4’33” on Ukulele

A sonic postcard from New Orleans

It’s World Listening Day tomorrow, July 18, coincident with the birthday of the important composer and acoustic ecologist R. Murray Schafer, who will turn 87 years of age. It was Schafer who helped us understand the world of sound around us as a consensual composition. Like John Cage, who was two decades his senior, Schafer helped us strive to hear through our cultural experience so we could gain perspective on it. It is to him we own the modern sense of the word “soundscape.” In this video, uploaded this evening, the night before World Listening Day, Todd Elliott performs John Cage’s 4’33”, and true to the original, he notes the change in the movements: he fingers new chords, but the music remains silent. Or does it? A point of Cage’s 4’33” (I hesitate to say “the” point, as doing so would be helplessly reductive) is to both recognize the contours of the performance, the cultural signifiers, and to hear through them, to hear the world framed by them (in his writings, Cage brings up the wire scupltures of Richard Lippold as a useful comparison). The beauty of this video is that the quietness tempts you to just leave it as is, and imagine it to be silent. But it isn’t silent, not in the sense of a digital void. Turn up the volume and hear the fan, a sliver of which is in view, haloing Elliott’s head. Gain a sense of the room tone. Note variations, like the uptick in the room’s hum that happens around the 2:30 mark. Part of the composition-ness of Cage’s 4’33” is the extent to which it is truly perform-able. There are rules to it, and the thoughtful performance considers them. It isn’t merely sitting still for the prescribed length of time. Elliott’s rendition is solid, including the brief bit of heard uke and the broad smile at the end.

Video originally posted at [youtube.com](https://www.youtube.com/watch?v=NsfoSjTo784). Todd is a friend who recently relocated to New Orleans, where this was shot. It serves as a parallel listening experience to [the recent home-office field recording](https://disquiet.com/2020/07/06/rob-walker-shares-a-sound-shot/) of another NOLA-based friend, Rob Walker.

Disquiet Junto Project 0446: WWWLDD

The Assignment: Celebrate World Listening Day for the whole weekend.

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 Monday, July 20, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 16, 2020.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0446: WWWLDD

The Assignment: Celebrate World Listening Day for the whole weekend.

Step 1: This weekend it’s World Listening Day, which occurs every year on July 18, which is the birthday of R. Murray Schafer, the composer and acoustic ecologist. This year, the theme for World Listening Day is “The Collective Field,” as proposed by Katherine Krause.

Step 2: Read about this theme, “The Collective Field,” at:

[https://worldlisteningday.org/](https://worldlisteningday.org/)

Step 3: Make a piece of music for World Listening Day, inspired by the theme, or just in the spirit of the occasion.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0446” (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 “disquiet0446” (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 llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0446-wwwldd/

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 Monday, July 20, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, July 16, 2020.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0446” 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 446th weekly Disquiet Junto project, Disquiet Junto Project 0446: WWWLDD — The Assignment: Celebrate World Listening Day for the whole weekend — at:

https://disquiet.com/0446/

More on World Listening Day at:

https://worldlisteningday.org/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0446-wwwldd/

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

Image detail via the Wikipedia page for R. Murray Schafer:

https://en.wikipedia.org/wiki/R.\_Murray\_Schafer

Orbital Patterns Goes Deep

In a new live video

“A Vessel in the Fog,” uploaded to the YouTube channel of the musician who goes by Orbital Patterns just this Monday, is a live ambient piece. Textures twist and turn like clouds of smoke, turning in the air before vaporizing and being replaced by something else, something similar and yet apart. There’s numerous such elements at any given time, packed like sediment in a vibrant terrarium: surface noise, and muffled chords, and crunchy percussives like fall leaves under foot, and what sounds like psychedelic guitar riffs going round and round. It’s a beautiful piece, gaining depth as it goes, a deep bass tone slowly making itself heard and lending a slow, thoughtful pace to what might otherwise be an understated roil. It is clearly, so to speak, the title vessel.

Video originally posted at [youtube.com](https://www.youtube.com/watch?v=C43KlOhAdlc). More at [instagram.com/0rbitalpatterns](https://www.instagram.com/0rbitalpatterns/) and [twitter.com/orbitalpatterns](https://twitter.com/orbitalpatterns).

Yo La Tengo Summon the Now

On a new single

The Terry Riley force is strong with this new Yo La Tengo single. Bearing the title “James and Ira demonstrate mysticism and some confusion holds (Monday),” it’s the famed indie-rock band in full meditative mode. It’s a flowing drone that has the raga quality of early Riley. If you’d said this is something off [the new Laraaji album](https://disquiet.com/2020/06/16/laraaji-goes-home-again/), it’d make sense, what with the echoey, zithery goings-on — except of course, the new Laraaji record is solo piano. So while that early ambient musician is revisiting the purpose of songs, this song-making band is exploring spaciousness, formlessness, song-less-ness.

Well, not song-less, so much as pre-song, proto-song, nascent song. As member Ira Kaplan explains in an accompanying note on the track’s Bandcamp release page: “If you’ve spent any time hanging out with us at our rehearsal space in Hoboken — that pretty much covers none of you — you’ve heard us playing formlessly (he said, trying to sidestep the word ‘improvising’). Most of the songs we’ve written in the last 25 years have begun that way, but often we do it for no other reason than to push away the outside world.” So, what this is is the space in which a song might occur, the raw stuff from which a song might arise. Sidestepping the word “improvising” feels like a solid step. This doesn’t sound like improvising so much as it does like three people finding common tonal ground, and upon finding it, holding onto it for as long as feels right, and not a moment longer.

“James set up one microphone in the middle of the room in case we stumbled on something useful for the future,” writes Ira (the James is fellow member James McNew). “Instead we decided to release something we did right now.” This is the sound of right now. Or it was yesterday, when it came out. We’re not currently inhabiting a now worth celebrating, and yet yesterday’s now was splendid — is splendid. Here’s to more of such a now, while the broader, untenable now persists.

The song’s release coincided with the launch of Yo La Tengo’s Bandcamp page. Track originally posted at [yolatengo.bandcamp.com](https://yolatengo.bandcamp.com/track/james-and-ira-demonstrate-mysticism-and-some-confusion-holds-monday-1). More from Yo La Tengo at [yolatengo.com](http://yolatengo.com/).

Details in the Beat

On a recent instrumental album from Jansport J

How the central sample seems to melt on “Antiques,” atop a rhythm that nudges along, little changes making themselves heard, a glitch on the beat here, a volume tweak there. How the snare on “KutKlose” is trimmed within a millisecond of its snare-ness, so compact is the repeated snippet. How the vocal-harmony sample on “letmyselfgo” is so muffled that it’s virtually unintelligible, and all the more musical for it (ditto the solo female voice reduced to a bell tone and a warble on “gimmethereason”). There’s much to love on *NoLetUps.*, a beat tape from Jansport J, released back in mid-March. Those are just some starting points. Dig in.

Album originally posted at [jansportjmusic.com](https://jansportjmusic.com/album/noletups-beat-tape). More from Jansport J, who is based in Los Angeles, at [twitter.com/JansportJ](https://twitter.com/JansportJ).