The Radio Edit from (Blue) Hell (MP3)

Kudos to Blue Hell not only for creating an immersive set of ambient music that mixes vapor trails of synthesizer and a constant sense of moistness, perhaps source from field recordings — but also for thinking of a broader audience than the work might seem to address. The piece is titled “Prayer Machine,” and in full form it is a nearly two-hour sprawl of sound. With its dank contours and dark tonal content, it comprises the audio equivalent of a very long bath after a very long day. But Blue Hell has also created a “radio edit” of the work, a five-minute excerpt, suitable for casual listening, and for easier passing around (MP3). The track is notable for its loose structure, and its ability to maintain its sense of lull for such an extended period of time. The format, the radio edit, should be a wake-up call in the ambient/netlabel community as a means to make difficult music — which is to say in this case, long-form music, music whose scope and breadth makes particular demands on the listener’s patience — more approachable.

[audio:http://www.archive.org/download/Blue_Hell_Prayer_Machine/02_Blue_Hell_Prayer_Machine_radioedit.mp3|titles=”Prayer Machine (Radio Edit)”|artists=Blue Hell]

Track originally posted at ethereallive.wordpress.com.

A (Temporarily Free) Record Album in Advance of Its Instrumentals

First: act quickly, as this free offer is only good until 9:19pm this evening, Philadelphia time. The Philadelphia-based producer Y?Arcka is a frequent subject of Downstream entries here at Disquiet.com, thanks to his intensely focused hip-hop productions, which tend to take a tiny slip of an existing track and extrapolate from it a fully considered instrumental composition. Though his own works at times push him toward the avant-garde edge of the instrumental-hip-hop continuum, Y?Arcka (alternately Why?Arcka, which stands for Young Architect) in no way distances himself from basic algebra of hip-hop, in which a prepared track is passed to a vocalist, yielding a finished work that has, generally speaking, one author responsible for each of its constituent parts — not counting, of course, the musicians who were the source for the samples, or guest vocalists.

In a full album just out today, and available for free download only until 9:19pm (Philadelphia Time), Y?Arcka has teamed with over a dozen rappers/vocalists, including the noted rhythmic raconteur Zilla Rocca. According to a tweet Y?Arcka sent me earlier today, folks who download the album will also receive a set of the instrumental versions. Especially looking forward to hearing the instrumental of “Up My Sleeve,” its central riff something halfway between a talking drum and a flute, and of “Mr. Matic,” with its super tight mix of drums and guitar.

Album available at arckatron.bandcamp.com. Y?Arcka is on Twitter at twitter.com/whyarcka, where he bills himself as “conceptual programmer.” Read a 2009 Disquiet.com interview with Y?Arcka, born Shawn Kelly: “Young Communicator.”

Email Isn’t Free

Over at weallmakemusic.com, I’ve channeled my antipathy for the vast amount of email PR that I receive each week into something vaguely constructive. It’s an article with the self-explanatory title “How to Use Email to Promote Your Music Without Alienating Your Audience.” It’s aimed at musicians who use email to promote their own music (“When It Feels Awkward, Quote Other People”), but there’s no reason the suggestions (“Links, Not Attachments,” “Garbage Out, Garbage In”) aren’t applicable more broadly.

The Deadly Drone of the Robot Goat Eater (MP3)

Ernest Gonzalez has made a techno track that doesn’t have a beat so much as it has a pulse — a thick, droning throb that slowly and steadily disrupts the dense white noise that is its overwhelming presence. Most club-music beats are either overlays that set a grid atop the many elements of an individual track, or they are under-girding, setting a foundation for everything that is built upon them. Here the beats are more like hard objects pushing through a dense fabric, their impact muffled yet persistent. “ChupaCabra,” as the track is titled, by Mexicans with Guns (aka Gonzalez), opens with a deliriously slo-motion robot dub. It’s all swagger, albeit of a mechanical, almost robotic variety, and it proceeds at a pace that seems to slow everything within view for the duration of its playing time.

Track originally posted at soundcloud.com/mexicanswithguns. More on Gonzalez at mexicanswithguns.com. Brief interview with him at npr.org.

Past Week at Twitter.com/Disquiet

  • Looking forward to the Fluxus event at SOMArts tonight featuring Alison Knowles and Hannah Higgins. #
  • Ben Barry, Everett Katigbak & Matteo Bologna were highlights of yesterday's Brand New Conference. Fluid, improvisational, dense, obsessive. #
  • Channeled my complaints about the music-PR-email deluge into something constructive: http://t.co/3Vy3RUg0 #
  • After episode featuring man with dolphin-quality echolocative ability, Alphas has tied Fringe as most sonically conscious drama on TV. #
  • Shareware shout out to SimpleNote, ResophNotes, WinSplit Revolution, Trillian, Chrome, Thunderbird, Orzeszek Timer. #
  • Sometimes a single feature added to a familiar piece of software can make it feel like you have a whole new laptop. #
  • ResophNotes, the SimpleNote application for Windows, now supports pinned notes. This is very good news. #
  • Earbud multi-source cabling: Anyone got a line on something like this http://t.co/w3gVKDH3 but with three, maybe four, inputs? #
  • Evening sounds: bus coming to a stop, paper being moved around, typing, laptop hard drive and fan (really need to switch over to SSD). #
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