This is a live multichannel concert presented during the opening of the second season of Substrat at SAT with Akousma in 2017. I rendered the file in stereo for your enjoyment.
“Substrat invites you to dive again into the creative worlds of Montreal-based sound artists ! Through a series of performances in the Satosphere’s 157-speaker dome, Substrat offers an exclusive listening experience, between sound spatialization, experimental, electroacoustic and acousmatic music.”
Released December 4, 2020 All sounds captured, processed and manipulated by France Jobin. Track composed for the Substrat evening.
Strands is the second transmission from the enigmatic electronic artist Radiant Mind (who enjoys the privilege of brushing Steve Roach’s teeth every morning ;- ) ). Choosing to work in anonymity with Steve as the producer and interface this artist draws from elongated space music forms and textures – long unfolding drifts and slow suspensions. On this new release of deep in the night travels, Strands unfurls into a purely atmospheric set, probing into the darker regions and outer edges of sonic space.
All the sounds and textures are created specifically for each piece. Along with the mastering of the music Steve adds spacial processing enhancements and subtle looping in the final stages.
d a t a | experimental/noise/ambient/minimal | 79:23
Engineer Friday: “Just the data, ma’am . . . just the data!”
Aural data: spliced, smoked, codified, dried, refined via audacity and then rendered for your listening pleasure. This pairs will with White Noise Room, The Vicinity of Blue & 4′ 33.
This began with me enjoying a then recent release by Keys for Eclipse and then tinkering with some of the tracks. I decided to use Landscape Amnesia II, and then built the mix around that — and I had been wanting to delve a little more into Eno’s extended Apollo Soundtracks collective. . .
. . . piece by aurally inspired piece.
As always, our free downloads come with a 100% money-back guarantee!
Download via Bandcamp
Listen via Mixcloud
01 Richard Bentley – Metalwork (extended edit) 02 Fuantei – て(pt. 2)_extend 03 Monogoto – Iuxta Mare [deletion 5] (excerpt) 04 HRNS – Canadian Rifles 05 Rumforskning – Vagtios 06 Porya Hatami – 2 07 Fabio Perletta – 8_35_ 08 Harold Budd – The Twins 09 Lauki – CEO 10 Keys for Eclipse – Landscape Amnesia II (extended edit mix) 11 Bets – Osafune 04 (excerpt) 12 Steve Roach & Robert Rich – Magma 13 Robert Rich & Lustmord – Undulating Terrain 14 Non-Metrical Hombre – Tilapsis Redundancy 15 Richard Chartier – Variable Dimensions 16 Janek Schaefer – Acoustic Ensemble 17 Brian Eno – Waking Up
MOSS is a project from four accomplished sound artists: Molly Berg, Olivia Block, Steve Roden and Stephen Vitiello which was originally released on 12k in 2011. MOSS (Recur) celebrates the 10th anniversary with a re-release on cassette that contains a recording of a very unique live performance rehearsal on its B-side.
The rehearsal catches the artists in a candid atmosphere going through their sound setups, listening to themselves, listening to each other. Snippets of conversations and laughter woven throughout make for a private peek into what was to become a stellar performance and a sonic highlight from the 12k catalog. Just the right amount of these vignettes find their way in and around the beautifully performed rehearsal, adding to the story of the captured moment.
[ THE ORIGINAL PRESS RELEASE FROM MOSS, 12K2020)
Moss, is a live recording from a unique collaboration by sound artists/musicians Molly Berg, Olivia Block, Steve Roden and Stephen Vitiello. This was a midnight concert at the beautiful Trinity Cathedral in San Jose, CA which was part of the 01SJ Biennial. Olivia and Steve had performed solo sets on the previous nights. The final night was meant to be a duo with Molly and Stephen but the opportunity to play with musicians/friends who we admire so much called out for an invitation to play together. As the set was entirely improvised, the billing really changed in our minds from being a duo with guests to becoming a quartet. The church itself was certainly inspiring, it’s dark wood and clean dry acoustics. There was a very small but dedicated audience. No one slept and the church crew were able to, amazingly, quiet the rowdy revelers on the street for the duration of their set.
Anyone familiar with any of the four musicians involved in this recording will know the level of craftsmanship and attention to sonic tactility that can be found within. They each exercise such incredible restraint, a feat difficult to pull off in an impromptu improvised session where musicians are often found competing for space, and allow for a sense of place to work its way through the quiet recording. “Moss” breathes like a living being lying down to sleep — a delicate wave of hushed field recordings, tape tracks and subtle electronics provides a bed for which Molly Berg’s clarinet and voice (joined at times by Steve Roden) ebb and sway, allowed center- stage, in movements across the piece’s 24+ minutes. Steve Roden and Stephen Vitiello provide guitar (lap steel and electric, respectively) while Olivia Block manipulates the tapes, field recordings and electronics.
Moss is a perfect example of how four like-minded friends and musicians can come together at a moment’s notice and create, unrehearsed, a captivating and beautiful sonic landscape. The connection between them as artists is completely evident while at the same time disappearing into the background to allow the piece move like a singular body.
credits
Released March 30, 2021
Molly Berg: clarinet and voice Olivia Block: field recordings, tapes and electronics Steve Roden: lap steel guitar, harmonica, voice Stephen Vitiello: guitar, field recordings
Midnight concert, recorded live at Trinity Cathedral, San José, CA, September 28, 2010 as part of the 2010 01SJ Biennial
Recorded by Stephen Vitiello Mix engineer: Taj Leahey Mastered by Taylor Deupree at 12k Cover photograph by Taylor Deupree
o u t p o s t | Experimental/Ambient/Glitch/Minimal/Noise | 77:37
Music & atmospheres for l-o-n-g distance lone travelers & ambient warriors stationed on remote base-camps (real or imagined), inter-planetary sub-stations, or other, similarly isolated, environs.
Best listened to via ear-buds/headphones.
Download from Bandcamp
Listen on Mixcloud:
01 AES DANA – Period 10, Evocatory 02 Fuantei – Live@音音1 03 ulla straus – Seed v.1 (edit) 04 Fabio Perletta – 9_23+10_52 05 Robert Fripp – Pastorale (Madison 10 Nov 2007) 06 Andrew Tasselmyer – Nightfall in Taroko 07 Riverrun – Hamworthy Common I 08 A Produce – Visions 09 Alessandro Cortini & Lawrence English – Immediate Horizon 2 10 Iluiteq – Earth Melting In New Shapes 11 Seren Ffordd – Strange Attractor (interpolating Fabio Perletta & Luigi Turra; Ma, pt 2) 12 Jon Hassell – Unknown Wish 13 J.Peter Schwalm & Arve Henriksen – Unzeit 14 David Torn – But Not Remote
All tracks written & produced by Bernard Zwijzen/Sonmi451.
Equipment : Moog Mother 32, Elektron Octatrack, Instruo Arbhar, Make Noise Morphagene, Happy Nerding FX Aid. Plugins by Applied Acoustics, Native Instruments, Arturia and U-He. Additional production, sequencing and mixing in Ableton Live.
Mastered by Taylor Deupree Artwork by Stéphane Mahé Design by Sprflxgrfzm
“Bernard likes to thank Mathias for his wonderful work on the LAAPS project and for the opportunity to participate. Thanks also to friends & places for inspiration”
Trey Gunn and Markus Reuter (Live at SeaProg 2019)
by Barry Cleveland Reposted courtesy of Model Citizens, the Line 6 blog
Touch guitarists Markus Reuter and Trey Gunn are singular artists who play extended-range instruments that encompass both the guitar and bass registers, and which are played by tapping the strings with both hands, much like the Chapman Stick (from which they were derived conceptually). Reuter and Gunn also deftly deploy Helix amp and effects processors when crafting their idiosyncratic tones and expansive soundscapes.
Reuter has been a member of Stick Men (alongside Tony Levin and Pat Mastelotto) for more than a decade, as well as performing solo and with a variety other adventurous ensembles, including Centrozoon and Tuner. He has released eight albums as a leader; collaborated on recordings with Ian Boddy, Robert Rich, Stephan Thelen, and other artists; and appeared as a guest on dozens of additional recordings. He is also an educator and hosts the video program Living the Dream. Reuter primarily plays 8- and 10-string Touch Guitars, which he designed, and currently relies on Helix Floor and HX Stomp processors to generate nearly all of his extraordinary sounds.
Gunn was a member of King Crimson from 1994 to 2003, as well as recording and performing with dozens of other luminaries, such as David Sylvian, Vernon Reid, Brian Eno, John Paul Jones, Steven Wilson, and Robert Fripp. He is a member of TU, KTU, 3Below, Quodia, and The Security Project, and has released 14 solo albums. Gunn also composes music for film and television, teaches, and runs the 7d Media label. His principal instrument is the 10-string Warr Guitar, which he developed with Mark Warr, and he has incorporated Helix Native into his live and recording rigs.
Both musicians studied Guitar Craft with Robert Fripp for a number of years and were active in the associated community in various roles.
When did you first begin using Line 6 processors?
Trey: I began using the original red POD back in 1999 or 2000. I can’t remember exactly why I was drawn to it, other than that it was the first amp-simulation device and there was nothing else like it at the time. That was also about the time that Tony Levin and I were both playing around with using distortion on the bass and we were trying to figure out how to do it without losing the bottom end. So, I ran the dry signal parallel to the distorted POD signal, using a giant rig with 16 audio loops, which is ridiculous by today’s standards, when you can do the same thing within Helix. And I actually used two PODs, one for each side of the instrument, as there are individual outputs for the guitar and bass sides. The PODs were mounted on a shelf with zip ties.
Markus: Stick Men has been touring the world for the past decade and I have used Line 6 gear for nearly the entire time, beginning with the POD HD500 on the second or third tour. It had that small display, but at least you could modify the signal path a little bit, and I liked the way it sounded. For me, all the concerns about “authentic” tones are really irrelevant, as when I plug my instrument into a modeler, it isn’t going to sound like anything else anyway. So, with that I was able to find my own sounds, including synth sounds, as there was an onboard monophonic string synth that was very useful for doing soundscape stuff. I also liked the distortions, as they were grittier and more raw-sounding than those in other processors, in a way that really worked for me. But even back then, I was already dreaming about something very much like Helix, so when it appeared it was literally a dream come true. The inserts, the four effects loops, the multiple outputs, Snapshots—all those things. And the ease of use is still unmatched. I could go on and on, because I really love that thing!
elements_fuse | Avant Garde Jazz/Ether Jazz/Ambient Noise | 78:13
A powder keg of refractive, multidimensional Jazz-ish din (and cacophonous aural calamity), gathered from disheveled locations across a fractured internet. This edition focuses on the New Wave of Jazz record label. Additional info here.
Mixed May, 2021. Got a match? Light with care . . !
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Listen via Mixcloud
01 Fabio Perletta – 9_23_(excerpt) 02 Asmus Tietchens & Dirk Serries – Air Akkordeon 03 Goncalo Almeida – Monólogos a Dois I 04 Pierre Gerard – En Plein Rose D’un Bois Lisse 05 Serries-Vanderstraeten-Verhoeven – Stasis 06 Benedict Taylor & Anton Mobin – Minimal Muck 07 Dirk Serries – Factor 08 Arvind Gang & Riccardo Marogna – The Limp Leaves Waited for Rain, ……While the Black Clouds Gathered, far Distant, over Himavant 09 Alan Wilkinson & Dirk Serries – HYG 2 10 Kodian Trio – II, 4
