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.

Grace Notes

From last week

Some tweet observations ( I made over the course of the past week, lightly edited:

▰ When you join a Zoom call a couple minutes early and everyone has their cameras off and they’re typing and it sounds like rain

▰ “In his lap, Yeats’s Collected–the yellow-jacketed Macmillan edition–and in the CD tray Arvo Pärt’s Für Alina, long hushed by the time Bachelor found the body, but its lingering silences implicit in the air, settling like dust on faded surfaces.” The minder of a network of elderly informers in Mick Herron’s novella The List comes upon a dead body. I already dug the series (Slough House), and this line sealed the deal. (Bachelor is the last name of the story’s protagonist.)

▰ It’s at 1:43:46 that Miles Davis appears in this 1987 footage of Prince performing live. Everything to that point is tremendous but that bookmark is where to start: the smile on Prince’s face, how he conducts the band to make space for the trumpeter:

▰ Kinda crazy that the new company combining Rolling Stone, Billboard, Vibe, and other publications is called PMRC, same initials as the Parents Music Resource Center, which gave us parental advisory stickers back in the 1980s.

▰ “Waiting for the host to start this meeting”

▰ I am fairly certain that I will at some point today no longer have “Interplanet Janet” running through my head. I am almost equally certain that it will immediately be replaced by another Schoolhouse Rock song.

▰ “Host is not in the meeting yet”

▰ Last night I watched the TV series The Repair Shop. Just as stuffed-animal vets were fixing the voice box of a WW2-era Irish teddy bear, the shofar bleated from a synagogue down our street, and I briefly thought that was the teddy bear’s sound. Had to mute the TV to sort it out. It was an especially confusing mundane synchronicity because at that very moment, the show’s host noted that the voice box sounded less like a bear growling and more like a lamb baaing.

▰ That amazing, mournful live three-hour Questlove set of dubbed-out, chopped and screwed Radiohead tracks has shuffled off the mortal coil that is YouTube, so I’ll go back to listening to the Tenet score backwards.

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In the Name of Corruption

Covid-era Tokyo archiving

While the SoundCloud account of Tokyo-based noise-maker Corruption remains mothballed, the musician’s Bandcamp account has another archival update. ミジンコ daphnia emotions is 31 tracks recorded between 2013 and 2019. They range from what might be a video-arcade field recording (“emwrec#msl”) to lounge-tempo pop techno (“pole”) to sequenced white noise drones (“cold wind”) to especially Aphex-y melodic sweetness (“pause”), just for starters. And of course, the most unclassifiable tracks are where it’s really at, notably “mga,” in which what sounds like a breeze running through a tunnel is transformed into a squelchy melody. The variety gives a sense of the range that Corruption has been up to for years over at SoundCloud, where nearly 1,000 tracks have been collected. Presumably these are favorites culled from that expanse.

Album originally posted at

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Disquiet Junto Project 0456: Line Up

The Assignment: Interpret a painting by Agnes Martin as if it were a graphic score.

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.

Deadline: This project’s deadline is Monday, September 28, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 24, 2020.

These are the instructions that went out to the group’s email list (at

Disquiet Junto Project 0456: Line Up
The Assignment: Interpret a painting by Agnes Martin as if it were a graphic score.

Step 1: Look at the work of painter Agnes Martin, best known for her parallel lines.

Step 2: Select an individual work that suggests itself to you as a musical score.

Step 3: Record a short piece of music that interprets the painting selected in Step 2 as if it were a musical score.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0456” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0456” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at

Step 5: Annotate your tracks with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is Monday, September 28, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, September 24, 2020.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0456” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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 always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 456th weekly Disquiet Junto project, Line Up (The Assignment: Interpret a painting by Agnes Martin as if it were a graphic score), at:

More on the Disquiet Junto at:

Subscribe to project announcements here:

Project discussion takes place on

There’s also a Disquiet Junto Slack. Send your email address to for Slack inclusion.

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Fripp: 21 of 50

Another weekly quiet moment

A reminder that Robert Fripp is making good on his promise of 50 weekly solo instrumentals. The series is titled “Music for Quiet Moments,” and this has been week 21. The tracks are often archival, the current one dating back to June 2004, and recorded in Oslo, Norway. That appears to be when Fripp was touring as part of the unlikely G3, which teamed him with the more flamboyant Joe Satriani and Steve Vai. A post at Fripp’s official DGM Live website,, humorously notes the audience’s disinterest in his ambient soundscapes.

Video originally posted at

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An ongoing series cross-posted from

Bring your own batteries and extension cords.

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