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.

Current Listens: Recent Retrospect

Heavy rotation, lightly annotated

A weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. In the interest of conversation, let me know what you’re listening to in the comments below. Just please don’t promote your own work (or that of your label/client). This isn’t the right venue. (Just use email.)

I listened to plenty of new music this week, from Autechre’s surprise Plus to Patricia Wolf’s remix of material from Fadi Tabbal’s new album to ioflow’s ambient workout on the Elektron Digitone, but I wanted to highlight in this edition of Current Listens some music I’ve written about over the past month or so that’s really stuck with me. The emphasis on the new can create a false impression of constant new. Even the recent new can linger in ways that change one’s initial impression, often for the better:

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NEW: Recent(ish) arrivals and pre-releases

The patzr radio art-sound podcast of Jimmy Kipple’s musique concrète (music constructed from field recordings and pre-existing recorded sound) is a font of textural pleasure, especially the recent two-parter. Here’s the second half:

Loraine James’ remix of Lunch Money Life’s “Lincoln” reveals key moments of the source material before artfully falling to deliberately challenging pieces.

Lloyd Cole recorded an economical little album of modular synthesizer music with one little noise source, from which the record takes its name, Dunst, as its focus:

“Suite pour l’invisible” was the first track made available from Ana Roxanne’s forthcoming Because of a Flower album. I’ve gone back and listened frequently. It was followed up by the beat-machine-backed, almost Sade-like “Camille.” The full release, with five additional tracks, comes out on November 13.

By Marc Weidenbaum

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