Past and Future Ambient

A live track from Matt Borghi and Michael Teager

Ambient music has never been much improved upon by veering too far from Brian Eno’s initial conception of it — that is, of a music that serves equally well as both foreground and background. But there are more vectors to ambient than merely its relative prominence in the listening experience. Even as ambient music has retained, to a large degree, that initial modus operandi, it has changed over time. There are ebbs and flows to each successive generation of sound, swells and receding approaches, because — of course — for a music to appear in the background, it must to some extent align with the music of its time. It must be able to hide in plain aural sight. Thus, what was ambient in the 1970s and the early 2000s and today would have varying characteristics. It isn’t to say there is only one ambient music during any such period, but that there are strains that sound more prominent in the present than they might, say, have when first introduced. And yet just because a particular kind of music — the Fourth World of Jon Hassell, the turntable surface noise of Kid Koala, the dank minimal techno of early Monolake — may be rooted in a particular moment doesn’t mean it doesn’t have adherents in the present, not just among listeners but among performers. And thus, to listen to a track like “Nebula Divide | Somnolence” by Matt Borghi and Michael Teager, from their 2014 release *Awaken the Electric – Live from Star’s End*, is in part to hear welcome vestiges of Hassell’s tried and true Fourth World, from the plaintive melodic line to the slow-motion tribal pace, but it is also to hear those same sounds seeking to make peace with the current era. The result is a fascinating aesthetic feedback loop: something from the past taking root in and attempting to sound of the present. And on those terms, the music succeeds.

The piece was recorded in October 2013 on WXPN’s Star’s End, Chuck van Zyl’s broadcast. Track originally posted for free download at [soundcloud.com/mattborghi](https://soundcloud.com/mattborghi/nebula-divide-somnolence). More from Borghi at [mattborghi.com](http://www.mattborghi.com/). More from Teager at [michaelteager.com](http://michaelteager.com/2014/01/matt-borghi-michael-teagers-awaken-the-electric-air-now-available/). More from the duo at [borghi-teager.com](http://borghi-teager.com/). Album available via [kunaki.com](http://kunaki.com/sales.asp?PID=PX00TSYJCN&pp=1).

Disquiet: 15, 10 & 5 Years Ago This Week (2014.02)

Post-cellphone raves, Monolake interview, "The Headphonist"

This would be roughly the week of January 6 through January 12.

2009.01-messe2

***5 Years Ago (2009):*** I wrote about the 246 and Counting exhbit, which had closed the previous Sunday at the San Francisco Museum of Modern Art. By my rough estimate, [exactly one of those 246 pieces had sound](https://disquiet.com/2009/01/06/a-corporate-drone-at-sfmoma/). It was by Diller + Scofidio. … I wrote about [my experience at a Richie Hawtin concert in Chiba outside Tokyo](https://disquiet.com/2009/01/07/tokyo-200812-part-15-hawtin-kitsune-in-chiba/) the month prior, and I reflected on how cellphones had changed raves. (The photo here was shot at an outdoor mall near the Makuhari Messe, where the concert was held.) … I made a list of 11 things I wished at the time that my fifth-generation (“classic”) iPod could do. It’s [kinda sad](https://disquiet.com/2009/01/08/1-things-i-wish-my-ipod-could-do/) how few of them were ever implemented. … There was a review of Monolake’s [*Atom/Document*]((https://disquiet.com/2009/01/11/heavy-rotation-monolakes-balloons-baraclough-live-noise/)) album. … The image of the week was of a [“recording studio as art installation”](https://disquiet.com/2009/01/11/image-of-the-week-kusmirowskis-studio/) by Robert Kusmirowski. … The quote of the week was [RZA talking about the late Isaac Hayes](https://disquiet.com/2009/01/10/quote-of-the-week-rza-on-hayes/): “One Isaac Hayes song has made over 20 hip-hop songs. Look at ‘Walk On By.’ It’s a nice three-minute song by Dionne Warwick, but when Isaac got ahold of it, it became soulful, pimp-daddy, ride-in-your-car, lean-back, 12-minute song, restructured with organs and a flute.” … And the Downstream entries for the week included [one-song hip-hop/r&b mash-ups](https://disquiet.com/2009/01/12/one-song-mash-ups-from-yarcka-mp3s/) by Y?Arcka, [funk hidden by Hiroshi Kumakiri](https://disquiet.com/2009/01/09/hiroshi-kumakiri-jessica-rylan-mp/) in squelchy noise, [cello-tronic wonderment](https://disquiet.com/2009/01/08/cello-tronic-live-performance-mp3/) by Ted Laderas (aka the Ooray), material from Taylor Deupree’s [“one sound each day” project](https://disquiet.com/2009/01/07/taylor-deuprees-one-sound-each-day-mp3-resolution/), and [quiet noise from Baraclough](https://disquiet.com/2009/01/06/uk-quiet-noise-trio-baraclough-mp3/).

***10 Years Ago (2004):*** This week I posted a lengthy interview ([“The Organization Musician”](https://disquiet.com/2004/01/11/the-organization-musician/)) with Robert Henke, aka Monolake. I posted [the transcript](https://disquiet.com/2004/01/11/the-organization-musician/) along with the profile article, written for the magazine *e|i*, that had resulted from it. … The quote of the week was from a lyric sung-spoke by Cake’s John McCrea on [“The Headphonist,”](https://disquiet.com/2004/01/07/quote-of-the-week-kinky-headphonist/) a song off the Mexican rock band Kinky’s then new album, *Atlas*:

>At this moment, I’m listening to a very, very quiet song / I’m walking alone again, with my headphones on again ”¦ sometimes it seems like everything I see has a sound and if it does — what is the shape of silence?

And these were the Downstream entries of the week: music on guitar for film shot out train windows by [Keith Fullerton Whitman (aka Hrvatski)](https://disquiet.com/2004/01/06/hrvatski-guitar-mp3/), a lovely [reworked Parisian field recording](https://disquiet.com/2004/01/07/parisian-field-recording-mp3/) by Soundvial (aka Ken Reisman and Matt Simon — if anyone knows what came of them, please let me know), video of [Brian Eno talking about the Long Now Foundation](https://disquiet.com/2004/01/12/eno-interview-videostream/) (which marks its 10th anniversary in 2014), Robert Willim (aka Selko) making much of noises from [a sugar refinery in Sweden](https://disquiet.com/2004/01/09/industrial-cool-mp3/), and electronica from [Alexander Wendt](https://disquiet.com/2004/01/08/two-wendt-mp3s/).

***15 Years Ago (1999):*** Nothing this week.

Past Week at Twitter.com/Disquiet

  • Morning sounds: ice cracking in my coffee, refrigerator on stun, trash collectors passing in street. ->
  • It was quite nice to be largely off social media for a couple weeks, but it's good to be back. ->
  • First day of new year back at my desk. Drinking my iced coffee. Listening to music made of sound of ice in a glass: https://t.co/rhNutPVub8 ->
  • Not sure which I enjoyed more: the "frak" in the premiere of Helix or the "ka-ching" elevator cue at start of most recent The Good Wife. ->
  • Yes, this coming Thursday's new Disquiet Junto project will be about the weather. ->
  • Evening sounds: laptop typing, passing automobiles (some evidently ignoring a well-lit stop sign), general electric hum. ->
  • And there's that time a Dubai art gallery asked me to recommend 10 works of sound art — and then hung it on the wall: http://t.co/CaMXq5hjKp ->
  • Tuesday noon siren in San Francisco: http://t.co/FrVmKgO1Mx ->
  • Yo, people at CES this week, did any of you spy any new Nexus 7 (2013 model) keyboard cases? ->
  • The choreography-themed Disquiet Junto project is getting closer. It relates, tangentially, to my Aphex Twin book. Details in near future. ->
  • iPad busker: http://t.co/zBpNJnGIQv #instagram #music #urbanstudies #415 ->
  • Stoked. I'll be teaching my course on sound in the media landscape again this semester at the Academy of Art in San Francisco. ->
  • Regarding previous post, people get awful confused on the bus if the automated ticketing machine doesn't beep when swiped. ->
  • In San Francisco before Jan 31? Get to Highlight Gallery (Kearny St) for Chris Fraser show. Enter with 1 eye closed: http://t.co/uYoZozt1cX ->
  • RIP, Amiri Baraka (b. 1934). His book Blues People is pretty essential reading. ->
  • You know the day you go to the library for some quiet to get some work done is the day they are installing new bookshelves with hand drills. ->
  • Treat the weather chart as a graphically notated score: http://t.co/Rkg9R2iwVI. Cc @djunto ->

Disquiet Junto Project 0106: Sonar Vortex

Treat the weather chart as a graphically notated score.

20140109-sonarvortex

*Each Thursday at [the Disquiet Junto group on SoundCloud.com](http://soundcloud.com/groups/disquiet-junto/) 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](http://soundcloud.com/groups/disquiet-junto/).*

Tracks by participants will be added to this playlist as the project proceeds:

This project was published in the evening, California time, on Thursday, January 9, with 11:59pm on the following Monday, January 13, 2014, as the deadline.

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

Disquiet Junto Project 0106: Sonar Vortex

This week’s project is about graphic notation. We’ll find the music inherent in weather patterns. The procedure is as follows:

Step 1: Go to the website WeatherSpark.com. Enter the city/town where you live.

Step 2: Find the weather for January 10, 2014. (Depending on when you do the project, this will either be a prediction or a matter of historical record.)

Step 3: This weather website has many viewing options, but the default is to just see the temperature, and you should only see the temperature for this project. The image should roughly resemble the one associated with this post (if not visible, see image at [disquiet.com](https://disquiet.com/wp-content/uploads/2014/01/20140109-sonarvortex-560×367.png)). The chart depicts the weather altering over the course of the day, and has it shown in various bands, with the actual/predicted temperature as a black line, and historical highs, lows, averages, and other data depicted in more subtle shades. For additional information about reading the weather chart, visit this URL: http://goo.gl/3fRGwW. Make a screenshot of the day’s weather chart of your area, and trim it to just show that one day. Be sure to associate that image with your track, so the listener can view it.

Step 4: Produce an original track in which the weather chart is read from left to right as a musical score. Perhaps you’ll assign a different instrument or tone to each band or line. Perhaps you’ll align pitches with temperatures. Perhaps you’ll set the pace based on the time of day.

Deadline: Monday, January 13, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 2 and 4 minutes in length.

Information: Please when posting your track on SoundCloud, 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0106-sonarvortex”in the title of your track, and as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, be sure to include this information:

More on this 106th Disquiet Junto project (“Treat the weather as a graphically notated score”) at:

Disquiet Junto Project 0106: Sonar Vortex

More on the Disquiet Junto at:

The Disquiet Junto Project List (0001 – 0639 …)

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

15 Weeks: The Role Sound Plays in the Media Landscape

I’ll be teaching my course, again, this spring at the Academy of Art in San Francisco.

This coming spring 2014 semester I will, again, be teaching my course on the role of sound in the media landscape at the Academy of Art in San Francisco.

The class meets Wednesdays from noon until 2:50pm. There are 15 weeks in all, running from January 29 through May 14 (there’s no class on March 19). The course is divided roughly into thirds. The first third is about listening, the second third (“Sounds of Brands”) is about how companies and products use sound to define themselves in the market, and the final third (“Brands of Sounds”) is about how sound-related companies (music social networks, record labels), people (musicians, bands), and products (headphones, record albums) define themselves. In the Academy of Art’s catalog (online at [academyart.edu](http://catalog.academyart.edu)), the course goes by the title “ADV 499-30: Special Topics: Sound Branding.”

This [PDF](https://disquiet.com/wp-content/uploads/2012/09/0103-Syllabus.pdf) summarizes the syllabus.

Previous posts about the course are collected here under the [“sounds-of-brands”](https://disquiet.com/tag/sounds-of-brands/) tag.