Quote of the Week: Sale-less Record Shop

A record shop that doesn’t sell records. Instead, it’s an art installation. From the press release:

    For The Shop, the archives of the Chemnitz-based Raster Noton label will be presented at e-flux in the form of a record shop, albeit one without a commercial component. Comprised of publications (featuring Raster Noton’s distinct approach to graphic design), music CD’s (to be displayed as physical objects), and sound (for listening on mp3 players), the Raster Noton archive will offer a panoramic view of the label’s output of nearly 100 releases, or 90 hours of audio material. Bender and Nicolai’s installation White Line Light will provide lighting for The Shop via a handmade, neon gas-filled tube that reacts to Raster Noton compositions.

More details at e-flux.com. The store is at 41 Essex Street in Manhattan. The label’s Carsten Nicolai (Alva Noto) and Olaf Bender (Byetone) will perform there this coming Tuesday, and the “shop” will remain open through the end of July.

Chris Carter (Throbbing Gristle) Radiophonic Workshop Tribute MP3

Just this morning, Chris Carter of Throbbing Gristle uploaded a free MP3 to the excellent audio-showroom service that is soundcloud.com. At his soundcloud.com/chris_carter page, there are now two free files available, the most recent of which is “Experimental Tribute” (MP3). It’s a rousing whorl of noise, deep thick echoes of counter-posed wave forms, and otherworldly sonic churn, atop a series of slowly alternating pulses.

[audio:http://media.soundcloud.com/chris_carter/experimental-tribute/download|titles=”Experimental Tribute”|artists=Chris Carter]

If the whole thing sounds like the score to some 1960s sci-fi B-movie, the reason may be that what the track is a tribute to is the BBC Radiophonic Workshop, source of all forms of sonic experimentation (notably the eerie sounds of Dr. Who), and which would have turned 50 this year had it not been shuttered a decade ago.

Carter’s track also represents a fascinating aspect of Internet-based music, in that the recording is a real-time reaction by an artist to the news. The Workshop’s been the subject of anniversary reflections this week (bbc.co.uk, disquiet.com). We’re already used to seeing musicians, and other artists (and, more generally, public figures), blur the line between public and private online (Carter himself announced the track via his twitter.com/chris_carter_ account). Musicians giving us peeks into their studios and lives is one thing, but witnessing them respond to the world in a diary-like musical mode is something altogether more promising.

Carter has also posted video of the performance that led to the MP3 (at vimeo.com and flickr.com — from which the above still image was taken).

In addition, at three of those four web-based communal spaces (Vimeo, Flickr, and SoundCloud — and, soon enough, no doubt, in Twitter), Carter is conversing with commenters about the track. One of the early comments on the Vimeo thread is Carter’s fellow British musician Scanner, whom Twitter followers have seen communicating with Carter in recent weeks. Jokes Scanner, in reference to the array of effects involved in making “Experimental Tribute”: “Great fun there Chris (just hope you weren’t running on batteries!)”

John Kannenberg Says Goodbye to Chicago (MP3s)

John Kannenberg is moving from Chicago to Ann Arbor to pursue an MFA in the Art & Design program at the University of Michigan. The founder of the great netlabel Stasisfield (stasisfield.com), and a talented musician, he has spent his remaining days in Chicago recording field documentation of his favorite sounds. Kannenberg’s effort makes for a nice counterpoint to the one recounted yesterday (disquiet.com), in which Michael Raphael marked his arrival in Brooklyn from the midwest with a pair of MP3s taped in his new living-room window.

In a pair of posts thus far (with more promised: johnkannenberg.com, johnkannenberg.com), Kannenberg has caught for posterity the afternoon traffic along Lake Shore Drive (MP3), as well as construction on Michigan Avenue (MP3), and the automated voices in Union Station (MP3). Between the two posts, there are 16 such tracks, each with accompanying commentary. Some, like the traffic, are presumably as close to eternal as an urban setting could provide. Others are more time-sensitive, such as the lovely snippet of what Kanneberg describes as “public euphoria” following a White Sox victory (MP3). There is also air-vent hissing, bird noise, fountains, and more.

This picture of Kannenberg, shot by Alessandra Gillen, accompanied the first of the two posts:

This is him on construction noise in the Modern Wing of the Art Insitute of Chicago (MP3):

    A compact little field recording symphony. I love the way the drone of the equipment and the traffic interplay at first, followed by the construction worker’s whistling and the woman’s footsteps in the gravel. A great beginning, middle and end.

[audio:http://www.johnkannenberg.com/sound/fieldrecordings/april2009-lakeShoreDriveTraffic.mp3|titles=”Afternoon traffic on Lake Shore Drive”|artists=John Kannenberg] [audio:http://www.johnkannenberg.com/sound/fieldrecordings/march2009-amtrakVoices.mp3|titles=”Automated voices in Union Station”|artists=John Kannenberg] [audio:http://www.johnkannenberg.com/sound/fieldrecordings/april2009-appleStoreConstruction.mp3|titles=”Michigan Avenue construction”|artists=John Kannenberg] [audio:http://www.johnkannenberg.com/sound/fieldrecordings/april2009-sox35th.mp3|titles=”Walking to Sox-35th CTA station after White Sox victory”|artists=John Kannenberg] [audio:http://www.johnkannenberg.com/sound/fieldrecordings/april2009-AICconstruction.mp3|titles=”Modern Wing of Art Institute of Chicago under construction”|artists=John Kannenberg]

In another entry, he compliments a particular spot on its sounds and its vista, but touches on what could be called the Phonographer’s Dilemma: “A great place to stand and listen,” he says of the place, “but difficult to make a recording without the sound of other people on the observation deck!” Which is to say, the human ear can focus on fine aural details and sonic objects, but the microphone captures — for better and, more often, worse — everything.

Best of luck to Kannenberg in his his academic venture. No doubt his art, and thus our listening, will be all the richer for it.

Michael Raphael’s Brooklyn Audio Documents (MP3s)

Michael Raphael moved from the midwest to Brooklyn recently, an event he described as a “homecoming of sorts.” He commemorated his first weekend in his adoptive borough with a pair of field recordings. Both were recorded in the same spot, in the window of his new living room, but at different times: one at 5:00pm (MP3) on a Saturday night (May 9, if you’re time-stamping as well as geo-coding your downloaded MP3 files), and the second 12 hours later (MP3). One before sunset, the other before sunrise. One rife with human activity (children, and ice-cream truck), one relatively bereft. More details at his blog, sepulchra.com.

[audio:http://sepulchra.com/blog/wp-content/pod/2009/05/090510brooklynpm.mp3|titles=”Brooklyn Landing PM”|artists=Michael Raphael] [audio:http://sepulchra.com/blog/wp-content/pod/2009/05/090510brooklynam.mp3|titles=”Brooklyn Landing AM”|artists=Michael Raphael]

Tangents: Oliveros Award, Dalek Sounds, Byrne House Music …

Recommended reading, news, and so forth elsewhere:

PDF: Pauline Oliveros Wins 2009 William Schuman Award (millertheatre.com): As music awards go, the William Schuman has been particularly open-minded. It's gone to classical-tradition figures like David Diamond, jazz-informed mavericks like Gunther Schuller, minimalists like Steve Reich, and out-jazz characters like John Zorn. There's something particularly gratifying about Pauline Oliveros being the recipient of the award this year, given that her work is so apart from the orchestral and chamber mode, in that she regularly emphasizes instructional works over precise written scores, employs electronic effects, and involves site-specific ephemerality. (She is also, it appears, the first woman to receive the Schuman.) The award will be presented to her on March 27, 2010.

Four Sound Effects That Made (British) TV history (bbc.co.uk): For the BBC, Tom Geoghegan recounts accomplishments of the BBC's Radiophonic Workshop on the 50th anniversary of its founding — and a decade after it was closed. The focus of this piece is four sounds, and how they were created, among them the "Dalek voice" from the fabled science-fiction series Dr. Who: "'We tried to give the impression that whenever a Dalek spoke, it wasn't speaking like we do, it was accessing words from a memory bank, so they all sound the same — dispassionate, mechanical and retrievable.' He [Dick Mills] used a centre-tap transformer plugged into the microphone of an actor standing at the side of the set, and the threat in the voice was all in the performance." (Via londonsoundart.wordpress.com.)

More on David Byrne‘s London Edition of ‘Playing the Building’ (davidbyrne.com): I missed this when it occurred in downtown Manhattan last summer, by just a day. Now, in advance of its August 8-31 run in London (at the Roundhouse — see image above), on David Byrne's site there is substantial coverage of his "Playing the Building" piece, including documentary video footage — not only of the Battery Maritime Building event, but also the earlier one in Stockholm from 2005 — and links to press accounts.

11 Things to Do with a Buddha Machine 2.0: Jesse Jarnow lists almost a dozen options for the FM3-created sound-art object the Buddha Machine 2.0, including #7: "Go to LaMonte Young's Dream House. Upon exit, use pitch control to match drone, carry vibe home with you."

More online resources at disquiet.com/elsewhere.