Reflecting (on) Noise

Chicago's J. Soliday says salutes Enemy.


J. Soliday hosted the Disquiet Junto concert this past April in his Wicker Park, Chicago, home venue, aka Enemy, which he ran from 2005 until it closed this past July. (“We could still keep going,” he told the Reader back in July. “I need a break.”) Among those on the Junto Chicago bill were Soliday himself and Jeff Kolar, who runs the excellent Radius broadcast/podcast series, the opening sound cue of which served as source material for a recent Junto project (“Disquiet Junto Project 0034: Radius Joint”). And now Soliday is himself the subject of a Radius episode, number 30, in which he works through numerous variations on the same performed noise, a screech that is heard at times like an insectoid whorl, at others like a stuttering glitch. The versions are all to be considered part of a broader whole, explains a brief liner note: “Line and room recordings of the performance were sped up, slowed down, chopped, looped, replayed, and reprocessed through the system in which they were originally generated. The resulting works should not be considered definitive versions, neither individually nor as a whole, but merely as windows into an ongoing continuum.”

Track originally posted for free download at soundcloud.com/radius-14. More at theradius.us. More on Soliday at jsoliday.com.

Sounds from an Imagined Belgium (MP3)

An experiment in field recordings and performance by Peter 7 Paelinck & Yves Bondue


The rhythm is disjointed, overlaid, an experiment in disorienting counterpoint: a rough mix of pizzicato strings and occasional sawing on the one hand, and what seems to be a particularly adamant church bell on the other, the whole thing, this combination of beat-like punctuations that decline to align, given context by an underlying drone. And then it shifts, the drone coming to the forefront like a fog horn that has mastered circular breathing. The sounds are sourced, reportedly, from a place in Belgium that holds special meaning to the musicians whose work this is: Peter 7 Paelinck and Yves Bondue. They explain, “It is an historcal place with ancient history of death and war – Yves’ playground when he was young, a place druids, a gathering point of nature sourced by its sounds of trees and birds.” Then again, the duo appends to this notice a caveat: “nothing is true / everything is permitted.” Perhaps their geolocative sonic experiment is entirely fictional (MP3); either way, its amalgams are entrancing.

[audio:http://www.touchshop.org/touchradio/Radio82.mp3|titles=”W12″|artists=Peter 7 Paelinck & Yves Bondue]

Track originally posted for free download at touchradio.org.uk as part of the great Touch Radio series from Touch Editions. The above photo, by Luc Vanhoucke, accompanied the MP3 at the Touch Radio post.

Aphex + Sci-Fi: The Top 10 Posts & Searches of July 2012

As mentioned last month, the software that for a long time automatically tallied the most popular posts on this site has gone belly up. So, as was the case last month, the following is, instead, a list of 10 key posts from August 2012, during which there were 35 posts:

(1) a listen to the score-meet-sound-design of a short sci-fi film titled Loom (with addendum information provided via email by one of the movie’s composers), (2) a Disquiet Junto project in which the participants interpreted polling data from the ongoing U.S. presidential election as if it were a graphically notated score (see image above), (3) a revised version of a Disquiet Junto remix of a Shostakovich chamber symphony by Kent Sparling (composer of, among other things, the score to Wayne Wang’s The Princess of Nebraska), (4) my interview with sound artist Christof Migone about his excavation of Ray Bradbury‘s The Martian Chronicles, (5) my 1993 interview with Depeche Mode (online for the first time ever) from the period that culminated with the Songs of Faith and Devotion album, (6) one of the seven performances from the recent (August 19) Disquiet Junto concert held in Denver (more audio will be posted live soon), (7) the announcement that I’m writing a book for the great 33 1/3 series on Aphex Twin‘s landmark 1994 album, Selected Ambient Works Vol II, (8) a Disquiet Junto project in which almost 30 musicians in just over four days interpreted an incendiary Yoko Ono Fluxus work from 1955, (9) an abstract exploration of the film-sound nugget known as the “Wilhelm Scream,” and (10) my all too close encounter with a massive swarm of bees.

The most popular searches of the month included: dome, distinction, aaron, junto, soundwalk, 3D music, autechre, cocteau, free, ngngngngngngng.

Diffusion Over Sublimation

Benjamin Dauer test drives his newly rebuilt studio

They may break champagne bottles over the bows of ships to inaugurate their voyage, but Benjamin Dauer took a plosive-free approach when he tested out his newly rebuilt studio. He reconstructed the studio “from the ground up,” and then set about an initial work, built much like his studio largely from pre-existing pieces but experienced in a new light. In other words — his words — the track, titled “Driving Stage,” is “a little remix.”

The result is four minutes of gentle meander, the melody less a matter of sublimation than of diffusion. The low-level presence is not so much a concern of inherent tension as it is of lovely, widely distributed spaciousness, abetted by an enticingly slow pace. Writes Dauer of the effort, speaking in particular of some of the newly installed equipment, “I realize it’s very naive to say, but it was really great being able to approach the mix by hand – turning actual EQ knobs instead of virtual ones on a screen.”

Track originally posted for free download at soundcloud.com/benjamindauer. More on Dauer, who is based in Washington, D.C., at benjamindauer.net.

Past Week at Twitter.com/Disquiet

  • SFO -> LGB #
  • Don’t judge me by the titles of my ebooks. Phone loaded with Kadrey’s Kill the Dead and Suarez’s Kill Decision. #
  • Previous tweet should have ended “whir and buzz.” #
  • Joyce Hsu’s tough-lovely mechanical bugs at SFO’s international terminal. Always disappointed they don’t whi http://t.co/6utjuW0S #
  • That’s the “Time Passing Remix.” MT @dirtydemos: @disquiet dusted off SAW Vol II; still sounds fresh despite being a bit scratched & crackly #
  • Morning sounds: refrigerator hum, occasional passing car, vague low-level electrical whine. #
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