Posts Tagged ‘minimalism’

Improvisation for speakers, vessels and contact microphones

March 22, 2008

Well, I have to say it’s almost a little embarrassing to be back after such a long, unannounced hiatus. I think that the time has come again to shift gears slightly to keep this blog going and relevant, as my experimentation is becoming a bit less frequent due to an overall increase in the complexity of the work. More on that in a future post.

In the past months as I have mentioned I have been increasingly interested in the possibilities of kind of free improvisation. As I have been reading and thinking and opening my ears this past year, I have come to a nearly complete acceptance of all sounds. I am finding music everywhere now. Just being alive and walking around has become a new and exciting experience, as now I’m always looking for interesting sounds. Of course, now I’m tempted to carry a recording device constantly to try to capture these things, but I’m wary of the obsession that could become, and the possibly frustrating results.

In thinking recently about what makes sounds acceptable to myself and others, I have been fascinated by people’s approach to feedback. Well deployed feedback during the swell to crescendo in a rock show, can make people ecstatic, whilst the unintentional feedback of a microphone on a stage at a seminar, can make people recoil – and even think the speaker a hack for somehow not being able to control the main tool of his trade!

I think what makes most people adverse to, or even afraid of feedback, is what excites me about it – it’s unpredictable behavior. In a way, working with feedback is like sculpting. There’s a real physical component to it that can be shaped and manipulated if one is careful… but there is always the danger of it collapsing in on itself into uncontrollable high-pitched squeal. But is the squeal so bad really? Or are we just convinced to think that it’s bad by the behavior of those around us in response to it.

I decided last saturday, that I was going to set up a stereo-feedback system and record myself basically wrestling with it. Sometimes trying to control it, but other times letting it loose and then dealing with the results. I set up two amps about four feet apart, facing eachother. I connected two contact mics one to a thin brass bowl, one to a cup made of tin-foil, and plugged them into a couple overdrive pedals and to my mixer. I ran lines out of the mixer, left and right, one to each amp, and another set, out to my recording device. I hit record and started grappling. Through the course of the improvisation, I tested various movements, treatments, etc. Due to the system being stereo, I had the option of panning feedback between the two amplifiers. With the fuzz boxes, I had various levels of overdrive to experiment with. So I played, and tested, and pushed, and pulled, and waved my arms around, feeling the sounds actually bouncing off my hands, shaping them by redirecting sounds with other vessels or body parts.

Most importantly for me, I faced the squeal head on. Sometimes I would sit there and let it burn my ears for a minute, like hot sauce on the tongue, looking inside it for some kind of aspect I had missed before. Looking for what was bad about it, and what was good.

The improvisation lasted around 25 minutes, which was a surprise to me, as I would have guessed more like 10 minutes if you’d asked. The results range from droney, to gurgling, to ear-cleaningly shrill, but there’s something else. I don’t know if it’s my continued intrigue with this substance, but I can’t stop listening to this recording. In fact, I think I may actually release it in some form. I have been thinking about starting some kind of net-label, and this may be a good first release.

Anyway, for now, you get it for free (and probably for the foreseeable future, as I’m not at all into the idea of depriving people of experience). Play this loud and on a stereo if you can, at least for the first go. There are some pretty beautiful timbres and sonorities in here if you are willing to look. The sound is physical, so walk about in the room while you listen, It enhances your interaction with the piece. Please enjoy!

– A spear through the purple indefinite 

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More prepared guitar

January 20, 2008

For some reason the idea of using a bicycle spoke as a guitar preparation entered my head yesterday, so i decided to sit down and record some improvisation. i was going to just stereo mic the guitar, but as i was watching the spoke vibrate like crazy whenever i hit a low note, i thought… why don’t i mic that? So I dug out two of my contact mics and put one on the body of the guitar and one on the spoke. This was a lot of fun, within a couple minutes I had found a few different ways of getting the spoke vibration to “accompany” my guitar playing, and as I continued to record, I found it quite easy and fun to utilize the spoke in various ways.

Recently, as I’m sure is evidenced by the way this blog has been of late, I have really been enjoying improvisation. I always sort of improvised. I could never really play anything in the classical sense and there’s very little that i’d want to play, that I actually could. So at some point, I sort of decided that if I were to continue to play the guitar, I had to come up with an approach and stick with it. I have always liked the idea of slow playing. Like Harold Budd but with a guitar and not as “pretty” or Derek Bailey, but painfully slow, and later as I would find out… Loren Connors at his least “traditional”. But I didn’t really want to play like any of those people really. I would just sit leaned back with the guitar and randomly pluck strings, bending them into tune and pulling rattley drones off with my thumb. Putting the guitar in odd tunings, just by ear, and almost never tuning it proper.

Of course, for the most part this was all a bit of fooling around. Some nice self amusement when I was bored. There was a point though when I began to really like that, and I was afraid to tell people, that I LIKED that. That I would record it and listen back to it myself for pleasure. I sort of made excuses for it… hid it. My mind was still sort of locked in this idea that “music” was supposed to be a certain way, and it was for other people to say that it was good and worth-while and nobody was going say that about what I did. But since I’ve started this blog and joined forces with Al, I’ve sort of gotten over that, and since then I have really been falling for Improvisation. I find it as difficult as learning to play “right”, but in a different way, and every time I play that way, I feel like I learn something. It’s also very freeing and fun… almost a serious form of fooling around. Anyhow, enough babbling…

This was recorded with two contact mics, direct to protools. No edits were made. reverb was added; 400ms at 25%. Enjoy!

– Woke up In a Strange Place

So Do You Think the Future of Music is Dead?

January 6, 2008

Hahaha, made you groan! Ok, so this is kind of ridiculous, but I had to do it for the sake of… well, ridiculousness! A friend of mine turned me on to the above video the other day (1st part of like a 5 or so part series). It’s an interview with Mike Patton from like ’92 or something. It is HYSTERICAL! It goes something like this… Interviewer asks dumb question, Patton gives dumb answer in between bites of a really gross looking sandwich. It’s brilliant! At one point (after Patton says a series of really disparaging things about the state of music today) the interviewer asks if Patton thinks the future of music is dead. 

I’m just going to let you stew in the brilliance of the question for a moment…  

aaaaand we’re back. So Patton then gives one of the best answers to that question I think possible. Anyway, I was laughing my head off. So for some reason this exchange inspired me to make the following rip off of “It’s Gonna Rain” with the question and response. If you can actually listen to this whole track you deserve an award. I have to say though, if you do… at about the 3 minute mark your brain will start doing really weird things with you perception of time, it’s quite strange. Anyway, here it is… 

The worst thing about music…

Random Ritual. Prepared Guitar and Voices.

January 5, 2008

I got bored of having my guitars in standard tuning a while back, and started to get interested in learning to finger-pick. Mostly because I finally turned an ear to John Fahey after ignoring him for a long time (for no reason at all, except maybe hearing his name too much) and got my head ripped clean off by the sheer perfection of the musical world this man was able to create. Not that I wanted to go out and be another Jack Rose or Ben Chasny (though, they are great) I just thought if most of my guitar playing is going to be done alone, mostly amusing myself, I might as well learn how to play so it sounds like it’s 3 people.

Anyhow, so that never really happened as it take some more of what I have not, (no, not talent) time. Though I still fully intend to learn to at least get by playing finger-style (and about a million other things). So what I ended up with was a guitar tuned to one of Fahey’s standards, that was slowly but surely slipping out of tune. For some reason though, it seemed to slip IN tune… just a different sound or something. One day a picked it up and sort of tuned it into tolerability, and it had a sort of koto-like sound. The for some reason of other, I thought it’d kind of sound more like a koto if the strings were muted some. So I crammed some paper between the strings near the nut like so:

prepared guitar

As soon as I began to play it, i felt like i was on to something. It has an interesting way of making what ever strings are open sound like an accompanying instrument and whatever is being fretted, some kind of lead. So I’ve been playing it like this for months now, whenever my computer is loading a big file (ha ha) and I’ve really grown to love it. I have no idea what the tuning is b/c it’s so far from normal tuning, even with a tuner I’m going to just get a bunch of pitches it will be nearly impossible to replicate again. (Maybe someone who has a good ear could tell me more) SO I’m basically keeping it like this at least for now.

I’ve been wanting to post about this tuning for a while, but I wanted you all to be able to hear it. Problem was, I just wasn’t getting around to recording it. So today I figured I’d do it quick and dirty. This is recorded through my computer mic (that’s what that hard drive crunch is in the background). It’s a track of guitar, improvised and unedited and a track of vocals done the same, but then delayed and reversed to make the third track. It’s pretty crunchy sounding, but I kind of like the ambience the noise seems to create. Enjoy!

 – Random Ritual

Noise Removal Music

October 8, 2007

I have found through the course of my musical explorations, that one of my favorite musical experiences is the finding of music in unusual or almost non-musical places. Given the content of this blog that may sound like an understatement, however a good bit of the content of this blog involves modifying the perception to receive noise as music, and what i am talking about today is actually bending noise into something that comes closer to resembling music in the more agreed upon sense.

One of the ways this can be done is by applying modern technology in a process which in some way strips away layers (amplitude, time, pitch) of sound to leave other sounds and patterns which could not possibly have been heard previously. many devices are adept at this form of alchemy today with varying degrees of success. Reverb for example (as most prominently evidenced by Alvin Lucier in his piece “I am sitting in a Room…”) can be applied to mold sound in such a way as to exaggerate certain resonances and bestow as sort of “smoothing” effect that can make sounds appear to have a more “musical” quality. I find that it can be possible to apply very simple repetitive processes to almost any auditory content to distill from it sounds which are wholly alien, but very musical.

One such process in which I find endless enjoyment, is the application of the “Noise Removal” feature in the computer application, Audacity. Audacity is a simple sound recording program with very basic sound editing features. I find it mostly useful for compression and normalization, but having spent some time with it, I have experimented with many effects produced by “over tweaking” it’s various sound filters.

What is great about the noise removal feature in Audacity, is it requires you to define what you consider noise. Then using an algorithm, it dutifully chews through your chosen audio and removes it. While I have never used this tool for it’s prescribed purpose, I can say that it produces very interesting effects when applied to almost any component of any sound, specifically ones with a high quality of noise.

While editing the audio for my “Cymbal Ringer” post I rediscovered the noise removal featured and thought it could be interesting to apply it that the hailstorm of noise contained in that audio. After some tweaking of the noise definition and noise removal density features, I found that it was possible to pretty much zoom in on the shifting overtones in the rush of distorted cymbals I had created. The initial result sounded like a highly sped up chamber orchestra, so next I applied a time stretching function to give the notes produced in the audio more room to breathe. I went back and forth between those two filters, until I found what I was looking for.

The resulting audio sounds like a chance composed piece for Glass Harmonica. It has an arhythmic, lurching quality, that somehow seems to work perfectly with it’s odd but beautiful harmonic structure. When I first heard it I was floored. It took no effort on my part, no bending of the perception to accept this as music. It even sounded like something I would own! It’s a fantastic idea to think that there is such interesting music that could be hiding away in any sound. Just existing as if composed my nature itself.

Enjoy!

– Noise Removal Music

Another new toy. The cymbal ringer!

September 16, 2007

I recently Heard Oren Ambarchi’s beautiful Stacte Motors album. I understand from a review that the performances involve a fairly simple application of motors to cymbals and guitar respectively, producing a rhythmic smattering and shivering, morphing, harmonic clouds of sound. The review also said he was indebted to Keith Rowe for this technique, but that all in all it didn’t matter, the album is lovely. I saw Rowe for the first time recently, and he was absolutely captivating. I recall finding his use of small fans to drive guitar strings to be an inspiration. For some reason though, I never thought of applying the technique to anything else the way Ambarchi did (though I have no idea if it was his original idea or not).

The application of this technique to cymbals is brilliant, and the resulting sounds are magical and transportative. Being a person involved in improvised music, I am always looking for a way of doing many things at once, or ways in which to automate things. I have my cassette loops, oscillators, radios, and circuit-bent toys, but variety being as they say, I am always looking for more. And of course, being an ex-drummer, I adore cymbals, especially my small collection of them.

So I set out to make a simple device that could ring a cymbal. I grabbed an electic toothbrush I had laying around and went to work. Removing the motor from the toothbrush was the first goal, as I want to have the battery container and the motor seperate, so that the motor can bounce freely on the cymbal without the added weight. Once the motor was removed I soldered 2 foot-long wires to the motors’ terminals and created a strain relief by knotting the wires close to the solder points and pinning the knot down with a piece of heavier gauge wire. I finished it all off with a few winds of elecrical tape to cover the terminals and keep the strain relief in place.

For a battery/controls container I used an Altoids tin. I used the original battery terminal cap from the toothbrush and made some small modifications to fit it in the tin. I then made two new top terminals out of looped pieces of wire and taped the whole thing together. I now had a nice little battery-pack to power the motor.

Since I will need to mount the tin somehow to keep it stable while the motor does it’s cymbal dance, I dug in my toolbox and found an angle bracket. Just from looking at it, I could tell it was a good size to both hold the tin and mount using the same bolt used to keep the cymbal on it’s stand.

The motor needed an on/off switch, so I added one, and while I was at it I added a 100ohm pot in line with one of the battery leads. If anyone decides to build one of these, a 50ohm will do, all I had was 100. The pot allows me to control the speed of the motor, and thus the volume/frequency of the vibrations.

The first test didn’t go well, I had forgotten to add something to the motor to make it wobble enough to strike the cymbal. So I went back and hot-glue-gunned a small screw to the motors drive gear.

The second test was perfect. I ended up playing with it for about a half hour. The speed control works great, and even the position of the motor adds a few possible differences in sound quality.

– MP3 with a bit of reverb here

I have used this in improvisation a few times, and it’s been a great addition to my setup. Especially in combination with a contact mic. Of course, I always have to mess with stuff, so I have been experimenting with running it through a bunch of effects.

A couple of days ago I tried a fuzz box I had, and I was really blown away. It’s amazing how little you need to make a really beautiful racket. Shifting tonal colors just submerged by a fog of white noise.

I’m including a longform version of that at the end of this post that I might make into a little release, just because I enjoy it so much, that I want to see it in full artwork and everything. I’ll definitely re-post it here if I manage to pull it off.

The recording is 20 minutes or so of improvisation with just the cymbal ringer and a couple effects boxes. Enjoy!

– Gong Soft Heaven

I’m not dead (I’m just moving extremely slow)

August 23, 2007

Some of you may have noticed I have not been posting with the usual frequency. I appologize and by no means have I abandoned this blog. I have however taken a big hit to my available time by re-entering the workforce. While this new development certainly limits my time for doing more interesting things, such is life and I will as I have for much of my past, attempt to work around it.

Personally, I like Keith Rowe’s perspective on the situation. The following is an excerpt from a talk he gave at the Slought Foundation in philadelphia a little while back:

“I’ve always had a job… like always. From the time I left the art school… Actually, I really enjoyed that… The idea of being an amateur… You could have a kind of obscurity. If there was kind of a slogan of the art school i went to, it was, the definition of success is to be middle-aged and obscure.”

Of course, this got quite a laugh, but I think the re-definition of success he is portraying here is pretty inspirational, and I find it aligns very well with my current attitudes toward “art” or “craft” as a thing of and for common people.

One of the non job related plusses to having a job located in the city, is the variety of interesting sounds one encounters. My first week, I has riding my bike home when i passed a truck with some huge compressor in the back making a huge sounding drone as it ran, that was just loaded with dancing overtones. I could have listened to that for quite a long time. I was kicking myself for not having a minidisc recorder with me. It would have made a great piece to post here. Suffice to say that I now have the MD with me at all times, and hopefully I will be happening upon some other sound of note soon enough.

This leads me to another unfortunate reason why I have not been posting as much of late. Latralmagog. With weekly recording sessions and a new motivation to crank out new sound making devices, it has become quite difficult to find time to post. And I certainly don’t want to turn this into a latralmablog (har!) by only ever posting our recording sessions. Of course, my increased instrument production rate has provided me with a bunch of new sounds that could be posted, but I’m so behind on documenting things I’ll never catch up. Sigh… jobs. I always wonder if there could be a way I could just do what I do and make money for whatever value I am able to provide people… maybe some time in the distant (distant) future.

That’s enough ho-hum for now, on to things exciting. AL and I this past week both played our first show, and released our first official packaged recording. The show went well all things considered, but I found that it was much more difficult to improvise in my normal mode while being watched by strangers. I felt very self conscious at first and felt an odd pressure to produce some sound that I felt would be acceptable to the perceived tastes of my audience, though I resisted the temptation. I did however fall into a sort of safe re-playing of ideas and techniques that I had previously deployed.

As the show went on however, my confidence grew and I ended up playing much more in my usual way, listening to AL and attempting to compliment what he was putting out there. I felt the set improved drastically from beginning to close and I ended quite happy and reasonably psyched. I also realized that if we are going to play out more often, I need to develop a better live set up. I ended up doing too much moving mics around and not enough playing. That being said though, I think our music is much better suited to small enclosed spaces and if we performed in such a venue, amplification would be far less a concern.

I think the CDR we did came out great. I planned the packaging so we could do all the printing ourselves. The cover ended up being drilled in such a way as to create a letterform that would serve as the focal point of the cover, but also as a stencil to decorate the (otherwise blank) discs. The stenciling helped create color washes on the cover that were then silk screened over in black ink. The type and lines were all cut by hand into freezer paper which served as a silkscreen stencil (thanks art school). We basically banged out all the printing and spraying in an evening. The music however was a nightmare. For some reason when I brought it up to peak level in Audacity it clipped when playing in iTunes?!?!? I can’t figure out why this would be and especially not when it seems to just be this session. Whatever, we got over it, albiet after two days of hell. Mental note… Learn something about mastering (yeah, right). We used the most recent session, which was really cool as it was ready for sale one week after it was recorded. How’s that for a turnaround time? We even sold a couple which is pretty cool.

Here’s the CDR design:


If anybody wants one, they are available on our myspace page:
http://www.myspace.com/latralmagog Send us a friend request while you’re at it!

LATRALMAGOG Sessions IV & V and some philosophical rambling.

July 28, 2007

I think about music a lot as you can (i’m sure) imagine. While thinking about my recent activities as half of latralmagog, I have realised that in a lot of ways, it is an answer to some philosophical problems I have been tossing about in my head for some time. I supposed that makes perfect sense, and I imagine this progression from thought to action is normal for most people if at most times completely unconscious. However for me, it seems to have taken place on opposite ends of the same track where now there is a meeting at the center in latralmagog. On one end is my (seemingly inate) desire to make “difficult” music, and on the other are my philosophies about the personal/social politics of music and the making of music. When I started, both the making of music and the thinking about music were still very young, and so distant were they, that I did not really see them as connected, or as an answer to one-another yet. Here are two of the questions, and the thoughts (not to be seen as “answers” in an absolute sense) behind them.

First a quick caveat… I’m thinking outloud here. I don’t really know how to write, and I modify my position all the time, as I grow and change. This is here to encourage thought, not to get you to agree with me. Hopefully you will think, and come to your own conclusions. In the meantime, I hope you at least find my rambling entertaining. 🙂 Oh, and I also didn’t feel like editing this, so you know…

What is music?
Way to start with an easy one huh? Well, from what I have been able to mete out in a combination of my own thoughts and the illuminations of others, it is whatever you think it is. Which is almost an alarmingly simple answer, but it’s almost a stupid question when you think about it, that it’s amazing how it has dogged so many BIG thinkers. When it comes down to it, “Music” is just a word… and like all words that define or deliniate space, its boundaries are only solid in inverse proportion to how much they are being attacked. Thanks to John Cage, the most formidable (in my experience) of the attackers, the word “music” is all but meaningless. In order for it to have any meaning at all, each individual must put their own restrictions on it, but don’t be fool enough to think that anyone will agree with you.

In my personal point of view I differ from Cage. He sought to prove that every sound can be music if you are willing to view it as an aesthetic occurance. He often referenced Rauchenberg’s ready-mades as a parallel in the visual art world, stating that the art he liked best directed you to the beauty that exists outside the artwork itself. So that in Cage’s world, all sound is music, all matter is art, and all experience is theater (and all these naturally overlap, a fact in which he took great pleasure). But this point of view maintains that art is everything you can appreciate aesthetically, and this is where I depart from Cage. I still maintain that art needs the artist. Not the Artist (with a capital A) that Cage deplored, but the finger pointing to the stars. The curator of the aesthetic. Why? Because people are as beautiful, curious and interesting as nature and while you can call their likes, dislikes, preduduces, etc., weaknesses, they are weaknesses which I feel are too tied to our human experience to sever. They like us together is a kind of maladjusted mutual sympathy that I think is ipmortant, even though it can lead to various ills that I have not time to get into now.

Now here’s where Cage’s idea and mine only really differ semantically (oh how useless language really is!). He says everything is art, I say art is whatever you think it is, but everything is beautiful. See Cage views the aesthetic appreciation of an object as a declaration of it’s existence as art, whereas I don’t link aesthetics and art at all. Art is what you say it is, but everything is beautiful. I guess this is beacuse I view art as a construct not a continuum. Art is the domain of the artist, and you can take it or leave it really, because beauty is everywhere if you choose to accept it.

In music this idea means that 1) I can still be a curator of sound if I want to because human experience is important 2) Music is whatever I say it is 3) Not everything I present for aesthetic consideration within the confines of a recording has to be “music” or considered by me as such. This philosophy produces nearly the same effect as Cage’s, but where Cage says the artist must be elliminated so that there is no artist/non artist dichotomy, I say, everyone is an artist if they think they are. (Which is funny because I refuse to call myself one, I guess that is because my philosophy exists in the utopia of my mind (like Cage’s) wheras, I live in a sad state of reality-by-commitee) Like I’ve said many times before, the only difference between me and anyone else is that I have the balls to say that what I do is “art”.

What is the relationship between the medium, availability and value of music?
Why is music pressed on records and why do we buy it? Why do we collect it, own it, etc.? Why do we have record labels? Do they serve a purpose other than fronting money for the production of “art” in order to (hopefully) make an ROI? Does the medium in which a work of “art” is presented affect the way in which it is perceived and how does that relationship function with “musical” “art”? Has our construction of a marketplace for art served us for the better and how?

Edit: Now that I’ve gotten flack for some of these statements, let me be more clear. I believe the art marketplace can be a good thing. If it wasn’t for some very giving souls who decided to use their money to bring the art they valued to light, we may all be bereft of some works we value highly. However, as I’m sure anyone can protest, this situation of money for art is extremely dangerous and that danger is not confined to the “mainstream” world.

I’m not going to answer all of those questions, but I do find myself asking them and stewing about them frequently. Especially in our current climate where we are basically innundated with high quality free music, most often in digital form. There are countless out of print record blogs where one could easily obtain for free, (a digital copy of the audio content of) a record that previously commanded prices of $5,000 on ebay! The value of music is changing, but exactly how remains to be seen. Personally I see the value going down, but I’m not sure we can be so black and white about that.

Is a piece of music put on record because it is valueable, or is it valuable because it was put on record? I’d say a little bit of both. I think it’s put on record because someone valued it and somehow because of the value they placed upon it, it then becomes valuable to others because they value it as well or value the person who deemed it valuable in the first place. But does it have any intrinsic value over and above everything else? Maybe not, I’m not sure I can say, it would depend upon how you define value. I have to say though that after hearing large qualities of amazing records by unknowns that easily rival records by our societal golden calves, it is hard to look at the art market as anything other than a spotlight. Am I alone in having heard steaming piles of crap on reputable lables, that become gems as they are accepted by the easily lead? Is the value of what I do directly linked to who else thinks it’s valuable? Well? Yes, but only if that is what I believe.

(Note: I’m omitting the questions about specific media that were here, because I don’t want to take the time to mede it out and it only distracts from the poit anyhow.)

Or we could ask a similar but different question. What’s more valuable to witness; The Velvet Underground live in the 70’s, or the music made in ones own family? (don’t answer too quickly now 🙂 ) I think a lot of these questions are taking on the dichotomy existing in the world now, of the “art star” and “art star” infrastructure, versus the personal and communal. And why does this exist? Because we buy it. These people, concepts and objects are only more important than others because we have agreed that it is so. So where is value in all of this? It’s wherever you think it is. In this stage in the game relying on any definition of value other than your own pleasure in “art” is just asking to be lead off a cliff.

Now if these things are only of at their hieght in valuable because we buy them, what happens if we stop? What happens if we have so much fantastic music that we can’t even keep track of it and it is all free. We have so much that every record only gets one listen. What happens when even what was previously considered to be “the best” is so common we don’t need it any more? How does it effect how we place value on “art”, or how we approach our own? I would say it evens the playing field somewhat don’t you think? I think it has the potential to take us out of the fog of commercialism and offers us the chance to see, choose and make for ourselves. (Not that all music that is sold is commercial, but that ugly culture does exist.)

Edit: (The paragraph here previously was an ill thought-out rant that actually did more to confuse my point than make it. It is being replaced with something I think is more the point. I can’t stand by any of those previous statements.)

These ideas have definitely shaped latralmagog. These questions in part affirm my decision to improvise. For me, improvisation confronts fleeting value by being instant, commercialism and style by being amorphous, and the question of the definition of “music” by being an exploration.

In a way I feel like there was a time I was tying to cram what I really wanted to do into a box that I thought would be more easily palateable to others, and resisting the real impulse I had toward something less defined. I felt as if I was trying to train myself to make what was essentially other people’s music. Why? Because I guess in a way I thought it would be more “credible”. When I finally thought about it, I realized that I had been improvising for some time, but I had been casting it off because it didn’t fit with what I for some reason thought I ought to do. Once I opened up however, I realized how fun and fulfilling it was to give myself over to all of the ideas and feelings I had pushed aside for so long.

I realize after some of the comments below, that a lot of what I say above can be very easily misconstrued. I wish I were better at expressing my thoughts. I think the bottom line though is that everyone should feel free to do and think as they like about art, theirs or anyone else’s, no matter what the established art world thinks, or what trend it is worshiping today. There is no intrinsic value in anything, we bestow value, so feel free to cast yours wherever you like.

I also want to make it clear that I am NOT saying improvised music is better or cooler than any other kind of music, only that is better suits a certain set of ideas that are occupying me presently than anything else.

LATRALMAGOG, Session IV
– Part 1
– Part 2
– Part 3
– Part 4
– Part 5
– Part 6
– Part 7

LATRALMAGOG, Session V
– Part 1
– Part 2
– Part 3
– Part 4
– Part 5
– Part 6

Enter LATRALMAGOG!!!

July 2, 2007

So my partner in musical debauchery Al and I decided to make our collaborative efforts offical by branding ourselves with a name. Now, this brings me (of course!) to a deluge of pholosophical questions… “How do you give a name to something that is undefined?”; “Can there possibly be a word or words that evoke an accurate concept of what this is?”; “Why does the name Ashtray Navigations have to be taken?” (yuck yuck).

LATRALMAGOG Notes

Above: Notes from our naming experiment

So after a couple false starts we decided that we would use two of our favorite devices in music making – improvisation and chance – to come up with a fitting name. We began with the use of our temporary moniker “AL B & ET”, subjecting the letter order to chance, but ultimately what came of it left something to be desired. Then we tried our full first names, which had a similar effect. Through all of this we were in hysterics at the alien sounding names that were coming out. Finally I suggested a nonsense word writing excercise. Improvised words. So we took turns writing off the top of our heads. Our goal was a longish word, and in retrospect, apparently one with neanderthalish qualities. We then chose which word would become our names by using the I Ching. Thus we became LATRALMAGOG. Pretty epic.

I am also posting our third session now. This one is much more ambient than previous efforts. It seems the music we make is very much effected by our moods on any given day. This is bay far the most peacful thing we have done. It is also quite beautiful at times. I hope you enjoy it.

Implements used in this recording:
Cymbals, tape machines, loop cassettes, Heathkit oscillator, Silver platter, circuit-bent tape player, melodica, shakers, bells, toys, cookie tin lute, appalacian mouth bow, air organ, electric kalimba, various effects boxes, etc.

no real clean way to chop this one up, so here’s the whole thing as one track:

– LATRALMAGOG – Session III

The improvisation shall continue.

June 22, 2007

The recording setup

Based on the OBVIOUS (haha) success of the first improv sesh, Al and I have decided to continue our explorations together on a somewhat weekly basis. And of course as is my custom, it will all be released here for you to listen to, should you be of the sort that actually listens to mp3s on blogs. There is also talk of “releasing” (if you thought- like a dove?- you are correct) the second one in some kind of physical format with “art” and whatnot, so if that is the sort of thing that interests you, let me know. Otherwise you can just download it below and make your own “art”.

I have to say that this thing we have been doing together is really a revelation for me. Especially since after my last band split, I had no interest in playing with anyone for a long time. (this had nothing to do with the band really, just bands in general) In the wake of that I did a lot of different things on my own. As this blog is evidence, I explored a lot. In many ways there are certain seeming paradoxes about the sounds and ideas that resonate with me that I could never figure out. I like synths and circuit-bending, but I also like ancient and primitive instruments… I like things most people would think are weird (the shop-girl at the local hardware store gave me a hard time the other day for doing “crafts” for fun! what?) but i have no interest in “weirdness”… I’m pretty much attracted to anything that makes a noise, but until recently I wasn’t sure for what. Somehow the improvising I have been doing lately has made it all sensical. Somehow everything I thought was out of place, now seems to fit. I like it.

In other news, I recently fixed my busted bell piano, so that will factor into this weeks jam, I circuit-bent one of Al’s toys (I’ll post samples at some point) and I’m sure that will find it’s way in, and I’m almost done building a bowed lamellophone out of a coconut I bought a few weeks ago (sound samples and photos soon). I will also start work on a pre-prepared “guitar” (a bunch of metal stuff and a pickup) and a hurdy-gurdy style drone box… more on those soon.

And now the last session… Implements used in this recording: whistle, nyatiti, bat repeller, boss rv-2, clava, a curled xylophone, frog childrens toy, flute, mini thumb piano, loop station, air organ, ocarina, plastic saxophone, chimes, bells, cymbals, chainring gong, silver platter, spring reverb unit, cigar box guitar, tape machines, looping cassettes, tongue drum, shakers, chihuahua, appalachian mouth bow, harmonica, toy accordion, and probably more stuff i am forgetting now.

Equipped for gapless playback… enjoy!

– Part 1
– Part 2
– Part 3
– Part 4
– Part 5
– Part 6