CNN dug deep…& forced a confession from our engineering staff…
A new mix project, fresh from the studio:
Where does the dividing line between cognitive clarity (as a time/space/emotional issue), & cognitive dissonance reside? Further: how does cognitive dissonance, as regards genre selection, play into the mix-making process? Not that it’s a “serious” issue at all…different genres each have their own appeal – but I wanted to fuse several together on this project: Ambient, Experimental Ambient, Minimal Techno & Electronica – as opposed to one primary genre dominating the mix.
This project, honed from over 2 hours of original material*, spans the real/perceived distance between ambient & experimental techno/glitch and pushes gently, but firmly, upon the borders of multiple genres.
It’s a slightly caustic/scratchy amalgamation of sound, jump-started by the release of Focal’s remix project ‘Polarity‘…on Ultimae (which has served me over the course of 2 mixes: ‘mute space‘ & now this); plus a little help from my friends over @ Stroboscopic Artefacts.
[I think you’re going to enjoy it — it’s probably the best thing I’ve mixed this year!] | 78:53
01 Markus Guenter – Paragon
02 Triac – Day 2
03 Claudio PRC/Focal – Hyacinth
04 Steve Roach & Robert Logan – Ecdysis Activation
05 Hammock – Dropping Off (edit)
06 Dadub – Iridescent Fragment
07 Off.The.Sky – See Through and Through
08 Bob Ohrum – Subliminal Listening (edit)
09 Will Bolton – Canvas
10 Siavash Amini – Agarthini (edit)
11 Lucy & Rrose – Foil Gardens (edit)
12 Kinosura/Focal – Paradoxical Escape
13 Sendai – Geotope
14 Steve Roach & Robert Logan – The Biomechanoid Lifecycle Revealed (edit)
15 Speedy J – Caligula (w/custom ending segue)
16 Dadub – Life
[+ scroll to the page bottom for a bonus companion mix to this session]
(artwork restructured from the original on ‘Polarity)
This mix project* incorporates a satellite/companion mix, Hyacinth_6 (6 being the # of times I tweaked the audio-flow): produced from the overage, along with several tracks from my private “glitch-bin”. It has a running time of approximately 60 minutes & includes tracks from Steve Roach+Robert Logan, Focal (Polarity Remix), Si Begg, Scott Solter, Entia Non, Biosphere/Deathprod & AES Dana.
It’s available here as an exclusive download. : )
While not a huge fan of the long-form composition…this is extremely listenable & enjoyable. File under #Ambient, #FieldRecordings #Granular #Glitch #Drift
Surroundings originated as a site-specific sound performance commissioned for the Hamon Observation Tower at the de Young Museum in San Francisco by the Soundwave Biennial.
Surrounding uses the organic architecture of the de Young Museum as a point of departure by incorporate field recordings captured throughout Golden Gate Park and synthesized sounds created to situate themselves within the field recordings. This relationship between the field recordings and synthesized sounds is intended to echo the symbiotic relationship between the architecture of the de Young Museum and Golden Gate Park while creating a deep and meditative listening environment.
Part 2 [of 2] – the slightly rougher, audiologically feisty, younger brother of part 1 that closes with a custom landscaped & extended version of the far too short scorcher by ProjeKct Four (Mastelotto, Fripp, Levin & Gunn).
01 Otto Lindholm – Nilindigo
02 King Crimson – Industry
03 Ynos – Tears in the Rain
04 The Cotswold Gnomes – Ringing Beat
05 The Fireman (Paul McCartney) – Bison
06 Brian Eno & Robert Fripp – Dirt Loop
07 Robert Rich – Electric Ladder
08 King Crimson – Discipline
09 The Cotswold Gnomes – Sneering Loop
10 David Bowie w/ Brian Eno – All Saints
11 Robert Fripp – Breathless
12 Fripp & Eno – The Idea of Decline
13 Andy Summers & Robert Fripp – I Advance Masked
14 David Torn – Sink
15 The Cotswold Gnomes – Tripoli 2020
16 ProjeKct Four – Sus Tayn Zee (extended crimson red-exit edit)
original album cover
My brother, Bill, attended King Crimson’s appearance @ Greek Theatre in Los Angeles last night & sent me some pictures from 7 rows from the stage.
Here, Robert Fripp documents the concert series from stage…a “crowdie” (as opposed to a selfie).
Somi is the new full-length from Taylor Deupree following 2014’s Faint (12k1073/12k2025).
The release comes packaged as a CD inside a 20-page hardbound book of Deupree’s photographs that inspired the creation of the music. For the music, made with a small number of instruments (electric piano, glockenspiel, DX7, handheld cassette recorder) Deupree originally set out to create a follow-up to his classic album Stil.. Steeped in subtle repetition and soft electronic sound, Stil. explored themes of time and change. However, Stil. was created with purely electronic means – software synthesizers and looping algorithms which explored the then-novel frontier of DSP based “microsound.” With a strong desire to bring the aesthetics of Stil. to his current way of working Deupree used no software or automatic looping, instead opting for the imperfections of creating “loops” by hand. The result is warm and quietly decayed work of spare, discreet tones and dozens of interwoven slow polyrhythms that create repetitions that constantly fall apart and shuffle themselves back together. While these ideas of phase relationships are not new in music, nor to Deupree’s catalogue of work, it was the way he approached the composing that was different, and more challenging, than his work in the past. Wrapped up warmly in the sonics of cassette players and cheap built-in speakers, Somi’s dusty melodies sit quietly, but uneasily, and question the passing of time and present one of Deupree’s most alluring albums to date.
The process used to create Somi is discussed here as excerpted from Deupree’s writing inside the book:
In my early experiments with repetition I used a host of software-based looping tools which allowed me microscopic control over timing and repetitions. As my aesthetics and work veered toward the more natural and organic I began to incorporate acoustic and found sounds into my compositions. I found the natural variation and irregularities of acoustic instrumentation gave my loops a fragile subtlety that wasn’t available in software. Likewise, moving from software to hardware-based looping devices, and eventually tape loops, introduced a whole universe of beautiful imperfections that only made the repetition more varied and alive.
When I was conceiving the ideas for a new album, that would become Somi, I wanted to take the looping another step further into the imperfect and started experimenting with “hand-made” or manually created loops. With this technique, instead of using any looping devices at all, software or hardware, I would simply play phrases over and over, at a specified temporal division, for the length of the composition. What I found was that my “loops” still remained repetitive but now had the added irregularity of slight timing and timbral variations, because every note and every cycle was played by hand.
The further I explored this technique the more I found that the fewer notes I played during each cycle the better multiple passes and tracks would layer with each other. Each layer, each manual “loop” would also have different lengths. Perhaps the first would repeat every 19 seconds, and then the second every 12 seconds, and another at 64 seconds, and so on. I found as I stuck to a strict looping timer (as much as I could by watching it and playing by hand) notes from each layer would fall on top or in between previous tracks at random locations and create interesting relationships and phrases. Each layer would repeat at different intervals, the equivalent of having a dozen different time signatures in one piece of music.
– Taylor Deupree, April, 2016
Further: how does cognitive dissonance, as regards genre selection, play into the mix-making process?
The Stick Men are releasing a free digital download companion album to the limited edition promotional CD “KOLLEKTED” (Blue), which is currently available exclusively at King Crimson concerts. For this download version we’ve assembled some other favorites under the name “KONNEKTED” (Red), and included are also some rather odd tracks from the catalogue.
Enter “0” (zero) to download for free. And please tell your friends!
The Ambient Landscape mixological studio crew (Semi-Red) is hard at work remixing this KOLLEKTION as the track selections, though stellar, were not well segued and are merely a kollektion of kompositions…not a well thought out mix.
Thus, we’ve have dragged the composite tracks into our secret studio & have remixed it (and it sounds so much cleaner & smoother without the gaps) and have added a bonus track at the end, Sus_Tayn_Z (ProjeKct Four).
. . .
- Released June 13, 2017
- Written by Tony Levin, Markus Reuter, Pat Mastelotto, except “Breathless” (Fripp) and “Sailor’s Tale” (King Crimson)
- Tony Levin: Stick and Voice
- Markus Reuter: U8 and AU8 Touch Guitars and Voice
- Pat Mastelotto: Acoustic and Electronic Drums and Percussion
- David Cross – violin (on “Shades of Starless”)
- Mel Collins – saxophone (on “Sailor’s Tale”)
- Artwork/illustration by Maria Picassó i Piquer
Produced by Stick Men