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: September 2018

Stasis Report: Christina Vantzou ✚ H.Takahashi ✚ More

Five new tracks added to the ambient playlist on Spotify and Google Play Music as of September 9, 2018

The latest update to my Stasis Report ambient-music playlist. It started out just on Spotify. As of three weeks ago, it’s also on Google Play Music. The following five tracks were added on Sunday, September 9. All the tracks are fairly new.

✚ “Sky Could Undress” is a remix by Christina Vantzou from Clear Language: Reworked of music originally by Balmorhea (aka Austin, Texas-based Rob Lowe and Michael Muller): balmorhea.bandcamp.com. Vantzou is based in Brussels, Belgium.

✚ “Part 3” is from The Great Lake Swallows by Julia Kent on cello and Jean D.L (“guitarist/tape machine manipulator”), with field recordings by Sandrine Verstraete, on the Gizeh label: gizehrecords.bandcamp.com. Kent is Canadian, and Jean D.L. is Belgian.

✚ “Circulation” from Low Power from H.Takahashi on the White Paddy Mountain label: chiheihatakeyama.bandcamp.com. Takahashi is based in Tokyo, Japan.

✚ “Good Intentions I” from Departures, Vol. 2 by North Atlantic Drift (Mike Abercrimbie, Brad Deschamps), based in Toronto, on the Greek label Sounds in Silence: soundinsilencerecords.bandcamp.com.

✚ “Maish” is from Salted Garden by Mark Rushton, who is based in Iowa City, Iowa: markrushton.bandcamp.com.

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly two hours (up from what was originally an hour and a half, when the playlist first launched). Those retired tracks (by Masayoshi Fujita, Forma, Peter Gabriel, Abul Mogard, and Hiroshi Yoshimura) are now in the Stasis Archives playlist (currently only on Spotify).

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Disquiet Junto Project 0349: Got Glitch?

The Assignment: Help define "glitch" by glitching something, and explaining what you did.

Each Thursday in the Disquiet Junto group, 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. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is Monday, September 10, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the early evening, Oregon time, on Thursday, September 6, 2018.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0349: Got Glitch?
The Assignment: Help define “glitch” by glitching something, and explaining what you did.

Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

Step 1: Consider what “glitch” means in music/sound.

Step 2: Make a piece of music employing a glitch that arose from your thinking in Step 1.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0349” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0349” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0349-got-glitch/

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is Monday, September 10, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the early evening, Oregon time, on Thursday, September 6, 2018.

Length: The length of your track is up to you.

Title/Tag: When posting your track, please include “disquiet0349” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and be sure to 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. Photos, video, and lists of equipment are always appreciated.

Download: Please consider setting your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

Linking: When posting the track online, please be sure to include this following information:

More on this 349th weekly Disquiet Junto project (Got Glitch? / The Assignment: Help define “glitch” by glitching something, and explaining what you did) at:

https://disquiet.com/0349/

Major thanks to Sevenisn, Mark Lentczner, and other folks in the Junto Slack for pitching in on this project’s development.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0349-got-glitch/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image associated with this project is by Roland Gesthuizen, used thanks to Flickr and a Creative Commons license:

https://flic.kr/p/NzDeV

https://creativecommons.org/licenses/by-nc-sa/2.0/

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Dappled by Gadgetry

A live suitcase gig by Nicklas Lundberg

This 30-minute segment of Nicklas Lundberg shows the musician milking noise from a sizable, jam-packed metal suitcase, opened like the maw of a giant mechanical fish and filled to both its mirror-twin brims with all manner of CD players, keyboards, cellphones, controllers, and countless other gadgets, many of which aren’t immediately associated – and this is sort of the point — with the production of sound. The music those things are summoned to produce is a rolling churn of glittering murk, of vibrating flotsam, random tools recycled into a semi-portable one-person orchestra. It’s a bit like a sonic equivalent to the dappled video projection that washes over Lundberg for the majority of the performance, except at several times the speed. Where the visual dappling is placid, serene, the sonic dappling is madcap, a chaotic flux that has no core pattern and yet provides a sense of continuity in its constant motion.

Video originally posted to the YouTube channel of Powcademy, more from which at instagram.com/powcademy.tv.

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Clint Mansell Says, “Shhhhh!”

What appears to be the score from Mute

Just three days ago, soundtrack composer Clint Mansell posted these 17 tracks under the collective title Shhhhh!, combined with a “Shushing Face” emoji, to his SoundCloud account. A commenter on the opening track, “Don’t Say a Word,” asks if it’s the score to Ghost in the Shell. However, a quick check of the titles seems to confirm what the collection’s title, in retrospect, suggests — that this is the music from Mute, the film by Dunan Jones that debuted on Netflix earlier this year. There’s a snippet of what is said to be the Mute end-credits score on YouTube from back in February, and it is identical to the “I Would Drive All Night(Slight Reprise)” track here (the final one, number 17). Another clue: the penultimate track includes the name “Leo,” the Mute lead character, played by Alexander Skarsgard (except in flashbacks to him as a young boy). The set was originally posted at soundcloud.com/clint-mansell. He announced it, coyly, on Twitter, and though someone there guessed it as the Mute score, Mansell hasn’t replied as of this writing.

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The Fractal Heart

A live performance by Erika Nesse

“You broke my heart into a million pieces,” sing-says the voice. The voice is itself divided into many pieces, if not a million then certainly hundreds, perhaps approaching thousands. At a macro level it is a fifty-fifty split between sung and spoken. The phrase, however, is splintered further, courtesy of a musician seen seated in this video with her laptop perched on a folding table. The location and date, plus her name, provide the context in the form of the video’s title. It’s Erika Nesse at Firehouse (firehouseworcester.com) in Worcester, Massachusetts, on January 1, 2018, New Year’s Day. (The YouTube channel is that of Samual Hadge, who recently uploaded a slew of live sets from Firehouse, as well as from venues in Georgia, Florida, and elsewhere). Judging by the winter date and the puffy outerwear of the members of the audience, it is also very cold. Nesse is a poet of sonic fractals, of not just splintering sound into little piece but having those piece play out in patterns, systems, and processes, all of which entice the ear’s imagination. If we’re used to pop songs where the chorus takes on new meaning as it is repeated, one verse after another, here the phrase — “You broke my heart into a million pieces” — becomes its own meaning: the more the voice is disturbed by Nesse’s digital intrusions, the closer the listener comes to experiencing its truth.

Video originally posted at Hadge’s youtube.com. More from Erika Nesse at fractalmusicmachine.com and erikanesse.bandcamp.com.

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