Often cited as the most classic and groundbreaking of all of 12k’s releases, Shuttle358’s Frame ushered in an era of humanism, melody and organics in the era of Microsound and the Clicks and Cuts movement at the turn of the century. While it was still steeped in digital sound and the magnification of error as intention, Frame somehow managed to fuse emotion into what had become a very structuralist and cold musical movement.
12k is very happy to present Frame, after 20 years, for the first time on vinyl released as a double LP with a D-Side full of previously unreleased masterial from the era of Frame’s creation. This version of Frame was mixed throughout 2020 by Shuttle358’s Dan Abrams using a hand-painted spectrum reconstrution method on the original tracks and remastered for vinyl by Taylor Deupree.
[ THE ORIGINAL PRESS RELEASE FROM FRAME, 12K1011)
Frame is the much anticipated follow up release to 1999’s debut optimal.lp, a compact disc which caused quite a bit of critical stir as a very impressive and original work for a new artist. Dan Abrams (aka: shuttle358) seamlessly blends stark textures/drones with digital disfunction. Clicks, skips and tiny mechanized rhythms intertwine in hypnotic form that Abrams allows to evolve in a very organic way. Frame picks up where optimal.lp left off. a bit more distant with excursions into deeper realms of Abrams’ signature skittish minimalist rhythmic work.
“If you put an empty frame against a blank wall, you suddenly notice the the color, the patterns, the imperfections in the plaster. The frame is like a window of perception. It takes the wall outside time. The frame draws attention to what is within it—it magnifies it, you focus on it, it begins to symbolize the whole wall.” ~Dan Abrams
–Released June 18, 2021 –Originally written and produced by Dan Abrams in 2000 in Pasadena, California, with guidance from Albert Tan and track selection with Taylor Deupree. –Bonus Material (Side D) taken from original sessions –Tracks 1, 4, 5, 8 and 9 and bonus tracks created on a Waldorf Microwave XT and sequenced in Cakewalk Pro. Tracks 2, 3, 7 and 10 created with custom instruments coded in Native Instruments Generator. Hidden track created with Generator and physical DAT munging. Recorded on Micron Gobook via PCMCIA. –This version mixed by Dan Abrams In Los Angeles, California throughout 2020 using a hand-painted spectrum reconstruction method on the original tracks. –Mastered by Taylor Deupree
“Aufbruch” translates from German into “departure” or “emergence.”
In listening to the 9 tracks that make up this new release (July 16th on RareNoise Records) from J. Peter Schwalm & Markus Reuter, what “emerges” is deconstruction; what emerges is fragmentation; and what emerges are the disjointed pieces of a disunited culture, reassembled into artistically crafted slabs of slightly caustic, slightly melodic & sometimes jarring sound.
The nine predominantly post-rock/experimental techno aural constructions are seamlessly blended; incorporating Reuter’s touch guitar (and its plethora of sounds, from electric/acoustic to atmospheric drone) & Schwalm’s multiple & leveraged electronic contributions. Some titles (Der Aufbruch, Von Anbeginn, Der lange Weg & Abbau) are painted with a darker perspective, others (Lebewohl & Abschied) are lighter while still others (Ruckzug, Losgelost & perhaps Ein Riss) occupy a “middle ground“ of timbre & tension.
As for my personal favorites . . . the reader/listener will have to wait until after the album’s release, as we’re crafting a mix/podcast to encapsulate our audiological thoughts on this masterwork.
ALL of the futuristic pieces are enjoyable for the experimental/soft-techno & slightly caustic sound-loving sonic aficionado: dark swashes of chaos, subtle bass-like groanings, explosions of gritty sonance, electro-acoustic strumming, fragmented beats and dulled thuds & thumps (along with several instances of angelic vocals) create a realistic look at the present environment while casting a vision & pointing us toward a better, more united & sustainable tomorrow.
The listener will be the final arbiter of what emerges for them – but for this listener a real sense of departure from industrialization to a not totally clear, slightly dystopian future emerges; yet with a glimmer of hope for humankind.
J. Peter Schwalm: Synths, Pianos, live treatments, electronic percussion and programming Markus Reuter: Touch Guitars® AU8 and U8 Deluxe, Soundscapes, Electronics Sophie Tassignon: Vocals on „Lebewohl“ and „Losgelöst“
Welcome to a noisy silence, a repository for the various recordings, artworks, writings and participatory projects of sound artist Richard Bentley.
Richard is a sound artist and researcher whose work explores focus-oriented sound art practice and the experience of positive silence. This interest is manifested through listenings, writings, field recordings, composition, soundwalks and the development of participatory sound art exercises.
[NOTE: an extended edit of ‘metalwork‘ will appear on a mix/podcast scheduled for October 2021]
A new collaborative album from electronic duo The Grid (aka Richard Norris & Dave Ball) and Robert Fripp, combining Fripp Soundscapes with synth, drums, programming and effects by The Grid.
‘Robert (Fripp) turned up with a truck load of amps and effects, two great big stacks including delay units with a 76 second delay and played and played and played.’
A few years ago, The Grid rediscovered tapes from [several recording] sessions, including unreleased tracks they’d worked up but never completed or mixed. A set of long solo drone pieces from Fripp was discovered along with a lost track that was then remixed to become ‘A Cabala Sky’ by The Grid / Fripp and released as part of Bill Brewster’s acclaimed ‘Late Night Tales’ compilation series in 2014.
Further Fripp Soundscapes from the same period were added to the mix by DGM’s David Singleton, which inspired The Grid to add new synths, drums, programming and effects to create the album ‘Leviathan’ a CD/DVD-a set.
Inspired by the mythical whale ‘Leviathan’, the biggest prehistoric whale that ever lived, Norris adds ‘I like Philip Hoare’s book “Leviathan”, which is about his obsession with whales and whale watching and the awe of coming into contact with such massive creatures. They are quite mysterious. Their brains are enormous, and we don’t quite know what all the brain power is doing… A bit like Robert, really’.
Having completed the album’s stereo mixes, DGM suggested the music as ideal for a full 5.1 surround mix by The Vicar. Electronic music lends itself very well to Surround Sound mixing as the listener has no fixed notion as to where any sound should emerge from. This mix features on the CD/DVD-a edition (alongside the stereo mix) and while Surround Sound is sometimes regarded as “niche” in terms of audience, the same would have been said about any form of electronic music when Fripp turned up, guitar in hand, at Eno’s place in 1972.
But then inquisitive musicians, even (perhaps especially) when they approach music from very different perspectives, often arrive at places that are as intriguing to an audience as they were to the participants.
“A masterpiece of glitchy solitude & quiet causticity — already captivating our attention, spinning via ear-buds & included on our upcoming 4’33” podcast. Beautiful!” ~Ambient Landscape
“A positive nothing, eternally waiting to bloom into the everything of the universe, a sort of primal spring of being.” ~Vladimir Sergeevic Solov’ev
1. 7’30” 2. 8’35” 3. 9’23” 4. 8’14” 5. 10’52
FORMAT: CD + DIGITAL CAT. N.: 9ED016 EDITION: 200 RELEASE DATE: 23 MARCH, 2021 DESIGN: MOTE STUDIO
“Un Fiocco Di Neve” (Italian word for snowflake) is one of the possible crystallisations of an ongoing project called “Nucleazione” (Nucleation), started in 2017 and consisting of the accumulation of over 200 sound files and silences pulled together and randomly overlapped with no control. The five compositions of this album originate from a series of auto-generative methods, which I found brought me to new listening experiences in the process of composing. I trace my steps back to a decentered, limited presence as an author becoming a detached listener. While “Un Fiocco Di Neve” is presented here as a CD release, “Nucleazione” is exhibited as an online project where listeners can themselves experiment the non-linear creation of unstable, undefined compositions with no predetermined beginning nor end.
In November and December of 2017, I toured Japan, during the peak of autumn colours. Knowing my passion for tea, my friend Makiko invited me to her parents’ house for a tea ceremony held by her mother in an informal tea room filled with tools and objects belonging to the tradition. Among those, I was stunned by a kakejiku (hung scroll) of Japanese calligraphy displaying the kanji 紅 kou (red), 炉 ro (hearth), 一 i (one), 点 ten (point), and 雪 yuki (snow). While apparently illogical, Makiko’s mother explained the poem’s meaning roots in the concept of impermanence: a single fragile snowflake falls until it touches the fire pit and instantly disappears. Since that day, this image of Zen white delicacy, full of Japanese poetry, has never abandoned me and continues to resonate in my mind from time to time.
In May 2019 I visited Zen monk Toryo Ito at Ryosoku-in Temple in Kyoto, where I had performed in 2017 as part of the event Hodokeru Mimi. Between a bowl of matcha and discussions about travel, design, and religion, he laid out his philosophy of objects having their own meaning or energy that spreads toward us. I shared my idea of objects’ solitude as non-living entities and their intrinsic power to take on different meanings. Sound has its own organic flow in the world, which exists regardless of our connection to it. We encounter its complexity, give it a name, store it as a weightless memory, share its inconsistency. While walking back to the Higashiyama area, my thoughts reminded me of a YouTube interview with David Toop when he said, “You could argue that sound doesn’t actually exist: it’s always in a state of emerging or decay, it’s never actually there.” For me, this is an irrefutable truth. Why do we ‘fix’ sounds to precise forms, progressions, starts, and ends? Fused within this indeterminacy, I experience the beauty of listening.
In the mountain, a humble tea house. Snow forms outside. Between these states and the tension of opposites, density vanishes into sparsity, weight defies lightness, shadow intersects light, heat meets cold, in a continuous play of illusory forms generated out of empty spaces.
A snowflake disappears. Memory fades away, sometimes it lasts.
Created (2017—2021) in Italy and Japan. Mastered by Giuseppe Ielasi. Pantings and photos by Fabio Perletta. Calligraphy by Kumaki Takahito. Designed by Mote Studio.
Fabio Perletta is a sound artist and curator living and working in Italy.
His work encompasses recorded compositions, performances, site-specific interventions, text scores and installations, appearing worldwide at festivals and art spaces like A×S Festival (Pasadena), Human Resources (Los Angeles), Pollinaria (Civitella Casanova), BlueProject Foundation (Barcelona), Arts Santa Mònica (Barcelona), Museo De Arte Moderno (Medellín), Musee National des Arts Asiatiques Guimet (Paris), Ftarri (Tokyo), Ochiai Soup (Tokyo), Kid Ailack Art Hall (Tokyo), Ryosokuin Temple (Kyoto), Museum of Modern Art (Wakayama), Café OTO (London), O’ Art Space (Milan), Saturnalia Festival (Milan), TOdays Festival (Turin), Eufònic Festival (Ulldecona/Barcelona), E-fest Cultures Numériques (La Marsa), roBOt Festival (Bologna), Acusmatiq Festival (Ancona), Flussi Festival (Avellino), Krake Festival (Berlin), Auditorium Parco della Musica (Rome), AlbumArte Gallery (Rome) and others.
He has participated in various artists residencies including Aequusol MMXX (Civitella Casanova), EMS Elektronmusikstudion (Stockholm), VOLUME (Los Angeles), Aqua Matrix (Bagnoli Irpino) and mAtter (Japan).
Perletta’s solo and collaborative recordings are documented on LINE, Dragon’s Eye Recordings, aufabwegen, Dinzu Artefacts and his own imprint 901 Editions. Founded in 2008, his label has since released more than 50 close-to-silence, immersive and experimental music editions by internationally renowned artists like Akio Suzuki, Asmus Tietchens, Nicolas Bernier, Richard Chartier, Adam Basanta, Yann Novak and many more.
Since 2014, he has co-curated Lux, an artistic program dedicated to presenting visual artists working with sound. In its 7 years of activity Lux has collaborated with museums, curators, exhibitions, festivals and contemporary art galleries, promoting solo and group exhibitions of artists like William Basinski and James Elaine, Thomas Koner, Arnold Dreyblatt, France Jobin and others.
He collaborates with sound designer Pierluigi Scarpantonio for the impro project Cygni.
He is currently a professor of sound design at ISIA University in Pescara, Italy.
D E 5 I G N 2 | an Ambient/Experimental sound assembly | 78:10
Part 2 of 3 (part 1) More aural design work, driven by the duo Minamo; off the beaten path & down the experimental wormhole . . .
Longer fades & segues render it compositional (as opposed to merely “mixed”). Diligence in listening is strongly advised as well as a strong grip upon reality (lest the listener become an eternal guest of said wormhole).
Courage! ;- )
Download via Bandcamp
01 Miki Yui – Vibra 02 J. Soliday – Untitled 200613 (edit) 03 Morimoto Naoki – Light 04 Minamo – Conceal 05 Pleq – The Lost 06 Robert Fripp – Time Promenade 07 Ümlaut – The Blue Field 08 Donato Wharton – A Thousand Miles of Grass 09 Neuro..No Neuro – I’m Just Pretending 10 Bruno Sanfilippo – Subliminal Pulse 11 Minamo – Sym 12 Strom Noir – The Weight of it All 13 Minamo – Yarn 14 offthesky – Undoing Us 15 Mike Bullock – TREAD
This new album from electronic sound artist Neuro…No Neuro could almost be categorized as an album of short, electronic stories. The tracks fit together cohesively and I find it extremely listenable in its entirety (and that from someone who rarely listens to entire albums; mostly previewing tracks for inclusion on upcoming mix projects).
Kirk (the mastermind behind Neuro…No Neuro) weaves in subtle tapestries of electronica: landscapes of pops, quirky shifts & layers of sonic carpeting that blend, seamlessly into one another . . . as well as the next track.
This body of work represents a slightly new aural direction for Mr. Markarian — but damned if I can tell you exactly how & why: be it the progressive maturation of the composer, a relaxing of overall sound & structure or an intentional & deliberate new approach to shaping his craft . . . it works; and it works very well!
My 2 favorites from this Neuro collective are ‘All the Missing Words’ & ‘Calcified’ (in fact, both will more than likely appear on an end-of-year ambient/electronic mix). They lay within a bed of quiet, sonic solitude and whisper their nuanced changes with electronic tinkering that moves the respective compositions forward like the trim-tab of a great ship of state. I don’t know this to be the case, but it’s as if Kirk created several, smaller audio files & then grafted them together with a surgeon’s skill until they narrate their own short story – but one that, like James Joyce’s ‘Dubliners’, play individually as well as to the work in whole.
‘Object Models’ (out next week on Audiobulb) is at once imaginative, introspective and, most noticeably . . . IMMERSIVE. Brief lengths of landscape, drawing the listener in while allowing for independent thought even as you’re enjoying the electronic gear-shifting which passes by almost imperceptibly, then grabs your attention once again (which is why it stands up to repeated listening).
It’s like a movie you’re enjoying . . . but you’re not 100% conscious as to “why”.
an Ambient/Electronic mix project | 79:07 | Part 1 of 3
This was designed and constructed around the July 3rd release of ‘Superscience‘, a single track, ambient/electronica mashup by Minamo. Using a water-cooled ambient aural saw, we shaved the composition into pieces & then reconstructed the project utilizing similar sounding noise & intro pieces to create a sound installation.
Longer-than-usual fade sequences helped to incorporate an organic “feel” to the mix; with assorted, subtle treatments (outtakes, snippets, elongated intros & excerptions) sprinkled here & there, as needed, to facilitate the segues. We also found ourselves utilizing tracks from the studio’s vault we wouldn’t normally choose for a work-a-day ambient mix . . .
. . . all that to communicate the fact that this isn’t a “straight up” mix, but rather an experimental project; an assembly of sound.
Download via Bandcamp
Listen via Mixcloud
01 Robert Fripp – Evensong (Sutton 3 Jun 2006), edit 02 Minamo – Superscience: excerpts 1+2 (echo & overlap) 03 Motorpig – Neutron Tide 04 Tomotsugu Nakamura – Touch with Slow Hand 05 Futuregrapher – Steinbitur 06 Federico Durand – Un Pequeño Bosque de Lengas ……(A Small Forest of Lengas) 07 Neuro…No Neuro – Much-Needed Recharge (v2) 08 Minamo – Superscience; excerpt 3 (subtle bottom edge) 09 Shinpal – Seven Sealed 10 Minamo – Superscience; excerpt 4 (drifting zones) 11 M. Grigg – Response 12 Minamo – Superscience; excerpt 5 (noise crest manifesto) 13 Eiichi Abhuraya – Shoshin Wasuru Bekarazu ……(Don’t Forget Your Original Intention), excerpt 14 Joel Tammik – Temple on the Coast
r O t O [rotogravure / roh-tuh-gruh-vyoor] a photo-mechanical process by which pictures, typeset matter, etc., are printed from an intaglio copper cylinder.
Cover art for a rework (& new opening treatment) of a previous mix.
The new cover speaks to the content, which has a lot of glitch & found-sound tapestries woven in, much better than did the original. Having artwork embedded into the mp3 as it plays on my phone or iPad is something I find enjoyable (I use mp3 Tag). I think that art & music go hand-in-hand in the final deliverable (mixes being, in a manner of speaking, the new albums).
At first I was going to use this image for a new mix . . . but with no new material on the drawing board, and our show schedule nearly complete for 2021, I decided to do a reissue . . . only slightly altered (heh . . . just like Brian Eno does ;- D)