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.

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Disquiet Junto Project 0277: Chew Concrète

The Assignment: Make music inspired by C. Reider's Chew Cinders album procedures.

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’s deadline is 11:59pm wherever you are on Monday, April 24, 2017. This project was posted in the morning, California time, on Thursday, April 20, 2017.

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

Disquiet Junto Project 0277: Chew Concrète
The Assignment: Make music inspired by C. Reider’s Chew Cinders album procedures.

Step 1: This week’s project is inspired by the manner in which C. Reider recorded his recent album, Chew Cinders (Midnight Circles). We aren’t remixing his album. We’re remixing/repurposing his approach to the album. You can check it out here:

https://midnightcircles.bandcamp.com/album/chew-cinders

Step 2: This instruction is adapted, with Reider’s input, from the manner in which he recorded the album:

Process a sequence of standalone “chunks” of pre-recorded sound — voice, field recordings, noise — with an emphasis on the manipulation of time and pitch. Speed things up, slow them down, and explore the opportunity to use cutup techniques. Pay particular attention to segues between the chunks.

Step 3: Make a piece of music inspired by the approach delineated in Step 2.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0277″ (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: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/chew-some-concrete-sounds-disquiet-junto-project-0277/

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.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, April 24, 2017. This project was posted in the morning, California time, on Thursday, April 20, 2017.

Length: The length is entirely up to the participant.

Title/Tag: When posting your track, please include “disquiet0277″ 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 277th weekly Disquiet Junto project — “Chew Concrète: Make music inspired by C. Reider’s Chew Cinders album procedures” — at:

http://disquiet.com/0277/

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/chew-some-concrete-sounds-disquiet-junto-project-0277/

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

Image associated with this project is adapted from Thomas Jung’s art for the cover of the album that inspired the project, C. Reider’s Chew Cinders:

https://midnightcircles.bandcamp.com/album/chew-cinders

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Musique Concrète + Video Games

The making of Resident Evil 7: Biohazard

This short documentary video about the making of the video game Resident Evil 7: Biohazard explores the use of musique concrète to achieve the game developers’ pursuit of a horror aesthetic. The 8-minute profile interviews various participants in the game’s production from a variety of sound roles, including audio director, composers, and music production supervisors.

Says one member of the team: “We talked about this whole musique concréte style. So using voices became part of the score, and we gave them instructions like pretend, you know, you’ve got a plastic bag over your head and you’re asphyxiating. Pretend you’re drowing; make a sound like that. By the end it got a little bit weird: you know, you’re a zombie cow and you’re dying.”

It’s interesting to observe their collective decision and their experience of moving away from traditional game music — which is generally electronic but also usually employs recognizably musical instrumentation or reference points — to work drawn entirely from recorded audio.

Video originally posted at Vimeo. More on the video game, which was released back in January, at residentevil7.com. An album of the music was also released in January: sumthing.com.

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Electromagnetic Ambient Music

And slivers of found radio signals

These two short videos from Berlin-based musician Hainbach explore mangled ambience thanks to a handy new device that benefited from an especially popular Kickstarter campaign. The gadget in question is the KOMA Field Kit, and it serves as an entry point into various less typical sonic sources, including physical connections like solenoids and DC motors, as well as the far more ethereal electromagnetic pickup. The latter is employed in the first of these videos, “David Dreams | Tape, Field Kit, OP1, Phashi.” Watch as that little hand-held sensor is moved from one device to the next, the unique nature of its detection lending an otherworldly timbre to Hainbach’s drones. “Nevada in My Dreams | Tapeloop, Fieldkit, OP1” is even slower and doomier than “David Dreams,” with bits of radio noise shooting through like sliver glimpses of alternate worlds. Hainbach’s YouTube channel is a great source of electronic music using a variety of instruments, which he details in the notes associated with the videos. This pair investigates how two very different airborne signals can contribute to the texture of recordings.

Videos originally posted at Hainbach’s YouTube page. Hainbach is Berlin-based composer Stefan Paul Goetsch. More from Hainbach at hainbach.bandcamp.com and instagram.com/hainbach101. More on the KOMA Field Kit at cdm.link, which is where I first came across the “Nevada in My Dreams” video.

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Disquiet Junto Project 0276: 808 Blockchain Beats

The Assignment: Make 808-style beats based on the blockchain.

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’s deadline is 11:59pm wherever you are on Monday, April 17, 2017. This project was posted in the morning, California time, on Thursday, April 13, 2017.

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

Disquiet Junto Project 0276: 808 Blockchain Beats
The Assignment: Make 808-style beats based on the blockchain.

Many thanks to Jon Phillips for proposing and helping to develop this project.

Step 1: This week we’re making music informed and inspired by blockchain. If you’re not familiar with blockchain, this concise summary might be of use:

The Blockchain is a distributed database that maintains a continuously growing list of ordered records called blocks. Each block contains a timestamp and a link to a previous block. The most well known and original implementation is the Bitcoin Blockchain which is often described as a peer-to-peer (p2p) public ledger of all transactions. Blockchain technologies offer a consensus mechanism of indirect coordination, which provides the ability to achieve large-scale and systematic cooperation in an entirely distributed and decentralized manner. Blockchains can be considered as hyper-political and global governance tools, capable of managing social interactions on a large scale and dismissing traditional central authorities. Specific uses include accounting, identity management, record keeping systems, voting, and land registries.

The source of the summary:

https://en.m.wikipedia.org/wiki/Blockchain

Now, if blockchain is too technical and you aren’t using bitcoin as the new gold ;) then use the images that come to mind: block & chain, and use 808 sounds to make some beats.

Step 2: Make a beat informed by blockchain that uses or is in someway inspired by the 808 drum machine.

Five More Important Steps When Your Track Is Done:

Step 1: If you hosting platform allows for tags, be sure to include the project tag “disquiet0276″ (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: In the following discussion thread at llllllll.co please consider posting your track:

http://llllllll.co/t/808-blockchain-beats-disquiet-junto-project-0276/

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.

Deadline: This project’s deadline is 11:59pm wherever you are on Monday, April 17, 2017. This project was posted in the morning, California time, on Thursday, April 13, 2017.

Length: The length is entirely up to the participant.

Title/Tag: When posting your track, please include “disquiet0276″ 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, and if possible link to the original track:

More on this 276th weekly Disquiet Junto project — “808 Blockchain Beats: Make 808-style beats based on the blockchain” — at:

http://disquiet.com/0276/

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/808-blockchain-beats-disquiet-junto-project-0276/

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

Image associated with this project is from:

https://en.m.wikipedia.org/wiki/Blockchain/

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“Jesus’ Blood Never Failed Me Yet” Live

The 1975 composition performed late last year by Psappha

Following perhaps intentionally on the warm reception received by that recent posting of a three-part video showing Gavin Bryars’ Sinking of the Titanic being performed live at the Big Ears festival, we now have the other half of that very same record album, the first from Brian Eno’s Obscure label back in 1975. This is the ensemble Psappha on October 12, 2016, at the RNCM Theatre in Manchester, U.K., conducted by Clark Rundell. (The group’s general manager and artistic director is Tim Williams.) The work is “Jesus’ Blood Never Failed Me Yet,” which takes the melody inherent in a creaky recording of a homeless man singing a hymn in a painfully sweet and wavering rendition and renders it in a gentle, sensitive setting that suggests a heavenly chorus if not outright beatification. Emphasizing the group’s attentiveness is how serenely they sit for the four full minutes before they actually join the nameless singer, whose verse is heard as a recording to which they eventually play along.

Video originally posted at the ensemble’s YouTube channel. More from Psappha, presumbably named for the Xenakis composition, at psappha.com.

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