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.

Gristleism Meets Herbie Hancock in Russia (MP3)

The color of your Gristleism box has about as much to do with the way it sounds as the color of your copy of Douglas Coupland’s Generation X had to do with the way the story played out. In the end, both objects, regardless of their edition, produce the same chunk of culture, regardless of hue. Yet Ugol Ratmanova, a Russian duo, take the time, on the occasion of their recent free audio release, to make it clear that both the red and the black Gristleisms were employed (not the chrome one, in other words), along with a Waldorf Blofeld synthesizer and an electric guitar on December 27, 2009, when the track in question was recorded.

Again, in the end, all that means is that two different Gristleisms were pumping out looping segments of the industrial-noise catalog of the band Throbbing Gristle (who developed the gadget with Christiaan Virant, of the duo FM3, pioneers of the loop-device with their Buddha Machines).

Those sounds are heard here, sublimated amid slowly developing pop ambience, with a regulated beat and glimmering accents — in other words, old-school space music, which as with a lot of contemporary Slavic electronica has a certain debt to the proggy excesses of Tangerine Dream. Very much to their credit, Ratmanova do a great job of reining in any potential histrionics; their motivations are more chamber than orchestral, and the track is an excellent series of maneuvers through various sonic zones, some glossy, some gritty, all cinematic (MP3).

And if Ratmanova do have an ear to the past, it’s not a past defined by a certain aesthetic. As the piece comes to a close, a part comes to the fore that sounds like nothing so much as an early solo by Herbie Hancock when he was first finding his way at the electric keyboard.

[audio:|titles=”nanocast. N018 – Irc Eyes Asleep (December 27, 2009)”|artists=Ugol Ratmanova]

Original post at More on Ugol Ratmanova at

By Marc Weidenbaum

Tags: , , , / Comments: 2 ]


  1. Sergey
    [ Posted February 2, 2010, at 1:37 pm ]

    Hello, Marc! Thanks for your review. As you can see in our podcast feed we publish different kind of our studio and live performance experiments with different gear and software we had. We very like to use the devices like buddhamachines (sometimes we use up to four in the same time) and this TG devices with some fx box, and off course we use fresh-made max4live modules for processing ours midi and audio streams.

  2. Marc Weidenbaum
    [ Posted February 3, 2010, at 11:52 am ]

    My pleasure, Sergey. Thanks for the additional information on what tools you employ.

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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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