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Playing with audio.
Sounding out technology.
Composing in code.

tag: voice

Brian Eno Gives the BBC a Studio Tour

And talks generative art, sculptures, beat making, note taking, and more

“I’m trying to make a version of me in this software,” Brian Eno tells the BBC’s Spencer Kelly in a half-hour video from the broadcaster’s Click show. The ambient godfather is giving Kelly a tour of his studio, displaying how he constructs his light installations, his sculptures made of small speakers, and his software-based music. We see the dark backroom where he’s transitioned from cathode ray tubes to LEDs, and his ceiling-high bookshelves, 65 percent of which he estimates have science as their subject. Kelly, whose BBC reporting focus is technology, pushes Eno to confirm himself as something of a scientist, which Eno agrees to do.

Broadcasting is an odd thing. Kelly needs to ask a generalist’s questions, even though it’s clear he must know quite a bit more than he’s actually acknowledging knowledge of. They get around to “those cards,” which leads to a bit of a history lesson about how Roxy Music’s limited budget inspired Eno to get some best practices in order, which in turn became the Oblique Strategies deck. He also spends an extended bit making generative drum beats, and gives us a flip through old notebooks. Somewhere people with high-definition monitors are making and trading screenshots, no doubt.

There’s also fodder for an incredibly subtle animated GIF around the 18:23 mark, when Eno, his head emerging from a thick, collared overshirt like that of a tortoise, juts back and forth along to a semi-randomized rhythm he’s just implemented.

Found via

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Musique Concrète + Video Games

The making of Resident Evil 7: Biohazard

This short documentary video about the making of the video game Resident Evil 7: Biohazard explores the use of musique concrète to achieve the game developers’ pursuit of a horror aesthetic. The 8-minute profile interviews various participants in the game’s production from a variety of sound roles, including audio director, composers, and music production supervisors.

Says one member of the team: “We talked about this whole musique concréte style. So using voices became part of the score, and we gave them instructions like pretend, you know, you’ve got a plastic bag over your head and you’re asphyxiating. Pretend you’re drowing; make a sound like that. By the end it got a little bit weird: you know, you’re a zombie cow and you’re dying.”

It’s interesting to observe their collective decision and their experience of moving away from traditional game music — which is generally electronic but also usually employs recognizably musical instrumentation or reference points — to work drawn entirely from recorded audio.

Video originally posted at Vimeo. More on the video game, which was released back in January, at An album of the music was also released in January:

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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

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The Patzr Radio Podcast

Jimmy Kpple's micro-odes to everyday noise

Podcasts aren’t radio, but in many cases they might as well be. When someone says, “I don’t watch TV,” yet is up to date on lots of shows by virtue of a Hulu or Netflix account, there’s a disconnect at work that’s difficult to address politely, one that seems to have more with identity flag-waving than with anything technologically persuasive.

Podcasts may align with radio, but they’re something else entirely — or, more to the point, they’re capable of being something else entirely. Many, nonetheless, still feel like radio, from the structure to the content to the intonation. Not, as they say, that there’s anything wrong with that. The podcast mode has been on my mind a lot as I’ve been planning my own, titled Disquietude. Now that it’s out, I hear other podcasts through a different … well, not lens, but through instinctively analytical earbuds. When amid a hastily recorded bit of timely tech news, for example, the word “Googleable” sounds oddly close to “giggle-able,” I can relate to the anxiety in regard to whether you really want to do one more take. There’s at least one grammatical error in my first Disquitude podcast episode that kills me, a simple plural/singular misalignment, but I just couldn’t face the mic one more time.

I did radio twice for long stretches, first on WYBC on the East Coast during college, and then on KDVS on the West Coast after moving to California. Reviewing plays during college is how I learned the concept — if not the fully adopted practice — of whittling one’s discussion points to a select few, and hanging them on some semblance of narrative. Both stations encouraged relatively freeform approaches for its DJs, and that’s what I took pleasure in. Disquietude, as I plot episode two, is still very much a work in progress. I have aspirations to “play with the form,” as my friend Erik Davis (of the Expanding Mind podcast) encouraged me recently. It’ll come in stages.

If there’s a podcast that gets at the orthogonal-to-professional notion of the medium, the other-than-radio aspect, it is the excellent Patzr Radio series, which is helmed by Jimmy Kipple, who (employing a brief vocal element by Paula Daunt) did the theme for my Disquietude podcast. His Patzr consists of collections of #cheap-concrete, to employ Kipple/Kpple’s favorite tag. It’s snatches of everyday sound, rendered into “listening material” courtesy of nothing other than the mere fact of the podcast’s existence.

There are 72 Patzr episodes to date, all the same one minute and forty seconds in length, the latest a mix of unintelligible passing voices, and rough noises against subterranean leakages, doppler-effect motoring, and exquisitely banal footsteps that are not in the least bit threatening — except to the extent that the assemblage threatens the tidy conception of a podcast. When a format is merely a feed and a file, a few lines of RSS code and a fixed audio document, there’s a lot you can do with it, and sometimes doing very little, doing something explicitly contained, is the best reminder of the potential therein.

Check out the full series at, iTunes, and

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Disquietude Podcast Episode 0001

A new podcast from, 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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