Drone Music, Fiction, and Composition As Apocalypse
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Performance and Installation by William Basinski and James Elaine
FOR IMMEDIATE RELEASE ! ! MEDIA CONTACT Connie McAllister ALWAYS FRESH Director of Community Engagement ALWAYS FREE Tel 713 284 8255 [email protected] The Contemporary Arts Museum Houston presents a performance and installation by acclaimed composer William Basinski and artist James Elaine. Performance and installation by William Basinski and James Elaine At CAMH: Installation on view: Tuesday, October 8 – Sunday, October 13, 2013 Live Performance: Friday, October 11 | 7PM At Texas Contemporary Art Fair*: Special Installation: Thursday, October 10 – Sunday, October 13, 2013 *Location: George R. Brown Convention Center Houston, TX (August 19, 2013)—The Contemporary Arts Museum Houston is pleased to present a performance and installation by acclaimed composer William Basinski and artist James Elaine. An installation by the duo will be on view at CAMH as well as a site-specific installation for the Texas Contemporary Art Fair. A live performance by the two will take place at CAMH on Friday, October 11 at 7PM. Since 1978, James Elaine and William Basinski have worked together closely, creating some of the most visually poetic and aurally arresting installation and theatrical experiences. Using original compositions, found sound, tape loops, and delay devices, Basinski’s experimental music compositions provide a brilliant accompaniment to Elaine’s fragmented and painterly moving images recorded using super-8 video. By using obsolete technology and analogue tape loops, Basinki and Elaine explore the temporal nature of life, the reverberations of memory, and the mystery of time. The result of their collaboration provides a melancholic meditation on the passing of time and the decay that remains in its wake. -
Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
Week 1 MUS302 Eamusic Intro-2017
MUS302 ELECTROACOUSTIC COMPOSITION AND SOUND DESIGN TECHNOLOGIES Week 1––Introduction…electronic music, sound in music and thinking in sound Dr Brian Bridges [email protected] www.brianbridges.net Introduction: about this module... Exploring sound-shaping with technology Exploring how this creates new possibilities in sound and music Thinking about these possibilities, listening to examples and reading about composers/musicians/artists, their ideas and their work We’re going to start by looking at some early examples as prototypes of different directions that electronic music would later take Why do this module? of interest in expanding your vocabulary of sounds so that you can develop ideas for music production of interest in expanding your ideas (and listening skills) in relation to sound design techniques and technologies of interest for creating innovative and novel music compositions Practical matters We will introduce a number of new sound design tools: SPEAR for spectral processing, SoundMagic Spectral plugins (also for spectral processing) and granulation When composing, editing, you may use whichever DAW/audio editor you are comfortable with, alongside these tools We will cover some technical bases and technical theories but this is primarily a class for creative exploration Notes/slides/assignment briefs will be emailed to you in the first instance CT students: notes will be updated on RT every couple of weeks (but will be in your email inbox weekly) Q1. is electronic music any different from other types of music? Q1. is -
DISINTEGRATION Loop 1.1
SVILOVA | WILLIAM BASINSKI DISINTEGRATION LOOP 1.1 WILLIAM BASINSKI JUNE 18–JULY 31, 2014 www.svilova.org 1 SVILOVA | WILLIAM BASINSKI SCALE BE THY KING: THE BLACK Mirror OF William Basinski By David Keenan 1. Scalle Bee Thie Kynge. There is a magical idea, rarely articulated, that imagination is the world-creating matrix of desire, in other words that imagination is what translates a sensation into a thought. Disintegration Loops, still the central, emblematic work of the artist and composer William Basinski, conflates the biological with the constructed, the historical with the personal, by a creative act of imagination that would attempt to mimic the function of memory via accidental processes of auto-forgetting while connecting it with historical trauma –the 9/11 attacks on the Twin Towers as a head wound – and romantic portraiture, through the back cover recreation of Henry Wallis’s 1856 painting, The Death Of Chatterton, with Basinski posed as the dead 18th Century English poet, who poisoned himself in 1770, aged 17. Thomas Chatterton’s reputation as a forger of mystical poetry is of note here. From the age of 12 onwards he produced a run of strange, visionary verse that he claimed was the work of a 15th century monk of his own invention, Thomas Rowley. Indeed, a particular adjective, “Rowliean”, has been coined to describe the works of this historical figment, this shade birthed of an intoxicated imagination. Rowley’s verse is difficult, its language being largely derived from Chatterton’s study of the English philologist John Kersey’s Dictionarium Anglo-Britannicum, “comprehending a brief explication of all sorts of difficult words”. -
Hipster Black Metal?
Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists. -
14-06 Newsflash June
DRONE RECORDS NEWSFLASH JUNE 2014 Dear Droners, here's the 4th update for this year, June 2014 * label news: * OUT SOON, PRE ORDER NOW! : THOMAS DIMUZIO - AMID ZERO ECHO double-10" / gatefold cover (Substantia Innominata SUB-20) € 20.00* * * the jubilee-release in our 10"-series, the very first double-10" with gatefold-cover artwork by MARS WELLINK !! Four intense, dense drone pieces based on electric guitar sounds by this US underground legend from San Francisco, releasing experimental drones & post industrial noises since the late 80's - & also working as a well known mastering engineer and sound designer (GENCH STUDIOS); lim. 500, clear vinyl SPECIAL OFFER, ONLY VALID JUNE 2014 : A homage to one of the greatest 'power-droners' and creators of intoxicating streams amorph acoustic energy: ALL CD items by DANIEL MENCHE you can find in the database on www.dronerecords.de have a 30% discount (prices are not changed in the database, just order with note 'discount'!), old price: € 13:00 => new price: € 9.10 !! HIGHLIGHTS & MAIN RELEASES in this update: we are very happy to finally offer the great INVENTIONEN VII collection (DVD & doCD) from Edition RZ, which serves also a stunning introduction into contemporary 'new' acousmatic & electro-acoustic music, a collectors vinyl item by AF URSIN ("De Overkant"), a wonderful AIDAN BAKER CD with 'glacial' transcendental dream drones, and there are new albums by FENNESZ, SWANS, DANIEL MENCHE (with W.F.COLLINS) on lim. LP, CINDYTALK, ELIANE RADIGUE (unreleased work from 1970 spread on two LPs), COH, CLOCK DVA (unique USB stick release), ATRIUM CARCERI (masterful cinematic dark ambient), ARTIFICIAL MEMORY TRACE (incredible environmental sounds on Unfathomless), ILLUSION OF SAFETY (also lim. -
Age of Displacement As the U.S
CHICAGO’SFREEWEEKLYSINCE | FEBRUARY | FEBRUARY CHICAGO’SFREEWEEKLYSINCE Mayoral Spotlight on Bill Daley Nate Marshall 11 Aldermanic deep dives: DOOR TO DOOR IN THE 25TH Anya Davidson 12 THE SOCIALIST RAPPER IN THE 40TH Leor Galil 8 INSIDE THE 46TH Maya Dukmasova 6 Astra Taylor asks what democracy is Sujay Kumar 22 Age of displacement As the U.S. government grinds to a halt and restarts over demands for a wall, two exhibitions examine what global citizenship looks like. By SC16 THIS WEEK CHICAGOREADER | FEBRUARY | VOLUME NUMBER TR - A NOTE FROM THE EDITOR @ HAPPYVALENTINE’SDAY! To celebrate our love for you, we got you a LOT lot! FOUR. TEEN. LA—all of it—only has 15 seats on its entire city council. PTB of stories about aldermanic campaigns. Our election coverage has been Oh and it’s so anticlimactic: in a couple weeks we’ll dutifully head to the ECAEM so much fun that even our die-hard music sta ers want in on it. Along- polls to choose between them to determine who . we’ll vote for in the ME PSK side Maya Dukmasova’s look at the 46th Ward, we’re excited to present runo in April. But more on that next week. ME DKH D EKS Leor Galil’s look at the rapper-turned-socialist challenger to alderman Also in our last issue, there were a few misstatements of fact. Ben C LSK Pat O’Connor in the 40th—plus a three-page comics journalism feature Sachs’s review of Image Book misidentifi ed the referent of the title of D P JR CEAL from Anya Davidson on what’s going down in the 25th Ward that isn’t an part three. -
THE DRONE AS POLITICAL and HISTORICAL ASSEMBLAGE Ramon Bloomberg
CULTURE MACHINE VOL 16 • 2015 DANCING TO A TUNE: THE DRONE AS POLITICAL AND HISTORICAL ASSEMBLAGE Ramon Bloomberg A newspaper headline demands our attention: ‘Suspected US drone strikes kill at least 13 in Pakistan, Afghanistan’ (Fox News, 2014). Perhaps at first glance, the headline appears unremarkable, just another tragic consequence of a mode of remote warfare that has now been waged for more than a decade. But what precisely is the term ‘drone’ supposed to indicate in this phrase? What is it about a drone strike that makes it different to, say, an ‘F-16-strike’, or the more familiar ‘air-strike’? How might we identify the particular quality of the drone, and where might it be found? We might begin by looking to the drone’s ‘unmannedness’ or by considering what is implied by its acephalia. Yet if ‘drone’ were simply a stand in for automated, or unmanned, it might be enough to counter that an Unmanned Aerial Vehicle is usually no more automated than a Boeing 747, or that for every MQ9 Reaper combat air patrol there are roughly 200 human beings attending to, guiding, and maintaining the vehicle, including those men and women who manipulate the aircraft’s controls.1 Indeed, the pilot sitting in a cockpit is never directly turning the rudder; remote, then, is a matter of degree. The term ‘drone’ injects ambivalence into the qualities of remotely controlled objects that otherwise might be passed off as useful, utilitarian, or functional tools, as prosthetics of a hidden hand. The ambivalence is not to do with the strike itself, which can be verified in many ways. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
Microgenres MOUG 2021 Presentation (6.531Mb)
Microgenres Memory, Community, and Preserving the Present Leonard Martin Resource Description Librarian Metadata and Digitization Services University of Houston Brief Overview • Microgenres as a cultural phenomenon. • Metadata description for musical microgenres in a library environment using controlled vocabularies and resources. • Challenges and resources for identifying and acquiring microgenre musical sound recordings. • This presentation will focus on chopped and screwed music, vaporwave music, and ambient music. Microgenre noun /mi ∙ cro ∙ gen ∙ re/ 1. A hyper-specific subcategory of artistic, musical, or literary composition characterized that is by a particular style, form, or content. 2. A flexible, provisional, and temporary category used to establish micro- connections among cultural artifacts, drawn from a range of historical periods found in literature, film, music, television, and the performing and fine arts. 3. A specialized or niche genre; either machine-classified or retroactively established through analysis. Examples of Musical Microgenres Hyper-specific • Chopped and screwed music Flexible, provisional, and temporary • Vaporwave music Specialized or niche • Ambient music Ambient Music • Ambient music is a broad microgenre encompassing a breath of natural sounds, acoustic and electronic instruments, and utilizes sampling and/or looping material Discreet Music, Discreet Music, by Brian Eno, 1975, EG Records. to generate repetitive soundscapes. • Earlier works from Erik Satie’s musique d’ameublement (furniture music) to the musique concrete works of Éliane Radigue, Steve Reich’s tape pieces, and synthesizer albums of Wendy Carlos are all precursors of ambient music. • The term ambient music was coined by composer Brian Eno upon the release of Michigan Turquoise, Catch a Blessing. 2019. Genre tags: devotional, ambient, his album, “Discreet Music,” in 1975. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Induction Galleryguide Final.Pdf
INDUCTION: TAUBA AUERBACH AND ÉLIANE RADIGUE This exhibition brings together two artists working in different artistic disciplines. Tauba Au- erbach (1981, San Francisco, CA) is a visual artist engaged in a variety of media, ranging from painting and photography to book design, weaving, glass, 3D printing, and musical instrument design. A student of classical music, Éliane Radigue (1932, Paris, France) is a composer of minimalist electro-acoustic music. This exhibition is the first iteration of a new series of two-person presentations at MOCA Cleveland called The Invitational, in which one artist invites another to collaborate. The format explores the relationships that exist be- tween artists across disciplines, countries, and historical contexts. Auerbach has long been interested in Radigue’s experimental music and shares many interests, from logic systems, to phenomenology, and Eastern philosophy. The two artists have been in dialogue over the past year over mail, email, and visits to Radigue’s home in Paris. Together they have choreographed an immersive exhibition that includes a rarely exhibited sound installation by Radigue and a new body of work created by Auerbach for this exhibition. OMNHT (1970) - an acronym for One More Night - is an early sound installation by Radigue that was intended to be felt, as much as heard. Presented for the first time in Galerie Rive Driot in 1970, this work has been installed only one other time, and never in the United States. The piece is designed in collaboration with sound engineer Bob Bielecki and uses more than sixty transducers (small speakers) positioned within the walls of the gallery to transmit sound.