My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

Monthly Archives: October 2018

Listen to the Landscape

Liner notes I wrote for an album from experimental kite videos by Michel Banabila and Gerco de Ruijter

The experimental musician Michel Banabila worked with innovative kite filmmaker Gerco de Ruijter on collaborations in which Banabila composed scores for De Ruijter’s all-encompassing landscape videos. The pair asked me to write liner notes for the album release of Banabilia’s music, Stop Motion. The above video, an example of their work, premiered at ambientblog.net.

These are my liner notes:

“Listen to the Landscape”

The landscape does not stand in opposition to the abstract. The landscape is itself a form of abstraction. The landscape presents geometries and colors and textures. The landscape, as seen in Gerco de Ruijter’s kite footage, encompasses us. We can touch the land but the landscape is beyond our touch. We are alienated from the landscape because its scale is beyond our comprehension. The lens of De Ruijter’s camera must warp the landscape, must warp reality, in order to bend it to our attempts at comprehension. Our eyes scan the landscape, requiring memory to do much of their work, the work of imagining the whole. Our memories are patchwork semblances of the patchwork landscape.

Our ears, however, take in more than what is ahead of us. Our ears survey the landscape front, back, and side, above and below. Our ears know that the seeming correlations between sound and image are cursory, especially from such a distance. Our ears know that some of the sounds that Michel Banabila has mated to De Ruijter’s images are real in the sense that they were captured in the place. Our ears know that other of Banabila’s sounds are real in that they express the musician’s sense of that place. Our ears don’t care one way or the other.

There is a music to the moving image, even when there is no sound. There are patterns and rhythms. There are movements. There is development.

And when there is sound, when De Ruijter’s eye has met Banabila’s ear, the moving image becomes something else — not a recapitulation of the landscape, but something new, something comprehensive, something to be explored, something that rewards exploration.

Get the album at banabila.bandcamp.com.

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Stasis Report: Saloli ✚ Kirby ✚ Classic Jon Hassell

Three new tracks, one recent, and one classic added to the Spotify and Google Play Music playlist as of October 28, 2018

The latest update to my Stasis Report ambient-music playlist on Spotify and Google Play Music. The following five tracks were added on Sunday, October 28. Three are from the past month or so, one is just under a year old, and one is a classic from 1977.

✚ “Hey Ahh” by Saloli (aka Mary Sutton) off the new album The Deep End, released by the Kranky label on October 26, 2018: saloli.bandcamp.com.

✚ “Four Years Away,” the title track off the new SineRider (aka Devin Powers) album, released by the Sound in Silence label on October 26, 2018: soundinsilencerecords.bandcamp.com.

✚ “Moments” by Lucid Structure (aka Colin Mayo), off the December 2017 album We Were Never Here: lucidstructure.bandcamp.com. A new album, Measures, is due out November 22.

✚ “II” by John Carroll Kirby off the album Meditations in Music, released by Leaving Records on September 22, 2018: johncarrollkirby.bandcamp.com.

✚ This week’s archival track is “Blues Nile” off the 1977 Jon Hassell album Vernal Equinox: jonhassell.com

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly two hours. Those retired tracks — from Field Works and Marcus Fischer; Tim Hecker; Seigo Aoyama; Klara Lewis and Simon Fisher Turner; and Geir Sundstøl — are now in the Stasis Archives playlist (currently only on Spotify).

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Disquiet Junto Project 0356: Ground Swell

The Assignment: Derive something spooky from a specific place.

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, October 29, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, October 25, 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 0356: Ground Swell
The Assignment: Derive something spooky from a specific place.

Major thanks to Chris McAvoy for having proposed this project.

Step 1: The goal is to create a piece of music that uses layers to create a sense of unease, eeriness, or disquiet.

Step 2: Think of a place that summons up the sensations described in Step 1.

Step 3: Derive sounds from the place that came to mind in Step 2. If you have access to the place, consider strategies to accomplish this (from field recordings, graphic notations, etc.). If you do not have access to the place, use your memories and impressions as a resource.

Step 4: Create a short piece of music using the sounds in Step 3 to achieve the goals of Step 1.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0356” (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 “disquiet0356” (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-0356-ground-swell/

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, October 29, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, October 25, 2018.

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

Title/Tag: When posting your track, please include “disquiet0356” 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).

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

More on this 356th weekly Disquiet Junto project (Ground Swell / The Assignment: Derive something spooky from a specific place) at:

https://disquiet.com/0356/

Major thanks to Chris McAvoy for having proposed this project.

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-0356-ground-swell/

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

Image adapted (cropped, text added) from a photo by SoliDreamer, used via Flickr thanks to a non-commercial Creative Commons license (CC BY-NC-SA 2.0):

https://flic.kr/p/8ozh7r

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

And: Happy Halloween

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Stasis Report: Basinski ✚ Skeen ✚ More

Four brand new tracks and one from earlier this year added to the ambient playlist on Spotify and Google Play Music as of October 21, 2018

The latest update to my Stasis Report ambient-music playlist on Spotify and Google Play Music. The following five tracks were added on Sunday, October 21. All are from 2018, four of the five from this month. No room for a classic track this week — too much new music coming out as the end of 2018 approaches.

✚ “Mono No Aware 1.4” from William Basinski and Lawrence English off Selva Oscura. It was released by the Temporary Residence label on October 12, 2018: williambasinski.bandcamp.com.

✚ “A Parallel Array of Horses,” the title track off the new album by Geneva Skeen. It was released by the Room40 label on October 19, 2018: room40.bandcamp.com.

✚ “Glacial Tongues” is off the new r beny album, Eistla, self-released on October 5, 2018: rbeny.bandcamp.com.

✚ “Jordan Beckons,” off the new album Valet to Iowa by Carey Moore. It was self-released on October 11, 2018: careymoore.bandcamp.com.

✚ “At Dawn” by Lea Bertucci off Metal Aether, released back on February 9, 2018, by the NNA Tapes label: leabertucci.bandcamp.com

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly two hours. Those retired tracks — from Eashwarashwar Subramanian, Laura Karpman, Less Bells, Field Works (with Loscil), Suss, ioflow, and Aphex Twin — are now in the Stasis Archives playlist (currently only on Spotify).

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Disquiet Junto Project 0355: Sonic Vivisection

The Assignment: Operate with incisions on a live sound in real time.

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, October 22, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, October 18, 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 0355: Sonic Vivisection
The Assignment: Operate with incisions on a live sound in real time.

Step 1: Consider the concept of vivisection, or “the cutting of or operation on a living animal usually for physiological or pathological investigation,” per the Merriam-Webster Dictionary.

Step 2: Consider how that term might be applied to sound — for example, enacting cuts into a live sound source in real time.

Step 3: Record a short piece of music/sound based on the thoughts that arose upon reflection on Steps 1 and 2 above.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0355” (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 “disquiet0355” (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-0355-sonic-vivisection/

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, October 22, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, October 18, 2018.

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

Title/Tag: When posting your track, please include “disquiet0355” 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).

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

More on this 355th weekly Disquiet Junto project (Sonic Vivisection / The Assignment: Operate with incisions on a live sound in real time) at:

https://disquiet.com/0355/

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-0355-sonic-vivisection/

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

Image adapted (cropped, text added) from a photo by Tudor Barker, used via Flickr thanks to a non-commercial Creative Commons license (CC BY-NC-SA 2.0):

https://flic.kr/p/6HS4Cg

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

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