Signal Drift

resonantstrata:

Asher’s covers to “Untitled Landscapes 1 & 2” are programmatic. The bleak pictures that are drowning in dark metallic grey are a direct representation of the music that is mostly of monochromatic nature.Thick and beating oscillations slowly ebb and swell in lower registers, while the upper…

evadethenoise:

We like to think of ourselves as “serious” music listeners here at evade, but after reading this article we’re starting to doubt ourselves. The good people at The Atlantic have some helpful tips on just how to listen to music. Here’s the 7 main points (all of which come from the book Music: Ways of Listening, published in 1982):

1. Develop your sensitivity to music. Try to respond esthetically to all sounds, from the hum of the refrigerator motor or the paddling of oars on a lake, to the tones of a cello or muted trumpet…On a more complex level, try to relate sounds to each other in patterns: the successive notes in a melody, or the interrelationships between an ice cream truck jingle and nearby children’s games.
   
   
2. Time is a crucial component of the musical experience. Develop asense of time as it passes: duration, motion, and the placement of events within a time frame. How long is thirty seconds, for example? A given duration of clock-time will feel very different if contexts of activity and motion are changed.
   
   
3. Develop a musical memory. While listening to a piece, try to recall familiar patterns, relating new events to past ones and placing them all within a durational frame.
   
   
4. If we want to read, write or talk about music, we must acquire a working vocabulary. Music is basically a nonverbal art, and its unique events and effects are often too elusive for everyday words; we need special words to describe them, however inadequately.
   
   
5. Try to develop musical concentration, especially when listening to lengthy pieces. Composers and performers learn how to fill different time-frames in appropriate ways, using certain gestures and patterns for long works and others for brief ones. The listener must also learn to adjust to varying durations.
   
   
6. Try to listen objectively and dispassionately. Concentrate upon ‘what’s there,’ and not what you hope or wish would be there.

thomasraukamp:

Marcus Fischer is a multidisciplinary artist and musician based in Portland, Oregon. He has released music on 12k, Tench, Pehr + Kesh under his own name and as part of the duo Unrecognizable Now.

‘At Frame’ is an excerpt from a live recording of a performance at FRAME in Portland, Oregon. This set was centered around lapharp and non-computer-based signal processing which was fed into a 25 foot long tape loop strung from floor to celling in the event space. In addition to the tape being a recording and looping medium, it was also part of a feedback and delay system which was controlled from the mixer.

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thenewobjective:

Download “The Birth of Reggae Music” mix by Pole over at Self-Titled Mag. 

Also,  I co-interviewed Pole last year at Mutek, which you can stream here:

http://soundcloud.com/estherbourdages/pole-interview-at-mutek

and read about here:

http://www.ssgmusic.com/montreal-mutek-04-designer_mix/

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