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: field-recording

Transistor Ga Ga

An augmented field recording by Robert Cole Rizzi

Often, the most beautiful sounds are all around us. We just have to learn to pay attention to them. Sometimes, however, to access these sounds, we must listen in ways our ears alone can’t accomplish. Case in point, this recording of a transformer station from Robert Cole Rizzi. Rizzi’s three-minute track is an atmospheric tour de force. It combines the inherent buzzing of the transformer with the sound of the structure itself vibrating, plus sonic evidence of the presence of electromagnetic radiation. Writes Rizzi, “You can hear a low rumble I believe is the current running through the wires and fog condensing into drops hitting the thinner zigzag beams of the mast as they fall.”

To access this depth of sonic experience, Rizzi employs the Geofon, or what I described as “the landlubber’s hydrophone in a post earlier this year. The electromagnetic information comes courtesy of another device, called the Priezor. Both are from the company LOM.

Track originally posted at soundcloud.com/rizzi. More from Robert Cole Rizzi, who is based in Kolding, Denmark, at twitter.com/RobertColeRizzi.

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Real World, Real Time

Hannes Pasqualini processes sound on location.

The Italian musician, designer, and illustrator Hannes Pasqualini debuts a new project in which he reworks real-world audio in real time. The series, of which this video is the first, is titled Sounds on Location. The above clip, about four minutes long, shows him setting up on a bench. White noise and passing traffic fill the stereo spectrum. Then, about 30 seconds in, the video fades to black and then back again, the sounds now running through Pasqualini’s iPad. The processed result emerges from the source audio: more rhythmic, more foregrounded, spare noise given improvised purpose through compositional intent.

Pasqualini outlines his approach as follows:

Step 1: go to a place that inspires me, record sounds

Step 2: create some loops from these sounds

Step 3: create a little track on location, mostly with the sounds I have recorded in step 1

Video originally posted at youtube.com. More from Pasqualini (who collaborates with me on the recent comics I’ve been posting) at papernoise.net.

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Current Listens: Fullman + Tenet + Funki Porcini

Heavy rotation, lightly annotated

This is my 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

Best known for her Long String Instrument, Ellen Fullman is heard in late-1980s musique-concrète mode on Music for the Man Who Grew Common in Wisdom, due out October 16 from the Besom Presse label, based in Los Angeles. One track is already available for streaming. Listen as a stereo recording of lapping water lapses into a rhythmic pulse.

The director of the new thriller Tenet, Christopher Nolan, may prefer we see it in theaters, but at least its score is online, courtesy of the record label WaterTower Music, for those of us maintaining significant social distance. Music by composer Ludwig Göransson.

Funki Porcini is a favorite from way back at the dawn of electronica, and his latest does not disappoint. Motorway opens with cinematic beats before proceeding through a mix of lush ambience imbued with a sense of intimacy, surveillance, and drama.

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Current Listens: Church Bells + Air Horns

Heavy rotation, lightly annotated

This is my 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.)

▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰ ▰
NEW: Recent(ish) arrivals and pre-releases

Håkan Lidbo has ingeniously composed music intended to accompany long-standing public bells heard around Stockholm, Sweden, including two churches and a civic center.

If you’re tired of me recommending Jon Hassell’s latest album, then please allow me to recommend a record by one of its featured contributing musicians, guitarist Eivind Aarset. Snow Catches on her Eyelashes, released back in March on the Jazzland label, teams Aarset and Jan Bang on what could be the film score to a slow-burn science-fiction noir, all otherworldly tonalities transmuted through digital processing. Nils Petter Molvær (trumpet), through whose band I first experienced Aarset many years ago, is among the guests.

As the album’s title suggests, Harbors sounds like coastal atmosphere come to musical life. With roughly 50 strings between them, Theresa Wong (cello) and Ellen Fullman (Long String Instrument, accounting for the remaining lion’s share) make resonant music together. Released last week on the Room40 label.

Maximalist ambient music — orchestral and soaring — created from, of all things, the sound of an air horn. Better yet, it’s a multi-track video (using the SP-404, usually associated with beats). Recorded by the UK-based musician Morn Valley.

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Disquiet Junto Project 0450: Texture Analysis

The Assignment: Create a piece of music from sounds related to working with rocks.

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, August 17, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 13, 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 tinyletter.com/disquiet-junto:

Disquiet Junto Project 0450: Texture Analysis
The Assignment: Create a piece of music from sounds related to working with rocks.

Welcome to the 450th consecutive weekly Disquiet Junto project. Thanks to everyone who has participated, supported, and pitched in along the way.

This project is the third of three that are being done over the course of as many months in collaboration with the 2020 Musikfestival Bern, which will be held in Switzerland from September 2 through 6 under the motto “Tektonik” (“Tectonics”). For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the second year in a row that the Junto has collaborated with Musikfestival Bern. Select recordings resulting from these three Disquiet Junto projects will be played on a listening booth at the Steinatelier on September 5, as well as being aired on Radio RaBe (rabe.ch), an independent local radio station partnering with the festival.

Step 1: Download the field recordings made at Carlo Bernasconi AG, a company that has been working in stone for over a century. The sounds range from machines to manual tools to spatial ambience.

https://www.dropbox.com/sh/e3xo7qpydat4x2r/AAAPAs5QJVWcNWTrrScEnejta?dl=0

Step 2: Listen for aspects of the recordings that attract your ears. Focus on textures in particular.

Step 3: Create a piece of music combining elements from as few or as many as you chose in Step 2.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0450” (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 “disquiet0450” (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-0450-texture-analysis/

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 and #musikfestivalbern 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, August 17, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 13, 2020.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0450” 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 450th weekly Disquiet Junto project (Texture Analysis — The Assignment: Create a piece of music from sounds related to working with rocks) at:

https://disquiet.com/0450/

This is the third of three projects in collaboration with Musikfestival Bern 2020 which will take place in Bern, Switzerland, from September 2 to 6. More on the festival at:

https://www.musikfestivalbern.ch/

https://www.facebook.com/musikfestivalbern/

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-0450-texture-analysis/

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

Photo by Tobias Reber.

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