Initial Gristleism MP3 Loop

The latest bit of information about the forthcoming Gristleism gadget is just 194 KB in size, just 19 seconds of sound — but that’s a valuable chunk of information, because it’s the first evidence of the loops that are included as part of Gristleism. The device is a team-up between FM3, creators of the Buddha Machine, and Throbbing Gristle, the band that has been said to have invented industrial music. It’s a small, handheld machine containing various short loops of sound, and it includes the ability to slow and speed up each loop. The sound quality is reportedly significantly higher than was the case with the Buddha Machine, of which there have been two versions thus far.

[audio:http://www.gristleism.com/files/presspromoimages/Gristleism%20Loop%207-Actual.mp3|titles=”Loop 7- Lyre Liar”|artists=Throbbing Gristle]

This initial loop (number seven on Gristleism, judging by the track title) is a sliver (MP3) of “Lyre Liar” off Throbbing Gristle’s 2007 album, Part Two The Endless Not. Not heard is Gristle’s Genesis P-Orridge intoning “lyre liar” as if he were imitating Ozzy Osbourne having woken up too early, as is the case on the original song. What is heard in the loop is the gutter churn of flanging noise, and the countervailing mechanoid wah-wah that made the original track so threatening — as well as so inherently useful as a loop.

More info at gristleism.com.

Images of the Week: Paperback Releases

Graphic designer Huw Gwilliam earlier this year took it upon himself to remake classic album covers as if they were vintage (and well-worn and -loved) Pelican paperbacks. Here are a few examples of what he came up with:

View the fill set, in much larger format, at flickr.com/photos/littlepixel. More on Gwilliam at his website, littlepixel.info.

From the Archives of epulse

Spent the morning digging through the archives, and located six pieces I’d written between 1996 and 2000 that weren’t up on Disquiet.com. All were entries in epulse, the email zine I founded for Tower Records in 1994, and edited on and off until it closed down in 2004:

(1) Now the earliest entry on this site tagged “sound art” is a mention from August 1996 of a Christopher Janney installation in Manhattan, titled Reach — New York. Photo of Reach below by Janney, found via arcspace.com.

Also added to the site: (2) a 1996 review of the Black Dog album Music for Adverts (And Short Films) on Warp, (3) a 1996 review of the Source Lab 2 compilation upon its domestic U.S. release (with music by, among others, Bang Bang, Zend Avesta, and Dimitri from ParisDaft Punk and Air were on the collection too, though apparently they didn’t strike my fancy at the time), (4) 1999 reflection on the “NP” (i.e., “now playing”) email tag, (5) a review of Barry Adamson‘s The King of Nothing Hill from 2000, (6) and also from 2000 a mention of the Raster Noton compilation 20′ to 2000.

Quote of the Week: Beyond, or Before, Microphones

This is sound artist John Grzinich answering the question “How has your appreciation/perception of your environment changed since you began actively listening through the microphone?”

    I’ve noticed how often people assume that when working with sound one must work with technology. Microphones and speakers are mechanisms for sound detection, amplification and reproduction. This seems obvious, yet I often must remind people, that until we are able to hear by some neurological implant to our brains we still need to hear all sounds acoustically with our ears even if its through headphones.

From an interview at earroom.wordpress.com. More on Grzinich at maaheli.ee.

Past Week at Twitter.com/Disquiet

  • Morning sounds — more cars, fewer birds. Credit the former to the nearby Strictly Hardly Bluegrass festival — kinda ironic. #
  • Oh No's recent album Ethiopium now playing #ontheofficestereo — this works well. #
  • This is just a shout out to @rackspace for great online-chat tech support for email hosting. #
  • Weekend agenda: 23five's Joe Colley & Co. at 21 Grand in Oakland, gallery crawl in San Francisco & Oakland. … Anything else going on? #
  • Despite how carefully I whittle my Twitter entries for length and clarity, I still find myself using the word "yeah" three posts in a row. #
  • Are ambulance sirens louder than they were twenty years ago, or are peope just more sensitive to — or cautious about — perceived noise? #
  • Pandora played Nelly's "Country Grammar." Reveling in its spare beat, wondering if he & Jason "Jay E" Epperson were fans of Tom Hanks' Big. #
  • Apparently I have some invitations to Google Wave — if you want one, send me a direct (i.e., private) message to that effect. #
  • Evening sounds: an hour after blasting Vladislav Delay's album, my speakers, turned up, emit an insectoid buzz. Outside, buses and chatter. #
  • Construction has begun on the alley outside the office — days of free abstract industrial music await us. #
  • Vladislav Delay's great new album Tummaa is the subject of the current "MP3 Discussion Group" at Disquiet.com: http://is.gd/3P4mB #
  • Feeling vaguely self-conscious, having popped the latest albums by @alarmwillsound and @hecanjog on the office stereo system. #
  • Disquiet searches included FSOL, Marclay, Steve Roach, Trevor Paglen and 2 I'm embarrassed to say yielded null: Oum Kaltoum, Craig Colorusso #
  • Realizing, with the rise of the emoticon, how infrequently, if ever, I follow a close parenthesis with a colon. #
  • Series premiere of SF-based show Trauma included a Nick Lowe song — maybe 'cause he's playing Strictly Hardly Bluegrass Fest this weekend? #
  • Score to series premiere of The Good Wife had nice synchronous moments, & definite overtones of the ER score, easing viewer transition. #
  • Iggy Pop to Dinah Shore on how Detroit's industrial noise, not Motown, influenced his music: http://bit.ly/xR7QE Thanks, @marieleathem1 #
  • Among yesterday's Disquiet.com searches: asano (presumably Koji), longmo, radio transmission, trance, turntable, typewriter, & white noise. #
  • Digging new iPhone/Touch app Trope by Brian Eno & Peter Chilvers. A big step forward from their Bloom. More options, less monotonous sound. #