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. • Disquiet.com 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.

Monthly Archives: April 2015

via instagram.com/dsqt

An ongoing series cross-posted from instagram.com/dsqt


Doorbells are like snowflakes. #soundstudies #booktitle #ui #ux

Cross-posted from instagram.com/dsqt.
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Ambient Piano from Southend-on-Sea

A heavily transmuted piece by Counter Silence (aka Colin Ventura)

“Dancing in the Rothko” so processes its evident piano source material, that it’s never quite clear we’re ever hearing the original audio, and yet we never get particularly far from that origin point. Notes are repeated by hand and by software, quick touches echoed until they resemble glass shards, chords leaving vapor trails into which repeated chords then merge. Standalone tones are left to linger like dust caught by a narrow ray of light. Absolutely stunning for four minutes that you wish would last an hour.

Track originally posted at soundcloud.com/countersilence. Counter Silence is Colin Ventura, based in Southend-on-Sea, Great Britain, more from whom at twitter.com/countersilence.

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Play It in a Quiet Room

Listening to FernLodege from Prince Edward Island, Canada

All fog horn hum, echoed up a synthesized coast, and wind, here in the form of light static, “At Winter’s End” by FernLodge is the sonic equivalent of a Polaroid photo that’s seen better days. The piece captures a moment, and yet the story it tells seems less that of its immediate subject, and more of what’s come of the object in the intervening years. It’s worn down, and weary, and all the more memorable for just how ephemeral it is. This is a beautiful track that will get lost in most everyday listening settings. Play it in a quiet room.

FernLodge is Joe Millar, who is from Prince Edward Island, Canada. The piece is one of seven that make up sommerhus, his album on the Game of Life label. Track originally posted for free download at soundcloud.com/fernlodge. Full album at gameoflife.bandcamp.com.

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via instagram.com/dsqt

An ongoing series cross-posted from instagram.com/dsqt


Telephone Network Interface #soundstudies #infrastructure

Cross-posted from instagram.com/dsqt.
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Goldsmith-Ligeti EDM

And, is record store day a holiday for people who only worship on holidays?

I like the idea of Record Store Day, but something about it does remind me of that thing the TV character Murphy Brown, a recovering alcoholic, said about New Year’s Eve, that it’s for amateurs. I go to record stores so often, the idea that I should go on a specific day is almost confusing to me. I suppose I’d celebrate Earl Grey Tea Day, or Sichuan Food Day, or Inexpensive Notebook from the Corner Store Day, or Superfine Japanese Pen Day, but I do wonder at times to what extent Record Store Day — along with Independent Book Store Day — is equivalent to a holiday for people who only worship on holidays. In a general sense, as a way to get folks to rally around the community and cultural nature of record stores, it serves a purpose, but then again, the general idea of a commerce holiday makes me uncomfortable. To some extent Record Store Day is like a neighborhood picnic, but in other ways it holds up a small mirror to Black Friday.

In any case, Record Store Day does bring out some interesting packaging and material, along the lines of how annual independent comic book festivals provide milestones for comic artists to get something done. I do hanker for the new seven-track tape cassette (yes, tape cassette) release of Metallica’s demos recorded back in 1982 in Tustin, California.

And among the many Record Store Day exclusives this year is what can be heard as a deep tweak on EDM by Amon Tobin. Titled “Dark Jovian,” it has all the anthemic heft of EDM, but none of the comforting percussive milestones. Writes Tobin in an accompanying note, likening the work to a score for an imaginary movie, “Anyone who loves John Williams, Gerry Goldsmith or György Ligeti will hopefully see what I’m drawing from, and how it then sits in an electronic context.”

Amon Tobin track originally posted at soundcloud.com/amon-tobin. More on the release, which has eight tracks in all, at amontobin.com/darkjovian.

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