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.

tag: classical

Stasis Report: Ellen Arkbro ✚ Olafur Arnalds ✚ More

Five new and recent tracks added to the ambient playlist on Spotify and Google Play Music as of August 26, 2018

The latest update to my Stasis Report ambient-music playlist. It started out just on on Spotify. As of last week, it’s also on Google Play Music. The following five tracks were added on Sunday, August 26.

✚ “Mountain of Air” from For Organ and Brass by Ellen Arkbro, of Stockholm, Sweden. It was released on the Subtext label back in April of this year: ellenarkbro.bandcamp.com.

✚ “Memory Block” from Music for DOS by Simon Stålenhag, of Sweden. Per album title, the music was recorded using an old-school Pentium 266 Mhz (which was state of the art roughly 20 years ago), running the music software Impulse Tracker. Boing Boing featured the album this past week. The album was self-released two weeks ago: simonstalenhag.bandcamp.com.

✚ “Momentary” from re:memeber by Olafur Arnalds, based in Reykjavik, Iceland. It was released last week on the Mercury KX label: mercurykx.com.

✚ “Aerosols for Pluviculture” from The Biode by Robert Rich, based in Mountain View, California. It was released back in February of this year on Rich’s own Soundscape label: robertrich.bandcamp.com.

✚ “On the Day You Saw the Dead Whale” from Hundreds of Days by Mary Lattimore, based in Los Angeles, California. Dave Depper of Death Cab for Cutie singled it out recently in an interview. It was released on Ghostly in May of this year: marylattimoreharpist.bandcamp.com. “Never Saw Him Again” from the same album previously appeared in Stasis Report from June 4 through June 24 of this year.

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly an hour and a half. Those retired tracks (by Daniel Aged, Ethan Gold, Kano, Simon McCorry, Orquestra de las Nubes, and Marta SmiLga) are now in the Stasis Archives playlist (currently only on Spotify).

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Stasis Report: Éliane Radigue ✚ Daniel Aged ✚ More

Six new tracks added to the ambient Spotify playlist as of July 29, 2018

The latest update to my Stasis Report ambient-music playlist on Spotify, on Sunday, July 29, added the following six tracks. I’m really doing my best to keep this as restrained as possible. In recent years, the word “ambient” has come to mean very little in many contexts — in some cases it virtually just means “no voice,” or “quieter than regular pop music.” Sometimes it feels like a tag that someone has applied, whether lazily or cynically, out of a perception that it lends commercial or cultural viability. In any cast, this music in this ongoing playlist is intended as material that aspires to a state of stasis. Still, from the more overt melodic aspects of the Masayoshi Fujita track here to the harsher peaks of the Éliane Radigue, even that aspiration is being tested.

✚ “Occam River I” is the opening track of the album Occam Ocean Vol. 1, compositions by Éliane Radigue, featuring Rhodri Davies (harp), Carol Robinson (reeds), and Julia Eckhardt (viola): soundohm.com. Released last year on the Shiiin label. It was released last year.

✚ “Bass.int” and “Breath2” are both off the self-titled new album from Daniel Aged.

✚ “Clouds” is from Music for Nine Postcards, a 1982 album by Hiroshi Yoshimura reissued last year on Empire of Signs: empireofsigns.com.

✚ “Fog” is off Book of Life, the new album from Masayoshi Fujita on Erased Tapes: erasedtapes.com.

✚ “Rebreather” is from Semblance, the new record from Forma, on Kranky Records: brainwashed.com.

Some previous Stasis Report tracks were removed to make room for these, keeping the playlist length to roughly an hour and a half. Those tracks are now in the Stasis Archives playlist.

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Disquiet Junto Project 0342: In Sea

The Assignment: Record a piece of music in tribute to Terry Riley's In C using only samples of water sounds.

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 23, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, July 19, 2018.

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 tinyletter.com/disquiet-junto):

Disquiet Junto Project 0342: In Sea
The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds.

Step 1: You’ll be recording a piece of music in tribute to Terry Riley’s In C. (If you’re unfamiliar, read up and listen.) Don’t use the actual composition. Consider aspects of it, and choose ways to emulate them, to extrapolate compositional ideas from them.

Step 2: Record a piece of music employing the decisions you made in Step 1. Only use samples of water sounds as your source audio. (Side note: collaborating with others is encouraged but not necessary.)

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0342” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0342” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

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

Step 4: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0342-in-sea/

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

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is Monday, July 23, 2018, at 11:59pm (that is, just before midnight) wherever you are on. It was posted in the morning, California time, on Thursday, July 19, 2018.

Length: The length of your track is up to you.

Title/Tag: When posting your track, please include “disquiet0342” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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 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 online, please be sure to include this information:

More on this 342nd weekly Disquiet Junto project (In Sea / The Assignment: Record a piece of music in tribute to Terry Riley’s In C using only samples of water sounds) at:

https://disquiet.com/0342/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0342-in-sea/

There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in.

Image associated with this project is by Joseph O’Callaghan and used, via Flickr, thanks to a Creative Commons license:

https://flic.kr/p/mZLXwL

https://creativecommons.org/licenses/by-nc-sa/2.0/

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Disquiet Junto Project 0334: Mass Branca

Record a massive multi-layered tribute to the legendary guitarist-composer.

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 11:59pm (that is, just before midnight) wherever you are on Monday, May 28, 2018. This project was posted in the early afternoon, California time, on Thursday, May 24, 2018.

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 tinyletter.com/disquiet-junto):

Disquiet Junto Project 0334: Mass Branca
Record a massive multi-layered tribute to the legendary guitarist-composer.

Major thanks to James Britt for contributing this Junto project prompt.

Step 1: This project is a tribute to the late avant-garde composer and guitarist Glenn Branca, who died earlier this month. Among Branca’s many musical systems was to have a vast number of musicians, say 100 guitarists for example, perform together. We’re going to explore that mass of sound to produce a mass in Branca’s memory. It will be a Mass Mass.

Step 2: Pick a single sound source, an instrument perhaps, but really anything that makes a specific sound. One thing to aim for is a sound source that is rich in overtones.

Step 3: Use multiple layers (with “multiple” being defined as you see fit — 100 layers would be awesome, but so too would 10, 30, 50, etc.) of this sound source to record a piece of music.

Background: While knowledge of Glenn Branca’s work isn’t necessary to participate, it is recommended to read up and listen a bit.

Six More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0334” (no spaces or quotation marks) in the name of your track.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0334” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist.

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

Step 4: Please consider posting your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0334-mass-branca/

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

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Other Details:

Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, May 28, 2018. This project was posted in the early afternoon, California time, on Thursday, May 24, 2018.

Length: The length of your track is up to you. Massive doesn’t necessarily mean long, but long is certainly welcome.

Title/Tag: When posting your track, please include “disquiet0334” in the title of the track, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, post one finished track with the project tag, and 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 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 online, please be sure to include this information:

More on this 334th weekly Disquiet Junto project (Disquiet Junto Project 0334: Mass Branca / Record a massive multi-layered tribute to the legendary guitarist-composer) at:

https://disquiet.com/0334/

Major thanks to James Britt for contributing this Junto project prompt.

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

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

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0334-mass-branca/

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

The image associated with this project is from Wikipedia and used thanks to a Creative Commons license:

https://en.wikipedia.org/wiki/GlennBranca#/media/File:GlennBranca-2012.jpg

https://creativecommons.org/licenses/by/2.0/

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The Muffled Classicism of Christina Vantzou

A track off her new album, No. 4

“So, when you play this live, you just have to figure out a way to construct a huge bell jar to put over the entire orchestra except the cello player.” That is how a friend of Christina Vantzou’s described her aesthetic back to her, per Vantzou’s own recollection when I interviewed her a few years ago on the occasion of her third album, Nº3 (Kranky). It’s an apt comparison. There is a restraint, a sense of sounds emanating down a dark hall, music heard through thick fabric, to Vantzou’s recordings, and the approach holds strong on her new album, No. 4, released earlier this month.

This No. 4 track, “Staircases,” exemplifies Vantzou’s approach. Traditional classical elements, heavy on sedate strings and a minimal piano line that descends like the title subject, are heard in a quiet but intense echo, one in which space — whether real or virtual, physical or a matter of post-production — is as much an instrument as the instruments themselves.

Album posted at christinavantzou.bandcamp.com. More from Vantzou at her youtube.com channel and at christinavantzou.com.

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