Honored to be included here . . . especially when I see who else was chosen!
This is a project that I’ve been compiling in my head since this past Spring; a Jazz, Ether/Euro-Jazz, Classical mashup . . . with a hard, Belgian finish – combining ECM artists w/the eclectic world of the Avant-Garde.
Inspired by the Thomas Strønen release, Lucas.
Happy listening! / 94:18
01 Biosphere & Deathprod – Muses-C (edit)
02 A Winged Victory for the Sullen – Metro, Pt. 3
03 Nadia Sirota & Liam Byrne – Letter EE
04 Triosk – Lazyboat
05 Jan Jelinek – Moiré [Strings]
06 Thomas Strønen/Time is a Blind Guide – Fugitive Places
07 Miles Davis – L’Assassinat De Carala
08 Lynne Arriale – I Hear a Rhapsody
09 Jan Garbarek – Desolate Mountains II
10 Thomas Strønen/Time is a Blind Guide – Tension
11 Nadia Sirota & Liam Byrne – Letter RR
12 Andy Sheppard Quartet – They Came from the North
13 Bob Holroyd – Woven
14 Jan Jelinek – Do Dekor
15 Sun Ra – New Day
16 Brian Groder – Water Prayer
17 Wynton Marsalis – Think Of One
18 Machine Mass feat. Dave Liebman – Centipede
19 The Wrong Object – Saturn
Ethereal voice + piano. Haunting & elegant – released April 27, 2018
Experimental Ambient; slightly caustic & glitchy . . . 66:02
This was originally mixed in 2014 & re-worked (tweaked, shortened) in 2015 & then re-re-worked in February of 2016 (ghosted treatments & segues) – until it was hammered into finely flattened sheet metal (in the form of experimental ambient).
This is a personal favorite (hence the labored re-workings); as a matter of fact, it’s Monday evening, August 6, 2018 & I’m vacationing on Assateague Island in Maryland & listening to this as I type . It’s a mix that I go to when I want to toss the interesting+ignorable Ambient audiological dice.
Sequenced slowest to fastest, think of it as a soundtrack for air-conditioning & industrial fan installation . . .
01 Thomas Lehn + Toshimaru Nakamura – Untitled
(interpolating Plastikman, Trent Reznor/Quake, DJ Samsara & Teruyuki Nobuchika)
02 Ambient Landscape – ArBom (interpolating Rick Wright‘s ‘Breaking Water‘)
03 Emil Klotzsch – Geisterhaus
04 Red Clouds – Burning Metal Object
05 Leonardo Rosado – Leaving and Staying
06 Seren Fordd – Rin-Se (courtesy of Low Light mixes)
07 Periskop – Blackout 1
08 Heiner Goebbels – The Salt
09 Speedy J – Amoco Cadiz
10 Eno/Wobble – Unusual Balance
11 Erik Skodvin – Red Box Curves
In ‘100 Years of Solitude’ by Gabriel García Marquez, there is Macondo: a town hard to declare as fully real or fictional; an archetype of the magical-real; an interstitial town, where things are, but are not. Object-oriented philosophy proposes a not so distant idea: a flat consideration of objects, an ethereal alchemy in which everything, no matter if physical or imaginary, coexists although remaining autonomous.
Such ideas can be related to listening and composition in order to reflect the state of things after the anthropocene and also to consider sound as a way to explore objects and their dramas. If we consider things equally, no matter how real they are, then we can approach all objects as ‘sonic’, to value objects as resonances, being there but not. Sound in an ontological interstice for which causality is not conceived as fixed to a particular mechanistic perspective but rather a sonic scaffolding: a mutant, mysterious, paradoxical set of objects.
When it comes to listening, both materiality and intangibility interact, so here composition appears as a way of weaving such interstitial objects, made of echoes of field recordings, found objects, aural situations, sonic memories, digital dots, analog synths, electromagnetic fields, musical instruments, among others. Everything with everything, not caring about sounds, but objects as such.
Macondo was composed in Medellín, Colombia during 2017, based on an exploration of materials gathered since 2012 and used in a research project called Aleph, started in 2016 with video artist Rossana Uribe and philosopher Camilo Tamayo and dedicated to research into magical realism. It has presented both in av installations and performance, the first sonic-only result of the process, presented initially in an acousmatic installation at FLORA ars+natura gallery in Bogotá, Colombia.
Track names 1 to 3 have been taken literally from a phrase present in the first page of 100 years of solitude: “(1) The world was so recent (2) that many things lacked names, (3) and in order to indicate them it was necessary to point…”. Track 4 is a quote by Timothy Morton from his book ‘Realist Magic’.
- Released November 17, 2017
- Images by Rossana Uribe. Special thanks to Cat, Ross, Richard and Fabio.
- c 2017 Miguel Isaza / p 2017 LINE