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.

tag: live-performance

The Tape Machine

An Ondes Magnétique in action

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The OM-1 Ondes Magnétique is an elegant little box that uses fluctuations in cassette tape speed to effect otherworldly yet melodic material. This video shows SineRider putting it to use. The layering effect is the result of the OM-1 being played through a “triple delay,” meaning each sequence is heard several times, providing its own gentle, hazy backdrop as it gathers and fades. It’s the latest piece I’ve added to my ongoing YouTube playlist of fine “Ambient Performances.”

For reference, here’s a demo video showing the device put to use on flute, vocal, and other source audio:

Track originally posted at SineRide’s YouTube channel. More from SineRider, aka Devin Powers of Norwood, Massachussets, at sinerider.bandcamp.com, soundcloud.com/sinerider, and twitter.com/SineRider. More on the Ondes Magnétique at ondemagnetique.com. The device is the work of Scott Campbell, who is based in New Orleans, Louisiana.

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I’ll Be Talking About Doorbells in Oakland (Dec. 1)

At the offices of the design studio Futuredraft

I’ll likely mention this again, since today is sort of a busy day for many people, but the meetup.com invitation has gone live for the talk I’m giving on doorbells on December 1 in Oakland. Here’s the description:

You’re visiting someone — a friend, a colleague — and you arrive at their building. You put the tip of one of your fingers up against a tiny button that sits beside the entrance, and you push. Somewhere inside the building a bell resounds. Tied up in that tidy interaction are a host of telling cultural, historical, and technological details about the way machines mediate human interaction.

How long do you wait before ringing again? What does the echo of the bell tell you about the interior space? Is the doorbell paired with a camera? Does the camera make you feel suspect, or at least wish that you’d fixed your hair? Will a disembodied voice inquire about your identity? How long have you been standing there? Did the bell ever actually ring? Had you accidentally let your finger slip? Did you perhaps never really register your presence?

Marc Weidenbaum, a longtime critic of and community organizer in electronic music, will talk about the cultural history of that everyday pushbutton gadget, the doorbell. He will discuss the intercom’s development in Japan, the rise of the domestic surveillance apparatus, the consumer-product soundscape of everyday life — and, ultimately, what lessons the humble, ubiquitous doorbell provides in regard to the Internet of Things, the smart home, and the role of sound in user interfaces.

Marc is the author of the 33 1/3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. His sonic consultancy has included work on GPS mobile apps and coffee-shop sound design, and he has done music supervision for two films, the documentary The Children Next Door and the science fiction movie Youth. He’s exhibited sound art in galleries in Los Angeles, Manhattan, and Dubai, as well as at the San Jose Museum of Art. December 2016 marks the 20th anniversary of his blog, Disquiet.com, which focuses on the intersection of sound, art, and technology.

The talk will be held at the offices of Futuredraft (futuredraft.com) in Oakland at 304 12th Street Suite 4E. The talk is free, but RSVPing (via that MeetUp URL) would be nice.

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Hour-Long William Basinski Video

Recorded live at MoMA PS1 in March 2016

Last week I posted a tremendous hour-long set of Grouper, aka Liz Harris, performing live. That performance was part of a double bill at MoMA PS1 in New York City on March 20, 2016. The other name on the marquee was William Basinski, famed for his use of tape loops toward otherworldly, time-altering effect. That Basinksi video, just under an hour in length, is also on YouTube. Hidden in shadows, aside from dark blue silhouettes and sparkly projections, a wool-capped Basinksi works through shuddering ambient textures in super slow motion, waves upon waves of protracted glisten.

Video originally posted on the Boiler Room YouTube channel. More from Basinski at mmlxii.com.

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Jen Kutler’s Stationary Guitar

A fantasia of droning metallic forms

This living room concert features nearly a quarter hour of Jen Kutler eking a fantasia of droning metallic forms out of a stationary guitar. There are many alternative guitar practices, from playing with your teeth to preparing it, à la a Cageian piano, with paper clips and other small objects. In many ways, an electric guitar can be said to always be prepared, in that it is almost always having its signal routed through various effects pedals. In contrast with a piano, an electric guitar is almost never heard unaltered. For all the perceived rawness and realness of, say, a rock’n’roll guitar solo, that sound is heavily technologically mediated. Kutler’s performance has all the force of a great rock statement, all the roil and ecstasy, but it pursues it without the familiar, orienting substrata of rhythm or melody.

There’s something illustrative about how Kutler situates her guitar. It’s on a guitar stand, at rest. A lot of noise guitarists take a lap-steel approach, holding it sideways. Others telegraph the meditative quality of meter-less sound by placing it flat on the floor, a six-string savasana. Others lay it on a desk amid various cables and effects, akin to a synthesizer or a keyboard. Those horizontal approaches can be read as contrasts to the normal positions: over one’s knee or suspended by a strap. The horizontal positioning matches the ambient/noise approach to sound, that we’re not hearing a song, but instead a song inside out, the material of a song, the sounds not the tune. We’re listening to music from a perpendicular angle. In Kutler’s hands those sounds are akin to a Harry Bertoia sculpture, of thick metal rods swaying amid the very noise they are emanating.

Kutler works with her own homebrew music technology, such as these MIDI-enabled umbrella and sewing machine:

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Video originally posted at the YouTube channel of unARTigNYC. More from Kutler at jenkutler.com and soundcloud.com/jenkutler. More from unARTigNYC at unartignyc.com.

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An Hour-Long Grouper Set

Hosted by Boiler Room

The prolific Boiler Room electronic-music content generation feed machine is often full of fish-eye views of sweaty DJs, but it veers at times down less beat-intensive corridors. This here is a nearly hour-long set of Grouper, aka Liz Harris, performing against a backdrop of footage by filmmaker Paul Clipson. It’s breathy stuff, her voice layered with keyboards, mere snippets of atmosphere given minutes to loop on end, the whole thing like veils giving hints of veils giving hints of veils. It’s all intonation and gauze, but the seeming softness belies a deeper tension. Much ambient music sounds — and is — peaceful, but there’s a tensile quality to Grouper’s music, like just past the threadbare scrim is something tough as nails, an unknowable intensity. The video gives glimpses of her at the mixing board, her fingers lightly adjusting signals, keeping certainty just out of reach.

Video originally posted on the Boiler Room YouTube channel. More from Grouper at this sites.google.com address.

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