Otsubo Kazuhisa on Drone(s)

Dronevember in full effect

Another live performance, this one an extended synth drone, by Otsubo Kazuhisa, who’s based in Japan. It’s a thrumming, compelling performance, with multiple layers of whirring and humming all going at once, ranging from a high shimmer, to a husky foundation, with gleaming pulses somewhere in between. At times, especially around three quarters of the way through, it sounds like voices are emanating from the void, and those voices make some of what came before sound almost glottal and gutteral in retrospect. Per its title, the track was recorded on November 9, 2025, though only released as of November 17. More at instagram.com/otsubo.

Home Jukebox Report

Plex is the way

If you have a sizable collection of MP3s (and equivalent — I mostly use ALAC, which is Apple’s lossless file format), and whether your files are from Bandcamp or are rips of your CD collection, or whatever/wherever, I can’t really recommend a tool more than I do Plex (see: plex.tv; despite the site’s emphasis on video, it has a solid music-services offering).

I trust there are solid alternatives to Plex, maybe even some such tools that are superior (and certainly, don’t hesitate to recommend them to me), but for my purposes, Plex has provided much of what I’ve been looking for when it comes to having a home jukebox that I can access from, essentially, anywhere.

I have an old Mac mini — running an M1 chip, the first stage of Apple’s own chips, which are now up to M5 — that I purchased used on eBay. I can easily drag MP3s to it via a home network, and those files are then automatically, almost instantly, processed by Plex, and added to a searchable database. I can then listen to those files from pretty much wherever I want. There’s a Plex app on my laptop and the television, and there’s one on my phone that works great. The phone’s app even shows up in the car’s dashboard, so I can listen there. (The image up top is a screenshot from my phone, an iPhone 13 Pro, the first iPhone I ever owned, and which may be due for an upgrade.)

  • Could Plex do what it does better? Sure.
  • Does moving files sometimes get clogged up in ways I don’t understand? Yes. But eventually it works.
  • Do .wav files in particular tend to get screwy when it comes to metadata, splintering albums into odd little multiple sub-albums? Unfortunately, yes, in which case I find converting them into another format does the trick.
  • Does Plex’s emphasis on video make it feel like the audio services are vestigial? Kinda. Yeah.
  • Do publicists and musicians generally share audio that doesn’t even have metadata? Yes, but complaining is sort of obnoxious on my part, since I’m getting the music for free.
  • Does the system every once in a while require a software update that I’ve yet to sort out how to manage when I’m not at home? Yes, but not that often.
  • What’s next? I suspect I am not making the most of Plex, and I need to spend more time on whatever Reddits, and Discords, and etc.’s where Plex heavy users congregate.

Whenever I ponder these issues, I remind myself that it wasn’t terribly long ago that I had to deal with the fact that for a given artist, I might have LPs, and tape cassettes, and CDs, and 7″ singles, and EPs, not to mention box sets and odd formats, and I never had a system that let me organize those in a meaningful way. I just accepted the scenario as the way things were. Back in the late 1990s, when I first had a Palm Pilot, I kept a database of my album collection on it so that I could refer to the list when I went to record stores. Those memories help me maintain some perspective given whatever modern hassles I now experience.

I still occasionally buy physical music media, but not all that often. And I subscribe to one streaming service, YouTube Music, which I selected because it came free with ad-free YouTube. I’ve considered using another streaming service, perhaps Tidal or Apple, but can’t quite rationalize paying for another one when YouTube works fine.

Scratch Pad: Shazam, Candy, Onigiri

From the past week

At the end of each week, I usually collate a lightly edited collection of recent comments I’ve made on social media, which I think of as my public scratch pad. I find knowing I’ll revisit my posts to be a positive and mellowing influence on my social media activity. I mostly hang out on Mastodon (at post.lurk.org/@disquiet), and I’m also trying out a few others. And I generally take weekends off social media.

▰ I love when you Shazam the music in a movie and it tells you the name of the cue in the score

▰ Based on recent personal experience, I would not recommend putting your AirPods case next to your Tic Tacs

▰ Been playing “dual Oblique Strategies” cards each morning. Here’s a sample set:

“Distorting time”

“The inconsistency principle”

▰ When the cover of the ancient paperback you’re reading begins to flake apart, you can make a bookmark of the piece that fell off

▰ A very San Francisco combination of speech-to-text and autocorrect: say “onigiri”; receive “on Geary”

▰ This is the third or fourth year I’ve done the n+1 “bookmatch” reading list questionnaire, and for the first time I received in my “personalized booklist” a book I’ve already read (in fact: two)

▰ I was reading way too many books at the same time, which is how I managed to finish three in one week: Rudy Rucker’s Software (a re-read for something I’m working on), Elmer Kelton’s The Good Old Boys (my second Kelton western this year), and David Greenberg’s biography of John Lewis.

Social Media Hiatus

Current inactivities

I try, toward the end of each year, to pause a significant amount of my digital connection activity — social media in particular — and that’ll kick in at the end of Friday, November 14. I’ll be back at it around the start of January.

And if it seems unnecessary to announce such a thing, I’ll just say, from extensive personal experience, that skipping out on posting for a long period of time unintentionally invites a bunch of people to check in to see if you’re ok.

Surveillance Nocturne

From sqsl / seqsual

I associate the sqsl account on YouTube as a demo zone for the always intriguing app output of seqsual.com. The seqsual product line consists of fascinating, design-forward, task-specific iPad apps for music-making. These include controllers, sequencers, and sample players. But this video is something different. Unless I’ve missed a detail, none of the synthesizer modules employed here — all hardware — are related to the seqsual catalog. (I do recognize this gear from another a video, one for the seqsual app Canvas, which interacts with physical modular synths, but that isn’t in use here.) This apparatus is a whole other realm, drawn from other music instrument manufacturers, and what’s happening is a delirious frenzy of signal swapping, all glitched and stuttered — a surveillance nocturne, as it were. Maybe it’s a hint at an upcoming seqsual release. The gestural reuse of existing sonic material certainly taps into seqsual’s overall activity. Great stuff, in any case. (I believe the name of the software developer, who I think is based in Finland, is Michal Macura, who also goes by Miso.)