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

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Stasis Report: Thomas Fehlmann ✚ Laurel Halo ✚ more

Six new tracks added to the ambient Spotify playlist as of July 15, 2018

The latest update to my Stasis Report ambient-music playlist on Spotify, on Sunday, July 15, added the following six tracks:

Thomas Fehlmann and Terrence Dixon‘s “Landline” is the one track off their recent We Take It From Here, out in April but only just this week appearing on Spotify, that dispenses with beats in favor of something entirely atmospheric. It’s also the final of the album’s six tracks, sort of reinforcing ambient techno’s role as after-party/VIP-lounge music. It’s on the Tresor label.

✚ “Raw Silk Uncut Wood” is the title track off the new Laurel Halo album (laurelhalo.com), released this past week on the Latency label (latency.fr).

✚ “Saying Goodbye” and “Where Are the Boys” are two tracks from Nick Cave and Warren Ellis‘ score for Kings, directed by Deniz Gamze Ergüven (Mustang) and starring Halle Berry and Daniel Craig. It was released recently on Milan Records. Ellis, a member of Cave’s band the Bad Seeds, did the score to the new Gauguin: Voyage to Tahiti docudrama, starring Vincent Cassel in the title role, but it’s not streaming yet (it is on YouTube).

✚ “Musles” is off How We Fall, the new J.Peter Schwalm album on RareNoiseRecords (rarenoiserecords.com). It features Eivind Aarset (Jon Hassell, Nils Petter Molvaer) on guitar and Tim Harries (Bill Bruford’s Earthworks, Steeleye Span) on bass. They were also on Schwalm’s previous album, The Beauty Of Disaster (2016).

Adam Bryanbaum Wiltzie (A Winged Victory for the Sullen, Stars of the Lid) scored the new Whitney Houston documentary, Whitney, from director Kevin Macdonald (The Last King of Scotland, Touching the Void), but it’s not streaming yet. So, in the meanwhile, this is the end-credits cue from Wiltzie’s score to the 2015 film Salero.

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly an hour and a half. Those tracks are now in the Stasis Archives playlist.

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Disquiet Junto Project 0341: Sample Forensics

The Assignment: Place a fragmentary sample into a natural-seeming setting.

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 11:59pm (that is, just before midnight) wherever you are on Monday, July 16, 2018. This project was posted on Thursday, July 12, 2018.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0341: Sample Forensics
The Assignment: Place a fragmentary sample into a natural-seeming setting.

Step 1: Choose a sample, a very short piece, roughly two to five seconds in length. It’s best if the sample has no fixed meter, no explicit rhythm, that it feels frayed at its beginning and its end — perhaps a snatch of melody, or a fragment of a field recording.

Step 2: Consider how you might create a piece of music into which the sample from Step 1 can be set, so that it is as if that setting is the point of origin for the sample. This is an act of forensics and of forgery.

Step 3: Record a piece of music based on the planning in Step 2. At the start of your piece, repeat the original sample three times separated by two brief silences, so the listener knows what to listen for in the completed piece. (It is fine to repeat the sample in your original piece, but not to run it continuously as a loop.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0341” (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 “disquiet0341” (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-0341-sample-forensics/

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 11:59pm (that is, just before midnight) wherever you are on Monday, July 16, 2018. This project was posted on Thursday, July 12, 2018.

Length: The length of your track is up to you. Roughly a minute or two sounds about right.

Title/Tag: When posting your track, please include “disquiet0341” 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: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

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

More on this 341st weekly Disquiet Junto project (Sample Forensics / The Assignment: Place a fragmentary sample into a natural-seeming setting) at:

https://disquiet.com/0341/

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-0341-sample-forensics/

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

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Simulating Environmental Byproducts

A live performance by Dave Seidel

When occurring in the everyday environment, drones have a natural quality to them — natural, that is, much of the time, as expressions of the built environment. They aren’t natural like tree sap. They are natural as occurrences of, consequences of, human-made spaces, of HVAC, of wind tunnels, of electrical appliances, and especially as combinations thereof. They are hums of unclear origin, sounds whose qualities are experienced differently by different people, and that can be influenced by just a slight shift in the position, even a mere tilt of the head, from which you witness them.

Drones are quasi-natural effluences — environmental byproducts, really. In contrast, the conscious production of drones is something else entirely. It takes effort to sound like more than a sine wave. It takes skill to sound like more than a single tone on repeat. It takes nuance to have the sort of qualities that suggest deep fractal complexity. Those talents belong to Dave Seidel, who in this graceful performance (“Marwa in Centaur”) ushers a subtle, sumptuous drone from the displayed equipment. It is epic and modest, glacial and economical, all at the same time.

This is the latest video I’ve added to my YouTube playlist of recommended live performances of ambient music. Video originally posted to Seidel’s YouTube channel. More from Seidel, aka New Hampshire-based Mysterybear, at mysterybear.net and mysterybear.bandcamp.com. I wrote the liner notes to Seidel’s album ~60 Hz, released in 2014: “Even Waveforms Have Terroir.”

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Stasis Report: Roger Eno ✚ The Expanse ✚ Lucrecia Dalt ✚ more

New tracks added to the ambient Spotify playlist as of July 8, 2018

The latest update to my Stasis Report ambient-music playlist on Spotify, on Sunday, July 8, added the following eight tracks:

✚ “Atmospheres Touch” is from Anticlines (on the RVNG Intl. label) by Lucrecia Dalt: lucreciadalt.bandcamp.com.

✚ This week marked the ninth anniversary of the death of Danielle Baquet-Long, half of the duo Celer. The duo’s other half, her husband, Will Long, has continued Celer as a prolific solo act since her death. The track “Hotel Mona Lisa” is from Landmarks, released back in February on the label Constellation Tatsu. It’s a collaboration with Forest Management (aka John Daniel): ctatsu.bandcamp.com.

✚ The super TV series The Expanse recently escaped cancellation, thanks to Amazon having picked it up after Syfy announced its recently concluded third season would be its last. This track, “Welwala,” is from the first collection of Expanse score cues by the composer Clinton Shorter (clintonshorter.com). Shorter also has composed music for Intelligence (the one with Josh Holloway, not the one with Ian Tracey), Colony, and House of Lies, among other series.

✚ Four tracks off guitarist Jamie Stillway‘s recent album City Static (jamiestillway.bandcamp.com). These are brief ambient interstitial recordings, ranging in length from 45 seconds to one minute and 11 seconds. I wrote a bit about them this past week.

✚ “Velvet Minute” is from Dust of Stars by Roger Eno. The album was released recently on the Painted Word label. It features contributions from Alex Paterson (of the Orb, currently celebrating its 30th anniversary) and Youth.

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly an hour and a half. Those tracks are now in the Stasis Archives playlist.

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In Transition

A solstice track from Malta-based Robert Farrugia

Gossamer lines that go on forever. Layers of tones that never congeal, each left with enough space to retain its own unique quality, its own place in the nonetheless lush, expressive, and expertly choreographed mix. Deep swells, occasionally sudden, that lend drama in the face of stasis. These are just a few of the qualities of “Transition” by Robert Farrugia. The track is one of eight on Solstice, a new compilation from the Archives label. Also featured on Solstice are the musicians r beny, Steve Pacheco, Pechblende, Mikael Lind, Hotel Neon, Hirotaka Shirotsubaki, and Warmth, the latter aka Agustín Mena, the Valencia, Spain–based head of Archives..

Track first posted at soundcloud.com/archives-5. Get the full album at archivesdubmusic.bandcamp.com. More from Farrugia, who is based in Malta, at robertfarrugia.bandcamp.com.

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