Sustainable Sonance . . .

Wind driven, net zero podcasts & sustainably sourced found-sound
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5 Characteristics of Ambient Music

1. Emphasis on atmosphere and texture: From the new age-adjacent ambient style of Brian Eno to the psychedelic sounds of ambient dub music, the genre seeks to build atmosphere above all else. 
   
   
2. Gradual exploration of timbre: Ambient music lingers on notes and chords for a long period of time. Artists create variation by shifting the timbre of the sounds, either by introducing new instruments or by applying filters to electronic sounds.
   
   
3. Minimal harmonic progression: Ambient music does not cycle through chords the way that pop music, jazz, and classical music do. It luxuriates on simple chords or even single notes as it builds out an overall atmosphere.
   
   
4. De-emphasized melodies: Ambient music is not known for its melodies as much as it is known for moods and soundscapes. This makes it different from Muzak, which is a smooth-sounding rendition of melody-driven songs.
   
   
5. Space for improvisation: Live ambient music has an improvisational aspect to it when producers and DJs experiment with sonic textures. Their improvisations are somewhat limited by the fact that most ambient music does not have distinct melodies or consistent chord changes.

4 Subgenres of Ambient Music:
The contemporary ambient music scene has spawned many distinct genres, most of which are variations on ambient electronica.

1. Ambient House: Ambient house music is a close cousin to classic Chicago house and acid house music, which are characterized by four-on-the-floor bass drum beats and analog synthesizers. The “ambient” component to ambient house involves layered sonic textures without a tonal center.
   
2. Ambient Techno: Ambient techno is a more melodically active ambient electronic genre. Some of the biggest names in ambient EDM—including Autechre and Aphex Twin—are considered ambient techno.
   
3. Ambient Dub: Inspired by the Jamaican dub music tradition, ambient dub offers an edgy, psychedelic take on ambient music. It is highly associated with the 1990s English record label Beyond Records and nineties acts like the Orb and Higher Intelligence Agency.
   
4. Dark Ambient: Dark ambient artists craft atmospheres that evoke fear and dread. This music—by groups like Nurse with Wound and Scorn—borders on industrial music and even avant-garde noise.

Source

The Next Mix

The NEXT mix | rock & roll/art-rock/pop | 79:25

A collection of songs (several [8/18] off the Bowie beaten trail) from Mr. Jones that I’ve been missing in rotation lately, assembled for your listening pleasure.
(previous Bowie mixes: 1, 2, 3)

Albums represented: The Rise & Fall of Ziggy Stardust, Outside, Station to Station,Tin Machine II, Hunky Dory, Young Americans, Aladdin Sane, Lodger, Low, Scary Monsters & Super Creeps, The Next Day, Hours, Young Lions (Belew)

The duet with Lou Reed is, IMHO, extraordinary!

**Updated on 4/22 to include “D.J.” (link below)**

Stream/D-L via Hear This or via Sync (updated version)

01 [00:00] David Bowie – Five Years
02 [04:31] – The Motel
03 [11:11] – Wild is the Wind
04 [17:03] – Soul Love
05 [20:32] Tin Machine – Amlapura
06 [24:10] David Bowie – Oh! You Pretty Things
07 [27:18] – Golden Years
08 [31:11] – Fascination
09 [36:50] – Aladdin Sane
10 [41:56] – D.J.
11 [45:47] – Be My Wife
12 [48:47] David Bowie & Lou Reed – Waiting for the Man
13 [52:58] David Bowie – Queen Bitch
14 [56:05] – The Pretty Things are Going to Hell
15 [60:00] – Scream Like a Baby
16 [64:16] – Panic in Detroit
17 [68:28] Tin Machine – Baby Universal
18 [71:27] David Bowie – Atomica
19 [75:32] David Bowie & Adrian Belew – Gunman

9⁰ (8), by Luigi Turra

To celebrate its 15th anniversary, 901 Editions launches a virtual residency program, inviting artists to share their creative process during the time span of a month. They have no pressure on any side and are really free to do whatever they want. We encourage them to focus on a specific theme/concept or methodology of their choice, as well as to follow their own spontaneity. We believe that uncertainty and hesitation are part of the creative process and have their own value. Life is a process, we learn by doing. The pieces will be uploaded irregularly on a dedicated Bandcamp page, only when artists are willing to do so. Just for the residency period, we offer the work as “free / name your price”. We called the residency program 9⁰, playing with the numbers 9, 0, and 1: any number to the power of 0 is always 1.

•••

LUIGI TURRA (b. 1975) is a reductionist/electroacoustic composer. His main interest is in the aural balance between silence, tactile perception of sound and aleatoric music. Through the manipulation of concrete and acoustic sources, he develops acoustic paths in which the listener experiences continuous pauses and subtly abrasive tensions. Starting from capturing small sounds and noises, Luigi Turra creates pieces of music, referencing the beauty of imperfection. His work is published by labels such as Non Visual Objects (AT), and/OAR (US), Koyuki (IT), White Line (UK), LINE (US), Dragon’s Eye Recordings (US), Trente Oiseaux (DE) and 901 Editions (IT).

www.luigiturra.com  

Released February 13, 2024

Around the corner . . .

A follower of our blog left a message, letting us know that it’s been a while since we last constructed a David Bowie mix.

Point taken . . . stay tuned . . .

The Sleeper Wakes, by Marc Barreca

Marc Barreca’s 1986 album “The Sleeper Wakes”. Originally released on cassette by the Seattle electronic ambient label, Intrepid.

Very subtle and quiet music by a sound artist and synth-head Marc Barreca. He is usually associated with K. Leimer’s Palace Of Light imprint and Seattle’s small, but very distinctive experimental and ambient music scene of the late 1970s and 80s.

Barreca has a small, but very strong and surprisingly (for ambient music anyway) varied back-catalogue, which in the last couple of years has been revisited by a number of reissue labels. For examples of the above see Barreca’s playful “Music Works For Industry” (1983) on RVNG / Freedom to Spend and vinyl-ized editions of his tapes on Vinyl-on-demand.
“The Sleeper Wakes” was also a tape-only release for Jeff Greinke’s label Intrepid (reissue comes on Scissor Tail) and showcases Barreca’s experiments with the rudimentary samplers (Akai 610) and analog sound processing.

The result is a collection of fragile and intricate soundscapes where the focus is on the acoustic properties of multilayered and slowly shifting sonic composites. Some of the tracks seem to be employing the samples of tuned percussion (“Out Delphi”) and sound as if you are listening to the unstructured gamelan music underwater. The effect is highly calming and instantly relaxing. To be fully appreciated this music needs to be heard in the headphones, but it works just as beautifully being part of non-aggressive sonic environment. – Snows ov Gethen 

Released November 15, 2022

Marc Barreca – Akai 610 Sampler, Analog treatments

[broadcast from] c h a r o n

c h a r o n | Experimental/Glitch/Ambient/Noise-Tech | 77:11

An imaginary broadcast from Charon, the largest of the five known natural satellites of the planet Pluto, to which it is gravitationally locked. It’s also the name of the mythological figure Charon (/ˈkɛərən/; Ancient Greek: Χάρων) the ferryman of the dead, closely associated with the god Pluto.

Unfortunately, Charon is unsuitable for long-term podcasting . . . as it is really, REALLY hard to hold your breath (loneliness & isolation notwithstanding)!

Mixed immediately after the “X“ podcast & following a similar aural pattern/flow, albeit less phonographic and with predominantly newer acquisitions, save for a reach-back w/ Aural Film’s track 9 (from the Fog Music series)

. . . gets a wee bit granular towards the end.

Stream/Download via Hear.This

01 [00:00] Giovanni Lami – sei e cinquanta
02 [07:13] Youga – Layer
03 [11:33] Jesús Acevedo – Ways to Nowhere (excerpt)
04 [20:52] Tapes & Topographies – Belated Thoughts on Aviation
05 [25:54] Dirk Serries – Granulate
06 [35:42] Thorny – Medulla_Ephemerata
07 [43:12] John von Seggern – Attunement
08 [45:45] Forrest – Magic Dark of Summer
09 [56:25] Dan Pound – Through the Fog (excerpt)
10 [64:12] Dronal – Softening
11 [69:55] Eudscher – HT317
12 [75:19] Postscript:
…………………Ensemble Ektòs – 5 (extended edit)

Integral, by Fabio Perletta + Asmus Tietchens

“Integral” marks the second collaboration between German electronic music pioneer Asmus Tietchens and sound artist Fabio Perletta. The album follows 2017’s “Deflections”, released by German label aufabwegen.

Recorded by Fabio Perletta and Asmus Tietchens, respectively at Tokonoma Studio, Roseto degli Abruzzi, and Audiplex Studio E, Hamburg, between October 2022 and August 2023. Artwork by Fabio Perletta. Mastered by Okko Bekker.

A Thousand Miles from Nowhere, by Matt Piper & John von Seggern

The description below, from the album’s Bandcamp page truly describes the wonderful sonance found within this EP’s 4 tracks: experimental & reverberating soundscapes that advance & decay across the organic aural terrain — a terrific collaboration & musical journey between these two musicians who blend a traditional folk-ish musical sound while peppering it with free-improv strategies.

Similar experimentally inclined artists that come to mind are: Bill Frisell, the Pat Metheny John Zorn collaboration (Book of Angels) and Stephan Thelen; with a bit of David Torn & Henry Frayne.

Excellent work!!

(please see our interview with them, below)

~Ambient Landscape, April 2024
_____________________________________________________________
Piper and von Seggern excavate spectral visions of the Midwest on their debut collaboration, the 4-track EP A Thousand Miles from Nowhere. The instrumental release conjures ominous Americana soundscapes through inventive fusions of organic and electronic elements.

The titles and music evoke the mysteries of the heartland, suggesting old practices and beliefs persisting in new forms, hinting at regional traditions without directly naming them.

Piper’s banjo, resonator guitar, zither, and tongue drum decay and reform into haunting new timbres. Von Seggern’s acoustic bass guitar provides a deep rhythmic pulse, while his sampling, beats, and electronics warp traditional folk forms into dark experimental textures.

Recorded over the internet during the pandemic, the EP reimagines regional folkways for our hypermodern moment, crafting a timeless ambiance.

Released March 28, 2024

Matt Piper – banjo, resonator guitar, kalimba, tongue drum
John von Seggern – acoustic bass guitar, beats & electronics

_____________________________________________________________
We caught up with Matt & John, courtesy of John’s wife Susan, for an online interview last week; here’s how it went:

1. Who are the artists that have inspired you to create music?

Matt: I started recording my own music on dubbing decks and multi-track cassette machines when I was a teenager, and in those days a lot of classic rock was inspiring me, from the James Gang (I still make people listen to some tracks on their first album) to Led Zeppelin, the Beatles, Yes, Pink Floyd, Rush, Jimi–the usual suspects! After moving to Los Angeles from the rural Midwest at the age of 19 I discovered Miles Davis, Igor Stravinsky, and King Crimson, as well as classical Indian music and eventually Los Angeles’s underground improvised music scene. Radiohead helped me to stop feeling bad that I’d been born a bit too late to see so many great bands from the past. Somehow out of all those influences I ended up gravitating towards dreamy, hypnotic, strange and mysterious musical vibes and wanting to be part of creating consciousness altering transportive experiences.

John: The artist who most inspired this project is ambient pioneer Jon Hassell, who was one of my musical heroes since high school. I was lucky to get the opportunity to work directly with Jon from 2014-2020 and co-produced his last 2 albums, Listening to Pictures and Seeing Through Sound. This new project was a conscious attempt to continue applying what I learned from Jon in my own work — experiment fearlessly and always be on the lookout for new sounds and territories to explore. 

On this album the experimental side really comes through in the way we’ve treated the banjo, stretching it out to form string pads and slicing it into tiny bits that can be scattered and rearranged. This project was animated by applying these experimental techniques to instruments and styles more associated with folk or country music. Beyond the banjo, we used mostly acoustic instruments including zither, tongue drum, resonator guitar, and acoustic bass guitar. 

2. What directions (dark ambient, drone, neoclassical, etc.) do you see both your solo and collaborative musical careers headed?

Matt: There is a high degree of improvisation in what John and I do. That has been the way that feels natural for us to make music together, that also lends itself to collaboration with others who are into listening to each other and trying to just reach out for the music that is there. All manner of traditional acoustic instruments, especially from older non-Western traditions, blend really well with our aesthetic and with John’s electronic production, and working with additional collaborators on those instruments for future projects would be exciting. This music I think will be equally suited for deep listening at home and for live performances, as well as for film music and animation. Collaboration with visual artists is something I’d really like to explore with this music.

John: I’m continuing to explore dark ambient improvisation in a variety of solo and collaborative projects at the moment. I’ve also been exploring the sonic possibilities of the Chapman Stick, using an extension of the software effects processing rig I made for Hassell, my last solo release Evocations is all played on the Stick.

Matt and I had a trio recording session with drummer Mathias Kunzli (played with John Zorn, Marc Ribot and many others) recently that will become our next album in this vein, ambient banjo-led improvisation in an ECM/jazz type of style. I played the Stick on that one. We’re planning some live gigs with that line up later this year.

I’ll be releasing a new ambient collab with Dean DeBenedictis in a couple months, Taking Shasta Mountain (By Strategy), and I have a few more ambient releases planned for later in the year, including a recording of my live ambient bass guitar concert at the Philosophical Research Society in Los Angeles last June. 

Matt and I have also recorded another album of ambient improvisations with old friend Steve Nalepa, member of band The Acid, recently, there’s a wealth of more drone-oriented material from that session but it’s going to take some editing to find the gems. 

3. How do you feel this recent collaborative effort will impact your solo projects?

Matt: I feel like something true about our musical souls (John’s and mine) is represented in this recording. As a solo artist I’m always on the lookout for creative opportunities, and certainly this EP is something I’ll be very happy to share toward that end. Also hearing the way John interpreted and synthesized all the material we recorded is inspiring. Hearing what he heard via his production kind of refocuses me in some interesting new ways. I think the act of making this music fed my spirit in a way that just makes me want to play more and create more.

John: Matt is actually one of my oldest collaborators but we’ve never made a proper recording together. Our collaboration is like a chance to share all the continuing research we both do into instrumental playing techniques and effects processing tech. I continue to get new ideas from working with Matt that inevitably seep into all my other work. 

4. If it were possible to choose, which mainstream (ambient or otherwise) artist would you like to collaborate with?

Matt: I would be thrilled for a chance to collaborate with Mica Levi. Their musical voice seems so free to go in any new direction using any texture or tool they choose.

John: If I could collaborate with anyone it would be film director David Lynch, his works have done the most to open my mind in new unexpected directions.  As far as musical collaborators, I feel like I already have a wealth of gifted artists to work with all around me and I don’t really think that much about superstar collaborations or something like this.

Matt Piper & John von Seggern

Forgotten Stories, by Daou

A wonderfully glitchy sounding sonic landscape . . .

“Forgotten Stories” is envisioned as a collection of ten short stories, centered around the theme of rediscovering and shedding light on ten particular narratives that have been obscured by the passage of time. This project represents a personal acknowledgment of the fragility of our memories and seeks solace in the profound beauty of nostalgia.

The loops utilised in the creation of this collection were recorded over a span of five years in France, captured on tape. The mixing process took place throughout 2023, incorporating additional elements such as field recordings and shortwave radio signals.

Released March 22, 2024

Music by: Daou
Mastered by: Andrea Porcu
Original artwork by: Georges Daou

Eev, by Taylor Deupree

‘Eev” is Taylor Deupree’s latest stopover on a slow journey through ambient sound that has brought him acclaim and renown for over two decades. This EP explores the light and dark of an evening forest, both figuratively and literally. The decay and the growth stir tiny, fragile worlds.

Deupree is also known as being an avid collaborator and has worked with Ryuichi Sakamoto, David Sylvian, Jeremiah Fraites, and Fennesz, among others throughout his career. His work as an audio engineer has made technology at the forefront of his music as he explores its cracks and imperfections.

credits

released August 18, 2023