MMtm’s Surreal Madrid 3-Track (MP3s)

There’s much to ponder in MMtm‘s three-track Chant of the Booster, the latest from the Surreal Madrid netlabel. There’s the opening track, “Brew Ha Ha!” (MP3), which is all video-game noises stretched to the breaking point, like a handful of dying Centipedes crying out at once — not to mention the way the closing track, “Activating Solenoids,” moves between blurbly bass and snippets of spoken audio as if that’s the most natural way to spend time at one’s mixing deck (MP3).

But the keeper is the rhythmic title cut, which opens with rubbery cadences that might have been tapped out on upturned buckets, before it dives deep into glossy half-speed techno (MP3).

[audio:http://www.surrealmadrid.net/releases/sm20/sounds/01-Brew_Ha_Ha.mp3|titles=”Brew Ha Ha!”|artists=MMtm] [audio:http://www.surrealmadrid.net/releases/sm20/sounds/02-Chant_of_the_booster.mp3|titles=”Chant of the Booster”|artists=MMtm] [audio:http://www.surrealmadrid.net/releases/sm20/sounds/03-Activating_solenoids.mp3|titles=”Activating Solenoids”|artists=MMtm]

Get the full set at surrealmadrid.net.

Automatic Drawing from Tim Prebble (MP3)

Like many sound-focused bloggers, when sound designer Tim Prebble takes a trip, he records not just his thoughts and his photos, but also the sounds of his journey, like the one he took to the Kobe Biennale back in 2007. It was focused (true to Kobe being a port town) on shipping containers:

Those are just a few of the photos Prebble has posted on his musicofsound.co.nz site. The last of the three was contained an automatic drawing machine. In addition to the photo, there’s a recording of the sound of its machinations (MP3) and, because Prebble’s obsessed with sound (or, as he puts it in his blog’s subtitle, “vibrating air molecules), there’s also a recording of that same sound played at half-speed backwards (MP3).

[audio:http://www.musicofsound.co.nz/zstashedbits/drawingmach.mp3|titles=”Drawing Machine (Kobe 2007)”|artists=Tim Prebble] [audio:http://www.musicofsound.co.nz/zstashedbits/drawingmach2.mp3|titles=”Drawing Machine Half Speed Backwards (Kobe 2007)”|artists=Tim Prebble]

Click through for more on the 2007 Biennale, and images of a container-based Listening station: musicofsound.co.nz. More on the 2009 Biennale at kobe-biennale.jp.

Mixing Down the New Anois Album (MP3s)

The willfully frail sounds on Anois‘s Tree House Whispers are the stuff of half-remembered noises, whirring in your head on a distracted afternoon. One highlight is “Small Electric Battery,” all backward-masked elements biding time before a soothing melody takes over, and with that melody the rattling of sticks that could be kitchen labor (think Erik Satie at his hypothetical table setting), or a drummer just settling in at his kit (MP3).

There are 13 tracks on Tree House Whispers, most of them featuring vocals, introspective half-sung lyrics with a shoegazing quality (think Low, or Damon and Naomi — or the duo from Once, Glen Hansard and Markéta Irglová, remixed by Postal Service). But interspersed amid the actual songs are three brief pieces that drop the vocals in favor of a precious disruption. “Small Electric Battery” is one of these. The others two are “There Must Be Some Book About It” (MP3), a treat in which a momentarily folktronic introduction gives way to violin and closley mic’d acoustic guitar, only to come round to the digital processing at the piece’s close, and “It Is All So Curious at the End,” a rising cascade of the most brittle and self-lacerating noises heard on the collection (MP3), that despite the friction still telegraph a tidy sense of reflection.

Again, to be clear, these three pieces are mere interludes on the album, but together they make for a self-contained little sound space unto themselves. Here they are, playable as one sequential set:

[audio:http://www.aerotone.net/aer017/aer017-anois-tree_house_whispers-01_small_electric_battery.mp3,http://www.aerotone.net/aer017/aer017-anois-tree_house_whispers-05_there_must_be_some_book_about_it.mp3,http://www.aerotone.net/aer017/aer017-anois-tree_house_whispers-13_it_is_all_so_curious_at_the_end.mp3|titles=”Small Electric Battery”,”There Must Be Some Book About It”,”It Is All So Curious at the End”|artists=Anois,Anois,Anois]

Get the full set at aerotone.300l600.de.. More on Anois (aka Lars Kranholdt and Anne Baier) at myspace.com/anois and pleasemutetoday.com.

Images of the Week: The Geography of Buzz

These displays show “The Geography of Buzz” in Los Angeles (square) and Manhattan (rectangle), according to data collected and processed by Elizabeth Currid, an assistant professor in the School of Policy, Planning and Development at the University of Southern California in Los Angeles, and Sarah Williams, the director of the Spatial Information Design Lab at Columbia University”˜s Graduate School of Architecture, Planning and Preservation:

More at nytimes.com and at the website of Studio X (columbia.edu), where the Currid-Williams work is on display through May 8.

Quote of the Week: Recombinant Classical

Greg Sandow on the role of pop in contemporary classical music. This is the opening of his April 5 post, titled “In the DNA”:

    I’ve been pondering the reasons why the composers I call alt-classical seem to strike a nerve with the new young audience I keep talking about. It’s not just because these composers sometimes write music with a pop-like beat. First, the pop-like beat might not be steady, and might just pop up here and there.

    But second, and much more important, the music might not have a pop-like beat at all. And yet it feels like it fits into the culture where pop-like beats dominate. How does that work?

    I got some insight into that, I thought, when I heard a piece by Glenn Kotche, called Snap, at a performance by the Bang on a Can All-Stars at the University of Maryland last weekend. Kotche is the drummer in Wilco, but he’s also a free-jazz improviser and a composer, so his music can get complicated. And Snap is complicated. It’s based on classic R&B songs recorded by the Stax label in the 1960s. …

    But Kotche doesn’t even come close to imitating any of the songs. Instead, he picks them apart, finding rhythms and textures he likes, and then putting those (often in fragments) into a new piece that’s put together like classical music. Which means, in this case, that it’s an abstract construction, changing constantly, full of complexities and surprises, without any trace of a tune or the generally simple construction that we’d find in the original songs…

The piece continues at artsjournal.com/sandow.