Listening to Mushrooms

And the presence of John Cage

Yes, I’m enjoying Anna Lowenhaupt Tsing’s 2015 book, The Mushroom at the End of the World, which I’ve owned for almost as long and started twice and am finally getting into. It’s interesting how much John Cage is in it. Even before I got to the Cage mention at the start of the “interlude” between section I and II of the book, I’d noticed, amid all the mycology (of which Cage was a major enthusiast), much attention paid to “indeterminacy” (“the unplanned nature of time,” in the author’s words) and “happening” (as opposed by Tsing to “gathering”), both key Cageian concepts.

Livestreams After Lockdown

Venues that bring concerts to your laptop

Pandemic-era lockdown is, for most people, a somewhat distant memory, but the normalization of livestream concerts, which rose to prominence when most people were spending most of their days and nights at home, thankfully persists. At the height of the pandemic, I reviewed a livestream for The Wire, and I remember thinking at the time how intriguing it was that the laptop on which I “attended” the concert was the same laptop on which I wrote my article (for added frisson, all the music being performed at the show involved live coding, meaning it was being played on laptops as well).

Many music venues regularly post live performances, often in real time, sometimes archived in perpetuity. Among my favorite spots that do this are listed below. If you know of other such digitally progressive brick’n’mortar spots (for electronic music, experimental music, jazz, contemporary classical, etc.) to recommend, please lemme know. Thanks to folks on Bluesky and elsewhere who fleshed this list out after I posted some initial places.

I discuss the concept of “music discovery” with people on a regular basis, and I cite venues around the world as a valuable resource. In most cases, this just means keeping an eye on the upcoming events at places like Oude Kerk (Amsterdam), the Stone (now at the New School in Manhattan — I used to sit next to Irving Stone, after whom John Zorn named the place, at Knitting Club shows on Houston Street way back in the day), and Super Deluxe (Tokyo).

Venues that actually post their live music online provide an incredible opportunity to hear what’s going on out there. Most (but not all) of the below are on YouTube. For the moment, I’m emphasizing places that don’t charge for viewing.

There’s lots of other resources, like the email newsletters dedicated to Toronto (Soundlist) and to Sydney (emus), and the Bay Improviser website in the San Francisco area (where I live), but for the purposes of this list of resources, I’m focused on free live streaming.

Update 2025.05.02: I added Wonderville and Non-Event (more info here).

Stigmatic Ambient Music

Which doesn't exist, at least not yet

I asked Google the following, which is to say I put the question into the search box:

What is stigmatic ambient music?

Google’s “AI overview” provided an immediate response, the opening of which read as follows:

Stigmatic ambient music is a subgenre of ambient music that incorporates elements of dark ambient and industrial music, often exploring themes of pain, suffering, and psychological distress. It’s characterized by the use of dissonance, harsh textures, and a focus on creating a sense of unease or dread through sound design rather than melody.

Following that information were five “key characteristics,” plus a statement of “How it Differs from Traditional Ambient” (unclear why the noun “It” is lowercase there in what is otherwise title case), and four examples of this (supposed) genre in action. Each little statement, in the form of a paragraph, had one or more links appended to it, though not one of those links went to anything that actually mentioned “stigmatic ambient music.” One of the links went to a piece of music software named Stigmata.

At the bottom of the Google AI overview results was a caveat, the most factual thing on the page thus far:

Generative AI is experimental

I then typed the core part of the phrase again into the Google search bar, this time with quote marks around it, as follows. (Google has explained: “Put quotes around any word or phrase… and we’ll only show pages that contain those exact words or phrases.)

”stigmatic ambient music”

And I received this response:

No results found for “stigmatic ambient music”.

It’s intriguing that the original response, all 300-plus words of encyclopedia-emulating inference, didn’t mention that seemingly pertinent fact.

Here, for reference, is the original AI overview in full, minus the appended links:

Stigmatic ambient music is a subgenre of ambient music that incorporates elements of dark ambient and industrial music, often exploring themes of pain, suffering, and psychological distress. It’s characterized by the use of dissonance, harsh textures, and a focus on creating a sense of unease or dread through sound design rather than melody.

Here’s a more detailed breakdown:

Key Characteristics:

Dissonance and Harsh Textures:
Stigmatic ambient often features sounds that are intentionally unpleasant or uncomfortable, such as distorted synth sounds, noise, and harsh rhythmic elements.

Focus on Atmosphere:
The primary goal is to create a specific mood or atmosphere, rather than to present traditional melodic structures or harmonies.

Psychological Distress:
Themes of pain, suffering, and psychological distress are often explored, using sound to evoke a sense of unease, dread, or even despair.

Industrial and Dark Ambient Influences:
Stigmatic ambient draws inspiration from both dark ambient and industrial music, incorporating elements of both genres.

Sound Design over Structure:
Unlike traditional ambient music, stigmatic ambient often prioritizes the creation of specific soundscapes and textures over formal structure or melody.

How it Differs from Traditional Ambient:
While both focus on atmosphere, stigmatic ambient deviates from traditional ambient’s emphasis on relaxation and tranquility by deliberately creating discomfort and tension.

Examples:
While specific examples can vary, some artists and works known for incorporating elements of stigmatic ambient include:

FluidShell Design’s Stigmata:
This instrument is described as allowing real-time sound modification and is designed for creating dark, atmospheric soundscapes, according to bestservice.com.

Brian Eno:
Although not explicitly stigmatic, Eno’s early ambient work laid the groundwork for the genre and his sound design principles are still influential.

Dark Ambient artists:
Many dark ambient artists explore similar themes and techniques, often using industrial sounds and dissonant textures.

Industrial music:
Some industrial bands explore similar thematic territory, using harsh sounds and textures to create a sense of unease and distress.

Of course, once I post this article, at 12:45pm PDT on April 28, 2025, there will be, for the time being, one search result for “stigmatic ambient music.”

On Repeat: Beats, Live, Score

Home/office playlist

On Sundays I try to at least quickly note some of my favorite listening from the week prior — things I would later regret having not written about in more depth, so better to share here briefly than not at all.

▰ Very much enjoying the recent Barker album, Stochastic Drift (released by Smalltown Supersound on April 4), especially the heavy Selected Ambient Works Volume II vibe of the track “Positive Disintegration.” (Barker is British, and lives in Berlin.)

[bandcamp width=640 height=406 album=758871653 size=large bgcol=ffffff linkcol=0687f5 artwork=small]

▰ Fantastic live set from jazz bassist Linda May Han Oh (Malaysia-born, Australia-raised), with Ambrose Akinmusire (trumpet — Oakland, California) and Pulitzer Prize winner Tyshawn Sorey (drums, New Jersey), recorded at the Keith Haring Theater, Performance Space, NY, back in January. Akinmusire is a somewhat recent favorite of mine, and I love hearing my instrumentalist favorites in supporting, or at least non-leading, roles.

▰ Dutch musician Rutger Hoedemaekersscore for the science fiction TV series Moresnet is moody and dramatic — cinematic, for sure, but also pleasingly touched by the weird. Hoedemaekers previously worked on, among other projects, Trapped (with Jóhann Jóhannsson and Hildur Guðnadóttir) and The Last Berliner.

[bandcamp width=640 height=472 album=3161033881 size=large bgcol=ffffff linkcol=0687f5 artwork=small]

Scratch Pad: Covers, Gunshots, Jelinek

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.

▰ The house stereo in this cafe is playing one cover song after another, and it’s a bit like being transported to an alternate reality where different people wrote and performed all these songs. That said, I like our reality better. Or liked — perhaps I’m stuck here forever.

▰ Pro tip: something is likely wrong with either your headphones or software if the speech-to-text tool you’re using keeps transcribing everything you’re saying as “[gunshots] [gunshots] [gunshots]”

▰ “Your experience order number is …”

▰ A very good evening, April 23 (Andrew Pekler, Jan Jelinek), also featuring Chris Otchy as the opener:

▰ Dunno if this Apple case I got on eBay for my aging iPhone 13 is legit but it’s more legit than the previous iPhone case I got on eBay

▰ Hyper-local* post: the macapuno ice cream at Polly Ann in the Sunset District is extraordinary, entirely distracting me from the chocolate with which it shared a small cup

*San Francisco

▰ I’d like to play more video games, but I end up reading novels. I’d like to listen to more podcasts, but I end up listening to audiobooks.