E (for electricity, m for) MOTION

The Limitlessness That Limits You

from upcoming full length Glozel is Authentic

Mars Ribbon

After an August break, the first September gong bath in Troy, New York.

Gong Bath

"Living on Superstition" is the debut LP from New York native Phil Tortoroli a.k.a. James Place. After his initial cassette release “An Entire Matchbook A Night“ (Opal Tapes) in 2014, James Place returns with a harrowing, meditative record of candle-lit rhythms and frost-laden ambience. The album was composed using an intricate collection of analog equipment, including the TR-606, Casio SK-1, SP1200, and a multitude of vinyl and tape-based samples, and mastered by M. Geddes Gengras.

James Place has two points of reference: a palette of quiet, emotional sounds that reflects compositions from both electronic music's early experiments as well as a more contemporary style of hauntological exploration. This blend offers a mirror with which to view the world through - it's as if we've stepped into the long-forgotten attic.

It is his second nexus of inspiration with which Living on Superstition does not bear an allusion to a defined era. Engaging in a bacchanal waltz with deeply-contemplative ambience, the album is peppered with an array of street recordings that create overlapping folds of sound out of everyday vignettes. Intonations of the aquatic environs of Jürgen Müller and Robert Turman inform parts of the album, in addition to extended passages of primitive techno seemingly influenced by the early releases of Juan Mendez’s Silent Servant project.

Living on Superstition is ultimately a collection of midnight material recorded in a Manhattan high rise that, curiously, resembled a prison more so than an apartment. With the 13th floor actually marked as the 14th, an urgent disgust with the opulence of this rapidly gentrifying city is evident as a never-ending parade of brazenly destitute drunks and high-heeled clowns shriek with shallow delight from the streets below. If one listens closely, fragments of that insipid hedonism so common to today's American dream can be heard seeping into the recordings of James Place throughout his waking dream of an album. 

James Place — High Rise (Rainier)

みかんむくっ (Mikan Mukku) - 缶 (1986)

Enregistré à Paris et Bruxelles, 2016.
dessin de Friedrich Schöder-Sonnenstern

La Mamma

Not a fractal! 

This track is based around a recording I made of my street being paved last year. Other recordings: a dog collar, insect chorus, birds and ambient noise behind a strip mall, and breath, all looped and mixed in Ableton Live. I wasn't sure how to structure it, so I picked up an Oblique Strategies card (https://en.wikipedia.org/wiki/Oblique_Strategies) and it said "Repetition is a form of change", so I ran with it. 

This is for the Disquiet Junto #257, Remember Noisevember.

More on this 257th weekly Disquiet Junto project — “Remember Noisevember: Make some noise” — at:

http://disquiet.com/0257/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

http://llllllll.co/t/disquiet-junto-project-0257-remember-noisevember/5549

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by mediachef, used thanks to a Creative Commons license:

flic.kr/p/7Z4uNx

Repetition is a form of change

Paving it Over [disquiet0257 - remember noisevember]

Taken from the Maximum Joy compilation "I Can't Stand It Here On Quiet Nights: Singles 1981-82", forthcoming on Silent Street Records. 

Pre-order 2x12" here:
https://silentstreet.bandcamp.com/album/i-cant-stand-it-here-on-quiet-nights-singles-1981-82

Lyrics: Wrafter; Music: Maximum Joy
Produced by Dick O'Dell, John Walker, Pete Mayburn
Originally released on Y Records (12Y 11, 1981).

I Can't Stand It Here On Quiet Nights (SSR001 - Mastered WAVs)

Maximum Joy - Silent Street / Silent Dub

Japanese Taiko Drum

Extracto del Concierto de Phil Niblock y Thomas Ankersmit en el Laboratorio Arte alameda, Ciudad de México @Festival AURAL 2012 .

  Jueves 10 de Mayo de 2012

Phil Niblock & Thomas ankersmit (saxofon, Drone, visual)

vienna_7_2012_1

synthetic sonic images of blikjandabol

Typified by a relentless pursuit of enervating and enlightening novel sound-forms, Unguent represents over a decade of independent research, recording, and performance of experimental synthesis by Lance Howard Simmons. Current work focuses on the detail, flexibility, and precision of the digital synthesis medium.