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.

Spare MP3 Album

Raemus‘s superb Nine Days is that many tracks of deceptively simple music, raw percussive-oriented songs that leave plenty of room for the mind to wander about in. The individual instrumentals are, for the most part, as spare as minimal techno, but without the resounding dub that lends that genre its loungey depth and allure. Instead, Raemus settles, with a few exceptions, for the brittle. Most of the tracks follow the pattern of the lead entry, “Saturday Night,” which is built from little more than a handful of acoustic knocks and pings, with the occasional gong-like reverberation — like a DJ doing his best to entertain a crowd during a blackout. Each entry adds something to the equation. The closing of “Friday Morning” pounds back and forth and into the distance while squeaky metallic sounds crowd the foreground. “Thursday Afternoon” adds a bass line and distant soundwash (perhaps a nod to the Brian Eno album of that name), but keeps to the reticent mode. “Monday Morning” drops in snippets of treated spoken words. “Tuesday Afternoon” stands out, trading percussion for minimalist organ sounds, the fugue riffs reminiscent of Philip Glass’s early-career loft jams. And “Thursday Morning” applies those organ sounds to a thick consortium of drones. The Nine Days album is the most recent full-length release from the 2063music.de netlabel. (Go directly to the album here. Raemus’ web presence is here.)

By the way, tomorrow, February 24, is “Grey Tuesday,” so named for the web-organized protest against Capitol Records’ shortsighted, heavy-handed legal assault on Danger Mouse, whose now infamous Grey Album mixes together the Beatles’ The Beatles (aka the White Album) and Jay-Z’s Black Album. Disquiet.com doesn’t have the resources to join the protest fully (that is, to mirror the files from Danger Mouse’s album-length mashup), but suffice to say that this site’s Downstream department exists to shed light on practical uses of the web to distribute experimental music for free to a growing audience that recognizes that current copyright laws are woefully outdated. More info on the protest at greytuesday.org.

By Marc Weidenbaum

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  • about

  • 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

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    • December 13, 2022: This day marks the 26th anniversary of the founding of Disquiet.com.
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    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly (aaassembly.org) at Gray Area (grayarea.org).
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    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
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    • There are entries on the Disquiet Junto in the 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.
    • A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the 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.)

  • 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).

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