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Four thin months coil between us and yEAR 2000. As the mass of men renovate the catacombs of the century, groping among the thirsty bones of antiquity, we make final preparations for an ascent on the steep face of time. Against a backslide of retrospection, our sEARch lights arouse a greater distance that calls us over the cusp of change to rest on the twinkling verge that drones so peacefully around us, and ask, to what end is the sound of our true nature?
Philosophically considered, the musical futureverse is composed so that each moment is an ascending passage in the song of life. Strictly speaking, therefore, all that is sounds. ClEARly, one might think this atmosphere is transparent and perpetually sublime. When we speak of naturalness this way, we have a distinctly poetical sense in mind. We mean the integrity of impression made by manifold accented objects. Standing on this sound ground - our heads swathed in buoyant air, and uplifted into tonal space, - all pretension fades. We become a lucid ear-drum vibrating with the currents of a circulating orchestra; we are part and particle of a new spirit of harmony.
The greatest delight which this melodic wind ministers, is the suggestion of a shrouded relation between wo/man and music. We are not alone and unaccompanied. The world plays to us, and we to it. The inflection of the branches in the rain, is new to us and old. It takes us by surprise, and yet is not unknown.
The aural essence of us is apparent when we explore the steady and copious provision that supports us on this green orb which floats us through the stars. What muse waxed these magnificent ornaments, these fertile flourishes, this seaway of sky above, this firmament of fluid below, this bastion of soil in between? this zodiac of lights, this canopy of descending mist, this surrealistic sport coat of climates? Birds, bells, sand, fruit, and fire befriend us. This hyperreal thunder ground is at once your carpet, garden, workshop, playing field, and bed.
Sono Natura, in its ministry on EARth, is not only the sensible, but is also the method and the effect. All components forever blend into each other's channels for the advancement of the listening wo/man. The trilling wind sows the sound seed: the strumming sun rouses the dulcet sea; the crisp ice condenses quick rain on us; the rain feeds the mantra flora; the flora the throbbing beast; and so the flowing revolutions of the infinite symphony serve wo/man for eternity.
"What I'm trying to do is import and breathe some organic, human essence into electronic sounding music. There's life inside the oscillator. There's not just this empty, cold void of machinery. These machines can be so soulful; they're just a catalyst, a vessel for what we import into them."
~Brian "BT" Transeau, musical innovator exploring the reaches of technology, fusing electronics with experimental and evocative personal insight and invention, encompassing a universe of sound and soul.
http://www.imusic.com/showcase/club/bt.html
~11th century Japanese Zen koan
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FUTURETHINC.
The most sustained and broadly conceived soundscape of the future in utopian literature was that of Francis Bacon's New Atlantis, where he describes special houses devoted to the study of sounds.
"We have also sound-houses, where we practice and demonstrate all sounds and their generation. We have harmonies which you have not, of quarter-sounds and lesser slides of sounds. Diverse instruments of music likewise to you unknown, some sweeter than any you have; together with bells and rings that are dainty and sweet. We represent small sounds as great and deep; likewise great sounds, extenuate and sharp; we make diverse tremblings and warblings of sound, which in their original are entire. We represent and imitate all articulate sounds and letters, and the voices and notes of beasts and birds.
We have certain helps, which set to the ear do further the hearing greatly. We also have diverse strange and artificial echoes, reflecting the voice many times, as if it were tossing it; and some that give back the voice louder than it came, some shriller and some deeper; yea, some rendering the voice, differing in the letters or articulate sound from that they receive. We have also means to convey sounds in trunks and pipes, in strange lines and distances."
Listening forward from AD 1600, Francis Bacon heard, in his mind's ear, most of the sound inventions of the next three hundred fifty years (recording and editing, modulation and transformation of sound, amplification, broadcasting, telephones and hearing aids). It was all there in embryo, waiting to be predicted by the thoughtful futurist. But these instruments are now boring us to death. Now it is our turn to anticipate what lies ahead of our ears and minds. You who would design the future world, listen forward with immense leaps of the imagination and intellect, listen forward fifty, one hundred, a thousand years. What do you hear?
~R. Murray Schafer, from 'The Soundscape: Our Sonic Environment and the Tuning of the World' (Destiny Books ISBN 0-89281-455-1)
http://www.amazon.com/exec/obidos/ASIN/0892814551/
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TASTEMAKER
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PSI
The Archives of Scientists' Transcendent Experiences, edited by
Charles T. Tart, Ph.D., Professor, Institute of Transpersonal Psychology, Palo Alto CA, and Professor Emeritus, Psychology, University of California, Davis is intended to help change this restricted and pathological climate through an online journal which allow scientists from all fields - from anthropology through botany through mathematics through physics through psychology through zoology, to name just a few - to share their personal transcendent experiences in a safe, anonymous, but quality controlled space that almost
all scientists and the general public have ready access to.
ASTE: http://issc-taste.org/
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The venturous European label Noton - connected to experimental forms of music, art and sciences - is already deep into its '20' to 2000' series, a concept of 12 CD's for the last 20 minutes of the last year of the century. Since 1:99 they've released one CD per month, and will continue to do so until the end of the year. All 12 artists, from komet (frank bretschneider) to ilpo vaisanen (pan sonic/ sahkoe) to beytone (olaf bender to scanner (robin rimbaud) to noto (carsten nicolai) have written down their ideas of this millennium - a possible manifesto may result. Packaged in clear plastic cases, the series also deals with what is transparent. Limited to 1000 copies @ http://www.rastermusic.com/noton/index.html
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Internet and Digital Media measurement group Media Metrix reported this month that home digital music usage has reached nearly 4 million. And the last time we checked, there were approximately 85,000 music related Web sites. It's fitting then that MusicDish, the award-winning music industry magazine, is launching The Music Genome Project, an ambitious plan to identify and map the components which make up the "Online Music Industry." Inspired by the U.S. Human Genome Project, whose goals are to find the estimated 80,000 human genes and determine the sequence of the 3-billion DNA building blocks that underlie all life's diversity, MusicDish has developed and applied the technologies needed to completely map and sequence the DNA of the Musical Internet. The analytical power arising from the completion of the Human Genome Project is anticipated to jump start what has been predicted to be the "Biology Century" by observers as diverse as Microsoft's Bill Gates and U.S. President Bill Clinton. What comprehensive picture will the musical version reveal? The CyberSonic Century perhaps? See our elucidation next month for ideas.
Submit your music site now @ http://www.beatsezine.com/submitlink.shtml
ELECTROPRENUERS The band Yes has a history of utilizing new technologies, including a role in developing 'in-the-round' sound technology in the late '70s, expanding that to the first 'surround sound' live concert on their 1998 'Open Your Eyes' tour and their experimentation with lights and other audio advances. Their now giving fans an early listen to their new album 'The Ladder,' (out September 20 in Europe and the 28 in the US on Beyond Music) which marks the 30th Anniversary of their first album release 'Yes' (1969). Preview the energetic first single 'Lightning Strikes' or a medley of the entire album @ http://www.towerrecords.com/promo/yes/yes_download.asp Reach out as forward taste begins to enter you. Visit YesWorld @ http://yesworld.com/ ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ ELEMENTS Aesthetics... pertains to aisthêta, things perceptible by the senses, things material, also 'perceptive, sharp in the senses' and 'feel, apprehend by the senses'. Germany's Baumgarten (1750-58) considered Æsthetica a science or philosophy of 'criticism of taste'. Protest was made by Kant (1781), who applied the name, in accordance with the ancient distinction of aisthêta and noêta, to 'the science which treats of the conditions of sensuous perception.' But Baumgarten's use of æsthetik found popular acceptance after 1830, though its adoption was long opposed. Recent extravagances in the adoption of a sentimental archaism as the ideal of beauty have still further removed æsthetic and its derivatives from their etymological and purely philosophical meaning. Noetics... Pertains to noêta, the Greek word for intuitive knowing. Also of things thinkable, immaterial, existing or originating in the intellect. Thus, noetic is about subjective inner experience and consciousness as opposed to objective, aesthetic experience. What is noetic science? Read this essay by Willis Harman of the Institute of Noetic Sciences to find out @ http://www.noetic.org/ions/archivelisting_frame.asp?ID=404 Next month explore esoteric and exoteric.
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ AFFAIRS > ablaze
Burning Man '99, 8:30-9:6, Black Rock Desert, Nevada A fantastic carnival of the weird, feared and revered, count on ice sculptures emitting glacial music, suits made of light sticks, cars that look like shark's fins, a "stained glass" chapel built entirely out of discarded plastic, a 35-foot exploding clock tower, a 20-foot flame-spewing Giant Ass, 32-foot lotus flowers, life-size Buddha's, giant artificial palm trees, live camels, copper fire-fountains, a detailed scale-model replica of a Reno casino, a two-story, a towering, spark-shooting Tesla Coil, and a multitude of earthen noise makers and desert jockeys sandblasting cathartic cadence over state-of-the-art sound systems in the clockless nowever. These are just a few morsels that await your contemplation if you dare to bare it all. For those who prefer to view from afar on the sanctuary of their desktop, there will be plenteous Webcasting to receive. See you on the Playa.
V: 415-TO-FLAME
Earth Harp, 9:1-30, Field Museum, Chicago, IL MASSite: http://www.suba.com/~mass http://www.fieldmuseum.org/sounds > eminent
Audio Engineering Conference, 9:2-5, Villa Castelletti, Signa (near Florence, Italy) Visionary scholar Terrence McKenna's is continuing his fight against brain cancer. Though his prognosis remains only six to nine months more of life, his attitude remains positive and philosophical. See complete details of his medical condition @ http://www.levity.com/eschaton/index.html > psyched...
AllChemical Arts 'Psychoactive Creativity', 9:12-17, Hawaii
'Monastry of Sound II' Festival of Electronica, 9:17-19, Abbaye De Blanchelande, Normandy, France
V: 01225868709 > pronto...
CMJ Music Marathon, MusicFest, MusicNet & FilmFest, 9:15-18, http://www.cmj.com/Marathon99/ > fabled...
Digital Storytelling Festival, 9:16-18, Crested Butte Center for the Arts, Crested Butte, Colorado Evening events include "Digital Storytelling Unplugged", an evening of traditional storytelling and performance where the computers are turned off and participants are reconnected to the roots and traditions which have inspired new media. In addition, The Digital Bootcamp, a three day intensive hands-on workshop, will be held in advance of the festival and structured to provide students with an introduction to the tools of desktop video in a production context.
6th Annual Drums Around the World, 8:22, Battery Park, New York http://www.global-alliance.com/html/daw.html ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^
Anyone reading this knows what consciousness is. You are experiencing it right now. You are aware not only of the words you are reading, but also that you are aware. Likewise, you are often aware of what you are thinking about. Simple awareness is not necessarily the same as consciousness. For example, a barometer is aware of air pressure, but it is not aware that it is aware, so it is not conscious. To be fully conscious, you have to be aware that you are aware.
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> Starting 9:1, Qualcomm, makers of wireless phones, software, and
satellite delivery of motion pictures to cinemas worldwide, launches a new TV advert driven by the dreambeat sounds of French band Air's 'La Femme D'Argent' from their highly-touted "Moon Safari" album of 1998.
Q. What separates "60 Minutes," on CBS, from every other TV show?
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Artisans:Various
http://www.amazon.com/exec/obidos/ASIN/B00000JCBW/aauricleelofaucu
Britain's strictly independent Pork Recordings, home of premium pabulum by artists such as Fila Brazillia, Bullitnuts, and Baby Mammoth, is currently establishing their upcoming Pork World Tour. Future live sessions, already being planned in Britain, Germany, Switzerland, Canada and the USA, are primed to play your favorite soundspots. To aid this history in the making, please send inside info on possible clubs, venues, events or promoters to booking agent John Peters.
E: sonicagent@porkrecordings.freeserve.co.uk Catch a special "Passport" night featuring DJ Birdy of Pork's Baby Mammoth mixing his own original music. Get your ticket @ http://www.somalounge.com ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^NICHEMAP
"Ganjazz" : cannablissed jive
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^WORLDCAST Exalting the unexalted in a variety of cool genera (and, of course, sounds one would never dare partition), Epitonic is a site for sore ears that, on the whole, recognizes those who quietly craft the new sonic species. For hand-picked music that challenges and inspires, as well as the first LAVA! enhanced MP3's (kinetic 3D images that alter in real-time), thrust into this rousing sea of binary audio-manna @ http://www.epitonic.com/ ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^FLASHPOINT The Auricle FlashPoint Site of the Month award goes out to the wicked drumming bassmen of Aphrodite Records and Urban Takeover. Get decidedly superflashed @ http://www.urbantakeover.co.uk ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ARTITECTURE
Tokyo-based archi-design duo (Eisaku) Ushida (Kathryn) Findlay, celebrated the world over for blurring the distinctions between their creations and the natural landscape via cutting-edge construction technologies and energy efficiency, have created the Polyphony House. Built for two musicians in Osaka, the conception of architecture as 'frozen music' becomes reality in a detached fusion of occidental and oriental cultures that spins a series of interlocking circles up through one continuous space around a central tower to mold a space reflecting repetitive acoustic cycles.
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Celestial Voices is a constantly evolving Web based resource dedicated to promoting haunting, atmospheric and ethereal female vocals, including works by many newly discovered artists who are leading innovators in this field of music @
http://www.loobie.com/cv/music.html
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Luis Eduardo Luna - The Songs The Plants Taught Us (Sounds True):
Peru's Amazon region is the home of the last remaining ayahuasceros- shamans who utilize native plants and ritual songs to induce healing trances. Recorded deep in the Peruvian Andes, Luna opens a window for our minds ear into authentic ayahuascero healing sessions, including a variety of icaros (magical healing songs), each possessing its own peculiar, hypnotic beauty. Floating melodies, native chants, fragments of the Catholic liturgy, and spontaneous rhythms elicit visions of a spirit world alive with animist magic.
Sabotage Publications - 'Subetage':
Vienna based "project label" SABOTAGE, an innovator in the fields of new electronica, drum and bass, ambient, etc. has realized a number of recorded and performance concepts by way of a worldwide anarcho-network. Notorious for live events concepted under special slogans, it has released waves of poetic terrorism against conventional forms of presentation since 1984. For instance, the piece 'Lens Cleaner' was consummated in a 24 hour laundromat. As DJs played on battery-operated players, the audience washed their clothes and listened. And in an infra-sound installation at Ars Electronica 96, a 24 meter long pipeline produced a sound of 7 MHz. Of course infra-sound with less than 10 MHz is considered a sound weapon that can only be perceived by the body and until then has been used only for military purposes. During the soundcheck 3 people lost balance and several attendants got sick. Now, issuing from this same precocity, Sabotage's publications arm presents 'Subetage', an English-language non-fiction work featuring interviews with and about Sabotage comrades-in-arms. For the first time, strategies in the music sector, nasal perspectives, design and fashion tactics, future operational objectives, and free-land zones are discussed in interview-like conversations @
http://www.sabotage.at/Publications.htm
Jupiter Communications - 'Music Industry and the Internet: Revenue and Technology Projections in the Digital Distribution':
This new book-length research study helps industry players reexamine their digital distribution strategies by focusing on current issues such as: how to broker the deals between music and new media, the new role of labels, the fate of music retailers, control of rights management, online standards, technology solutions to protect intellectual property, and more @
http://www.jup.com/store
Mr McFall's Chamber - 'Like the Milk' (Discipline):
Mr McFall's Chamber is a group of (mostly) classical players, for whom the lure of other contemporary styles has proved irresistible. Using amplification and (sometimes) electric instruments, they have established themselves at the alternative end of the alternative club scene, mixing performances of Kurtag, Part and Shostakovitch with versions of Hendrix, King Crimson and Pink Floyd. Their late night appearances also frequently feature tango music, early music and songs with vocalist Dave Brady. This debut album features a cross-section of some of their repertoire, from 17th century dance music through to Pink Floyd and beyond @
http://www.disciplineglobalmobile.com/cat/9809cat.htm
> Digitronica The Swarm - 'Forsaken' (No Bones): 'Forsaken' is music from, and inspired by, the 1.4 million selling video game of the same name.
The scenario:
The soundtrack: The Swarm evidently thrive at rendering gadget-dance onto a brainy panorama, then rocketing the ear far out of the commonplace to accentuate its fate with whizzing schisms of hard mental trance plates. Casual digi-funktions interface in astromazes where tight breaking beats push footing without skid control, while free-style concussions knock decisively on our camouflage to discover anew the shock of the real in these declining hours of the twentieth century. In its entirety, this excitable psyche-fidelity throws intriguing sidelights on the future history of music, mind and science, revealing unsuspected links between them all. And though ambionic amputees and audio-androids abound, often boldly expressed in remixes from T-Power and The Orb's Andy Hugh's, Forsaken's loud call to the human-infested dance floors of the worlds most progressive clubs ultimately becomes life affirming.
The soundmakers:
Soundtrack: http://www.nobones.co.uk
Cosmic Baby - 'Sketches in Spring' (Intercord)
Berlin recording artist Cosmic Baby (Harald Bluechel), the technofied concert pianist who has studied composing (HdK - University of the Arts, Berlin) and sound engineering (TU - Berlin Technical University) and who has released a number of critically recognized albums, including 1995's 'Thinking About Myself' (Logic) and 1998's 'Heaven' (Intercord), has recently launched extremely danceable remixes of his second single, 'Sketches in Spring'. Ralf Hindenbeutel interprets the theme from an electro-approach, setting the vocals of Felicia as a counterpoint through flipped-out filters and brings the sequencer lines to bubbling point one after another. DJ Mogual conjures up a fantastic 12-minute journey in cooperation with his partner, Phil Fuldner. The dramaturgical elements are brilliantly exploited and generate a sequence of climaxes in masterly fashion: in no way predictable. Simply exciting and very sexy @
http://www.cosmic-baby.com/
m-tec - 'Data-Life' (Pitchcadet):
The small but fertile hothouse of Pitchcadet continues to grow more advanced as evidenced by this set of tech-awakened music. This is a sound catalyst for dissecting exotic idea specimens. One can readily conceive copious imagery in any rotation; Contemplative chip switching. A picnic on sonic salt flats. Holographic honeybee's hovering in the ether. A meditative walk through a maze of wires. From stealthy interactions among the component parts we are at once reminded of Autechre, Space Time Continuum, or Global Communications at their most pensive. The collective tone is simply complex. Metaphors tumble out of solitary audits to bloom deeper into color. Felt-tipped minstrels step in mindfields of crunchy moonfunk crafted through beat tactics bounding in a Bally table devoid of a tilt-function. Both the lucid and the elaborate are etched in edge-grooves that admit of insights, not answers. Trying to fix the limits is like trying to bite your own teeth. Skeptics, supporters, and the undecided should proceed at once to find and absorb @
http://www.pitchcadet.com
Kim Cascone - 'blueCube' (Raster/Noton): Cascone has a long history in electronic music. In 1973-76 he studied it at the Berklee College of Music (Boston, MA). In 1983 he started an ambient industrial project PGR, and in 1986 launched Silent Records, which became one of the best known US labels in ambient techno. In 1993 he branched out from his PGR work with The Heavenly Music Corporation. After selling Silent in 1996, he pursued his interest in Internet audio and went to work for Thomas Dolby’s Headspace as a sound designer and composer. Rekindling an old flame for computer programming while being immersed at Headspace, he was introduced to csound, a sound synthesis programming language that makes use of many modern synthesis techniques. Becoming infatuated with the sheer power of this language, Kim started to work on material that earned him an invitation to contribute an article and a piece of music for a book being written on csound for MIT press. The piece that was composed for the book was called 'blueCube' and also became the title of this CD, which represents one year of csound exploration and Kim's first release in three years. Kim's next CD, 'cathodeFlower', will be out soon on Ritornell (a new Mille Plateaux sublabel). A 'blueCube' remix project is also in the works, featuring Terre Thaemlitz, Robert Henke, VVM, Peter Rehberg, Tetsu Inoue, *0, Bochum Welt, and a few others. http://www.rastermusic.com/noton/clear%20series/cascone.html 'blueCube' is distributed by Forced Exposure @ http://www.fe.org > AmbiageLabradford - 'E luxo so' (Krank): Labradford have, over the course of four albums, constantly broadened their aural optics. Their 5th studio work finds the minimal-minded trio creating a supple string-centered soundstream to the covert bliss in the midst of our everyday life. Violin, cello, dulcimer, and tape loops do a calm waltz with guitar, bass, keyboards and immaculately shaped samples that are immersed so deeply that mechanics are not at all sensed. More than atmosphere guides, Labradford takes us across a descriptive landscape in which process is as important as product. The result is six electro-organic sound species that allures the ear to the space, not the object. Devotees of Angelo Badalamenti, Main, Duritti Column, Reich, and Hex will enjoy the soft spaciousness, as music is built up from small gestures and minor incidences, which slowly but surely multiply. We are invited to abandon the host of life's distracting errors and wander like Alice in the sublime wonders of soothing yet provoking dream poetry. What we find is a reverbed unity without a center, always open and always changing. Quietly woven ribbons divulge a wealth of nuanced texture. Near silences reveal the heartbeat of a recessing oasis scalloped with warm light. Isolated occurrences evoke cinematic visions without the images, implying reading orchestration where less is more, and hinting at a simplex of urban nowism one can knowingly embrace.
On US tour throughout September. Ordering and tour info @ Various - 'Muzique Mundial' (Guidance): A selection of the most upfront afro-carribbean, latin and brazilian rhythms to emerge from the world's dancefloors this year. The follow up to last summer's acclaimed world cup tribute album, 'Mundial Muzique' is the second volume in a compilation series charting the evolution of the modern tropical groove. This installment features subtropical sounds from some of the most talented and innovative artists to emerge from the global dance diaspora, including: Masters at Work, Azymuth, Jazzanova, De Lata, Mr. Gone and more. Here they fuse a wealth of traditional afro, funk, jazz, latin, samba, salsa and bossa nova influences with modern production techniques to create a tropical blend guaranteed to heat up your nightclub, beachfront, or local futbol stadium. Caliente!!
http://www.amazon.com/exec/obidos/ASIN/B00000JR6V/aauricleelofaucu > Jazzedelic
The Herbalizer - 'Very Mercenary' (NinjaTune):
Standout artisans in a growing hallucinogenre, Herbalizer's latest merits meticulous attention. An invigorating volume of dope jams, articulated by noir suspension, freak-powered abstrakt beatz and sharply delineated colored noise, 'Very Mercenary' exemplifies a refined brand of audiotropism, one that displays the highest regards for the ears intelligence and for the art of beatnology itself. The tight transparency that Wherry and Teeba aim to create is established immediately; much of the records cut-and-paste hip-hop system can be absorbed in a single glance. In a less obvious way, the theme of naked nanofunk is woven deeply in a heady jazzual stance and amplified by deft scratches, samples and live percussion and bass. These main ingredients are imprinted with madcap raps by Bahamedia, What What of the Natural Elements crew, and Roots' Manuva that unfurl liquefied linguistics onto the instru-mural substructure. Crucial cutz "The Realest", "Wall Crawling Giant Insect Breaks", "Shattered Soul", "Goldrush", and the spy-themed "The Missing Suitcase" emphasize this legion's rootedness in a late-night blunted scene. Yet even at it's most mellow, the vibe remains viscerally challenging. Out of the simmering dub priorities, integrity remains high. Rhythmical manipulation never diverts intrinsic ontology. All told, expect to be reclined, yet inclined to imagine something extraordinarily intense.
http://www.amazon.com/exec/obidos/ASIN/B00000IKGU/aauricleelofaucu > OpRock
The Art Of Noise - 'The Seduction Of Claude Debussy' (ZTT): Art of Noise emerged in 1983 as part studio experiment, part post pop group, part play, part theory, and part of the brand new Zang Tuum Tumb record label and soon became an significant element in the revolution of tech-enabled instrumental music and dance music. Now, after a 15-year break, the original group, Trevor Horn, Anne Dudley, and Paul Morley, have reassembled to win our ears again. Employing the life of French composer Claude Debussy as a jumping-off point, we hear with zest a rocking, symphonic concoction of postmodern particulars that lean towards the porous sensibility of electronica, with its elaborate and energetic rhythms and minimalist melodic structures. Using this century's most influential composer as a comeback concept is certainly a pertinent link to the arriving millennium spin. Add to this creation the guitarist Lol Creme (10cc), operatic vocalists Sally Bradshaw and Donna Lewis, the erudite narration's of actor John Hurt, and the streetbeats of MC Rakim and you have a bold pastiche of texture, depth, and contrast in which to swim. More a flow of dream segments than a sequence of songs, tracks like the eight-minute opener, 'Il Pleure (At The Turn Of The Century),' 'Dream in Colour', and 'Metaforce the size of a metaphor' (remixed by Roni Size) finds the conglomeration at its best: sitting loose and tight where art meets science. Hypnotic, propulsive, and informative, this disc will please all parts of you.
http://www.amazon.com/exec/obidos/ASIN/B00000JHCT/aauricleelofaucu EVER WONDER?
Musical Pitch and Mood? Here's the connection:
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ Rock and Roll never asked me to give...but I did. Lester Bangs once said, in a moving obituary, that Cleveland artist/writer/musician Peter Laughner died because he was trying to "be Lou Reed". He was wrong. Laughner died for the same reasons Bangs himself eventually died: because they both believed in rock and roll too much. I can understand Bangs correlation: his good friend Laughner dying, and the mutual awe they shared for music. There are those points in a life as a rock and roll junky, that you feel there is nothing more than music. That there are no greater Gods than the artists whose music you connect with. I can understand the intensity of such a moment. Lester Bangs was my Lou Reed. He and Hunter Thompson have been my personal Gods, and I think I have a grip on their mystique. I have an understanding of their effect on me, and I don't plan on dying for, because of, or wanting to be them. Martyrdom is ugly business, and I hardly believe that anyone died for anything rock - ever. Peter Laughner, Lester Bangs, and many others died because of personal demons, ill health, or freakish accidents. Don't blame wanting to be Lou Reed. Don't blame rock and roll. Neither are acceptable reasons for dying too young. It is sad to think of what we have missed since, first the death of Laughner, and then the death of Bangs. They were difference makers, shaman for the rock and roll faithful. They mattered. No, Laughner and Bangs did not die for rock and roll; they lived because of rock and roll. And they still do. ~Kurt Hernon is the editor of bangSheet, an oblique online rock zine where the writing is equally important as the music itself @ http://bangsheet.com
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ In a urgent move to restore the 'natural quiet' of the Grand Canyon, the U.S. National Park Service has embarked on the first stages of a grand plan to ban cars, motor homes and buses from the park. In the next decade, the Park Service and other federal agencies plan to build an elaborate light-rail and bus system, a network of walking and biking trails, and trim some of the noisy sightseeing flights over the canyon. The scheme, the most radical park overhaul in U.S. history, has environmentalists applauding. If all goes well, the second most visited U.S. park (Great Smokey Mountains National Park in Tennessee is No. 1) will become a showcase of new ideals: peace, quiet, solitude, and well-controlled development.
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ Music for a "New World Paradigm" is a moving essay written by Celtic artist, poet, historian, and author Mairéid Sullivan that explains how, as the popularity of Celtic influenced music rises, it continues to dare to express new unfoldings of inner feeling as an antidote for our unbalanced world and offer a major contribution to the shifting paradigm of our new era @ http://www.alternatemusicpress.com/features/features30.html Mairéid's Web: http://www.maireid.com Interview by Ben Kettlewell: http://www.alternatemusicpress.com/features/features20.html Interview by Judd Wood: http://www.alternatemusicpress.com/features/features6.html Look for Mairéid's new book, 'Celtic Women in Music' on Quarry Music Books, Canada.
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Compu-sonic enthusiasts can now bypass their PC speakers and narrowcast direct to their stereos, thanks to two wireless attachments just hitting the marketspace. That's right, you can now listen to cyberaudio by the pool, in the yard, in the garage, or even in the shower.
> The Radio Webcaster connects to your computer's sound card to transmit any audio signal to any FM radio in your home or office @ tellmemore@mailcity.com
> X10's 'MP3 Anywhere' is a wireless kit that transmits encoded music from PC to stereo up to 100 feet away @
http://www.x10.com/
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ ASK DR. TECHNOLOVE Q. Now that the Eurythmics have reunited, what is Eurhythmy?
A. The art of Eurhythmy translates the sounds, phrases, and rhythms of speech, or the dynamic elements of music into movement and gesture. The result has been described as "visible speech," or "visible song." It could be called the language of the soul visualized in terms of movement. It is said that the dancer who uncovers and recognizes the laws of language and music in terms of movement may gain insight into the deepest parts of human existence.
As in Eastern martial arts, principles of balance, leverage, position, timing, and movement is applied to achieve power without using force. But Eurhythmy is more. It is unique among the performing arts for its emphasis on using language and music elements to physically express the abstract dynamics of our mind and spirit, opening the way for harmonious communication.
A Eurhythmy choreography or Eurythmography is a notation system which describes the dancer(s) movements as a timeline in space (on stage). To view an Eurythmography for S. Rachmaninoff's Prelude in g-minor, Op.32 No. 12 designed by a German Eurythmiste Cornelia Parr-Suhr click here:
http://www.universal.nl/USERS/winfried/eurygraph.html
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JOURNEY TO THE CENTER OF THE COSMIC EAR
Chapter One, Part I
TUNE-IN
It was a hushed hour before sunset in August 1996 on the coast of Earopa. Nick Danger and I were about to start work on our first full-scale aural expedition. We were outside our highly-sensitive sonic think-tank, aboard my new musical research vessel, Auricle. Off in the twilight on the jewel island of Sonica came the first blips of our field party.
The wave station released our anchor line with a warm hum. From the forepeak the engineer called out, "frequencies stable, all is clear!"
In the control room my foreign colleague, Morocco Joe, an Arabic-speaking French sound engineer, murmured, "The rhythm is right. It can only get better."
I said, "This is not a night in Tunisia!" However, I wanted Joe to hear how our soundlab was surrounded by uncertainty-especially now that it really was. Between us and the evenings journey on the banks of Sonica were miles of uncharted tempos, unusual organic atmospherics, ground-breaking signal processes, and spectrasonic vistas that only existed in our imagination. I shut my eyes for a moment to let the liquid groove take control of our inspiration flow.
I pitched the ship forward into filter overdrive and climbed above the serial port to the high observation deck for real-time control. From there Auricle felt flexible enough to transcend its way through the white noise of the band pass filters and ride out the digital disc-course. In the soft light I re-tuned the oscillator to avoid drifting and took bearings from island sounds we had named banana, bamboo, and rum. Joe shifted into the nude night and headed due west in search of magic noise.
Below me in the capstan, Nick signaled the echo sounder, interpreting its pings through earphones and called off soundings to the bearded, turbaned "Arab" on the tone arm who relayed them to Nick and me.
Under my lofty perch Auricle bubbled along invisibly like background radiation. I looked down on the bobbing rasta head of Jah Love, the Jamaican selector, as he brought a pot of espresso to the bridge. Below decks Zig Zag, the downtempo expeditor, started our trip-hop with filtered compressors, supplying vibrant air for the days dives with a mood that imbibed peace for all. On the drum roll, Samadhi, Jazznosis, and The Spindance Kid, our loop-processor, charged the floppies with premium transducers and buffered them from the impending friction with water-soaked slip-mats.
The frequencies came in like a blow, implacable to the ears in jagged rhythms forged by synthesis. I inflated the reverb pads in eager anticipation of the big night ahead. The program was deep exploration of the virgin reefs of Sonica on the forward fringe of the ocean beat. We were going to investigate to a depth of 4 dimensions, take specimens of flowscapes in various environmental layers, and document the reef signal flow with infra-red groovology. We also hoped to determine the ecology of living sounds and to outline their inner topology. For years I had looked forward to helping Psychomusicologists with free-diving and innovated hypersonic photography.
Sonica is a narrow sheaf of fresh sound oriented sub-audibly, with a vibrating rim so near the surface that the prevailing wind controller sweeps the ethereal sea in a white flowering of flanged auto pans. On the southwest cape I heard a swollen looped phrase wide enough to anchor Auricle.
We swung our virtual analogue workstation outboard in 16 note polyphony. Three of us dropped in and moved to the reef. Wearing our earsets, Danger and I edged into deep effects and waddled across the stereofield, which was twisted and furrowed and bursting with life. We scanned to the drop-off line. In the vast crystal textures ahead was tier upon tier of majestic timbres interweaving lazily in a slow-motion ballet.
We returned to the launch and conferred with Samadhi and Professor Jacques Freebass, a well-built, rosy-cheeked specialist in harmonic morphings and the first audiographer to seek out the Deep Listening Sled as a working tool. Spindance said, "The decay problem can be handled by diving along the mono wall with our backs to it, so we have to sample only half the space around us."
Professor Freebass said, "I'm here to collect specimens, not to turn around and play with decay." He delivered a lecture on "travaux pratiques sous-sonica" as though he was in his classroom at the Sorbonne instead of in a fluttering microphone on a desolate reef with a sea of sound bites below. He reviewed for us the mainline of Quartz timing, pulse width modulation, and external voltage control. I could not help thinking that his ears needed a good cleaning. Freebass had been the first academician to pass our stringent tests at the Odyssey Sonic Research Group, but since then he had made few difficult scans- and only one in the octave range we faced today.
As the professor concluded his briefing, I said "I believe the best technique for the scan will be for Danger and I to act as buffers for Freebass, to permit him maximum sampling time. Samadhi can go on his own with no cables or boxes, and Jazznosis will stay in the craft, tracking our quirks and subtle qualities, ready for any emergency." They submerged - but I did not join them immediately. I found myself checking my equipment with the solemnity of a monk. I was not exactly afraid of this dive, but I had a strong intuition it was going to be meaningful for me. I was in a pure solo mode.
I went in, scarcely feeling the altered atmosphere on my skin. The rest of the world passed. Out along the riotous plumage of the modulation matrix my companions hung like marionettes waiting for me. I joined them and we crossed the threshold. Half the soundspace below was a vertical living wall; the other half, infinity. Danger scouted an empty groove leading down, and we followed him to it. As we floated among the crease, out of nothingness appeared the nomads - powerful modular drones, intricate motifs with intense blue scales, and fleeting silver arpeggios. They came to the wall, spun about, and receded into the outer sound where they belonged. Enormous visceral grunge loops dragged along, pulsating drowsily. Those that came too near the reef were torn to pieces by incendiary fuzz mutations exploding with corrosive energy.
Danger began popping tone bulbs. Professor Freebass halted to peel off distortion colonies with his spray bottle, made notes on his handheld, and plumped his morsels into the sampling unit on his belt. He drifted onward, his ears to the reef, hearing alive for the first time creatures he had only known from books or as specimens disfigured and bleached on discs of digital formaldehyde. He was in an audiotope both familiar and new to him. He was no longer with us. I felt uneasy about it and pointed him out to Danger. We exchanged whispers, confirming that we must track him diligently.
But when I slid off from that dainty yet awesome crag, it was hard to be a mere soundbuff. The soundscape took unexpected shapes and hues. There were shells of dwarfed voices and skulls from jungle warfare; tufts of ocher texture mingled with petrified magenta accents and mauve timbral contortions fabricated like honeycombs. Superb parasols of resonance spread over idling themes ranging from the sublime to the extreme. Through this splendid remix rainforest humpbacked quarter-notes with guitar-like velocities traveled their winding ways. In reef recesses there were enough kicking grooves to furnish beats for all the cyberjocks in Clubdom. Their notches were ajar, displaying excellent fidelity, balance and punch.
The reef of Sonica was an intaglio structure with trance-inducing ambiences of winding colors aching to be sampled and used in new and novel ways. When I tuned into one of these nodes, anxious pads huddled together edge to edge, or molded themselves in dark and menacing mind-altering moodscapes, while spiny-rayed bleeps erected their gentle cry in fear. The mini-caves were plastered with gaudy patches of cello slips, flute flits, and tubular bells.
As I wandered along the atoll, mixed hordes of transparent tone vanished ahead of me, as if retreating into the shoal, then reassembled behind. There were yellow-spotted claxons, gold and blue stripped whistlefish, and a delighted dubmarine with an illuminated VU meter protruding from its otherwise unprepossessing module. There were noises as flat as pancakes that flourished whipped antennas, and mottled fizzles with delicious profiles. The natives were out in their Sunday best.
Antediluvian pipers glowered from crevices and barred their lines to impress us. They were the concierges of reef city, and the promenading tenants were not alarmed by them. My ear fell on an odd object hovering on the horizon. It sounded like the uncrumpling felt fedora from the attic trunk of the Madman of Chailot. The felt was smothered in trails of procoder dust. All at once the hat discharged into munchy bristles - the stinging spines of a noise and distortion generator, pitchshifted and scratched. I poked a jack input at the viperous quills, taking care not to touch them. The object did not flinch; it had confidence in its defenses.
I clicked open the automatic lens cover of my direct drive, flicked the kill switch on the MIDI source held in memory and automatically split the scan into component parts, then tripped on, occasionally stopping to press my earphone socket close to the sonorous ridge like a kid at a candy-store window. Each square inch was a microcosm of ultra-terrestrial agents of the grand aural metaphor. Sixty seconds later, I input to the filter stage and entered a continuously variable waveform from square wave to sawtooth that imbibed me with decompression and relief from all possible zones of constriction and pressurized limitation. Here and there in this acoustic garden were tall whooshing umbrellas, scaled sponges, and cross-faded screens. Beneath this rainbow timbre patch a jangle of white hot lines trailed ten seconds and animated the air. They were sleek and horny ribbons that sounded like a slack lamp cord rolling on an indigo blue rug.
After all this novelty, at a depth of 130 minutes came a shock of recognition - a soundscape almost exactly like our customary space at Earotica in the Elementals - the same envelope mode in the kalimba periphery, the same random splatter of cymbalism and acid algae, the same dusty grooves. The only thing missing were the jamboxes that hum capriciously in such audioterra.
Hardcore rifts had been within earshot throughout the plunge. As I progressed deeper, they turned faster, making me dizzy as I tried to keep them under scrutiny. There were one or two on very direction, and now they were closing in. Some shot straight towards me with abandon and then withdrew. I ascended until I reached Auricle's radar and glanced up. A dozen torpedo shadows were outlined against the earidescent sky. I tuned downward. Fifty seconds below, pale strums strolled on the soundslope. I gathered audio input from my forgotten companions, exposed and far from our orbiter, surrounded by ominous emissions of whose traits we knew nothing. It struck me that our situation was simply unsound.
Out of the roving packets, the biggest emanation about twelve minutes long, advanced with seeming deliberation toward the professor. I was thirty seconds from Freebass, and the noise was approaching him at ankle level. The sight of a man ogling sweet beats while noxious discord lurched at his feet was utterly revolting. Punching in and out buttons I sent patch and bank charges message out with all my signal devices but despaired the outcome. Freebass heard nothing. When I was ten feet from them, the bad cloud lumbered ponderously away. I tapped Freebass' shoulder and tried to explain by signs what had happened. He looked at me severely, pointed to the position of his sliders, and turned back to the beat reef. He did not wish to be disturbed again.
The scholar's sang-froid was contagious. I felt strangely reassured about everything. I let go, relaxed and receptive. At a depth of two hundred minutes the precipice broke off into a forty-five-degree incline of gray reverberation. I was disappointed that the pageant was ending on this dull, lifeless chord. At second scan I found the slope extended only 100 seconds out to another sonological horizon, another amplitude attitude. I was on a cornice laden with trigger switches for cutting and transforming the overtones that had echoed through the ages from a buzzing vibration above.
I hovered, contemplating the verge ahead. I stretched my self in the warm space and greedily inspired an earful of thick, tasty sound. Between the sibilants of my operating system I heard rhythmic stridency and cycles of froth rustling overhead. My fellow explorers were nearby. Their common respiration's took on a cosmic significance. I was being seized by depth rapture. I knew it and I welcomed it as a challenge to whatever controls I had left.
The gray bank two hundred minutes down was the boundary of reason; over the precipice lay insanity. Chance became voluptuous. My eardrums pounded. Extending my aural feelers like a fisherman, I stroked my interface and glided over the edge of beyond.
Thousands of DSP generating wavetables took form out of the vertiginous bastion. I trickled slowly along a torment of soundforms. Demonseeds played to me. Ashen gelatinous tumors bellowed like gigantic black holes ornamented with aphid webs. As far down as I could hear, untold populations clung along that bunker. But they were denied to me. I trimmed off 140 minutes down.
I heard a distant mechanical sigh - one of my companions triggering his track-search valve. I paused. Now I must soar out of here for my friends and obey the law of air that rules my kind. Now? Why now?
I stole another minute, clutching a filtered ribbon controller and looking out at the galaxy lovingly. Then I knew I had an appointment with the second reef. I swore I would design, build, and operate devices that would deliver me into the silent resonance of the cosmic ear.
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~Antoine De Saint-Exupery
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About.com's Dance Music Directory is a beautiful guide to record labels fabricating music dance for the millennium @
http://dancemusic.about.com/bl-dance-directory.htm
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Physiologically, the auricle acts as a funnel to catch and direct all that we hear. It is the first stage in listening.
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Anyone who writes music, fiction or poetry on a regular basis has probably dreamed of visiting a writers colony - a place where you can finish your broad-sheet, scribe a few arias, and consort with other writers who are just as talented and dedicated as you.
Artists' communities are professionally run organizations that provide time, space, and support for artists' creative research and risk-taking in environments rich in stimulation and fellowship. Whether they're located in pastoral settings or in the middle of urban warehouse districts, artists communities have been founded on the principle that through the arts, culture flourishes and societies dreams are realized.
The Alliance of Artists' Communities is a national service organization that supports the field of artists communities and residency programs. It does this by encouraging collaboration among members of the field, providing leadership on field issues, setting professional standards, raising the visibility of artists communities, and promoting philanthropy in the field.
Membership is currently made up of 58 leading, nonprofit artists' communities and residency programs and 46 individual members from across the country. Out of this are 27 communities dedicated to music/dance/performance. At the Alliance Web site you can search for member artists' communities by geographical region, artistic category or by a complete listing. In addition, the Alliance directory, with an introduction by Pulitzer Prize-winning poet Stanley Kunitz, provides two-page profiles and photographs of 70 of the nation's leading artist's communities, as well as an overview of the field of artist's communities and accounts by four artists of their residency experiences.
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I enjoy the concept of taking drab, industry-safe circuits, meant to sell due to their sounding familiar, and making them more valuable by drawing the unintended out of them... often the kind of sounds the original designers were trying to forbid. There are strong political statements here; declarations about the transparency of popular culture that cannot be avoided. Here are indicators that the commercial value systems we've been fed are, thankfully, spotted with gaping holes.
Music reviews: http://207.137.50.71/reviews/
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Through the passage of his expansive pursuits, bassist-producer Bill Laswell has been a steadfast advocate of mystic groove music. His recombinant translation of Eurasian alchemy and Westward funk has helped produce some of the nineties most penetrating musical experiences. From the occult-fueled 'Hashisheen: The End of Law', an instrumental/spoken word project inspired by the 11th century Persian hash-assassin Hassan-i Sabbah, to his esoteric ambi-funk dub assembly Material on 'Seven Souls', featuring William Burroughs' abstruse renderings of ancient Egyptology, to 'Apocalypse Across the Sky', the vivid 1992 sound document of the Master Musicians of Jajouka, a mountain-dwelling troupe of Moroccan trance musicians, on to the recent Sacred System album, 'Nagual Site', Laswell continues to make evident his radical grasp of novel rhythms and exotic instrumental sounds from all points of the globe.
Now Sonic Foundry's Loops for ACID offers its Bill Laswell Sampler, a remarkable array of loop-based tracks that blend and destroy musical boundaries. From the world of techno to the beat of the street to the imported instruments of different continents, the Laswell Sampler takes you beyond conventional ideas and arrangements to explore new musical directions for a new level of experimentation and expression. Every track is original and license-free. (832 Loops/572 MB) @
http://www.sonicfoundry.com/Loop_Libraries/default.asp?PID=108
OVERTONE
"It is vital that one appreciates the important distinction between hearing and listening. Hearing is non-selective and does not require focusing. Listening requires will power to focus on simultaneous sounds. The majority of hearing problems are listening problems."
~Joachim-Ernst Berendt, from 'The World is Sound - Nada Brahma: Music and the Landscape of Consciousness' @ ( ( ( a ) ) ) A U R I C L E : deep listening for the mind's ear Auricle is your ear-reverent star seed - a soft-shelled courier of self-replicating ideation musing in the soft undercurrent of all things unexpected. E-mediator of synchronous and symbiotic orbits, Auricle sifts out hits triggered through the sympathetic search illogic's of Auricle Communications, Chicago, Illinois. Systemic Listener: Mark Christopher Riva; who having reasoned with himself, disarms the scanning mode, excavates the tunnel dwellers, emancipates the interface interrogators, and extinguishes byte mania in order to extend the peripheral vision of the mind's ear and track down the dance-like ground-pattern of the universe. ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^CONTRIBUTORS
Antoine De Saint-Exupery, Mairéid Sullivan, Kurt Hernon, Jah Love, Brian Transeau, Mixmaster Flow, DJ Kensho, QR Ghazala, Cassandra Moonstone, Samadhi, Kristen Shenkel, Dr. Technolove, Christian Hanuman, Mr. Onoff
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Send visceral media to:
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A sonic pilot floating in silence, Auricle is an intersection of ironic systems. There is no real audio to stream, just orphic thought-spirals spinning on expansion waves of textural encryption. To counterbalance the Net's Boolean makeup, which fundamentally tampers with our relationship to language and paradoxically places us at a remove from our subject matter, we are deliberately dislodged from direct aural-oral transducers in order to magnify the intuitive conditions of our cyber-sensuous perception.
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Volume 0.8 socialized
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