This is a mixed down composite version of Browser Music 3. 

The individual parts and instructions for playing them are as follows:

Open each link below in its own web browser tab or window and press play on each. The four parts are meant to play at the same time but don’t have to start together. You can stop / re-start individual parts and change their respective volumes as you wish. Like the components of a mobile sculpture, each part can be considered on its own or in any combination. 

Part One:
youtu.be/LnwaunruVRE

Part Two:
youtu.be/G3gaV4DsV6U

Part Three:
youtu.be/5GJYi3-Uk1E

Part Four:
youtu.be/4748yUy4dNE


This is music without development, where nothing much happens (or rather: the happening is evenly distributed throughout). This is also quiet music – perfect for playing in the background on your web browser while you are doing something else on your computer. You can even listen to other music / watch other videos / make Zoom calls, etc. while playing Browser Music in the background.

Bandcamp

Browser Music 3

We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. 

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization. 

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond. 

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here. 

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.” 

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.” 

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better. 

Text by Natalia Panzer 
npanzer.com 

Artwork by Coline Cornélis 

Music by Rupert Clervaux 

with 
Vanessa Bedoret: voice and violin on Thylias Moss #2 
Eben Bull: trumpet and electronics on Mutual Aid and Departure from England 
Isis O’Regan; voice on Departure from England 
Nick Taylor: electronics on Chthonic ’97 
Ben Vince: saxophone and electronics on Chatsworth ’17 

Artwork by Coline Cornélis 

Warm thanks to James Marrs, as always, and Natalia Panzer 

Vanessa recreates and reads an excerpt from ‘Water Road’ by Thylias Moss. Isis reads ‘Departure from England’ by Ingeborg Bachmann (translated by Peter Filkins). This record is dedicated to both poets––with great respect and deep admiration.

02. Simple Food For Our Simple Taste

"Spectral is a collection of tracks using either the Buchla 296 or 296e
Spectral Processor. It was fun taking it into different sonic universes to see 
what it would reveal. Enjoy!" - Todd Barton, 2022

TODD BARTON - SPECTRAL ( excerpt)

ZI.1 - 'Imitazione' (reading by Mara Cimatoribus)*
ZI.2 - Titled
ZI.3 - 'Menschenbeifall' (reading by Anne Tetzlaff)
ZI.4 - Ulyssean Time
ZI.5 - 'Imitaciones' (reading by Rupert Clervaux)**

Available as a 12" with a foldout poster by Coline Cornélis,
and as a download.

Rupert Clervaux: drums, percussion, vibraphone, piano, synthesizers and samplers, 
with Stephen Warrington: piano on ‘Imitazione’, and Eben Bull: saxophone on ‘Titled’.

Artwork by Coline Cornélis.

*translation by Jonathan Galassi
**translation by Jason Weiss

Zibaldone I of CVX

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

Re-mastered and issued by Incidental Music on vinyl for the first time ever. Ambienti Coassiali's Vol. 1 is a missing link in the world of 1980's Italian electronic music. A parallel project of Capricorni Pneumatici, Vol. 1 was conceived in and around Milan in the late '80s and released only on an incredibly limited cassette. Recorded solely with a Yamaha DX7 and two track Revox A77 tape machine, Vol. 1 is composed of 6 "rooms" (stanze), each their own world of meditative & ethereal FM synthesis. 
Vol. 1 also features collaborative contributions by Riccardo Sinigaglia.

Ambienti Coassiali - Room 5

One-take synth improvisation, taken from 'All In The Same Room'.
Buy tape + digital at nicemusiclabel.bandcamp.com/album/020-all-in-the-same-room

All In The Same Room

Grapefruit

Wind instruments from bones of prehistoric animals of thirty thousand years ago were scanned and reprinted in ceramics in order to listen to these extinct sounds. this piece is a composition recorded using these musical instruments inspired by the ancient rites of birth and fertility.

Neolithic Sunshine

PRE-ORDERS NOW AVAILABLE

"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine


Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec. 

This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch. 


Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage

Pauline Oliveros - The Beauty Of Sorrow - Tara's Room LP - Pre-Order Available

from Ombrophilia, released in 2009 on either/OAR and re-issued on vinyl by Aposiopèse. Also available in digital format at bandcamp http://tomokosauvage.bandcamp.com/

Zibaldone I of CVX

Rupert Clervaux

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