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» member profile:
noahcohn
» genre:
Electronica >
House
» location:
noah cohn
» label: unsigned
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Noah Cohn
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Noah Cohn has been writing electronic music for ten years and has many delightful tunes to share with you.
He was born and still lives in Nevada City, California. A small town bordering the snowy Sierra Nevada Mountains. He is 29.
Noah started his enjoyment of making and listening to music early in life. He got his first taste of computer-based composition in 1994. Working with antiquated software and a Yamaha keyboard he recorded several tunes. Nine Inch Nails were just gaining popularity when Noah saw them in his high school years.
Aside from electronic production, Noah started playing the guitar at age 14. He took private lessons and gained much experience playing alone and jamming with friends.
In 1998 the music software Rebirth had only just been introduced and Noah gravitated to it immediately. His first songs were written entirely with that application. Noah has also been inspired by the underground 'MOD' music scene, who write songs entirely with basic software and samples.
Noah has a small studio space dedicated to musical work. His equipment includes a Future Retro 777 synthesizer as well as an old Roland SH-101. Aside from those analog sources, Noah's music is created digitally. He uses Steinberg's Cubase, alongside various software instruments.
As of this year (2008), Noah has released four albums through CDBaby.com. He has no plans to stop anytime soon.
He was born and still lives in Nevada City, California. A small town bordering the snowy Sierra Nevada Mountains. He is 29.
Noah started his enjoyment of making and listening to music early in life. He got his first taste of computer-based composition in 1994. Working with antiquated software and a Yamaha keyboard he recorded several tunes. Nine Inch Nails were just gaining popularity when Noah saw them in his high school years.
Aside from electronic production, Noah started playing the guitar at age 14. He took private lessons and gained much experience playing alone and jamming with friends.
In 1998 the music software Rebirth had only just been introduced and Noah gravitated to it immediately. His first songs were written entirely with that application. Noah has also been inspired by the underground 'MOD' music scene, who write songs entirely with basic software and samples.
Noah has a small studio space dedicated to musical work. His equipment includes a Future Retro 777 synthesizer as well as an old Roland SH-101. Aside from those analog sources, Noah's music is created digitally. He uses Steinberg's Cubase, alongside various software instruments.
As of this year (2008), Noah has released four albums through CDBaby.com. He has no plans to stop anytime soon.
Equipment used:
Roland SH-101, Future Retro 777, Korg MS2000R, Cubase Studio 4
Anything else...?
No Accidents
By Noah Cohn
© 2008 Noah Cohn
There is no such thing as chance; and what seems to us the merest accident springs from the deepest source of destiny.
--Friedrich Schiller
Though he’s only 28, Noah Cohn has already proven himself as a mature and sophisticated musician, and his latest work, No Accidents, pops, buzzes, and sparkles with inspiring, up-beat electronic dance tracks. With diverse and dissimilar influences, ranging from contemporary euro-pop to 1960’s psychedelic rock, Cohn defies the boundaries of any given genre. His proprietary blend of eclectic influences work together beautifully in this, his fourth full album, and in general, No Accidents is more consistently pleasing and danceable than some of his earlier work. No Accidents is sure to satisfy any fan of experimental electronic music, from acid house to drum and bass, and is sure to send any true Kraftwerk fan into fits of digitally induced euphoria.
Cohn’s no newcomer to the techno scene, in fact, he’s been composing, performing, and recording for over a decade—and it shows. Both his musical skills and his equipment have developed since he first began experimenting with the Swedish made program “Rebirth-338” in 1998, and No Accidents is the culmination of diligent effort, hard-won musical skill, and technical know-how.
Cohn’s come a long way since the release of his first album, Go With Love, in 2004, and his growth is audible in the variety, depth, and complexity of the tracks on No Accidents—from the dark, driving, desperate sounds of “It’s an Old Game,” to the joyful laid-back harmonies of “Tunnel to Canada.” Intricate rhythms and pleasant melodies abound on this album, and so much is going on in every single track that listeners are sure to hear something new on each consecutive playing.
Uncompromisingly experimental and unflinchingly inventive throughout, No Accidents is by no means a pop album, but this is not to say that it is without popular appeal. The title track is catchy from, beginning to end, and even wildly experimental pieces such as “Cuts the Darkness” and “Euclidean Space” are highly accessible. For those who can’t do without vocals, “Stacy’s Birthday” is a surefire hit, recalling the sounds of early techno bands such as Depeche Mode and New Order, Cohn proves with this track that no instrument is out of place in his music, including the human voice. Cohn’s vocals have a unique and eerie quality, and because he blended several vocal tracks together a la The Beatles, they have a depth that blends impeccably with the layered techno-instrumentals. The same can be said of the bass track by Forest Lane on “Jelly Jam,” which also happens to be the only track on the album that features a guest artist.
At times it’s hard to believe that this album was composed, performed, and recorded by a single artist, but some people are just that talented, and Cohn’s one of them. His talent and expertise in every facet of music creation and production are enviable. The road ahead is sure to be filled with both artistic and commercial success for this talented young and upcoming artist.
By Noah Cohn
© 2008 Noah Cohn
There is no such thing as chance; and what seems to us the merest accident springs from the deepest source of destiny.
--Friedrich Schiller
Though he’s only 28, Noah Cohn has already proven himself as a mature and sophisticated musician, and his latest work, No Accidents, pops, buzzes, and sparkles with inspiring, up-beat electronic dance tracks. With diverse and dissimilar influences, ranging from contemporary euro-pop to 1960’s psychedelic rock, Cohn defies the boundaries of any given genre. His proprietary blend of eclectic influences work together beautifully in this, his fourth full album, and in general, No Accidents is more consistently pleasing and danceable than some of his earlier work. No Accidents is sure to satisfy any fan of experimental electronic music, from acid house to drum and bass, and is sure to send any true Kraftwerk fan into fits of digitally induced euphoria.
Cohn’s no newcomer to the techno scene, in fact, he’s been composing, performing, and recording for over a decade—and it shows. Both his musical skills and his equipment have developed since he first began experimenting with the Swedish made program “Rebirth-338” in 1998, and No Accidents is the culmination of diligent effort, hard-won musical skill, and technical know-how.
Cohn’s come a long way since the release of his first album, Go With Love, in 2004, and his growth is audible in the variety, depth, and complexity of the tracks on No Accidents—from the dark, driving, desperate sounds of “It’s an Old Game,” to the joyful laid-back harmonies of “Tunnel to Canada.” Intricate rhythms and pleasant melodies abound on this album, and so much is going on in every single track that listeners are sure to hear something new on each consecutive playing.
Uncompromisingly experimental and unflinchingly inventive throughout, No Accidents is by no means a pop album, but this is not to say that it is without popular appeal. The title track is catchy from, beginning to end, and even wildly experimental pieces such as “Cuts the Darkness” and “Euclidean Space” are highly accessible. For those who can’t do without vocals, “Stacy’s Birthday” is a surefire hit, recalling the sounds of early techno bands such as Depeche Mode and New Order, Cohn proves with this track that no instrument is out of place in his music, including the human voice. Cohn’s vocals have a unique and eerie quality, and because he blended several vocal tracks together a la The Beatles, they have a depth that blends impeccably with the layered techno-instrumentals. The same can be said of the bass track by Forest Lane on “Jelly Jam,” which also happens to be the only track on the album that features a guest artist.
At times it’s hard to believe that this album was composed, performed, and recorded by a single artist, but some people are just that talented, and Cohn’s one of them. His talent and expertise in every facet of music creation and production are enviable. The road ahead is sure to be filled with both artistic and commercial success for this talented young and upcoming artist.