February 13, 2014, is the official release date for my 33 1/3 book on Aphex Twin's 1994 album Selected Ambient Works Volume II, 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: remix

Disquiet Junto Project 0155: Mix Match

The Assignment: Take a track and its remix and meld them into something new.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at Disquiet.com, 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.

This assignment was made in the evening, California time, on Thursday, December 18, with 11:59pm on the following Monday, December 22, 2014, as the deadline.

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

Disquiet Junto Project 0155: Mix Match
The Assignment: Take a track and its remix and meld them into something new.

This is the next to the last project of 2014. It’s a remix of a remix, and of the track the remix was based on. These are the steps:

Step 1: Download the following two tracks. The first is “Waiting…” by Yellow Salamand’r and the second is a reworking of it, titled “Waiting (A Yellow Salamander Re-hash),” by Colab.

https://soundcloud.com/yellow-salamandr-4-1/yellow-salamandr-4-waiting

https://soundcloud.com/colab/waiting-a-yellow-salamander-re-hash

Step 2: Create a new track that combines the two source tracks. Don’t add any new audio, though you can transform the source material as you wish.

Step 3: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 4: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between roughly 3 to 4 minutes long.

Deadline: This assignment was made in the evening, California time, on Thursday, December 18, with 11:59pm on the following Monday, December 22, 2014, as the deadline.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0155-mixmatch” in the title of your track, and as a tag for your track.

Download: For this project, due to the source audio, your track should be set with a Creative Commons license, such as CC BY-NC-SA 3.0, that allows adaptive reworking.

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

More on this 155th Disquiet Junto project — “Take a track and its remix and meld them into something new” — at:

http://disquiet.com/2014/12/18/disquiet0155-mixmatch/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project by Chris Beckett via a Creative Commons license:

https://flic.kr/p/jNxs8

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Brian Eno Mid-1990s Mega-Mix

From Clark

Perhaps I’m mistaken, but I don’t think I’m going out on a limb when I say that the Brian Eno albums Nerve Net, The Shutov Assembly, Neroli, and The Drop are not on a lot of people’s lists of their favorite works by him. The records came out as a fairly steady series beginning in 1992, after an extended break from solo studio work. His previous album to 1992’s Nerve Net was 1985’s Thursday Afternoon, a personal favorite, but a lot happened in the intervening years. In any case, those four records have all been made available as bonus-track-laden reissues by All Saints, and if they in initial form struck your ear as more a collection of interesting individual ideas than standalone listens, then perhaps this track by Clark is what you’ve been waiting for. It’s a mix of highlights from the eight discs that comprise the reissue program, 34 minutes in all:

Track originally posted for free download at soundcloud.com/all-saints-records. More on the reissues at allsaintsrecords.com. The reissue remix also serves as a promotion for Clark’s new self-titled album, which Warp released last monght. More from Clark at throttleclark.com.

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The Ecstatic Congruences of Grassy Knoll

New music coming from Bob Green: Electric Verdeland, Vol. 1

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A new album, Electric Verdeland, Vol. 1, is due next month from Grassy Knoll, aka Bob Green. I was asked to say a few words about his music, which I’ve been listening to since his early-1990s recordings for Nettwerk, Antilles/Verve, and Emigre. The full text of his press materials reside at his newly updated thegrassyknollmusic.com site.

Here’s what I wrote:

“There’s a difference between someone having the same records as you and liking them for the same reasons. Back when those records by The Grassy Knoll first came out, it was like someone was hitting pause in the middle of some of the greatest moments in electric-era jazz and just reveling in them for the sheer sonic joy of it. So many musicians and listeners got hooked on the ego inherent in jazz fusion, but Bob Green has always been more focused on its meditative, introspective potential. He has little interest in bravado and showiness; he is more drawn to concentrated, mantra-like electronic explorations, sometimes venturing into ambient territory. At other times, he has formulated proto-mashups, combining familiar elements – he called them ‘adverse ideas’ when I interviewed him – into unexpected, ecstatic congruences.”

Check out his music, past and present, at thegrassyknollmusic.com.

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When a Remix Is a Rearrangement

The Herbie Hancock catalog gets a reworking courtesy of two Philadelphia beatcraftsmen

The eight-song Hancock by Small Professor and Arcka, two great Philadelphia-based beatcraftsmen, is several things. It’s a tremendous cache of off-kilter instrumental hip-hop. It’s the result of serious crate digging into the deep recesses of Herbie Hancock’s back catalog, in service of a remix-powered survey of the great keyboardist’s range. And it’s exactly the sort of record that I manage to play repeatedly and yet never get around to writing about. So, a short note here in the interest of that last matter not going any further. Released back in April, the album is some of the best work either the Professor or Arcka has uploaded yet for public consumption. Each track takes tantalizingly familiar items from individual Hancock songs and forms new things from them. A personal favorite is “New Loupe,” by Arcka, because it never loses sight of the all-acoustic nature of the source material. Rather than contemporize the material with synthetic additions, it restricts itself to the trad jazz original. The result is as as much a re-arrangement as it is a remix:

And here is the full set of eight tracks, half by Small Professor and half by Arcka:

Get the full set at smallarchitect.bandcamp.com.

More from Small Professor at smallprofessor.bandcamp.com and twitter.com/smallpro, and from Arcka at arckatron.us and twitter.com/arckatron.

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Making Music from “Making Waves Make Waves”

A remix by L-A-J

Larry Johnson, whose music is often credited to L-A-J, has taken the nascent modular synthesis experiment that I recently posted, “Making Waves Make Waves,” and reworked it into something considerably more nuanced and complex, for which I am quite thankful. I’ve had field recordings reworked by others in the past, but this is the first time something closer to the consensual definition of “music” that I’ve posted has been reworked. What’s especially enticing for me is how it sounds like the music in my head I’d like to make, more layered and attenuated. Johnson has done right by my beeps and boops:

Track originally posted for free download at soundcloud.com/l-a-j-1.

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