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.

Stasisfield MP3s

No, your wifi isn’t picking up stray radio signals. Musician Micah Silver did that himself, fusing barely audible bits of the spoken world into “Scale,” the first of two lengthy experiments in sonar chamber music that comprise his album for the Stasisfield netlabel, Utopian Artifacts, released in late February. Both “Scale” and its counterpart, “Houston / Touch,” are beat-less enterprises in dislocation, positing expanses of sound with rising tones that peak out like waterlogged ears, with ghostly voices that turn into vapor, and low-level shuddering that suggests dread but also provides an unlikely warmth and comfort. The latter track was recorded in response to the paintings by Mark Rothko at the Rothko Chapel in Houston, Texas, which makes Utopian Artifacts a good complement to an earlier Stasisfield release, Four Painters, by the label’s founder, John Kannenberg; that album paid tribute to the visual artists Paul Klee, Agnes Martin, Kazimir Malevich and Cy Twombly. Visit Stasisfield at, and read Disquiet’s interview with Kannenberg (“United Stasis”).

By Marc Weidenbaum

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