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Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Taylor Deupree: Robot, Ukulele, Cicada (MP3s)

Checking in again on Taylor Deupree‘s “One Sound Each Day” project (at, we have “a toy robot crawling around [his] snare drum” (MP3), evidence that he “found a nice chord progression on the ukulele” (MP3), and that inevitable field-recording subject: cicada (MP3); the insects, he reports, “are popping up everywhere, just listening off the deck .. humming.”

Deupree’s sound diary, recorded daily but released in multi-entry spurts, has been interesting to track, as he’s moved from field recordings to studio experiments, and back again. Of course, for a musician like Deupree, the line between those two modes is fairly hazy; his rich ambient sound is often comprised of audio that others would dismiss as background, of chance static and constructed noise. This trio of recordings fits almost precisely in between the two poles of found and composed, of noise and signal.

The robot (August 6) is a whimsical experiment, but it’s also an inexpensive accomplishment in generative sound, the mechanical toy feeling its way across the surface area of the highly reverberant drum.

[audio:|titles=”Toy robot”|artists=Taylor Deupree]

The key thing about the ukulele (August 5) may be Deupree’s description, which invokes the word “found.”What he means is, he came upon this progression while fiddling on his ukulele (presumably, then, fiddling “with”his ukulele might suggest he was employing a violin bow, which he was not). But the word “found”comes freighted with meaning in field recordings, because a field recordist who documents the unmediated environment specializes in what are called “found sounds.”Thus, in the context of this broader field-recording series, the “found”-ness of the ukulele progression carries the feel of — and falls into the context of — the more common idea of “found”noise, like sirens, and traffic, and street preachers.

[audio:|titles=”Ukulele”|artists=Taylor Deupree]

And the cicada (August 4) is, of course, the classic example of natural sound that has the feel and texture and allure of electronically produced noise.

[audio:|titles=”Cicada”|artists=Taylor Deupree]

Though it’s only August, I’m already feeling an early onset nostalgia for this project of Deupree’s, which will reach its natural end point at the end of December — a longer life cycle, certainly, than that of a cicada. I don’t necessarily want this specific series to continue into 2010, but its regularity and effectiveness will be missed.

By Marc Weidenbaum

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  • Marc Weidenbaum founded the website 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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