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.

Three Kobe Abstractions (MP3s)

A suite of subtle noise and melody from G P

For all the benefits of liner notes and explanatory text and technical details and blog-entry work-in-progress tell-alls and aesthetic postmortems, there is something bracing and freeing about music posted with, in essence, no context. We know the artist who goes by G P is from Japan — Kobe, specifically. We know the titles of his recent works. Given the color scheme of the associated images — blue, red, and green ”“ and the fact that each of those colors is slightly smudged and bears a not insignificant swath of white, we can read them as part of a set, especially since their titles share a theme, which is to borrow language from image work: “grayout,” “end . line . point . start . wave,” and “mesh of the images.” Beyond that, just a tag: “Experimental Electronic” is how the musician labels them.

The first of these is a wave form that takes a slow start before embracing noise and watery elements. The second begins with bird song and a molested piano recording, before venturing into snippets dropped in like scenes in a film: little snatches of what sound like a small fire, before the fire subsumes the melody and then water subsumes the fire. The last of these is the most highly recommended, more composed than constructed, a wavering line of harsh but self-contained ringing above a slow, see-sawing rifflet that serves as both rhythm and melody, modulating up and down — and that’s just the start; it reveals itself as a meditative suite: lovely, hermetic, coy.

Tracks originally posted to G P’s account.

By Marc Weidenbaum

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