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.

In Print

Quick note about some things I’ve published recently in print, which means there isn’t much to link to. … (1) I have a piece in the new issue of Make magazine (vol. 02) about these keen “piggyback” audio plugs that double your mixer’s inputs (10 bucks at RadioShack). Make is a great new quarterly magazine about do-it-yourself technology. More info at makezine.com. … (2) The new issue of e|i magazine, where I’m a contributing editor, is out (issue four, spring 2005). I’ve got a fairly good-sized interview with gregarious live-improv electronic-musician Thomas Dimuzio, which includes comments from some of his collaborators: Wobbly (aka Jon Leidecker), Chris Cutler (of Henry Cow) and Mark Hosler (of Negativland, which celebrates its 25th anniversary this year). I interviewed Hosler in Dimuzio’s studio while they were recording Hosler’s first ever solo album, Thigmotactic. I also have a small heap of CD reviews in the issue: Aeroc‘s Viscous Solids (Ghostly International), DaedelusOf Snowdonia (Plug Research), Egg‘s Don’t Postpone Joy (Mutek), Fibla‘s Lent (Spark), Freeform‘s Wildcat (Skam), Andrey Kiritchenko‘s Bees & Honey (Zeromoon), Laminar‘s Nozzle (Asphodel), Fabrice LG‘s My 4 Stars (Kanzleramt), Lunchbox‘s Anyways (The Agriculture), Milosh‘s You Make Me Feel (Plug Research), Mindmap‘s Plochy (AFE), Mouse on MarsRadical Connector (Thrill Jockey), Rapoon‘s Dream Circle (X-ZF), Martin Siewert‘s No Need to Be Lonesome (Mosz), V. / Ultra MilkmaidsDrone + Unease (Zeromoon) and three various-artists compilations, BBQ Beets 2 (The Agriculture), Difficult Easy Listening (Nonplace) and Station (Ai). In brief, the key picks of that litter are the BBQ Beets 2 compilation of dub-seasoned downtempo, with tracks by David Last, DJ Olive and others; two delectable hodgepodges of fragments, the Freeform and the Daedelus; and the Aeroc, a moody soundscape as scary as any horror score. The least impressive of the batch is Mouse on Mars’ Radical Connector, which trades the group’s once glistening electronica for generic industrial pop. More info at ei-mag.com. All those pieces will eventually find their way onto Disquiet.com, the Dimuzio in an extended version, once the issue of the print magazine has been out long enough to have become fish wrap.

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).
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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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