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.

Loops and Noise, Grit and Fragments

Music for grave robbers by San Francisco's Moldbreath

Much loop-based music has a sense of accrual, a sense of layers being added, phases being shifted. That is very much the mode of Moldbreath’s “Rose Buried in Sand Excision,” except that the layering of sound makes the opposite impression. The compositional approach is accrual, while the sounds are of something being disentombed. There is dirt being shifted, footsteps in nearby mud, crackling and shaking, all manner of low-tech mechanics. It’s dark and scary and morbid, and thoroughly impressive.

Track originally posted for free download at

By Marc Weidenbaum

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One Comment

  1. Abraham
    [ Posted July 27, 2014, at 8:50 am ]

    Hello, I am working on writing some audio scenes for a performance next month. I find myself a bit rushed and unprepared, so I am spending a lot of time right now getting the big parts together, and hoping I will have time to work out the smaller bits late. I heard this track and loved it. As an experiment, I put this track beneath some parts and it sounded amazing. Granted I don’t want to steal the music and use it without permission, and it’s a beautiful track, so even if I had permission, I wouldn’t want to relegate it to background. At the same time, I am un-skilled in field recording and looping. Are there any techniques to help a musician put something similar together to use as a side-chained bed beneath melodic material?

    Thanks, Abe

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