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.

Algorithm Meets Object (MP3s)

Talented musicians from Kiev and Geneva meet mid-laptop

The pairing of v4w.enko and d’incise was a fine idea: Two musicians who embrace elliptical artistic identities and are given to remote, low-key sounds, working together. Their live effort, just released for free download on the great label, features the former employing algorithms in the service of generating drone-like figures, and the latter employs contact mics toward something more visceral and fractured. Somewhat rare for live electronic music, the listener can imagine with some certainty who is doing what as the performance proceeds. The recording’s title is simply the date of the performance, 27.08.2011, while its pair of tracks take for their names simply the length of their respective duration (“21’59”” and “34’12””). The whole thing occurred at Tivoli 16 in Geneva, Switzerland, where d’icise lives and works — v4w.enko, aka Evgeniy Vaschenko, is from Kiev in the Ukraine. This is the first (MP3) of the two pieces:

[audio:|titles=”21’59″|artists=v4w.enko and d’incise]

Get both tracks at, where the liner notes include this explanatory material:

Conception notes Two spaces, two languages, two focal points, getting so close as synthetical and natural, but never touching. The first space is black & white, minimal and symbolic. It talks about the beauty of color inside the sound and complicated structures but it has not colors in itself. It is a sort of counterpoint, a reference, a cold therory demonstration, a base of reflexions. The second space could show colours of structures and physically complicated sounds. The rules that generate them might be very complex, and though unnecessary to be explain. The human perception comes first, on it’s own, at this level. The first space is more unpretentious and selfgenerateed, the second requires more finely tuned work to take form. But in the end the two spaces are not in conflict. None has more value than the other. They happen separately and simultaniously. The sound reflects this relation, a contrasted proposition between automatic processiong, fixed layer, digital and physical. Structure Live audio in the real time. Live treatments of various objects & contact mics. Max/msp code in algorithmical sounds.

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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