My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

Current Listens: New Autechre, Textile Music

Heavy rotation, lightly annotated

A weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. In the interest of conversation, let me know what you’re listening to in the comments below. Just please don’t promote your own work (or that of your label/client). This isn’t the right venue. (Just use email.)

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NEW: Recent(ish) arrivals and pre-releases

The ensemble Third Coast Percussion teamed up with modular synthesizer musician Bana Haffar for a nearly 20-minute performance of “Shed,” inspired by the textile art of Anni Albers. And as a side note, how amazing is it that Haffar’s own website,, is simply a Google Sheet with bits of information and outbound links? More on the piece at (Thanks, Kim Rueger, for the recommendation.)

Another fine, dramatic yet gentle patch from Michigan-based Orbital Patterns.

Grassy Knoll has a new EP due out at month’s end, and one of the preview tracks, an instrumental, is a strong crunch of noir-detective electronica. The track is “Into Your Mind,” and the EP is EP01. It’s due out October 29.

Autechre is back with Sign, its first album in over two years, though that doesn’t count over two dozen live sets released in between, not to mention a lengthy NTS archival broadcast. It’s more sedate, less brutal, than much of their recent music.

Noise album from the duo of Chinese musician Yan Jun (更多) and Bani Haykal, who I believe is based in Singapore. The record, Rats in the Bright Southern Sky, came out a year ago this month, but I’m just beginning to explore its spartan mix of rapid-fire loops, industrial drones, snatches of voices, and invigorating feedback. (Thanks, Grzegorz Bojanek, for the recommendation.)

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Grace Notes: Organs, House Style, Endless Now

From last week

Some tweet observations ( I made over the course of the past week, lightly edited:

▰ Watched an old British TV mystery in which the damning evidence turned out to be the church organ was heard without use of pedals, meaning some kid had been asked by the organist to unwittingly provide an alibi during the murder. For the record I discovered the plot while watching the episode. I didn’t watch because someone had told me the plot. That said, had someone told me the plot, I almost certainly would have watched.

▰ Pretty sure that’s the last time I’m gonna all-caps the title of the new Autechre album

▰ Chrisjen Avasarala from The Expanse books gets our current moment. (This is from Babylon’s Ashes, volume six in the series.)

▰ “The host has another meeting in progress” (Who can’t relate?)

▰ This tweet will have a small audience, but I’ll mention it was a letdown in the final episode of Fast and the Furious: Spy Racers that right after one of the characters names an op Operation Mindcrime the song we hear isn’t by Queensrÿche but instead by Age of Menace. There was a fun little Hamilton/@reneegoldsberry Easter egg (she plays Ms. Nowhere) toward the end of the episode. (Probably a lot more of those that I missed.)

▰ Me: Kinda wish we could push fast forward a bit.
Star Trek: Discovery: How’s 950 years sound?

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Marker Marker

An ongoing series cross-posted from

I went for a long walk this afternoon, two-plus hours, and spotted this on the side of a laundromat. I’m not sure if this is a remnant of previous signage or if it is an especially low-key graffiti tag, but either way I really dig it. Philip Shelburne expertly joked in reply on Twitter that it’s La Jetée fan art, and while the walk was easily four times the length of the Chris Marker film, the vibe was definitely spot on.

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Between the Lines: The Connectors

A playlist-inspired playlist

I found myself making a mental playlist of albums by the musicians who were the connectors between the albums in my Exquisite Personnel Corpse playlist I did for The Wire magazine this month. The result is the Between the Lines: The Connectors playlist. These artists appear below in the order in which they initially figured.

Robert Musso: Absolute Music (Mu)

Bill Laswell: Means of Deliverance (Innerhythmic)

King Britt: Adventures in Lo-Fi (Instrumental) (Barely Breaking Even)

Julianna Barwick: Will (Dead Oceans)

Ikue Mori: Obelisk (Tzadik)

Fred Frith: Step Across the Border (RecRec)

Theresa Wong: Venice Is a Fish (Sensitive Skin)

Ellen Fullman: Change of Direction (New Albion)

Pauline Oliveros: The Wanderer (Lovely)

Stephen Vitiello: Buffalo Bass Delay (Hallwalls/Room40)

The OO-Ray: Tiny Fugues (Audiobulb)

Marcus Fischer: Collected Dust (Tench)

Simon Scott: Migrations (Touch)

Mike Weis: 49 days (Music for a Transition) (Granny)

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Disquiet Junto Project 0459: From a Distance

The Assignment: Make music intended to be heard from afar.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, October 19, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 15, 2020.

Tracks will be added to the playlist for the duration of the project.

These are the instructions that went out to the group’s email list (at

Disquiet Junto Project 0459: From a Distance
The Assignment: Make music intended to be heard from afar.

Step 1: Music sounds different from across the room, in the next room, from outside, from down the block. Consider how distance changes how we experience sound.

Step 2: Record a piece of music intended to be listened to from afar. When posting the track, mention the circumstances in which you imagine it might best be experienced (terrain, distance, volume, etc.).

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0459” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0459” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at

Step 5: Annotate your tracks with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, October 19, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, October 15, 2020.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0459” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 459th weekly Disquiet Junto project, From a Distance (The Assignment: Make music intended to be heard from afar), at:

More on the Disquiet Junto at:

Subscribe to project announcements here:

Project discussion takes place on

There’s also a Disquiet Junto Slack. Send your email address to for Slack inclusion.

Image associated with this project is by Billy Wilson and used via Flickr thanks to a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

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