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

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Sounding out technology.
Composing in code.

tag: live-performance

Sound, After Rauschenberg

Scanner live during his Captiva Island residency

If you’ve listened to the second episode of the Disquietude podcast, then you’ve heard a piece by Scanner recorded during his residency at the Robert Rauschenberg Foundation on Captiva Island in Florida. This video was also recorded during that residency, and it shows Scanner doing a performance that occurred at the close of the extended visit, when he and the rest of his cohort presented some of what they had been up to. In this case many of the source audio segments in Scanner’s piece were things he’d recorded in Florida during the residency. You can hear surf and birds in the mix, along with a singsong mix of waveforms. The use of found materials seems appropriate, given the Rauschenberg’s artistic legacy. Scanner describes it a bit at his website:

Something I found surprising and fascinating about my stay was how it altered my listening habits. Whilst working on my new book I found that much of the music I would ordinarily listen to seemed wrong for the location. With nature in its rawest form all around, with osprey, vultures, dolphins, manatees, racoons, woodpeckers surrounding me, it was a challenge to find other music that might work.

The first episode of the Disquietude podcast featured a piece recorded by another artist, Marcus Fischer, at the same residency, albeit a month or so earlier.

This is the latest video I’ve added to my YouTube playlist of recommended live performances of ambient music. Video originally posted at youtube.com. More from Scanner, aka Robin Rimbaud, at scannerdot.com.

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The Organ as Installation

Olivia Block at the Rockefeller Memorial Chapel

The opening roar of this excerpt of a recording suggests a crowd going wild, not so much at a concert as at a vuvuzela-filled soccer stadium. In this case, the stadium is a stately gothic structure, Rockefeller Memorial Chapel on the campus of the University of Chicago, and the ecstatic noise is coming from its E.M. Skinner pipe organ, in an original piece of music by Olivia Block. Advance notice of the performance, which was recorded live on April 21, 2017, described it as something that “straddles the line between musical composition and sound installation.” The installation aspect is in part related to how Block’s use of the organ explores the contours of the space, and also how speakers distributed throughout the building suggest that attendees wander amid the sound to hear it from different vantages. The work, as reproduced in this stereo document, moves from recognizable organ tones to fantasms of eager, treble-piercing waves. Live performances are difficult to reproduce, spatially informed ones all the more so. This recording, by Alex Inglesian, gives us a sense of the work’s breadth and impact.

Track originally posted at soundcloud.com/olivia-block. More from Block, who is from Texas and lives in Chicago, at twitter.com/oliviablock and oliviablock.net, and on the piece at renaissancesociety.org.

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Electromagnetic Ambient Music

And slivers of found radio signals

These two short videos from Berlin-based musician Hainbach explore mangled ambience thanks to a handy new device that benefited from an especially popular Kickstarter campaign. The gadget in question is the KOMA Field Kit, and it serves as an entry point into various less typical sonic sources, including physical connections like solenoids and DC motors, as well as the far more ethereal electromagnetic pickup. The latter is employed in the first of these videos, “David Dreams | Tape, Field Kit, OP1, Phashi.” Watch as that little hand-held sensor is moved from one device to the next, the unique nature of its detection lending an otherworldly timbre to Hainbach’s drones. “Nevada in My Dreams | Tapeloop, Fieldkit, OP1” is even slower and doomier than “David Dreams,” with bits of radio noise shooting through like sliver glimpses of alternate worlds. Hainbach’s YouTube channel is a great source of electronic music using a variety of instruments, which he details in the notes associated with the videos. This pair investigates how two very different airborne signals can contribute to the texture of recordings.

Videos originally posted at Hainbach’s YouTube page. Hainbach is Berlin-based composer Stefan Paul Goetsch. More from Hainbach at hainbach.bandcamp.com and instagram.com/hainbach101. More on the KOMA Field Kit at cdm.link, which is where I first came across the “Nevada in My Dreams” video.

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“Jesus’ Blood Never Failed Me Yet” Live

The 1975 composition performed late last year by Psappha

Following perhaps intentionally on the warm reception received by that recent posting of a three-part video showing Gavin Bryars’ Sinking of the Titanic being performed live at the Big Ears festival, we now have the other half of that very same record album, the first from Brian Eno’s Obscure label back in 1975. This is the ensemble Psappha on October 12, 2016, at the RNCM Theatre in Manchester, U.K., conducted by Clark Rundell. (The group’s general manager and artistic director is Tim Williams.) The work is “Jesus’ Blood Never Failed Me Yet,” which takes the melody inherent in a creaky recording of a homeless man singing a hymn in a painfully sweet and wavering rendition and renders it in a gentle, sensitive setting that suggests a heavenly chorus if not outright beatification. Emphasizing the group’s attentiveness is how serenely they sit for the four full minutes before they actually join the nameless singer, whose verse is heard as a recording to which they eventually play along.

Video originally posted at the ensemble’s YouTube channel. More from Psappha, presumbably named for the Xenakis composition, at psappha.com.

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Disquietude Podcast Episode 0001

A new podcast from Disquiet.com, with music by Brian Hendricksen, Carl Mikael Björk, Erika Nesse, Marcus Fischer, Sarah Davachi, and Mark Rushton

This is the first episode of the Disquietude podcast of ambient electronic music. All six tracks of music are featured with the permission of the individual artists. The first episode started online first at SoundCloud, Mixcloud, and YouTube and then made it into iTunes and Stitcher. There’s also an RSS link, should you need it.

Below is the structure of the episode with time codes for the tracks:

00:00 theme and intro

02:05 Brian Hendricksen’s “2.10.2017″

04:32 Carl Mikael Björk’s “Live Looping Improv w/ Piano and Erica Synths Varishape & Wavetable”

18:08 Erika Nesse’s “Circle”

21:30 Marcus Fischer’s “170211 – Dual Deck Piano Loop (RRR)”

28:56 Sarah Davachi’s “Ghosts and All”

37:21 Mark Rushton’s “Severe Thunderstorm Warning Sirens”

43:50 notes

53:34 end

What follows is a rough transcript of the spoken material in the podcast, as well as links to the artists whose work is included: Read more »

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