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. • 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: video

Current Favorites: Fahey, Hsu, Richter/Vivaldi

Heavy rotation, lightly annotated

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

▰ More power to drummer José Medeles for this upcoming tribute to John Fahey, featuring guitarists Matt Ward, Marisa Anderson, and Chris Funk: Railroad Cadences & Melancholic Anthems. Three tracks online so far, and each hits the murky, crepuscular, Fahey-ian mark in its own way. Medeles is based in Portland, Oregon.

▰ There’s one track up so far from Yenting Hsu’s forthcoming Flash 須臾. “Unknown 未知” mixes industrial, textural, and droning sounds into a single, focused, contemplative track. Mesmerizing. She’s from Taiwan. The label is the London-based Ash International.

▰ Hard to believe its been a full decade since Max Richter reworked Vivaldi’s The Four Seasons as part of Deutsche Grammophon’s Recomposed series. He’s newly revisiting the music. There are several videos up on his YouTube channel, including this one, featuring violinist Elena Urioste and the musicians of Chineke! Orchestra:

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Ambient Jam

By Perry Frank

Music is built on tools, and tools are built on music. Music is made with available tools. Tools are made to produce sounds in a more immediate or more nuanced manner than previous tools might have allowed for. Which is why a small synthesizer and a smaller reverb pedal can, together, sound like an ancient pipe organ performed in an old church where the roof has been torn off and the sounds are straining as they reach for the naked heavens. This is Perry Frank’s ambient jam.

This is the latest video I’ve added year to my ongoing YouTube playlist of fine live ambient performances. Video originally posted at Perry Frank is based in Italy.

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Reviewed Carl Stone for The Wire

A livestream from last month

Barely a month ago, on April 2, Carl Stone performed a livestream concert with an interesting organization called MSCTY “a global agency for music + architecture,” per its website). The set consisted of upcycled field recordings of Tokyo, and I reviewed it for the latest issue of The Wire magazine. Below is the opening section of my article. The full piece is in issue #460, the one with Japanese musician Phew on the cover.

And here’s the full concert:

Also tagged , , / / Leave a comment ] Noyes, Mingus, BPM

From the past week

I do this manually each Saturday, collating most of the tweets I made the past week at, which I think of as my public notebook. Some tweets pop up sooner in expanded form or otherwise on I’ve found it personally informative to revisit the previous week of thinking out loud. This isn’t a full accounting. Often there are, for example, conversations on Twitter that don’t really make as much sense out of the context of Twitter itself.

▰ I didn’t know until today that (yeah yeah TIL) “Noyes” is pronounced “noise.” A friend visiting Chicago sent me a four-second video from a train. The automated voice is heard saying what appears to be “This is noise.” The screen at the rear of the car reads “This is Noyes.”

(And yeah, now my cultural-jukebox brain is revisiting old issues of The Duplex Planet.)

▰ Got a bunch requests in this regard the past couple weeks while I was traveling, so I wanted to mention it here: I enjoy writing liner notes, and I make time for doing so. Artist bios (like for press kits, etc.) are something I don’t really have time for. Thanks.

▰ Start a blog. Then in 25 years you can tell yourself what a rewarding way it has been to spend 25 years, as I’ve been doing this year in between writing new blog posts.

▰ Yes, you’re drinking a cup of coffee while your brain whirrs up for the day, and you’re listening to the new edit of Peter Gabriel’s “Shock the Monkey,” and at the appropriate moment you do, indeed, find yourself crossing your arms, instinctually, in front of your chest.

Just as a side note, the original “Shock the Monkey” video now looks sort of like a supercut compression of the Moon Knight TV series.

▰ “So, what’s your optimal BPM?” That’s what I asked on Twitter. I got a lot of responses: ➔

▰ It’s Earth Day. Take out your earbuds and open your window.

▰ “We care about your experience so we may record this call.”

Note: cause and effect are not simply the result of the insertion of a conjunction.

▰ The 10th novel I finished reading in 2022: I read Sayaka Murata’s excellent Convenience Store Woman earlier this year, and followed it up with Earthlings, which engages in a similar narrative (individual viewing society from an extreme remove) but in a much darker mode. And the novel’s end is hardcore Ballardian. Yow. (Also: There’s virtually no sound in Earthlings, a stark contrast with Convenience Store Woman, which was full not just with sound, but with the protagonist’s perception of sound.)

▰ Friday, April 22, 2022, was the 100th birthday of one of the greatest musicians of all time, American jazz bassist Charles Mingus. I tweeted a playlist of favorites to mark the moment, starting with a live 1964 concert with Eric Dolphy, wending through covers by Keith Richards and Joni Mitchel, touching inevitably on his own Ah Um and his trio album with Duke Ellington and Max Roach, Money Jungle, and closing on the opening cut of Mingus Mingus Mingus Mingus Mingus — his initial solo on “II B.S.” is so deep, so intimate. Then he invites the band in a bit at a time until it scales out to something utterly massive in scope. ➔

▰ And finally, the weekend, which I take off social media. Some recommended plans:

  • Listen to more Mingus
  • Let Earth Day linger
  • Prep for World Listening Day (July 18)
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Fell / Treanor / Bradbury Interview

Which I moderated last month

Mark Fell, Rian Treanor, and James Bradbury beamed in on the big screen at Gray Area in the Mission last month, on March 11, so I could interview them in front of a live audience. The setting was the second-ever Algorithmic Art Assembly conference-cum-festival.

There was a meta quality to the hybrid live/Zoom scenario, in that the topic of discussion — the trio’s excellent web audio project at — was the way they created virtual environments for individuals to make music collaboratively from a long distance. They discussed how it arose out of the constraints of pandemic performance, how unsatisfying they found live-streaming of traditional concerts, and how they did test runs of the software with children, among other aspects of the project. (Speaking of meta, I kind of love how in the video you see my gesticulations and facial expressions repeated behind me on the video screen, and how they’re delayed ever so slightly, like a split second. It’s latency in action.)

This is the interface of their first project, commissioned for the No Bounds festival in 2021:

This is the interface of their second project, commissioned for Algorithmic Art Assembly 2022:

And here’s footage of a live performance by Fell and Treanor on the AAA version of, introduced by AAA founder Thorsten Sideb0ard:

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