The Sound of Sound Art

Steve Pacheco is a Los Angeles based sound / visual artist and graphic designer. His earliest sonic influence was classical music played through a transistor radio. This lo-fi sound found its way into his current work through the usage of simple melodic loops processed to create warm, hazy, atmospheric soundscapes. His aim is to recall memory / experience / emotion through the language of this weathered aesthetic.

He released his debut album, Constellate, on Belgian label Dauw in May of 2017. Shortly after, his second album, The 4th, was released on UK based Whitelabrecs. He has also released compilation tracks and remixes for various labels such as Dragons Eye Recordings, Archives, Home Normal, Dauw & Eilean Recs, El Muelle Records, and Nova Fund Recordings. 

…………………………………….


The catalyst behind “Fades” is the pondering of the many chapters in our lives. The ways beginnings and endings bookend those chapters, and are a part of every single aspect of being. Where this album differs from previous efforts is that there is no singular narrative or theme being explored. Instead, it is more of a random collection of experiences representing various times in my life. The focus is not on the details of those individual memories or times, but the transitions or “fades” in between. 

Track listing:

01 Elapse
02 Dandelion
03 Himalaya
04 Distant
05 Eventide
06 Drift
07 Fades

Conceived and Written by Steve Pacheco
Mixed by Ian Hawgood
Design by Daniel Crossley

www.fluidaudio.co.uk

Fades

Steve Pacheco - Elapse

Heart Full of Rage 2

City Of Dreams (feat. Chris Brown)

Tracklist

01. Lorenz Weber - A Wounded Bird
02. Observatories - Picking Up Stones
03. Marcus Fischer + The OO-Ray - Cold Spring
04. Scott Campbell - Innermost
05. Steve Pacheco - Eventide
06. Tomáš Šenkyřík - 1344
07. Tomoyoshi Date - 土 Tsuchi (33 rpm)
08. Alex Bober - Betray Me, Crush Me
09. América Analógica - Cortezas (i)
10. Celer - Melancholy Movement III
11. Francisco Sonur - Bosque de Alerces

361. Sleepy Sunday Podcast (Elm Records)

Tracklist

01. Mark David Hadley - Lichen
02. Blochemy - Jag b
03. Adrian Lane - The Field Path
04. Tatsuro Murakami - Swimming in the Dark
05. Stefano Guzzetti - Shoji
06. Thme - Nocens
07. Low Altitude - Kayak
08. Andrew Tasselmyer - Hearts Like Wells
09. Arovane & Taylor Deupree - Denn Repp
10. Darren McClure - Look At The Light
11. Two Hands - One Engine - Winter Blues (Section 4- Melt)

362. Sleepy Sunday Podcast (Elm Records)

The first track from what will hopefully be an EP of songs made from ancient samples I recorded years ago and forgot about. Mangled, resampled and arranged entirely on the Circuit Rhythm

A Quiet Celebration

A Colour For Autumn is the second in a series of editions from Australian sound artist Lawrence English that trace the experience of seasonal transit. Following on from For Varying Degrees of Winter (published by Baskaru), A Colour For Autumn reflects on and explores the transitory nature of Autumn - counterpointing the uniformity of the ‘term’ with the varied qualities expressed by landscapes in different countries.

Like all environmental phenomena, seasonal variation is highly localised, and expressed not only visually through vegetation etc, but also sonically as insect life, leaves under foot and fauna all change in response to the climatic shifts. Northern and southern hemisphere experiences of Autumn are strikingly different and it’s also this contrast which rests at the very centre of A Colour For Autumn.

Recorded between 2007-2009, this series of pieces acts almost as small auditory portraits of given spaces in the often gentle throes of Autumn - ‘Droplet’ for example features field recordings gathered in Notre-Dame De La Garde in Marseilles, capturing the infamous ‘Mistral’ wind as it blows the first cooler breezes of Autumn into the city in 2007. By contrast ‘Watching It Unfold’ measures a more Australian experience of Autumn - a series of open static phrases, shifting ever so slightly - a reflection of the slow changes of the season around English’s home of Brisbane.

Working with a range of analog approaches, A Colour For Autumn is a tonally rich affair, sourcing much of it’s sounds from a mixture of instruments, field recordings and assorted electronics. A Colour For Autumn also features contributions from New Zealand’s Dean Roberts (whose vocals adorn the opening moments of the album) and Viennese musician Christian Fennesz, who offers intricate clusters of electronics in ‘The Surface Of Everything’.

This is an album of subtle variation, graded hues and tonal warmth, all of which act as an invitation for the listener to consider their own localised transition of Autumn.

A Colour For Autumn

Watching It Unfold

On Leaving

variance.1

Parallel Landscapes is the first solo full-length album from Swiss artist Steinbrüchel on 12k, despite his relationship with the label and apperances on compilations, collaborations (Status, with Frank Bretschneider (12k1033)) and EP releases (Mit Ohne, (12k2010)). It seems that Steinbrüchel was waiting for the right moment to release such an illustrious album that is not only a release of music but of visual art as well.

Parallel Landscapes consists of a compact disc in a cd wallet and a beautifully printed sixty page colour printed booklet with a laser stenciled wrap-around cover conceptualized and designed by Steinbrüchel featuring photographs from Taylor Deupree and an essay by Lawrence English. The booklet and cd wallet are housed in a slipcase printed inside and out in black and white on contrasting paperstocks.

The music on Parallel Landscapes was created with the design process in mind. Steinbrüchel engaged himself with ideas of «designing» music instead of making or writing music and about the importance of music existing with (or without) visual enhancement.

The ideas of landscape, while not new in the musical world, were prevalent throughout the creative process. Music vs. landscape, music as horizontal layers, drawing new curves (landscapes) over sound files, imposing one landscape onto another and hearing/seeing the results. However, the album isn¹t just about horizontal combinations but vertical inbetweens as well. What happens from one event to the next? What happens when events are combined? How does the addition of one object (audio, visual) redefine another object next to it? What happens to a table when a chair is placed in front of it? ... And how does all of this coalesce into sonic and visual space?

There¹s an incredible amount of exploratory thought behind Parallel Landscapes that make this one of Steinbrüchel¹s most ambitious projects to date. His music has become increasingly refined but always retaining his signature sound. Still using the ideas of sine waves and pure tones but now softened with time, his palette stretches across electronics into a variety of found and acoustic sources. Bell tones are in the forefront, interspersed with the soft crackles of noise and static. Tones are stretched across the visual plane like a bell being carried across the land forever duplicating itself. Parallel Landscapes is engaging and reflective and sets a new standard in Steinbrüchel¹s creative output.

Parallel Landscapes

dryin off in the p00l

Chopin Nocturne no. 20 but it is played slowly, rendered through cassette for lo-fi feel, and it is raining outside with distant thunder

Chopin Nocturne No.20 C# Minor (lo-fi, slowed down, raining outside)

http://www.squarepusher.net

THE REFERENDUM ON THE UK'S MEMBERSHIP OF THE EU HAS HAD APPALLING CONSEQUENCES. IT HAS AMPLIFIED MANY DIVISIONS IN SOCIETY AND IN PARTICULAR HAS HELPED TO RE-ESTABLISH XENOPHOBIA AS LEGITIMATE AND ACCEPTABLE. WITNESSING THIS AGAINST THE GLOBAL BACKDROP OF A RESURGENCE OF THE FAR-RIGHT, IT'S ESSENTIAL THAT THOSE WHO FIND THESE DEVELOPMENTS UNACCEPTABLE MAKE THEIR THOUGHTS KNOWN AND TAKE ACTION.

THIS PIECE OF MUSIC WAS WRITTEN IN THE AFTERMATH OF THE REFERENDUM AND I PRESENT IT AS THE BASIS OF AN INTERNATIONALIST COLLABORATION WITH SOUND MAKERS IRRESPECTIVE OF WHAT KIND OF MUSIC THEY MAKE, WHERE THEY LIVE, THEIR BACKGROUND, THEIR AGE - ALL ARE INVITED TO PARTICIPATE. IT IS NOT OFFERED AS A SUBSTITUTE FOR PROGRESSIVE POLITICAL ACTION BUT AS A COMPLEMENT TO IT. I PUT IT FORWARD IN DEFIANCE OF THE BIGOTRY THREATENING THE FRAGILE CONNECTIONS THAT EXIST BETWEEN US ALL. I HOPE IT WILL BE AN OPPORTUNITY TO REAFFIRM SOME OF THOSE CONNECTIONS AMIDST A VERY DISTURBING SITUATION.

I HAVE PROVIDED A FINISHED MIXDOWN OF THE PIECE AND AUDIO STEMS OF THE CONSTITUENT INSTRUMENTAL PARTS. ALSO AVAILABLE ARE SCORES AND A MIDI FILE REPRESENTING THE NOTE TO NOTE INFORMATION. TAKE THE PARTS AND USE THEM HOWEVER YOU LIKE. IT COULD BE SUBTLY REMIXED OR REWORKED BEYOND RECOGNITION. CHANGE THE INSTRUMENTATION, THE KEY, THE ORDER OF NOTES, THE NOTES THEMSELVES - IT IS ABSOLUTELY OPEN. THE ONLY STIPULATION IS THIS: IF YOU WANT YOUR PIECE TO BE LISTED ON THIS SITE THEN IT MUST HAVE THE TITLE "MIDI SANS FRONTIÈRES". YOU ARE WELCOME NOT TO USE THAT TITLE FOR WHATEVER YOU DO BUT THAT MEANS WE CAN'T HOST YOUR PIECE.

http://www.squarepusher.net

info

Squarepusher_MIDI Sans Frontières (Roel Funcken rmx)

El Tren Fantasma

El Divisadero

From Joseph Shabason's debut Aytche available August 25th from Western Vinyl

Pre-Order Aytche:
Bandcamp https://josephshabason.bandcamp.com
iTunes https://itunes.apple.com/us/album/aytche/id1245245891?ls=1&app=itunes
WV http://westernvinyl.com/shop/wv165

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/

Saxophonist and composer Joseph Shabason’s debut Aytche builds a bridge off of the precipice his forbears established, skirting jazz, ambient, and even new age with the same deliberate genre-ambiguity that made their work so interesting.

Aytche is a document of exploration both inward and outward. Every step taken in sound-design mirrors a stride in emotionality, as Shabason employs a variety of effect pedals to coax rich moody textures from his instrument.  He explains, "I feel like robbing the sax of the ability to shred by effecting it and turning it into a dense chordal instrument really helps the instrument become something that it's not usually known for."  Aytche deals with themes of degenerative illness and assisted suicide with eloquence that instrumental music rarely achieves regarding any subject, much less such difficult ones.

Album highlight “Westmeath” approaches Aytche’s subject of inspiration head-on. Here, the album’s only verbalization appears in the form of an interview with a man discussing his father’s trauma and eventual suicide after surviving the holocaust.  Though we only hear a few obscured words and phrases from the interview, the impact is powerful.  For Shabason, whose grandparents survived the holocaust, this selection is anything but frivolous.

Aytche

Joseph Shabason - "Tite Cycle"

Kuniyuki Takahashi - You Should Believe

from the album 'equivalents' available aug16

equivalents

loscil 'equivalent 5'

Melancholia

Melancholia II

With over 100 physical releases since its inception by Taylor Deupree in 1997, New York-based music label 12k has decisively defined and developed the concept of minimalism in the realms of electronic music for more than a decade. Fusing elements from Ambient and Electro-Acoustic Composition with carefully arranged digital textures and associative micro-noises, the label's aesthetics revolve around a precisely-outlined, yet deeply emotional concoction of the technological and the organic. Eschewing the typical marketing mechanisms of the commercial music industry, Deupree has sculpted a platform whose influence today extends well beyond the confinements of the experimental community. 12k's integral approach, in which the label's instantly recognizable, elegantly spartan artwork enters into an inseparable symbiosis with the music, has created a timeless audiovisual language respected and appreciated all over the world.

03

12k

Recent comments

encym III

Nhung Nguyen

C A T S

Isa Rxe

Related tracks