlinson
Studio Personnel, Asst. Recording Engineer: Dann Thompson
Associated Performer, Music Production: Leslie Ann Jones
Associated Performer, Music Production: Shawn Murphy
Unknown, Other: Mark Willsher
Unknown, Other: Timeri Duplat
Unknown, Other: Patricia Sullivan
Composer: John Williams
Tracklist:
1. From Nothing Comes a King — Daniel Pemberton
2. King Arthur: Legend of the Sword — Daniel Pemberton
3. Growing Up Londinium — Daniel Pemberton
4. Jackseyes Tale — Daniel Pemberton
5. The Store of Mordred — Daniel Pemberton
6. Vortigen and the Syrens — Daniel Pemberton
7. The Legend of Excalibur — Daniel Pemberton
8. Seasoned Oak — Daniel Pemberton
9. The Vikings
Heres some of my latest work, with plenty of never heard before exclusives, and an approach in mind to warm you up and provide some escapism from the winter.
And now onto the track listings, Im afraid theres a lot on here which I cant tell you what it is yet, labels like to keep these things secret yeknow!
01 — Remix to be announced 1
02 — Collaboration to be announced 2
03 — Max Cooper — Autumn Haze (Traum) — Out Now
04 — Max Cooper feat. Braids — Automaton (Fields)
05 — Magic Panda — Distant Places — Max Cooper Remix (Tigerbeat6) — Out Now
06 — Remix to be announced 3
07 — Max Cooper feat. Braids — Pleasures (Fields)
08 — Halls — Roses for the dead — Max Cooper Remix (No pain in pop)
09 — Collaboration to be announced 4
10 — Robert Clouth — Cloud Complex — Max Cooper Remix (Traum)
11 — Nils Frahm — Peter — Max Cooper Remix (Erased Tapes)
12 — To be announced 5
«This music and video project came from a collaboration with a mathematical artist who works under the name Cornus Ammonis. He creates simulations of pattern formation, using ideas originally created by Alan Turing in his attempts to explain and model the mathematics of living systems. These systems create beautiful warping interacting layers of simulated substances, and we thought this visual effect could lend itself well to an imagined alien planetary surface with some unknown form of geological process — molten landscapes.
Its a slowly evolving hypnotic visual process, so the music has the same form, with a repetitive syncopated two note motif playing under a gradually developing chord structure which becomes ever more layered. Its all about atmosphere and sitting back to let it wash over I think, its not a sharply defined piece, and it needs to be given some time to develop, but hopefully the result is worth the time you give it.
After Cornus Ammonis had created a load of stock video sequences using his models, I then passed the footage on to Morgan Beringer (who created the awesome Unbounded video from Emergence). Morgan applied his trademark processing style to the previously raw footage in order to blend and layer, and make the whole visual have a lot more smooth movement and rich organic feel. Sorry thats not a very technical description of what he did, but hopefully youll know what I mean when you see it!»
— — — — — Cornus Ammonis:
«Two systems are at work here. The first simulates a grid of points connected to their neighbors by nonlinear springs—that is, springs that break (exert much less force) once they extend past a certain point. Each point has both a position and velocity, which is updated by summing spring forces and applying reverse advection. The collective action of the spring system produces constantly-shifting hills and valleys of points that become oriented in nearly the same direction. Straddling these valleys are groups of springs that have „fractured“ in opposite directions, in a process similar to the forces governing the patterns that form in the cracked earth of a dry riverbed.
The second system is a simulation that rides along the „surface“ of the spring grid. This system produces Turing pattern-like stripes and blobs that split and merge as they propagate across the underlying spring system vector field, yielding an overall effect analogous to seafoam on an ocean wave. Like a fluid simulation, this system propagates quantities over a vector field, but no divergence minimization or advection process is used—the process is mediated only by the interplay of diffusion and various quantities computed on the vector field, namely, curl (vorticity), divergence, and the average distance between neighboring vectors. The equations governing the interactions between these quantities were chosen so that the system remains constantly in a state of flux, rather than settling into a stable configuration—they were not chosen so that the system models some specific physical process.
The output of these two systems is a vector field. In order to turn this vector field into a terrain, a solver integrates over the field to produce a height at every point (i.e. a heightmap). It is not possible to perfectly recover a heightmap from these systems, so the output of the solver is a continually-updated approximation. The terrain is rendered using raymarching, so that the entire process, from simulation to rendering, is computed entirely on the GPU.»