Thanks largely to a single composition by the late Morton Feldman, the name of painter Mark Rothko, if not his painting itself, has long been associated with ambient music. Feldman’s Rothko Chapel, composed in 1971, a year after his friend’s death, is a characteristically attenuated and deeply quiet work. Even without Feldman, though, Rothko was a likely godfather to ambient music, given that his many broad canvases generally focused on two or three thick fields of deep, sensual color. Bob Green, who records with various musicians under the name Grassy Knoll, picked a Rothko image for the cover of the album titled III, though that is arguably his least quiet recording. Now, Bernhard Gunter has taken the title of a Rothko piece as inspiration for a broad canvas of near silence that can best be likened to industrial-environmental music — that is, music whose sense is scene-setting and atmospheric, but whose substance, such as it is, sounds more like the distant hum of machinery than the tweeting of birds or the trickling of water. On Brown, Blue, Brown on Blue (For Mark Rothko) (Trente Oiseaux), Gunter has some interesting thoughts on the nature of slow music (“I have often found that listeners took a shorter piece to last longer than an actually longer one”), and a survey of his writing on his own web site (see below) lends a valuable context for this recording.
Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media
• February 5, 2020: The first session of the 15-week course I teach at the Academy of Art about the role of sound in the media landscape.
• April 15, 2020: A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the forthcoming book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at oup.com.)
• December 13, 2020: This day marks the 24th anniversary of Disquiet.com.
• January 7, 2021: This day marks the 9th anniversary of the start of the Disquiet Junto music community.
• There are entries on the Disquiet Junto in the forthcoming book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
• At least two live group concerts by Disquiet Junto members in the San Francisco Bay Area are in the works for 2020.
• I have liner notes for a musician's solo album and an essay in a book about an art event due out. I'll announce as the release dates come into focus.
• The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm: disquiet.com/junto.
• My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).
Most Recent Posts
Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.
• 0445 / Aare Tribute / The Assignment: Read maps of a river as a graphic score.
• 0444 / Bot Ensemble / The Assignment: Make music as directed by the great twitter.com/InstrumentBot account.
• 0443 / In Two Landscapes / The Assignment: Take two different field recordings and combine them to make one track, as in a mash-up.
• 0442 / One Sentence / The Assignment: Make music that explores the shape, tone, cadence, and content of a favorite section of prose or poetry.
• 0441 / Three Stones / The Assignment: Make music that explores territory sonically.
And there is a complete list of past projects, 445 consecutive weeks to date.
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