CaptainFez said about 2 years ago or at 1:35PM on Monday, August 31 2009 in music
Here's the continued version of this thread.
The other one's eating posts, so I figured that this would be the place for new stuff...
Has anyone had any experience with anything on the Cold Spring label? I've bought some Sleep Research Facility from them - but I knew what I was getting. I'm curious as to the other artists on the roster, though.
(Sleep Research Facility would be of a fair bit of interest to people here, actually - Nostromo, their/his first, is meant to be a soundtrack to the hypersleep of Alien.)
all hail the new thread
Though it's somewhat more at home in the Gear thread, I reckon purveyors of the drone might enjoy one of these TG boxes... a clone of the Gristleizer.
they opened the show with a beautiful piano piece from aus on to & fro last night, though a lot of the stuff on myspace sounds like cafe music. anyone a fan? room 40 are touring him in sep.
me and my credit limit are having serious discussions about that gristleizer pedal
Yerp. It's the shipping that'll be the killer, though - that'll determine it for me. I suspect that if it's like any other Threshold House orders, it'll be exy.
Having said that, I reckon there'd be a bunch of people around who know how to knock up something almost identical using the original schematic.
That website also is selling a PCB of the tabletop model for not much. But I do fancy the pedal.
Schematic version (click 'schematic image') here.
Kandos has been trial and error style building me a gristleizer for about a year now.
Original schematic (which Chris Carter adapted) here: http://matrixsynth.blogspot.com/2007/04/from-which-gristlizer-came.html
good one fez.
solo andata
Just posting so the thread will show up later when I need it...
If he comes good with it, I'll buy the second one!
(I'm bugging him to make me an oscillators-with-reverb-tank thingy at present... that would rule...)
Arve Henriksen, voc, tp, dr
Helge Sten, audio virus
Ståle Storløkken, keyb/synth
Jarle Vespestad, dr
Terje Rypdal, g
supersilent feat. terje rypdal - moers festival 2008 [flac]**
seeing as a lossless copy of this rare supersilent bootleg was only to be obtained on some impractical torrent site, I thought I'd megaupload it and share it on this blog! This is a high-quality recording of the norwegian electro-acoustic/avant-garde group's hour-long performance at the moers festival in germany in may last year. It's featuring the legendary Norwegian contemporary jazz guitarist and composer terje rypdal, and it's totally rad. A must-have recording.
download
tempted by that - i dig a bit of terje rypdal - thanks psyclops
Ooooh, psyclops: share more stuff like that!
this is gorgeous...and a free download!
ea005 - Stephen Philips - Lightness of Being
Lightness of Being is the lighter, kinder, and friendlier cousin of the Hypnos CD ''Into The Dark.'' Sit back and let the soft and gentle waves of sound float over and around you. Like oceans of sound that carry you to heights of ecstasy, this music will lift your spirits and carry you beyond yourself and into other worlds of calm and bliss.
Where ''Into The Dark'' explored the dark worlds of loneliness and isolation, the music presented here is warm and inviting and easily integrates into whatever use you may have for it. Use it for meditation, relaxation, sleep, or listen at low levels and let the subtle environments paint the walls with peacefull washes of sound. This music makes for a vast departure of the ''normal'' air of darkness that Stephen's music usually embodies. Is this a rare departure into the heavenly realm or an all new direction?
LINK
Track 01 - Enraptured
Track 02 - At The End of The Tunne
Track 03 - Lightness of Being
Track 04 - Heavenly Ascension
more good stuff like this here
guaranteed to send you into a blissful sleep at night.
Tak.
Thanks for the Resting Bell pointer - I think it was runoutgroove? There's some gold there. Just downloading their latest, because the samples have me won over. Sounds kind of like Stars of the Lid at times, though often a little darker. Especially in that 'could be an orchestra tuning up' kind of way that SOTL do so well.
So perhaps not something to invoke pleasant dreams (the track yepun has some pretty dark moments) but something that's very much worth listening to, based on what I've heard. d_rradio fans would probably diggit.
View Comments 20 to 328
We've limited the amount of comments shown in these larger topics to allow for faster viewing, simply click here to load all the missing comments ...
Actually, on a first listen, his latest release Luck sounds really good too.
whale - was gonna make a list, but i've mentioned everything i'd recommend already in this thread. biosphere, KFW, chantler, roll the dice, probably win for mine, though i don't know if any of them are up your particular ambient alley...
Celer are playing in town next week
Their bandcamp is huge.
Has anyone checked out A Winged Victory for the Sullen? It's Adam Wiltzie from Stars of the Lid and Dustin O'Halloran, who I hadn't come across until now but seems to be pretty highly rated as a composer in his own right. It's more piano/strings-based and less droney than most of the SotL output but still very much within the same stylistic frame. Really, really good stuff. I'd literally kill a man to hear some new music from Stars of the Lid but this is filling the void somewhat at least.
New Mark McGuire goes real good
for all your droning download needs
Mark McGuire/Emeralds have never really done it for me - he/they tick lots of boxes for me, but something about it irritates me a bit. Going to keep trying though.
xpost from the ny thread.
this is going to be epic. live streaming available here.
The world premiere live orchestration of William Basinski's
''The Disintegration Loops, dlp 1.1,'' @ the MET. FREE.
*
Remembering September 11*
On the 10th anniversary of the September 11, 2001 attacks, the Wordless Music Orchestra will perform a world premiere live orchestration of William Basinski's ambient masterwork, ''The Disintegration Loops, dlp 1.1,'' as well as three other works of memory and remembrance: Ingram Marshall's ''Fog Tropes II'' for strings and tape, Osvaldo Golijov's ''Tenebrae'' for string quartet, and Alfred Schnittke's ''Collected Songs Where Every Verse is Filled With Grief,'' arranged by David Harrington.
Free with Museum admission.
Sunday, September 11, 3:30PM
The Temple of Dendur in The Sackler Wing
Whoa, that should be a fairly devastating program as a 9/11 memorial. And in that Egyptian room! Wish I was there (actually, I'd be pretty nervous about being in NYC just now, but still).
I'd love to hear that, The Disintegration Loops are mighty. Shame it's tied in with 9/11 bullshit though.
This is an amazing package of music.
Titled In a Place of Such Graceful Shapes and limited to only 500 copies, the stark and austere package starts with a black box adorned with a monochromatic photograph of a winter landscape, with the artists’ names and the album title only appearing in tiny print on the bottom of the box. Inside, the jacket of the 7” shines in a bright, warm yellow – the only color in the landscape, provided by waterside grasses – and contrasts with the black and white photography (taken by both Deupree and Fischer) inside the booklet. A warm grey tone ties everything together on the CD and outer box to balance the color palette.
The attention to detail and care taken in the packaging is echoed in the music, whose goal was laid out at the very beginning of their collaboration: to create a single long piece that barely touched surfaces, ebbing and looping in stillness and the softest of movements. Intended for quiet listening, In a Place of Such Graceful Shapes is a warmly tactile and human piece of music, free of the computers that turned the artists off in the first place. The almost 50-minute composition builds a complex ecosystem of sounds, with the faintest of baritone guitar, bells, strings and harmonica joined by simple tones from synthesizers and toy keyboards. Even a bundle of sticks picked from the river finds its way into this deeply textured recording.
link
new lucier from earlier in the year.
review from sequenza 21:
Almost New York represents the latest chapter in Alvin Lucier’s migration away from the world of experimental electronic music, a move he began in the 1980s. Mr. Lucier chronicles the challenges he faced achieving working with acoustic instruments in the CD’s liner notes, ultimately discussing the microtonal impulses at the heart of the music featured on this album. The four works on the recordings two discs – Twonings, Almost New York, Broken Line and Coda Variations – are thoughtful explorations in extreme subtlety. The slow transformation typifying these pieces comes as no surprise reading the end of Mr. Lucier’s prose introduction to the CD: one of his principal inspirations was the natural out-of-tune-ness symptomatic to performances of Morton Feldman’s protracted String Quartet #2, “by the end…the instruments have drifted a little out of tune – there being now time to re-tune during a live performance – acquiring a patina that comes with age.”
Twonings, the CD’s first track, exemplifies the techniques Mr. Lucier applies in the album’s other compositions. The work is written for cello and piano and explores the slight discrepancies in pitch between the piano’s equal temperament and the assigned just intonation in the cello part. The notes for this work specifically site the, “acoustic phenomena” and “audible beating” that should result from the music’s attempted unisons. Indeed, the performance serves this goal with loyalty: cellist Charles Curtis and pianist Joseph Kubera deliver the music in a disciplined manner devoid of traditional expressivity, which makes the friction between the two instrument’s tunings more dramatic.
The album’s title track, Almost New York, sadly seems like the kind of piece I wish I could witness in a concert. Written for one flutist rotating between five flutes, this piece uses pure wave oscillators to create a kind of synthetic drone against which the flutist plays long tones. After each note, the performer is supposed to switch to a different type of flute, walking around the performance space as he or she cycles through instruments. Clearly, this is the kind of thing you want to be in the room for, but sound engineer Tom Hamilton simulates the spatial effects very well with panning. Like Twonings before it, Almost New York focuses on the microtonal differences between multiple voices, in this case the flute and slowly sliding up and down oscillators. Flutist Robert Dick delivers a performance similar in its sparse character to that of the previous track. As we have seen, of course, this style is important to Mr. Lucier’s compositions given the subtle ideas he transforms over the course of each work.
The third tack, Broken Line, is the most rhythmically active of the whole album and is scored for Vibraphone, piano and Flute. Rhetorically, however, the work is a duo inasmuch as Joseph Kubera’s piano and percussionist Danny Tunick‘s vibraphone are used in tandem as a fixed-pitch wall against which the extended glissandi Robert Dick’s modified flute constantly abrades. Broken Line essentially represents a role-reversal from Almost New York as the flute challenges the fixed intonation of the piano and vibraphone. The most concise work on the CD at 12:21, Broken Line’s instrumentation alludes to Morton Feldman’s Why Patterns?. Though it possesses a different process than Mr. Feldman’s work, Broken Line is a similarly persuasive advocate for moment-form music and – thanks to its rhythmic activity – is the most accessible representative of this compositional style on the album.
Mr. Lucier’s connection to Morton Feldman’s music and philosophy coalesces in Almost New York’s final track, Coda Variations, which is based on the solo tuba coda from Mr. Feldman’s Durations 3. Mr. Lucier’s Variations takes the eight notes and double fermata from Durations and, “[subjects them] to seven sets of permutations of sixty three notes each.” The variations incorporate special microtonal fingerings on the tuba developed by the performer, Robin Hayward, and composer Marc Sabat. As you can see, Coda Variations plays on the same subtle theme of intonation as the rest of the album, but presents the changes in a slowly unfolding melodic line, not in the vertical dissonances of the earlier tracks. This makes listening to Coda Variations an exercise in concentration, much like it must be performing a composition that develops so subtly over such a long period of time.
Finally had a chance to listen to this album, impressed.
Agreed Hellza. AWVFTS has been on high rotation at my end.
Still a few days left to pick up somethign from the 12k December Sale Some great stuff including Stephan Mathieu & Kenneth Kirschner (even Two lakes by Seaworthy & Matt Rosner is on sale)
the new robert haigh on faraway press (andrew chalk) is the loveliest thing.
Just found out Robert Rich will be in the country soon. His ''sleep concerts'' intrigue me. What's the good oil?
just saw mark mcguire is playing the gaso in late feb!