New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

Alarm

A mesostic

   As with pAin, there are  
         duaL types of sound: 
chronic and Acute, and a subset
of the latteR is self-inflicted
       each Morning
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Ballroom

An ongoing series cross-posted from instagram.com/dsqt

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Industrial Music

An ongoing series cross-posted from instagram.com/dsqt

Think I found the perfect studio space for that dub techno project I’ve always wanted to do.

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Michiko Ogawa’s Hammond Drone

A half-hour preview of a new album


One at a time, quite slowly, each addition layering another tone, sometimes replacing a previous component, noticeably shifting the sensibility of the overall piece in the process, a key is pressed on Michiko Ogawa’s dusty old Hammond organ and the resulting drone changes its shape. This is “Ura,” the one preview track from Solo May / 2020, her new album. Best known as a clarinetist, Ogawa here applies herself to dense, dramatic music that is full of sublime portent, a minimalist’s take on the Phantom of the Opera, a mass for the wonders of sedimentary geology.

Album originally posted at hitorri.bandcamp.com. More from Ogawa, who is from Tokyo, Japan, and based in Berlin, Germany, at michikoogawa.com.

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Current Favorites: David Shea, Anne Guthrie, Tuesday Drones

Heavy rotation, lightly annotated

A weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. I hope to write more about some of these in the future, but didn’t want to delay sharing them.

▰ David Shea’s Live in Blackwood is a remarkable concert document, a performance recorded in nature and making the most of the environmental sound in which it is ensconced. Shea himself is first heard before he’s seen, his course whistle collaborating with birdsong. He them enters the camera’s view from behind bushes. Each phase of this series of sets, almost 37 minutes in total length, mixes varying instrumentation with different video approaches, such as a hovering drone shot while he plays a series of multicolored bowls that sound like massive tuning forks, and a forest walk while he combines samples, gongs, and field recordings. (I found this via a mention by Lawrence English.)


▰ On Gyropedie, Anne Guthrie elegantly combines field recordings, electronics, and instrumentation, notably her French horn, in a gestural, almost fleeting manner, finding common ground between the materials in fragmentary form.


▰ Compelling, rusty, serrated drone by the musician best know as/for Tuesday Night Machines, performed on an intriguing setup from the inexpensive synthesizer manufacturer AE Modular.


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