Label cofounder Joel Leoschke describes the label’s five most tragically overlooked Chicago releases.
I will be performing in LA on November 6th along with Tim Hecker and Akira Rebelais and in Seattle on November 8th for immersound. immersound is a concert event/philosophy initiated by France Jobin (i8u) which proposes to create a dedicated listening environment by focusing on the physical comfort of the audience through a specifically designed space. The premise for immersound is to seek out/explore new perceptions and experiences of the listening process by pushing the notion of “immersion” to its possible limits.
From December 12 to 15, Kranky will celebrate twenty years in the business with shows at various Chicago venues. Highlights include ambient duo Stars of the Lid backed by the Wordless Music Orchestra (Kranky reissued 1997′s The Ballasted Orchestra earlier this year), Tim Hecker, Grouper, Keith Fullerton Whitman, and more.
I will be performing at Constellation in Chicago December 13th along with Grouper, Benoit Pioulard and Justin Walker.
I have some misgivings about publishing year end lists. But I do find that I gather great suggestions from other peoples lists. There is simply too much great music being made and never enough time to research it all. So with that, I hope that I may introduce some new work to others from my past years collection. I think I have finally narrowed my “Best Of” to 15. Strangely there was no stand out release this year. Plenty of incredible work, but nothing that seemed to deserve a special place at the top apart from the others. So the following are in no particular order.
The Expanding Universe
The Oram Tapes: Volume One
The Decline Effect
Selected Ambient Works Vol. II Vinyl Reissue
Above All and Beyond
12 Stationer VI
FE₃O₄ – Magnetite
Three Legged Race
I realized recently that I hadn’t posted on my own site in near to six months. I’ve been in hiding attempting to finish some new material that I have been working on the better part of two years. Experimentation with new recording processes and techniques takes time. At least that is what I’m telling myself to justify the large gap between releases. As you may have read if you checked out the Trash Audio article I posted several months ago, I’ve been exploring the world of synthesis after many years working mostly with an electroacoustic process. While the results may resemble my other work in some respects, I believe this work to be rather different. In tandem with this body of work I’ve been finalizing another album of tracks that are more akin to my last two releases on Kranky. I have made an effort at times to merge these two techniques but as of yet they are still two disparate projects. With that, I am hoping to have both these releases out into the wild sometime in the coming year depending on were they might be released. That is if anyone decides they want to release them.
The following is from the magazine’s site: As an accompaniment to our Summer 2012 issue, we’ve invited Kranky recording artist Christopher Bissonnette to compile Vibrating On Two Notes, a 14-track continuous MP3 Mixtape (1hr00m00s / 96.28 MB)
We hope you will choose to enjoy our new issue while listening to this suggested soundtrack. NOTE: if you like what you hear, don’t hesitate to support the artists by buying their albums and going to their live shows.
Vibrating On Two Notes
01 THE EMPTY SET / Medium
02 JEFRE CANTU-LEDESMA / The Radient Tree
03 BEE MASK / Elegy for Beach Friday
04 CORY ALLEN / Lost Energizer
05 KRENG / Ballet Van De Bloedhoeren
06 ROBERT TURMAN / Flux 5
07 SIGURD BERGE / Preludium
08 GULTSKRA ARTIKLER / Vsegda Krasni Cvetok
09 STEVEN HESS & CHRISTOPHER McFALL / Finis V
10 KANE IKIN / Contrail
11 ROLY PORTER / Al Dhanab
12 MIKE WEIS / Raft, part 1
13 ZOMES / No. 3
14 JOHN CHANTLER / Untitled #6
I was asked not long ago for an interview with TrashAudio.com. I was flattered but also slightly hesitant. I don’t usually disclose how I work or where for that matter, choosing to keep some of that private. I don’t feel I’m guarding secrets as much as returning focus to the work rather than being distracted by gear and comparisons of work methods to others. This interview felt a bit different in that it allowed me to reveal how and where I work and ultimately what kind of affect that has on the resulting product. Nevertheless here is the link to the interview.
By Jeff Blagdon
For communities of creative individuals, working under shared constraints can result in some incredible work, showing off what artists can put together with a limited set of tools. A great example is the “beat battle,” in which competing musicians are all given the same sample and compete to build the best instrumental track out of it. Online ambient music publication Disquiet has masterminded a number of similar projects, notably last year’sInstagr/am/bient compilation (below), which asked contributors to create pieces inspired by 25 images from the photo sharing service.
“IF A GIVEN IMAGE WERE THE COVER TO A RECORD ALBUM, WHAT WOULD THE ALBUM’S MUSIC SOUND LIKE?”
Following the success of Instagr/am/bient and LX(RMX) — a project inspired by Jorge Colombo’s Lisbon Revisited photo installation — Disquiet is making its collaborative projects a weekly affair with the launch of the Disquiet Junto this year. Every week the group’s members receive a new assignment (the first was “record the sound of ice in a glass and make something of it”) and have from Thursday until 11:59 Monday evening to finish their compositions. If you’re interested in hearing what the group’s been working on, or better yet participating, head over to the Junto’s Soundcloud site to check it out.
Relay is an online music project devised and curated by Irish musician John Lambert aka Chequerboard. The aim in the project is to create an unbroken chain of sound pieces where each work is created in response to the previous so that ideas and sounds shift, mutate and evolve over time.
Artist Statement/ Process:
Although not entirely apparent, field recording plays an important role in my work. Either in the form of acoustic inspiration or the subtle inclusion in a textured track. At this time of year ice flows work their way down the Detroit river, a constant zeotrope of frozen water. The sound of the massive sheets of ice colliding creates a perpetual cacophony of textures. After hearing Marie Guilleray’s work and understanding that location played a substantial part in her piece, it seemed only logical to pursue a recording that reflected the dissimilarity/similarity between Detroit and Venice.
Once I had captured the sounds from the river I walked into the city in the early evening when most activity ceases for the day and people who inhabit the downtown during work hours vacate and head back to the suburbs. The city becomes a vacant colossus of architecture and concrete. I recorded a few sounds in my short trek all of which were filled with hollow sounding textures with occasional traffic noise. Emulating the pulsing din of a dormant city, I produced a series of frequency modulated sine waves that slowly build gaining in volume and harmonics until they break and recede leaving only the sounds of the river remaining.
Both Detroit and Venice exist due to their proximity to water but their similarities end there. Unlike Venice’s labyrinth of streets, Detroit’s downtown is a city that was clearly planned out from it’s inception. Streets extend in concentric circles from the city center and there is far less activity or chance for variation. The final recording attempts to replicate both the arch of daily activity and the toneless quality of urban noise.