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. • 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.

Proto-Downstream / Kermani, Brion, Powell, Simone

There was for a short time a section of called the 4D, which quickly transformed into the site’s long-running Downstream section. These are the 4D entries for August 5, 2003, the day it launched:

(1) Composer Elise Kermani takes a Vivaldi concerto and remixes it into a minimalist rag on “Viva” — check out the free two-minute excerpt, downloadable from her website,

(2) Before teaming composer Jon Brion with songwriter Aimee Mann for Magnolia, director Paul Thomas Anderson matched Brion with Mann’s future husband, Michael Penn, for Hard Eight (1996). There’s no CD, but provides an MP3, the literal and figurative bell-tolling of “Clementine Loop.” The site, noting “Loop”‘s presence in Anderson’s first three films, credits it to Penn and Patrick Warren.

(3) The opening credits of the 2003 Hollywood remake of The Italian Job expertly layer disparate sonic elements: strings, finger snaps, soundbites. Composer John Powell‘s cut’n’paste method matches the credit-sequence montage of blueprints and other caper documents; track one on the soundtrack CD (Varese Sarabande), it is a finely wrought heist overture.

(4) The second Verve/Remixed collection, due out August 26, 2003, is teased by some advance 12″s, including a clubby reworking of Nine Simone‘s “Sinnerman” by Felix da Housecat. The 12″ features an extended instrumental version that tightly splices snippets of Simone’s piano. Commanding stuff (

By Marc Weidenbaum

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