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Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Two Pages from a Diary

On Taylor Deupree's ongoing sound journal

Earlier this month I mentioned that the Downstream section of this site would no longer be restricted to (legally) freely downloadable music, that the section — which makes note of a piece of music daily — would expand to include music that is streamable for free in full. I chose to make the announcment with an appreciative nod to Taylor Deupree’s ongoing near-daily sound diary. This was both because it was a fine example of the sort of format and material that was being bypassed undesirably when the Downstream was restricted to free downloads, and also because an earlier such project by Deupree, back in 2009, had served as a big source of inspiration at the time for the power of casual, mid-process artist posts to provide insight into a musician’s creative process.

To wit, today’s Downstream entry is another in Deupree’s ongoing series of sonic studio snapshots. Recorded and posted just yesterday, as the track title makes clear, “July 28, 2014” is a thick, slow-motion tempest of cicada activity: whirring wing beats and crepuscular drone. In an extended liner note, Deupree digs into the technology he used to make the track, all in this case part of his return to modular synthesis. Even if you don’t follow instrumentation with an particular interest, what is of interest is just how new some of this tech was to Deupree at the time of the track’s recording. The newest item, an oscillator, had been played by him for under an hour.

Here’s another recent piece from Deupree’s sound journal (“July 25, 2014”): a creative use of a sequencer to play a piano-like series of notes, all heard here as if through melted glass:

Track posted originally at soundcloud.com/12k. More from Deupree at taylordeupree.com and the record label he runs, 12k.com.

By Marc Weidenbaum

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  • about

  • Marc Weidenbaum founded the website Disquiet.com 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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