My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

downstream

Daily recommended free MP3s + streams

Archival Music from Bill Laswell

A 20-plus-year-old drum duet (Hideo Yamaki and Ginger Baker)

This track is archival, but it also serves as a current, potent little reminder of what’s going on at bassist-producer Bill Laswell’s quickly expanding Bandcamp page. The track dates from 1993, recorded the year prior for Japanese drummer Hideo Yamaki’s album Shadow Run. It popped up today on Laswell’s Bandcamp outpost. Like many Laswell productions, Shadow Run appears under an individual’s name, but that name stands in for a wide swath of favorite session players, among them Foday Musa Suso (kora, vocals), Bernie Worrell (organ), Toshinori Kondo (trumpet), and Laswell himself. And, on this track, the great Ginger Baker. The track, “Hoisasa,” is a duo of Baker and Yamaki going at their kits, sometimes in swinging unison, often in swaggering counterpoint. It’s a force of nature collaboration. Two other releases under Yamaki’s name also appear on Laswell’s page, both duos with Laswell himself.

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Disquiet Junto Project 0243: Synth Trial

The Assignment: Share the best track from your audition tape for Blade Runner 2.

voightk

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. A SoundCloud account is helpful but not required. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project was posted in the morning, California time, on Thursday, August 25, 2016, with a deadline of 11:59pm wherever you are on Monday, August 29, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0243: Synth Trial
The Assignment: Share the best track from your audition tape for Blade Runner 2.

Please pay particular attention to all the instructions below, in light of SoundCloud having closed down its Groups functionality.

Big picture: One thing arising from the end of the Groups functionality is a broad goal, in which an account on SoundCloud is not necessary for Disquiet Junto project participation. We’ll continue to use SoundCloud, but it isn’t required to use SoundCloud. The aspiration is for the Junto to become “platform-agnostic,” which is why using a message forum, such as llllllll.co, as a central place for each project may work well.

And now, on to this week’s project.

Project Steps:

Step 1: As you now know, Jóhann Jóhannsson was selected to score Blade Runner 2. The news means, among other things, that you didn’t get the gig. Please reconcile yourself with this.

Step 2: Please share your favorite track from the audition tape you sent to Ridley Scott.

Five More Important Steps When Your Track Is Done:

Step 1: Per the instructions below, be sure to include the project tag “disquiet0243” (no spaces) in the name of your track. If you’re posting on SoundCloud in particular, this is essential to my locating the tracks and creating a playlist of them.

Step 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: This is a fairly new step, if you’ve done a Junto project previously. In the following discussion thread at llllllll.co post your track:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

This project was posted in the morning, California time, on Thursday, August 25, 2016, with a deadline of 11:59pm wherever you are on Monday, August 29, 2016.

Length: The length is up to you. Three minutes seems like a good maximum.

Title/Tag: When posting your track, please include “disquiet0243” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track online, please be sure to include this information:

More on this 243rd weekly Disquiet Junto project — “Share the best track from your audition tape for Blade Runner 2” — at:

http://disquiet.com/0243/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0243-synth-trial/4288

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

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Forum Digging and the Fate of Netlabels

I was interviewed for WFMU's Radio Free Culture podcast.

rfcoct14_medium

Radio Free Culture WFMU exists to, per its credo, “examine issues at the intersection of digital media and the arts.” I was excited to be interviewed for the podcast by Erik Schoster, aka the musician He Can Jog. We talk about a wide range of subjects, including the role of netlabels in the age of streaming, listening strategies in our age of sonic abundance (forum digging as the new crate digging), the benefits and challenges of platform agnosticism (in light of the Disquiet Junto’s shifting dependence on SoundCloud), the imminent 250th weekly Disquiet Junto project, the imminent 20th anniversary of Disquiet.com (December 13, 2016), and the return to active duty of Aphex Twin.

I can’t seem to sort out how to embed the audio here, but you can listen at prx.org.

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Music for Piano and Cicada

Loops both digital and natural courtesy of Denmark-based Robert Rizzi

The piano is not entirely lost, though per the title of the track it is deconstructed, and muddied by the presence of a field recording. The full track title is “Deconstructed piano improvisation and Field recording etude No.5,” by Robert Rizzi of Kolding, Denmark. The field recording is largely bug noise, “this summer of cicadas on Mallorca, Spain,” according to Rizzi. Amid the high-pitching buzzing, the piano is heard cutting in and out, notes more like shards than notes. They break in the middle or start midway. They repeat like a stutter, like a memory caught on a loop, sometimes so swiftly that the digital processing is self-evident, but often with a whispery, casual quality — almost flute-like at times — that makes this half-real piano sound just as real, just as natural, as nature’s own looping white noise.

Track originally posted at soundcloud.com/rizzi. More from Rizzi at twitter.com/RobertColeRizzi.

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The Generative Patch as Fixed Recording

A live video by Flohr of Atlanta, Georgia

Like yesterday’s featured video, this video pushes the legibility of live filmed performance. Yesterday’s technically involved multiple live takes overlaid, each obscuring the others, and the ambient quality of it having less to do with any individual performance in the first place and more with the chance correlations that occurred as a result of the post-production act of accrual. Today’s video, by Flohr, is too murky and unidentifiable to ever be mistaken as a tutorial. And, of course, any modular synthesizer piece, such as this, that employs self-generating patches thus involves little if any human interaction. The hand comes down from above, the scale and surprise a bit like a Monty Python animation, a couple times, but by and large, this is really a live performance as fixed document — a patch playing out in realtime as something set in stone nonetheless, or in this case set in plastic and metal. The piece, “Spring Reverb Feedback Paths” by Flohr, is a shiny, rapidly cycling shimmer worth putting on repeat.

Flohr is Eric Flohr Reynolds of Atlanta, Georgia. More from him at soundcloud.com/flohr and ericflohrreynolds.bandcamp.com.

It’s the latest piece I’ve added to my ongoing YouTube playlist of fine “Ambient Performances.”

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