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: voice

Patricia Wolf, Live

At Holocene in Portland

Between glistening notes and processed field recordings, Patricia Wolf’s voice appears as a series of echoing phrases. The live recording was made at the Holocene in Portland, Oregon, on June 19 of last year. Wolf just added it to her SoundCloud page late last month. While she could easily spend more than the piece’s nearly quarter hour exploring these lush, ethereal spaces, Wolf has more in mind for her listeners. In time, surprisingly abrasive tones appear, rubbery and textured and chaotic, and a thorough contrast to what came before. Amid them, Wolf’s voice persists, no longer an element of comforting ease, and instead a durable, yet no less elegant, opposition to the rising forces.

Track originally posted to soundcloud.com/patriciawolf_music. More from her at instagram.com/patriciawolf_music. The audio was recorded by Glenn Sogge, and the performance photo is by Marcus Fischer.

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Abstraction for Charity

Five pieces by as many artists for a women's shelter in Glasgow, Scotland

The Stochastic Method is a beautiful collection of largely instrumental music with a purpose. The purpose is to raise funds for and awareness of the Ubuntu Women’s Shelter in Glasgow, Scotland. Participating are Paul Michael Henry, Painted in Shadows, Jenn Kirby, Graham Dunning, and Leslie Deere. It was Deere who produced an event at the Centre for Contemporary Arts in Glasgow this past December that brought the musicians together (details at cca-glasgow.com). The tracks range from Celtic-accented shoegazey lushness (Painted in Shadows) to layers of twitchy noises above lulling tones (Henry). Kirby’s piece has a modern-ecclesiastic quality to it, zither-like instrumentation mixed with pillowy choir. Deere’s is a collage of drones and voices, slipstream artifacts and distant rhythms. Dunning’s begins as a kind of abstract rave music before dissolving into haunting sound design that suggests a forest deep in the night.

Get the release (and give what you can) at fractalmeat.bandcamp.com. More on the Ubuntu shelter at ubuntu-glasgow.org.uk.

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Disquiet Junto Project 0419: Dischoir

The Assignment: Make music from 100+ vocal samples of held syllables by members of the Disquiet Junto.

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, January 13, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 9, 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 0419: Dischoir
The Assignment: Make music from 100+ vocal samples of held syllables by members of the Disquiet Junto.

Step 1: Welcome to a large, asynchronous, distributed choir. The Dischoir consists of 113 samples of held syllables by over 50 participants in the Disquiet Junto. You can access the files at the following URL. Note that a few of them deviate from the initial instructions:

https://www.dropbox.com/sh/pkuvmzwcdz6dx27/AACUsNclLLqToLp-OJWVkaQXa?dl=0

Step 2: Create a piece of choral music from the provided samples. You are encouraged to make music that feels “human,” that feels like it is simply a lot of people singing at once. However, of course, the end result is up to you; you can and should mix, mash, and create as you please.

Background: This all came about as a result of something Alan Bland mentioned on the Junto Slack. He pointed out that my having misspelled Disquiet as “Disquier” in the December 19, 2019, project title made him think of “Dischoir,” a possible Junto project. Thanks to Alan and to Jason Wehmhoener for helping me think this project through, and to everyone (over 50 contributors) who sent in samples.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0419” (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 “disquiet0419” (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 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-0419-dischoir/

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

Step 6: If posting on social media, please consider using the hashtag #disquietjunto 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, January 13, 2020, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, January 9, 2020.

Length: The length is up to you. Shorter is often better.

Title/Tag: When posting your track, please include “disquiet0419” 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: Consider setting 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 419th weekly Disquiet Junto project — Dischoir / The Assignment: Make music from 100+ vocal samples of held syllables by members of the Disquiet Junto — at:

https://disquiet.com/0419/

This all came about as a result of something Alan Bland mentioned on the Junto Slack. He pointed out that my having misspelled Disquiet as “Disquier” in the December 19, 2019, project title made him think of “Dischoir,” a possible Junto project. Thanks to Alan and to Jason Wehmhoener for helping me think this project through, and to everyone (over 50 contributors) who sent in samples.

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-0419-dischoir/

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

The image associated with this track is by Joe Lencioni, and is used (image cropped, text added) via Flickr thanks to a Creative Commons license:

https://flic.kr/p/8Bk9Rx

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

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Disquiet Junto Project 0400: Sub Divided

The Assignment: Create a score to a Malka Older story using the author's own voice as source audio.

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, September 2, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 29, 2019.

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 0400: Sub Divided
The Assignment: Create a score to a Malka Older story using the author’s own voice as source audio.

Step 1: The author Malka Older (Infomocracy, Ninth Step Station, Orphan Black: The Next Chapter) has generously recorded herself reading her own short story, “The Divided,” and made that recording available to the Disquiet Junto community for this project. Acquire the nine (roughly) one-minute segments of the recording in this zip file:

https://www.dropbox.com/s/mgwx9fa9bwz76ll/0400-stems.zip

Additional information on the book in which this story will be collected, … and Other Disasters, at masonjarpress.xyz.

Step 2: Select one of the nine tracks at random.

Step 3: Listen to the entire story, which is about nine and a half minutes long. Consider the narrative sensibility of your assigned subset of that story.

Step 4: Create a score and sound design to accompany Older’s reading of her own short story in the track that you selected in Step 2. Primarily use Older’s own voice as the source material for your score — bend it, shape it, extract from it, and burnish it to your creative ends. Additional sonic elements, both musical and foley, are welcome, but a substantial percentage of the sound should be from Older’s own voice. Also: keep Older’s own reading audible and inteligible; don’t slow or speed or otherwise edit it. Your score should accompany the reading, not supplant it.

Step 5: This is important. Please title your track “Malka Older – The Divided – Part X/9 disquiet0400” where “X” is the segment number you were assigned. (Don’t include the quotation marks.)

Six More Important Steps When Your Track Is Done:

Step 1: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0400” (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 2: Upload your track. It is helpful but not essential that you use SoundCloud to host your track.

Step 3: Post your track in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0400-sub-divided/

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: If posting on social media, please consider using the hashtag #disquietjunto so fellow participants are more likely to locate your communication.

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

Additional Details:

Deadline: This project’s deadline is Monday, September 2, 2019, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, August 29, 2019.

Length: The length of your finished track should be the same length as the source audio for your track.

Title/Tag: When posting your track, please include “disquiet0400” 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: Consider setting 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 400th weekly Disquiet Junto project — Sub Divided / The Assignment: Create a score to a Malka Older story using the author’s own voice as source audio — at:

https://disquiet.com/0400/

Thanks to Malka Older for providing the audio and collaborating on this. Thanks to Alex Hawthorn for audio technical assistance.

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-0400-sub-divided/

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

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Pushing Past Lovely

Lyndsie Alguire is up to something ambitious.

After releasing her most recent album, The Horizon Kisses You Til There’s Nothing Left, on Bandcamp earlier this year, the musician Lyndsie Alguire selected one of its tracks to post on her SoundCloud account, a form of cross-promotion between the two platforms.

Titled “Demeter Weeping,” the song is essentially much of the working materials, the techniques and sounds, of the broader album condensed into one beautiful, linear summary statement. It opens with layers of her vocals, all shoegazey lushness, hinting at some sort of meaning, yet mumbled and muffled beyond comprehensibility. In time, the textures move beyond some invisible breaking point, and what had been lush transforms from linen to sandpaper, from lovely to something that pushes past lovely, yet that retains a definite if harsh beauty. Just after the midway point, “Demeter Weeping” goes from hushed to triumphant, a sweeping riff threatening to pierce the haze that has built up thus far.

That’s the moment when Alguire’s ambition becomes clear. What came before would have been pretty unto itself, but Alguire isn’t here just for the sweetness. She’s here to challenge. Listen, for example, to the buzzing of “Dustmote” and the heavily reverberating bass notes of “No Future,” both of which make you wonder if your speaker is wired correctly. Listen to the range of sounds cycling through “Nobody’s,” which summons up a deep mess of broken clouds.

Likewise, there’s more to The Horizon Kisses than “Demeter Weeping,” including introspective keyboard work (“Til There’s Nothing Left”), vaguely medieval chamber settings (“Sacrifices”), dense drones (“Dustmote”), and heavily warped audio that suggests a smaller scale take on Gavin Bryars’ Sinking of the Titanic. She could have played it safe with an album of variations on the first half of “Demeter Weeping,” but there’s no playing it safe here.

Album first posted at lyndsiealguire.bandcamp.com. Lyndsie Alguire is based in Montréal, Québec. More from her at lyndsiealguire.ca.

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