New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

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

tag: live performance

A Truly Ethereal Chorus

Robin (Scanner) Rimbaud on the radio as an instrument


Even as conventional broadcast radio is on the decline with the rise of streaming services, it is experiencing unprecedented utility as a tool for making music. That observation is central to the article I wrote for The Wire about musical instruments featuring radio reception as part of their design. The article covers a wide range, including dedicated synthesizer modules, like the ADDAC102 (from the Lisbon, Portugal, company ADDAC) and the 272e (from the storied San Francisco Bay Area firm Bucha), and other devices, such as the Polyend Tracker (out of Poland) and the KOMA Field Kit (from Berlin), that include radio amid a broader range of tools, with varying degrees of integration.

In the latter camp is the OP-1, from Stockholm-based Teenage Engineering, one of whose founders, Jens Rudberg, I interviewed for the article, along with representatives of all four other firms listed above. While the collective experience of these designers was important to the research, so too was the work of musicians who employ the tools. I spoke with numerous in the process of working on the story, and quoted three in the piece, including Thomas Dimuzio, King Britt, and Robin Rimbaud, who is best known as Scanner, for his early work with another sort of radio: police-band conversations snatched from the ether.

In the context of a wide-ranging back and forth via email on the topic of radio and synthesizers, Rimbaud shared the above video as an example of his work. He said the live set began with him “randomly skipping through the frequencies until I found something in real time that felt like it might work.” What he stumbled upon was the haunting group vocalizing heard at the start of the piece. “It was a choral work on a classical radio station,” explained Rimbaud. “I then looped it and began playing across it live too.”

He continued: “As with my earlier use of the radio scanner in my works I especially enjoy the unexpected and letting these sources take me in a direction I might never expect, using radio frequencies in the ether, these indiscriminate signals that I just pull down in real time and improvise around. It could simply be a voice or a harmony, but every opportunity can never be predicted and keeps an element at risk on the surface level which has always been important to me.”

There’s a lot more material in my conversation with Scanner, and with everyone else listed above, than made it into the article. I want to find time soon to get more of it posted here on Disquiet.com, to supplement the article in The Wire.

The video was recorded on March 23, 2019, at Iklectik London and originally posted at Scanner’s YouTube channel. More at scannerdot.com.

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A Swell Drone Day Swell

Happenings from May 29, 2021


Drone Day takes place each May, at the initiation of Marie Claire LeBlanc Flanagan, who came up with the idea in the first place (more at droneday.org). This year, Drone Day took place on the 29th of the month, this past Saturday. Material from that widely distributed event is now popping up on SoundCloud and other services. One favorite of mine is this video by Zachary Wilson, who combines deep, shining swells with rough textures.

This is the latest video I’ve added to my ongoing YouTube playlist of fine live performance of ambient music. Video originally posted at YouTube.

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Current Favorites: David Shea, Anne Guthrie, Tuesday Drones

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. I hope to write more about some of these in the future, but didn’t want to delay sharing them.

▰ David Shea’s Live in Blackwood is a remarkable concert document, a performance recorded in nature and making the most of the environmental sound in which it is ensconced. Shea himself is first heard before he’s seen, his course whistle collaborating with birdsong. He them enters the camera’s view from behind bushes. Each phase of this series of sets, almost 37 minutes in total length, mixes varying instrumentation with different video approaches, such as a hovering drone shot while he plays a series of multicolored bowls that sound like massive tuning forks, and a forest walk while he combines samples, gongs, and field recordings. (I found this via a mention by Lawrence English.)


▰ On Gyropedie, Anne Guthrie elegantly combines field recordings, electronics, and instrumentation, notably her French horn, in a gestural, almost fleeting manner, finding common ground between the materials in fragmentary form.


▰ Compelling, rusty, serrated drone by the musician best know as/for Tuesday Night Machines, performed on an intriguing setup from the inexpensive synthesizer manufacturer AE Modular.


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Rhodes + Synth

From Minneapolis-based Midera


Beautiful, nearly 12-minute live performance by Minneapolis-based Midera, playing Rhodes piano along with another bit of old-school hardware, the Sequential Prophet 10. Not surprisingly, the latter provides the lush, sustained pads, while the Rhodes provides a simple solo that occasionally emerges when the waves of the Prophet ease. According to the accompanying note, this is a sideways view because the other camera failed to record. Arguably the placidity of a single vantage is to the production’s benefit, even if it was achieved by accident.

More from Midera at mideraartist.wordpress.com

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Soundbites: Deaf Bell, Social Sound, Venue-less Gigs

Recent reads (etc.) on sound

A lightly annotated sound-studies clipping service, collected in advance of the next issue of my This Week in Sound email newsletter (tinyletter.com/disquiet):

The mother of the father of the telephone was deaf. Alexander Graham Bell’s own father developed a system called Visible Speech to facilitate communication. Bell eventually himself married a woman who had lost her hearing in childhood. And now, Katie Booth, in her new book, The Invention of Miracles: Language, Power, and Alexander Graham Bell’s Quest to End Deafness, traces this throughline in Bell’s life and work: “his creative genius and his misguided efforts to eradicate Deaf culture,” as Valerie Thompson puts it in a review. Here’s a particularly damning statement from Bell’s wife: “You are tender and gentle to deaf children, but their interest to you lies in their being deaf, not in their humanity.”
https://blogs.sciencemag.org/books/2021/04/06/the-invention-of-miracles/

LinkedIn is reportedly looking to add an audio chatroom feature, which makes sense, given how much of Clubhouse, the “audio social network,” has been professional conversations. This feature expansion would be part of a broader range of changes LinkedIn is making to flesh out its social capabilities.
https://www.firstpost.com/tech/news-analysis/linkedin-confirms-that-it-is-working-on-a-clubhouse-like-audio-chatroom-feature-9483741.html

Miss live music? Then I recommend this Gabriele de Seta essay on Hong Kong’s “no-venue underground” (a term credited to Rob Hayler), drawing from personal experience (2012-2016) playing in a city with few places to perform experimental music in the first place: “It is somehow ironically appropriate that, in this city without ground, experimental musicians find themselves relegated to a precarious underground actively carved out of fleeting spaces strewn across the upper floors of post-industrial peripheries. These precarious venues appear and disappear following the inexorable inflation of property prices and the investment decisions of landlords, leaving local show organizers to work in the present tense with whatever space is available at the moment.” It’s a timely, applicable piece during our moment of place-less livestreams. The essay is from the new book Fractured Scenes: Underground Music-Making in Hong Kong and East Asia, edited by Damien Charrieras and François Mouillot, both professors at universities in Hong Kong.
https://link.springer.com/chapter/10.1007/978-981-15-5913-6_7

Erik Davis, author of Techgnosis and a friend of mine since college, writes about taking guitar lessons for the first time since high school. I myself started taking weekly lessons a few years ago, and can relate to this distinction he draws: “Rather than playing guitar, I am practicing with it. I don’t mean rote exercises — though I do some of those — but something more like meditation practice: a daily commitment to disciplined method and unpredictable encounter, to emotional exploration and deconstruction, to attention and listening as much as to performance or ‘doing.’” Likewise, he talks about trying to reconsider the role of recording in his efforts: “I want the recording device to become part of practice rather than ambition, no longer a staff sergeant of the Productivity Regime but a challenging feedback friend, breaking the spell to deepen it.”
https://www.burningshore.com/p/open-tunings

News of Google’s Project Wolverine goes back a month, but I don’t want to lose track of it. It’s reportedly a supercharged earbud. According to a summary by Ashley Carman, “[T]hey’re currently trying to figure out how to isolate people’s voices in a crowded room or make it easier to focus on one person when overlapping conversations are happening around you.” Carman compares this with Whisper (whisper.ai), and others to the lamented, defunct Doppler Labs. As David Pierce put it in his overview of Doppler’s fall back in 2017, it “had the bad luck of being a hardware company at a time when the biggest players in tech — Microsoft, Apple, Google, Amazon, and Facebook — are all pouring billions into developing their own gadgets.” Now Google appears to be pursuing the endeavor.
https://www.theverge.com/2021/3/4/22313421/alphabet-project-x-wolverine-hearing-aid-project
https://www.businessinsider.com/google-x-alphabet-hearing-project-wolverine-codename-augmented-reality-2021-3

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