- Jan 7 = Instragr/am/bient Track 07: @benjamindauer responds in slow swells to @markrushtoncom's Rothkoesque @instagram: http://t.co/BoEju71d #
- Music from ice. Already 7 tracks in first Disquiet Junto communal sound project: http://t.co/anQFre9l #
- Jan 6 = Instagr/am/bient Track 06 = @falsereactions renders Dead Wood's municipal @instagram image http://t.co/O8cooMYZ #
- Belated: Jan 5 = Instagr/am/bient Track 05 = Nibblets renders Vourtsis' glistening @instagram: http://t.co/K5mjcp44 #
- Already three fine entries in the first communal http://t.co/xdF6qCg1 @soundcloud project: http://t.co/anQFre9l #oumupo #
- Socal cafe etiquette http://t.co/Jg61iLsg #
- Definitely not too late. RT @OpenHeartSound don't think it's too late to get in on 1st soundcloud junto http://t.co/anQFre9l #
- Two great tastes. Listen simultaneously. RT @morganpackard What to listen to while I work… Basic Channel or Burt Bacharach? #
- Morning sounds in Pasadena: occasional bird calls, cars skirting stop signs on moist pavement. #
- Pretty sweet exhibit of vinyl record players at SFO: Revolutions per Minute. http://t.co/huWhNbeQ #
Fennesz Modern Dance Score (MP3)

The first Touch Radio free download of the year is nothing less than a Fennesz performance for modern dance. The work is “On Invisible Pause,” choreographed by Christopher Arouni, and it was part of SkÃ¥nes Dansteater’s performance HAZE on November 4, 2011, in Malmö, Sweden. The piece is lengthy and rangy, encompassing vast stretches of bright drone, and melodic sways of Fennesz’s trademark guitar (MP3). A brief note at the organization’s website provides some information on the project:
In On Invisible Pause six dancers hover between the visible and the invisible. What does it mean to be present, without necessarily being visible to the outside world, or visible even to the person standing next to you, the closest? Austrian electronica pioneer Christian Fennesz has composed the music for the piece.
Track originally posted at touchradio.org.uk. More on the dance company at skanesdansteater.se. More on Christian Fennesz at fennesz.com. The recording was mixed by Christopher Arouni, Christian Fennesz, and Anders Myhrman.
Chimes and More Chimes
Perhaps the only thing better than a wind chime — the only thing more redolent with the generative wonder inherent in this most basic of automated instruments — is a pair of wind chimes. That is precisely what Josh Davison, who goes by Stringbot, posted recently to his soundcloud.com/stringbot account. It’s a brief track, under a minute in length, but eminently loop-able. The beauty of having a pair of chimes is the extent to which they act independently, seemingly far more so than do the individual rungs of a single chime. The result is a gentle cacophony.
Davison’s sole stated regret? That he had but a mono microphone at this instance: “I wish I had a stereo mic with me, this is two sets of wind chimes. I was standing in between them.”
Bells, Intervals, and Sonic Armistice

The saying goes that a broken clock is right twice a day. The thing about a fully functioning clock is that it means different things at different times of the day. The noon bell, for example, is a midday alert. Even if the noon bell also happens to signal, say, a Latin mass, it provides a secular timekeeper for everyone within earshot. Other times might be synchronized with things other than the nearly universal 24-hourly intervals: religious events (services) and semi-secular ones (weddings) generally fall off the strict hour/half-past regularity. Even when slight, discrepancies in timing can feel significant, or at least meaningful. In the neighborhood where I live, the noon bell rings each Tuesday just after a noon siren calls out across the city (actually a network of sirens, all slightly off sync). The noon church bells always start slightly after the alert ends (the siren consists of two parts: an alarm, and then a spoken announcement). It’s unclear if the alert comes early or if the bells late, but they long ago reached some sort of sonic armistice.
The great Touch Radio podcast noted the end of 2012 with an extended recording of bells (MP3), recorded in the belltower of St. Mary’s Church, Walthamstow. They were no doubt intended to signify the close of a year, but they were, in fact, if the data in the RSS feed is correct, released eight days prior, and in fact recorded a full month prior. The bells rang any number of times between November 30, when they were recorded, and January 1, 2012 — and thanks to the podcast MP3, they will continue to be heard into the future, each time signally something slightly different: coinciding with an event, looking ahead to one, or bringing to mind something from the past.
And, for that matter, the bells find themselves occasionally excepted from timekeeping duties, and listened to for their sonic properties. There is a particularly eventful sequence at around the eight-minute point when decay and overlays combine to create illusions of more bells than are in fact ringing — the reverberation almost takes on the appearance of backward masking, which is ironic given the association of backward masking with Satanism.
Track originally posted (“With thanks to Denis Hewitt & Ewan Marshall”) at touchradio.org.uk.
When the Ether Gets the Jitters (MP3)

The great ongoing Radius broadcast/podcast often takes radio its subject. Those entries carry additional meaning because the series’ name suggests a circumference of available signal, and because the catchy glitchy sound that opens each episode is derived from broadcast technology (see “Entering and Exiting the Electromagnetic Spectrum”). “Rise and Shine” is just such a segment: a live and improvised performance by Emilie Mouchous and Andrea-Jane Cornell that concerns itself with the way the landscape shapes radio signals. The result is an extended conversation played out between thick, wavering tones and momentary snatches of disruption.
At the hosting site, the duo explain the narrative that informs the performance:
The piece responds to the clarity of local signals in Montreal that are obscured in areas directly adjacent to the main radio tower transmitter site atop Mount-Royal. The areas situated in the shadow of the mountain, where there are no sight-lines to the tower, have poor reception because the signal must pass though the ground to reach the receivers. The signal is only received in mono and occasionally cuts out intermittently for indeterminate periods of time.
Rise and Shine begins with undulations, like the intermittent signals in the mountain’s shadow; a rising and falling, an ebb and flow of tones meditatively sweeping through the frequency range that stretch the spectrum that is most receptive to the combination of signals. Once the space is carved out, the piece unfolds at a languorous pace, evocative of a hot summer night when the air is thick and sleep comes in waves carrying episodic dreams linked together by a common thread.
More on the piece at theradius.tumblr.com. Emilie Mouchous and Andrea-Jane Cornell are based in Montréal, Québec.