Excerpt of Track 1, “More or less normal” , off of a.pe.ri.od.ic’s new release of the music of Swiss composer Jürg Frey, “more or less.” Nomi Epstein, music director
Listen to an interview and live performance by a.pe.ri.od.ic here: http://blogs.wfmt.com/relevanttones/2014/10/11/what-is-wandelweiser/ http://aperiodicchicago.com/Home.html via @bymeasure
Ending - Bruce Langhorne
The Hired Hand (Soundtrack)
“slow-paced, brooding, psychedelic Americana”
Karlheinz Stockhausen - Studie I, for Tape, Op. 3 (1953)
Stockhausen’s Studie I & Studie II (Elektronische Studien) were the first pieces of electronic music ever published.
Paul White - Wait & See
FLYING LOTUS - READY ERR NOT
Aphex Twin - XMAS_EVET10  (thanaton3 mix)
Bench View. 9.30.14
Frogs in Feedback
15 inch Eminence speaker, Electro-Voice microphone, disco ball rotation motor, Samson amplifier, Mackie 1202 mixer, Moogerfooger Ring Modulator
Losing Myself in the World
In Mülheim, recording
Before arriving I had limited knowledge of Mülheim, but I had planned that recording in the field would serve as a strategy for exploring the place. The open-endedness of the sonozones project was a welcome opportunity to investigate not only Mülheim and surroundings but also how I relate to places as a sound artist, my own strategies and preferences with respect to field recording, and, more generally, how I experience, inhabit, and understand places through sound. If nothing else I hoped to be able to bring back interesting recordings and have had intriguing discussions with Jan along the way. Although it was not a requirement, the stay eventually resulted in a new work, and I believe that many aspects of the discussions and exchanges between Jan and me are reflected in the resulting audio-visual cinematic installation.
Sound and its spatial capacities are a primary interest of mine. Sound carries information to and from the places that it traverses, and it can be used for placemaking. In installations I tend to use many speakers, distributed throughout the space. This can create an awareness of place, and enhance and interfere with the architectural, acoustic, social, and cultural perception of that particular site. Similarly, when recording I find it important to capture the spatial information, and for this I use an Ambisonic surround sound microphone. The Ambisonic microphone captures sound arriving from all directions in such a way that recordings can later be reproduced as three-dimensional sound fields. Rather than recording sound as such, I find that this microphone captures a sensation of place. While listening to stereo playback leaves the impression that ‘it is there’, the immersive and enveloping qualities of surround sound instead makes you feel that ‘you are there’.
In Mülheim I started recording at various locations while Jan photo-documented the place and my activities. We quickly settled into a daily routine, first going for breakfast while discussing, and then strolling around looking for places to record. Generally we would seek out new routes and places every day, mostly venturing into the suburbs surrounding Mülheim. Between recordings we discussed the process and experience, our impression of the place, and reflected on what would make different places attractive as recording venues. Back at the flat I would import, label, and annotate the recordings, and the later part of the day would be used for reviewing material with Jan, further discussions and reflections, and documenting events and thoughts that had occurred during the day.
Having Jan coming along for the walks in Mülheim initially felt distracting because it made me overly self-conscious in a way that made it difficult to tune in. During the first day my perception of his presence changed, from being an anthropologist observer to someone involved with the recording process, listening to the places we recorded with a similar state of mind to what I depend on myself. Sharing the recording situation with Jan made questions pertaining to the practice of recording in the field more explicit. Past the first awkward recordings this became a fruitful discussion that continued for the duration of the two weeks we shared in Mülheim.