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.

Industrial Industrial Music = Folk Music (MP3)

About a third of the way through Durán Vázquez‘s recent podcast at, there is a tea-kettle whine to end all tea-kettle whines.

[audio:|titles=”Casa das Atochas (August 19 2010)”|artists=Durán Vázquez]

It is high and it is shrill, and it is pitched like a war cry and it is as insistent as a hungry infant. And yet, it is thoroughly enjoyable (MP3). It has, in this context, the quality of a high lonesome yodel in a country song, or of a piercing clarinet solo in a klezmer performance. The context is a roiling whir of mechanized activity — brushed-metal static and turbine roars, fissures of static magnified for the ear. Which is to say, it’s industrial industrial music. And which is to say, it is folk music: like much music made from the sounds of the automated environment, it’s a music that takes the world around us (the world we ourselves made: the built environment) and transforms it into something celebrates those sounds, and frames them for consideration outside their everyday context.

At almost 24 minutes in length, it’s a hefty listen, moving slowly through territory at once alien and familiar. According to a brief note, the recording was made live during a “Tan inauditos!!” (translated: “So unheard!!”) performance at Casa das Atochas, A Coruña City, Galicia (Spain), on August 19, 2010.

By Marc Weidenbaum

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