In London, Noise = Noise

A live show from the London-based Noise = Noise concert series has been posted by Charles Céleste Hutchins, whose set, despite reported technical glitches (of the “messed-up sound system” variety, not the “inspired by Oval” variety), provides heady drones worth submerging oneself in. And just as those lulling tones fill the sonic periphery, easily mistaken as both sensory overload and sensory deprivation, in clicks the 4-bit percussion, and then a nearly sub-aural bass that rattles not only ears but body cavities. And when there is feedback (of the “messing with tech variety,” not the “messed-up sound system” variety), it is that digital squeal that’s the laptop equivalent of Hendrix’s burning guitar (MP3).

[audio:http://www.berkeleynoise.com/celesteh/mp3s/2010/live_noise_19.mp3|titles=”Lupita”|artists=Charles Celeste Hutchins]

Writes Hutchins of the set, which was put together quickly:

In the first part of it, I’m playing my MOTM synthesizer and live sampling that in my SimpleSample SuperCollider patch, controlled by a wireless gamepad. However, one channel seemed to be out on the PA and it seemed like a lot of my SC stuff wasn’t making it out to the PA either. At some point, the joystick gave up the ghost completely, so it switched to being all modular synth.

More on the event at berkeleynoise.com. More on Noise = Noise at myob.to. More on Hutchins at celesteh.blogspot.com.

Three Renditions of Offthesky

Remastering and remixing find common ground on Du Soleil, an expanded reissue recently uploaded by artist offthesky to the always excellent netlabel restingbell.net. Originally released by Atmoworks in 2007, the four-track set has been remastered and, in its new edition, extended by three remixes, one each by Darren Mcclure, Billy Gomberg, and offthesky himself. The original music is a slow, evocative mix of light textures. The remixes bring those textures into focus by emphasizing contrasting fixations: in Mcclure’s a lovely foregrounding of guitar, which melts into the background patterns thanks to backward masking and other blood-in-the-ear effects (MP3); in Gomberg’s the background bleached to an industrial buzz that slowly builds to a momentous drone (MP3); and in offthesky’s self-mix an ethereal pleasure, all warped bells, gossamer figments, and dark angelic whispers (MP3).

[audio:http://www.archive.org/download/rb082/05-du_soleil_remixed_by_darren_mcclure.mp3|titles=”Du Soleil (Remixed by Darren Mcclure)”|artists=offthesky & Darren Mcclure] [audio:http://www.archive.org/download/rb082/06-du_soleil_remixed_by_billy_gomberg.mp3|titles=”Du Soleil (Remixed by Billy Gomberg)”|artists=offthesky & Billy Gomberg] [audio:http://www.archive.org/download/rb082/07-du_soleil_remixed_by_offthesky.mp3|titles=”Du Soleil (Remixed by offthesky)”|artists=offthesky]

Get the full release at restingbell.net. More on offthesky, aka Jason Corder, at offthesky.com. More on Mcclure at myspace.com/darrenmcclure. And more on Gomberg at fraufraulein.com/billy.

Despite the Downturn: Initial Responses

Quick update on the Disquiet.com project Despite the Downturn: An Answer Album. Originally launched on Monday as a seven-track various-artists compilation album intended to respond to Megan McArdle‘s May 2010 Atlantic article (theatlantic.com) on file-sharing and the state of the music industry, it has expanded to nine tracks, with more to come. Within about 36 to 48 hours, the recordings have been downloaded over 600 times from its home at archive.org.

For those just being introduced to the record, the musicians on it all used the illustration, by artist Jeremy Traum, that accompanied McArdle’s Atlantic story as a “score” that they interpreted — an act inspired by the inclusion in Traum’s art of a pre-existing score, reportedly Ernest Bloch’s Suite hébraïque (which dates from the early 1950s, and thus lends a little irony to McArdle’s critique of copyright violation in defense of the record industry — and to be clear, my comment is intended as a critique of the article, not of Traum’s artistic inventiveness).

Coverage thus far of the release includes:

A link from Cory Doctorow at boingboing.net led to a small flurry of commenting, including this:

NDanger: “Having had a hand and foot in the music business at various times, I can’t help but think that some small education about the business would push most people closer to the pro-filesharing position. … I can totally understand why someone might be looking for a reason music sucks these days. But less participation by the record companies is definitely not the reason. Look to the spirit of the age instead.”

Molly Sheridan at artsjournal.com wrote of the Downturn album’s free release:

“There are those who say music doesn’t have literal communicative meaning (and those who argue that it most certainly does), but both camps and everyone else will probably want to check out [this] compelling response to a recent Atlantic article. … Big money may be gone, but it seems that new distribution models mean moderate money is now much more more likely.”

Over at Sheridan’s site, commenter William Osborne noted the RIAA’s attempt to “insert an ammendment (sic) into an anti-terrorism bill that would would immunize the ‘recording industry’ from damage caused by hacking into people’s computers.”

Rob Walker at murketing.com says of the original Atlantic article, “It struck me as a rather retro argument at this late date,” and spoke highly of the Downturn endeavor.

And comments at the web version of the original article, at theatlantic.com, have picked back up after a short lull, likely as a result of the new attention, among them:

Tynam: “The industry fought kicking and screaming to the death to avoid providing any customer service of any kind whatsoever, for nearly a decade. They don’t get to be all offended that the customers went elsewhere.”

wetterberg: “I’m a musician, and I want nothing more than for the music Industry to die a swift death. We get it; there’s so much free content that having to pay for other content seems ridiculous now… because it is. Now lets lose the fatcat system (which has long since stopped contributing to music anyway) and build flat systems. And fatcats include the iTunes store, too!”

metapunk: “If people can stop living in the past and instead try to see the way that things truly are, then we might just have a renaissance in music in the same way that music video has flourished on the web.”

ert11567: “The Atlantic seems to believe that giving away material, and lots of it, for free is the way to go. I don’t mind – I will continue to pay for the magazine – though I note it is not supposedly economically rationale. Uh, so what am I to think of all those freeloaders reading for free?”

And the participants themselves are doing their part to get the word out, among them Tom Moody at tommoody.us, C. Reider at vuzhmusic.com, Moldilox (aka Joseph Luster) at beepcity.com, Mark Rushton at markrushton.com.

And because we all inhabit a technologically enhanced, rapid-response, digital panopticon, one can also follow the subject’s current spiking on this quick-response filter: tweetmeme.com, tweetmeme.com.

Under-heard Frequencies from Radinovic & Jaques

Zon On N is not a Zen-ambient Stephen Bishop cover band. It’s two musicians with a keen interest in the under-heard. They are Mario Radinovic and Howard Jaques, who together recorded the 51st and latest in the touchradio.org.uk series. Theirs is an hour-long performance, aptly titled “One Long Track.” It opens with soft, slight frequencies and the Morse code of some sad, sinking vessel. Radinovic is credited with oscillators and multiple effects units, Jacques with melodica, singing, percussion, and electronics.

The music employs short-term echoes and delayed stereo effects to maximize its minimal materials. Small beeps echo across the ear-scape. Heard once, they’re mere, momentary blips, but when repeated they bring a conceptual certitude that enhances their simplicity. Those blips arrive atop a bed of droning melodica that (thanks to decades of Ennio Morricone soundtracks) signals a barren frontier. In time, wildly eerie sounds and shuddering bass alternate with what sound like snippets of ancient broadcasts.

[audio:http://www.touchmusic.org.uk/touchradio/Radio51/Radio51.mp3|titles=”One Long Track”|artists=Mario Radinovic & Howard Jacques]

More on the release at touchradio.org.uk. More on Radinovic at myspace.com/marioradinovic.

One Minute of Instrumental Hip-Hop Bliss (MP3)

There may be no label, web-based or otherwise, that steadily publishes as heady a mix of hip-hop and electronica as does Dusted Wax Kingdom (at dustedwax.org). In the Kingdom of Wax, hip-hop is a producer’s realm, a place where texture fills the void left by vocals. Just check out Green Butter by Transient, in particular the opening track, which sounds like some old Pete Rock production retooled to serve as the theme music for a late-night cable-access show about the joys and tribulations of crate-digging (MP3). The only criticism is that, at just a minute, it’s too short by half. From the opening organ solo, the pipes shuddering like the machine’s having heart palpitations, through horn-laced beats, it’s a total gem. Fans of old Funki Porcini and Wagon Christ will take note.

[audio:http://www.archive.org/download/DWK053/Transient_-_01_-_GB_Intro.mp3
|titles=”GB Intro”|artists=Transient]

Nothing else on Green Butter comes close to that track’s head-nodding beat and pleasantly grizzled vibe, but isn’t that what crate-digging’s all about, virtual or otherwise? Get the full set at dustedwax.org. More on Transient, aka upstate New York-based Carl Martin, at myspace.com/trans1ent.