Wednesday, March 1, 2017

SOunds of the Day #56+#57/2017: My Inhaled books #26 // Taylor Deupree (8) / Joshua Sabin (1)/ John Luther Adams (1,2,3)/ Yair Elazar Glotman (1,2) /


Inhaled books #26
Martin Heidegger - Über den Anfang
Read and fingerprinted since 2005.

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Taylor Deupree - Somi (2017)
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

Joshua Sabin - Terminus Drift (2017)
The sonic material of this album is composed exclusively of field-recordings captured in transit through Kyoto, Tokyo, and Berlin, in addition to electromagnetic field recordings captured in Glasgow and Edinburgh. By interrogating the sonic properties of our physical environment, Terminus Drift imagines the sonic landscapes of these dualistically navigable 'cyberspaces' we transiently create and move through interacting with our world.



John Luther Adams - Ilimaq (2015)



John Luther Adams - Become Ocean (2014)



John Luther Adams - The Mathematics of Resonant Bodies (2006)
John Luther Adams on The Mathematics of Resonant Bodies: I've always envied the hands-on relationship that painters and sculptors have with the materials of their art. The real substance of music always seems just beyond our reach. Still, music is a tactile phenomenon. Several years ago I composed Strange and Sacred Noise, a cycle for percussion quartet celebrating noise in music and in nature. One of the Noise pieces is scored for four tam-tams, playing waves of different periods that eventually crest together in an enormous tsunami of sound. When I first heard this piece (which was written for and premiered by the wonderful Percussion Group Cincinnati) I was startled. Amid the dense masses of broad-band noise I clearly heard voices, like a choir singing long, wordless tones. I called these "angel voices." And I wanted to hear them alone... I began this work by composing a new cycle of quartets. Steve Schick came to Alaska and recorded these pieces one part at a time. I assembled the recordings and then began filtering them as I'd previously done with the tam-tams. The result was a series of "auras" derived from the inner resonance of the instruments themselves. As the final step, I composed a series of solo parts to be performed within these sonic fields." All the instruments in Resonant Bodies are noise instruments. They're also generic. Snare drums, tom-toms, bass drums, cymbals, and tam-tams are mainstays of Western percussion. And although each individual instrument sounds different, in a general sense they all sound alike. So it's the percussionist (with his sticks and his touch) who makes them specific, who gives them their particular names and profiles. Like the listener, the soloist in these pieces is a solitary figure traversing enveloping landscapes of resonance.

Yair Elazar Glotman - Études (2016)


Blessed Initiative - s/t (2016)
(Yair Elazar Glotman)