The second in the monthly Ora podcast/broadcast by Daniela Cascella and Salomé Voegelin has been posted online. Cascella (author of En Abime: Listening, Reading, Writing) and Voegelin (author of Listening to Noise and Silence: towards a Philosophy of Sound Art) discuss topics ranging from Pauline Oliveros’ Deep Listening to the sound-sensitive films of director Andrei Tarkovsky, but what distinguishes it isn’t so much the variety of subjects as the heavily nuanced conversation. Cascella and Voegelin prod each other from each question and observation to the next, digging into minute distinctions, and drawing from literature and personal experience even more than from recorded sound. One particularly interesting aspect of this entry is how they upend the commonly held distinction between hearing and listening. Traditionally it is understood that to hear is simply to be aware of sound, while to listen is to pay attention. What Cascella and Voegelin work to in their discussion is how since the act of listening involves a personal engagement with the material, that in turn means that it involves invoked associations, ruminations, considerations, invocations — and, thus, listening is far more than a matter of paying attention. If anything, to listen is to not pay attention, but to disappear into one’s own internal codex of meaning and memory (MP3).
Another thick mass of deeply sublimated tape noise has emanated from the excellent soundcloud.com/turmericmagnitudes account, based in San Francisco. The 10-plus”“minute “Black Thread – Crude Shrine” (Black Thread being the act, “Crude Shrine” the song) sounds like someone is playing a My Bloody Valentine album that’s been recorded at half speed over and over on the same cassette until it makes Alvin Lucier’s “I Am Sitting in a Room” seem like an audiophile’s stereo-system dynamic-range test track by comparison. The whorl of deeply punished pop melodicism increases as it proceeds, until what could very well be a rough wave carries it out to sea.
Timo Andres’ album Home Stretch, due out tomorrow, July 30, includes variations on work by Wolfgang Amadeus Mozart and Brian Peter George St. John le Baptiste de la Salle Eno, as well as the fully original composition from which the release takes its name. A live recording from 2010 of the Eno piece, titled “Paraphrase on Themes of Brian Eno,” is available for free download at Andres’ site (MP3), performed by the Metropolis Ensemble, conducted by Andrew Cyr. The composer describes it as “a 19th-century style ”˜orchestral paraphrase’ on the subject of Eno’s music, focusing on the albums Before and After Science and Another Green World, with some Apollo by means of an introduction.”
The full album is streaming for free this week at npr.org, from whom the above photos is borrowed. The performance was recorded at Angel Orensanz Center in May 2010. More on Andres at andres.com. More on the album at nonesuch.com. More on the Metropolis Ensemble at metropolisensemble.org.
Imitation isn’t the sincerest form of flattery. The sincerest form of flattery is taking several tracks by someone and putting them through enough modular-synth filtration that they come out sounding like mere sonic sediment, whisps of flittery noise, sine waves heard as shadows of themselves, digital vapor hanging in the still air. At least that’s what Shadowselves (aka Medford, Massachusetts”“based Michael T. Bullock) has done with/to work by Pataphor (aka Shannon Smith).
Track originally posted for free download at soundcloud.com/mikebullock.
Each Thursday at the Disquiet Junto group on Soundcloud.com a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate.
This assignment was made in the evening, California time, on Thursday, July 25, with 11:59pm on the following Monday, July 29, 2013, as the deadline.
These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):
Disquiet Junto Project 0082: Minimal Haydn
This week’s project is another in a series of explorations of the concept of genre as a constraint. (The “downtempo”exercise went well several weeks ago, project 79, and this is another in that mode.) The genre this time is “minimal techno.”The source material is from another genre entirely: “classical,”specifically chamber music in the form of a string quartet. The goal of this project is to derive elements from the source material in the service of a track that would fit in the prescribed genre.
These are the steps:
Step 1: Download the MP3 track at the following URL. The track is the third movement of Franz Haydn’s String Quartet in F Major:
Step 2: Listen through the full 1:55 of the track, noting the time codes of source elements that could lend themselves to a minimal techno track. Aim for roughly between three and six.
Step 3: Extract the handful of elements that you located in Step 2.
Step 4: Compose and record an original track that you feel conforms to the genre of minimal techno, using only the elements from Step 3. You can manipulate them in any way you choose, though at some point in the track they should each be somewhat recognizable from the source material. You cannot add any other sounds.
Deadline: Monday, July 25, 2013, at 11:59pm wherever you are.
Length: Your track should have a duration of between two and five minutes.
Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.
Title/Tag: Include the term “disquiet0082-minimalhaydn”in the title of your track, and as a tag for your track.
Download: Please consider employing a license that allows for attributed, commerce-free remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).
Linking: When posting the track, be sure to include this information:
More on this 82nd Disquiet Junto project, in which a minimal techno track was created using elements of a Haydn string quartet, at:
The source Haydn audio is from:
More details on the Disquiet Junto at: