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.

Mexican Audio Damage

Courtesy of Alejandro Morse

You’ll need to check your speakers. Edgar Medina, who goes by Alejandro Morse, so damages the sounds that constitute the base level of the track “(Splendid View to) an Artificial Lake,” off the forthcoming album Aftermath, that you’ll wonder if something has gone haywire with your audio system. Even after being told, still you’ll find need to check your speakers, to make sure wires haven’t frayed, to make sure a cat hasn’t gotten in the house and scratched at your cones, to make sure water hasn’t taken its toll. None of those things have happened — well, not to your speakers. As for the audio on “(Splendid View to) an Artificial Lake,” it has been scraped like barnacles off the hull of a boat, like paint from an old bench, like unwanted truths from a Wikipedia page. In posting the track to SoundCloud, the releasing record label, Dragon’s Eye, attributed the tag #ambient to it, but that seems more like provocation than categorization. The mix of happenstance field recordings and genteel tonal elements is bonded under shared scrubbing, the disparate elements united as the objects of Morse’s destructive, exploratory intent.

Track originally posted at soundcloud.com/dragonseyerecordings. More from Medina/Morse, who is based in Leon, Mexico, at alejandromorse.bandcamp.com. Aftermath is due out this Friday, October 2.

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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