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

Tag Archives: field-recording

Sneak Peek at New Disquiet.com Project: Disquiet Junto

This post wasn’t intended to go live until Tuesday, and there was a chance it wouldn’t be written at all. Yesterday saw the launch of a new communal music project associated with Disquiet.com. It’s called “Disquiet Junto” and it’s hosted over at soundcloud.com.

Here’s how it works: on Friday, which is to say yesterday, January 8, I posted an assignment, an “idea” for a piece of music. A deadline was set for this coming Monday, January 9, at midnight, by which time anyone who wanted to participate would post their own original track that acted on the assignment. The first assignment is:

“Please record the sound of an ice cube rattling in a glass, and make something of it.”

It’s only Saturday evening as I type this, and there are already 51 members of the group, and as of three hours ago a total of 18 completed tracks have been posted, many though not all available for free download. I didn’t know if I’d ever write this post, because I didn’t know if anyone would participate. But participating they are — not only responding in sound to the assignment, but listening to and commenting on each other’s tracks. Collectively, the 18 tracks have been listened to almost 600 times in barely 24 hours, and there are over 70 comments, most from one contributing musician to another. Here’s a stark contrast: the recent Disquiet.com music project Instagr/am/bient has been listened to almost 17,000 times since its launch a week and a half ago, and there have been a total of 31 comments.

The variety of responses to “Disquiet Junto 0001″ is just as thrilling as the number of responses is. The idea of making music from the sound of ice in a glass has yielded a very short story from Mark Rushton, some detailed phonography from Mike Bullock, a lovely mix of buggy whirring and gentle melodic phases from My Fun, and subdued funk from Open Heart Sound, just to point out a few.

I have many ideas for things to do as part of Disquiet Junto, and will roll them out in coming weeks. I also have much more to say about where the project comes from, culturally and sonically and socially, but for the moment, let’s let the assembled musicians’ excellent contributions speak for themselves.

Check out the Disquiet Junto page at soundcloud.com.

PS: The word “junto” comes from the name of a society that Benjamin Franklin formed in Philadelphia during the early 1700s as “a structured forum of mutual improvement.” I learned of it while reading, recently, the Franklin biography by Walter Isaacson, who penned the recent Steve Jobs bio. I highly recommend the Franklin book, and Isaacson’s book on Albert Einstein. I have not yet read the Jobs one.

Update: With a little under 40 hours to go before deadline, there were already 24 entries by as many musicians.

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Chimes and More Chimes

Perhaps the only thing better than a wind chime — the only thing more redolent with the generative wonder inherent in this most basic of automated instruments — is a pair of wind chimes. That is precisely what Josh Davison, who goes by Stringbot, posted recently to his soundcloud.com/stringbot account. It’s a brief track, under a minute in length, but eminently loop-able. The beauty of having a pair of chimes is the extent to which they act independently, seemingly far more so than do the individual rungs of a single chime. The result is a gentle cacophony.

Davison’s sole stated regret? That he had but a mono microphone at this instance: “I wish I had a stereo mic with me, this is two sets of wind chimes. I was standing in between them.”

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Bells, Intervals, and Sonic Armistice

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The saying goes that a broken clock is right twice a day. The thing about a fully functioning clock is that it means different things at different times of the day. The noon bell, for example, is a midday alert. Even if the noon bell also happens to signal, say, a Latin mass, it provides a secular timekeeper for everyone within earshot. Other times might be synchronized with things other than the nearly universal 24-hourly intervals: religious events (services) and semi-secular ones (weddings) generally fall off the strict hour/half-past regularity. Even when slight, discrepancies in timing can feel significant, or at least meaningful. In the neighborhood where I live, the noon bell rings each Tuesday just after a noon siren calls out across the city (actually a network of sirens, all slightly off sync). The noon church bells always start slightly after the alert ends (the siren consists of two parts: an alarm, and then a spoken announcement). It’s unclear if the alert comes early or if the bells late, but they long ago reached some sort of sonic armistice.

The great Touch Radio podcast noted the end of 2012 with an extended recording of bells (MP3), recorded in the belltower of St. Mary’s Church, Walthamstow. They were no doubt intended to signify the close of a year, but they were, in fact, if the data in the RSS feed is correct, released eight days prior, and in fact recorded a full month prior. The bells rang any number of times between November 30, when they were recorded, and January 1, 2012 — and thanks to the podcast MP3, they will continue to be heard into the future, each time signally something slightly different: coinciding with an event, looking ahead to one, or bringing to mind something from the past.

And, for that matter, the bells find themselves occasionally excepted from timekeeping duties, and listened to for their sonic properties. There is a particularly eventful sequence at around the eight-minute point when decay and overlays combine to create illusions of more bells than are in fact ringing — the reverberation almost takes on the appearance of backward masking, which is ironic given the association of backward masking with Satanism.

Track originally posted (“With thanks to Denis Hewitt & Ewan Marshall”) at touchradio.org.uk.

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Instagr/am/bient: 25 Sonic Postcards

25 ambient musicians respond to one another’s evocative Instagram photos.

25 ambient musicians created original sonic postcards in response to one another’s evocative Instagram photos.

An Introduction to Instagr/am/bient:

Photos shared with the popular software Instagram are usually square in format, not unlike the cover to a record album. The format leads inevitably to a question: if a given image were the cover to a record album, what would the album’s music sound like?

Instagr/am/bient is a response to that question. The project involves 25 musicians with ambient inclinations. Each of the musicians contributed an Instagram photo, and in turn each of the musicians recorded an original track in response to one of the photos contributed by another of the project’s participants. The tracks are sonic postcards. They are pieces of music whose relative brevity—all are between one and three minutes in length—is designed to correlate with the economical, ephemeral nature of an Instagram photo.

The result of the 25 musicians’ collective efforts is an investigation into the intersection of technology, aesthetics, and artistic process. What parallels exist, for example, between the visual filters that Instagram provides users to transform their photos and the sound-processing tools employed by electronic musicians?

In many cases here, the musicians employ sonic field recordings as source material for their music. In the case of both their photos and their compositions (photography in one case, phonography in the other), documents are altered to emphasize their atmospheric qualities: to eke a modest art out of the everyday.

Thumbnails of the 25 Images:

The full collection is also streaming at soundcloud.com/disquiet.

The 25 MP3s are downloadable for free individually and as a Zip file at archive.org.

Download a 58-page PDF with full-page reproductions of the images and additional information on all the participating musicians: PDF.

A Disquiet.com Project
Commissioned by Marc Weidenbaum

Design/Boondesign.com
Cover Photo/Brian Scott

This project in no way intends to imply any formal association with Instagram.

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The Elevator to the Techno Gallows (MP3)

Sometimes the best rhythmic tracks are hiding in plain site. New York’s Myroslaw Bytz caught nearly a minute of MTA Escalator at Times Square on Monday at 5am. It’s a slow, gangly beat, like a chain being pulled a long distance, or like some old gears shuffling in place. Sisyphus wears a reflective orange vest.

It’s a rhythm that suggests itself as metronomically precise but that, in fact, soon reveals itself to be a slurry mass of inaccuracies, a wonder of mechanical imprecision. The presence in the recorded track of a rote municipal announcement, apparently spoken by a woman, provides a keen parallel to the soundbite shout-outs of standard dance music. In place of 4/4 beats and diva proclamations, we get the mundane chaos of public transportation.

Track originally posted at soundcloud.com/bytz. More on Bytz at mbytz.com and twitter.com/mbytz.

(Photo via the Creative Commons and flickr.com.)

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