Podcasts about William Basinski

Episode 178 Chapter 37, Contemporary Software and Synthesis. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 37, Contemporary Software and Synthesis from my book Electronic and Experimental music. Playlist: CONTEMPORARY SOFTWARE AND SYNTHESIS   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Barry Truax, “Sonic Landscapes No. 3” (1977 revision). From the album Sonic Landscapes: Electronic and Computer Music (Melbourne Records, Canada). “A spatial environment for four computer synthesized soundtracks.” 15:16 01:36 2.     Robert Hood. “Spirit Levels” (1994) from Internal Empire. Written, performed, and produced by Robert Hood. 05:06 16:50 3.     Ikue Mori, “Abacus—Blue Parrot” (1996) from Garden. Composed, performed, produced, drum Machines, effects, Ikue Mori. 10:57 10:57 21:56 4.     Ghost, “Aramaic Barbarous Dawn” (2004) from Hypnotic Underworld. 03:15 32:52 5.     Outputmessage (Bernard Farley), “REM State” (2004) from Oneiros. Written, performed, and produced by Bernard Farley. 04:33 36:08 6.     TOKiMONSTA, “Let Me Trick You” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA. 03:27 40:40 7.     TOKiMONSTA, “Line to Dot” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA. 02:50 44:06 8.     Harold Budd, “Jane 1” (2014) from Jane 1-11. Composed, performed, produced by, Harold 07:42 47:00 9.     Sophie, “Elle” (2013) from Bipp/Elle. Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music. 03:39 54:42 10.   William Basinski & Richard Chartier, “Divertissement” excerpt (2015). Composition and computer synthesis, Richard Chartier and William Basinski. 08:36 58:20 11.   Thom Holmes, “Numbers” (2017) from Intervals. A composition using recordings of numbers stations as the primary source, combined with audio processing and software synthesis. 05:57 01:06:54 12.   Ami Dang, “Conch and Crow” (2019) from Parted Plains. Sitar, electronics, audio processing, voice, Ami Dang. 06:00 01:12:50 13.   Jeff Mills, “Canis Major Overdensity” (2020) from The Universe: Galaxy 1. Written, performed, and produced by Jeff Mills. 07:42 01:18:48 14.   Pamela Z, “Ink” (2021). Commissioned and presented by VOLTI, artistic director Robert Geary; executive producer Barbara Heroux; performed by VOLTI. Music by Pamela Z. 18:08 01:26:32 15.   Ryuichi Sakamoto, “20220214” (2022) from 12. Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.” 09:10 01:44:38 16.   QOA (Nina Corti), “Sauco” (2022) (04:22), “Liquen” (2022) (02:50), “Yatei” (2022) (03:04), “Muitu” (2022) (03:16) from SAUCO. Side 1 of this release from this Argentinian composer-performer. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.” 13:33 01:53:50   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Manchester-based producer Lily Mumby, the creative force behind Lapalace, has chosen Lavender as her botanical muse for this sixth instalment. The standout track ‘new age night' – a stunning love child of William Basinski's decaying tape loops and Aphex Twin's intricate programming—carries subtle lavender-inspired tones, balancing the plant's calming essence with hypnotic rhythms. Just as lavender requires thoughtful tending before rewarding the gardener with its distinctive aroma, Lapalace's landscapes reveal deeper complexities with each listen.

William Basinski is an American experimental composer. 

Happy long weekend. Here's hoping you slept through this week's episode and are listening to it at a comfortable remove, but either way, I hope you enjoy a fairly eclectic episode—any playlist that can include post-punk, proto-rap, ambient harp, and anti-capitalist library music is one worth indulging in. Thanks for sharing these sounds on a cold Monday morning!Playlist: Jeff Greinke - The Great Butterfly MigrationMemory Pearl - Astral TravelRich Ruth, Lockeland Strings - Blue ShellCamilla Sparksss - My Way My Love Remix by William Basinski and Gary WrightMoon Apple - Séance I - Water SnakeKaunsel - Shade FarmerASKO - wâkôhtowinMary Lattimore, Walt McClements - Nest of EarringsMakaya McCraven - Holy LandsThe Worm - Grass Grows Pt. 1June McDoom - Emerald River DanceN Nao - Château d'eauVictrix - I Saw MeDestroyer, featuring Fiver - BolognaGil Scott-Heron - The Revolution Will Not Be TelevisedGil Scott-Heron - When You Are Who You AreCymande - I Wanna KnowYves Jarvis - All CylindersIvan the Tolerable - ConfessionalsBlume - Dusk's OvertureBernardino Femminielli - L'entrée des artistesHalo Maud - PesnopoïkaFuturopaco - Crollo CapitalistaKi! - Kawkab el-SharqPopulation II - Le thé est prêtPreoccupations - FocusHorsegirl - Information ContentMALLED - She is TealPia Fraus - Across the StreetStereolab - TempterSUUNS - Fish on a String

The passing of time brings inevitable change - corrosion, disintegration and, eventually, disappearance. While the certainty of this process may seem like cause for despair, Matthew Syed explores the beauty that can be found in the process of decay.American composer William Basinski, watching his old reel-to-reel tapes disintegrate into a masterpiece of ambient music, discovered how even decay can lead to something unexpectedly profound.In Detroit's abandoned neighbourhoods, the ruins tell a story of transformation, where the decline of once-thriving industry serves as both a stark reminder of impermanence and a catalyst for reflection and artistic expression.With composer William Basinski, cultural historian Professor Dora Apel, Detroit artist Scott Hocking, and religion professor Ankur Barua. Presenter: Matthew Syed Producer: Julien Manuguerra-Patten Series Editors: Georgia Moodie and Max O'Brien Sound Design and Mix: Daniel Kempson Theme music by Ioana Selaru A Novel production for BBC Radio 4

CITR's 24 Hours of Radio Art in a snack-sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tune in Friday afternoon for Yanling (‘Cymatic‘), Ava Rasti (‘The River‘), Nerthus (‘The Path of the Elder Ones‘), Sunken Fence (‘Lotic‘), Sole Massif (‘False Negatives‘), plus the CITR Global Network premiere of Eighth Tower Records' ‘Music For Alien Temples‘ and Past Inside the Present's ‘Past/Present 2024‘ collections (Inhmost, Ausklang, bvdub); plus William Basinski / Richard Chartier's “Aurora Terminalis” in its entirety.

   Terje Isungset/Eivind Aarset - In Memory of Nature - In Memory of Nature Pt 1Joachim Spieth & Warmth - Fragments - AppearanceLawrence English - Even The Horizon Knows Its Bounds - Even The Horizon Knows Its Bounds (excerpt II)Balladeste - Beyond Breath Rework EP - Being (Midori Hirano Rework)Elena Majoni · Nicola Peruch · Alessandro Cortini - Pepe Ritorna36 - Hypersona - Inside (2022 Remaster)Storm Factory - Storm Factory - Devimore eaze, claire rousay - no floor - Limelight, IllegalyWilliam Basinski, Richard Cartier - Aurora Terminalis - Aurora Terminalis Excerpt 2Rafael Anton Irisarri - FAÇADISMS - The Only Things that Belong to Us are MemoriesFennesz - Mosaic - GoniorizonTrigg & Gusset - Blue Prince - Perfect FifthFotografia de Vaune Trachtman(Last Show Jan 5)"Guardar Link Como" - "Save Link As"Right Mouse Button Click For Save 

Playlist: dj suzy - aquarium (intro)William Basinski - cascadevisible cloaks - wheeldomenique dumont - arrivaldjmegan23 - aphex castlesahmed malek - tikjdabroadcast - phantomaphex twin - em2500 M253X [London 03.06.17]fergus jones, perko, Huerco S. - it should be (free)yves tumor - limerencekhotin - looping goodtatsuhiko asano - lemonadesatoshi & makoto - crepuscule legerdjrum - projectionAleksi Perälä - FI3AC2410001arrangement - swaythe radio dept. - pulling our weightBjörk - the anchor songportishead - strangersJames K, hoodie - Scorpiomount kimbie, king krule - blue train linesyves tumor - noiddeath in vegas - girlsblushy buttercup, starmoon - compulsive infatuationteebs - piano monthsflying lotus, thundercat - descent into mdnessflying lotus - until the colours comeflying lotus, niki randa - getting thereteebs - NESburial - ghost hardwarecall super, parris - chiseler's rushboundary - las rosas en el limite del noventa y ochonosaj thing, jacques greene, ouri - too closemadison mcferrin, photay - outre luxeartheater - supersoakeralice glass, jupiter io - drownjacques greene - quicksandbrayden potts - riojajlin, Björk - borealisSEES00000 - C0RT0Shygirl, saweetie, club shy - Immaculate - Club Shy VIPHood Joplin - natural response

Episode 712: September 15, 2024 playlist: Mazza Vision, "Sun Riser" (Ohm Spectrum) 2024 Sub Rosa Waveskania, "Sealed Garden" (ЗЕРНО/ GRAIN V/A Charity Compilation) 2024 Klikerklub Black Pus, "Hungry Animal" (Terrestrial Seethings) 2024 Thrill Jockey Sam Gendel, Benny Bock, Hans Kjorstad, "FallsLake" (Dream Trio) 2024 Leaving Katharina Grosse, Carina Khorkhordina, Tintin Patrone, Billy Roisz, Stefan Schneider, "Permanent Part 3 (radio edit)" (Permanent Parts) 2024 TAL His Name Is Alive, "Livonia" (Livonia (Ryko Edition) / How Ghosts Affect Relationships) 1994 Rykodisc / 2024 4AD artificial memory trace, "insect nation statement (consensus)" (harkening critters) 2024 forms of minutiae mclusky, "she will only bring you happiness" (The Difference Between Me and You Is That I'm Not on Fire) 2004 Too Pure / 2024 Beggars Arkive Justin Walter, "Cliff the Cloud Catcher" (Destroyer) 2022 Kranky mastroKristo, "Ocean (Claire Deak Rework)" (Passage) 2024 Lost Tribe Sound Bacak Gunak, "Canon Bee" (Rewilding) 2024 Subtext William Basinski, "September 23rd (excerpt 1)" (September 23rd) 2024 Temporary Residence Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Life bubbles up beneath death. The emergence of spring might have a sound for you. The rustling of robins, hushed winds blowing over freshly sprouting clover fields, but as winter's grip loosens, something more elemental burbles. Composer Elori Saxl heard it from the shores of Lake Superior, the growing sounds of water flowing beneath thick sheets of ice. Under a surface of sheer stillness, life flowed. Saxl took those sounds and made it the bedrock, both narratively and sonically, of her newest album The Blue of Distance. The manipulated sounds of water are the rhythmic spine of “Blue” and her arrangement of plucked strings in “Memory of Blue” eventually evaporates into the surrounding wall of flowing water, the two becoming inseparable. The Blue of Distance wrangles with the ideas of memory and how they're warped by the digital age, but it also stands alone as an album without any outside narrative. Alongside the seminal works of Gas and William Basinski, Saxl's nexus of digital, analogue, nature and manipulation is one of the finest ambient albums in recent memory, calming in one deft arrangement, thought-provoking the next. We sat down with Saxl and chatted about her work.

William Basinski is the most rock and roll artist in the history of avant garde music. We caught up with him and composer Maxim Moston at Primavera Sound 2024, where Basinski was performing his classic album Disintegration Tapes live, for which Moston wrote the orchestral transcription. We spoke about everything from the wisdom of aging to how on earth you transcribe vinyl crackle. Line Noise is with the support of Cupra. Picture by Cecilia Diaz Betz.

William Basinski is the most rock and roll artist in the history of avant garde music. We caught up with him and composer Maxim Moston at Primavera Sound 2024, where Basinski was performing his classic album Disintegration Tapes live, for which Moston wrote the orchestral transcription. We spoke about everything from the wisdom of aging to how on earth you transcribe vinyl crackle. Line Noise is with the support of Cupra. Picture by Cecilia Diaz Betz.

  I've been listening to the music of Rafael Anton Irisarri for a long time. The oldest album of his that I have is 2007's Daydreaming. I'm listening to it as I type this and wow, I'd forgotten how excellent it is. His music has changed a bit since then - now using drones, symphonic washes, tape loops, layers of distortion and "bleached out textures." So I was excited when he offered to do a guest mix. Um, yes please! This mix is everything that I love about guest mixes because it takes twists and turns that I normally do not so it kept me engaged to whole way through. Here's what Rafael has to say about this set: "I crafted this mix as Spring gently dissolves into Summer, drawing inspiration from perennial favorites like Arvo Pärt and Harold Budd. It features the work of many dear friends and colleagues such as Sylvain Chauveau and Federico Durand, as well as some favorite tracks I've mastered at my Black Knoll Studio in New York. This includes pieces from William Basinski, Eluvium, Michael Muller, and Julia Kent, along with contributions from Grand River, Animated Matter (Hannah Elizabeth Cox), Concepción Huerta, Christina Giannone, Pepo Galán, and Karen Vogt. Adding a personal touch, I've included a piece from my latest album, released on my newly minted Black Knoll Editions, in collaboration with the esteemed Italian producer Abul Mogard. There's also a special collaborative piece I created with the brilliant Julianna Barwick a couple of years ago. Hope you enjoy!  Looking forward to playing some shows this summer, starting in Italy on July 7th with Abul Mogard in Rome at Halfdie Festival, then later on September 14 at Ametric Festival in Chania, Greece. Stay tuned for more announcements by following on Instagram @blackknoll or at www.irisarri.org."   Thanks Rafael for this amazing mix!   Here are links to all the music used in this mix: https://ghostly.bandcamp.com/album/thousands-of-eyes-in-the-dark https://animated-matter.bandcamp.com/album/selkie https://federicodurand.bandcamp.com/album/flor-imaginaria https://www.amazon.com/Apollo-Atmospheres-Soundtracks-Brian-Eno/dp/B000003S1E https://beaconsound.bandcamp.com/album/lower-river-reworks https://williambasinski.bandcamp.com/album/on-reflection https://abulmogard.bandcamp.com/album/impossibly-distant-impossibly-close https://ecmrecords.com/product/arvo-part-tabula-rasa-gidon-kremer-keith-jarrett-tatjana-grindenko-alfred-schnittke-the-12-cellists-of-the-berlin-philharmonic-orchestra-staatsorchester-stuttgart-dennis-russell-davies-lithuan/ https://sylvainchauveau.bandcamp.com/album/un-autre-d-cembre https://eluvium.bandcamp.com/album/whirring-marvels-in-consensus-reality https://headphonecommute.bandcamp.com/album/for-ukraine-volume-2 https://www.amazon.com/Lovely-thunder-HAROLD-BUDD/dp/B00004XNLZ/ref=sr_1_1?crid=3SE3RKREFK46O&dib=eyJ2IjoiMSJ9.lEh9qetRmaBVCr72TtjwA5RjuHqSmI-OmCaB1sChoxY._GCIjpRo_wRaKREhIt1SrdMNfgMKbTh7Ieu0Nd27hxI&dib_tag=se&keywords=Harold+Budd+-+Lovely+Thunder&qid=1718556861&sprefix=harold+budd+-+lovely+thunder%2Caps%2C300&sr=8-1 https://facture.bandcamp.com/album/family-harmony https://concepcionhuerta.bandcamp.com/album/harmonies-from-betelgeuse https://pitp.bandcamp.com/album/glazed-vision   Cheers!     T R A C K L I S T : 00:00   Grand River - This Was Us (VA: Thousands of Eyes in the Dark, 2019) 01:53   Animated Matter - Follow (Selkie, 2021) 04:28   Federico Durand - Flor Imaginaria (Flor Imaginaria, 2020) 06:41   Brian Eno, Daniel Lanois, and Roger Eno - Signals (Apollo: Atmospheres and Soundtracks, 1983) 08:16   Michael Muller - Glyph II (Julia Kent Rework) (Lower River Reworks, 2020) 12:52   William Basinski & Janek Schaefer  . . . on reflection (four) (“ . . . on reflection “, 2022) 15:12   Abul Mogard & Rafael Anton Irisarri - Place of Forever (AM Radio edit) (Impossibly Distant, Impossibly Close, 2024) 21:52   Arvo Pärt - Fratres For String Quartet (Fratres, 1977) 31:22   Sylvain Chauveau - La Lettre Qu'il N'Envoya Jamais (Un Autre Décembre, 2003) 32:56   Eluvium - Vibration Consensus Reality(for Spectral Multiband Resonator) ((Whirring Marvels In) Consensus Reality, 2023) 41:06   Julianna Barwick + Rafael Anton Irisarri - Thalasso (For Ukraine Vol. 2, 2022) 46:21   Harold Budd - Sandtreader (Lovely Thunder, 1986) 51:32   Pepo Galán feat. Karen Vogt - It's All Around You (Family Harmony, 2023) 56:13   Concepción Huerta - Solastalgia (Harmonies from Betelgeuse, 2022) 59:37   Christina Giannone - Immortality (Glazed Vision, 2021)

Thomas Alva Edison crea el cilindro de cera en 1877 en New Jersey. En 1991, el ingeniero Karlheinz Brandenburg concluye la investigación sobre la transferencia de música usando líneas telefónicas que derivará en el mp3. Entre ambos sucesos media la gran historia de la música grabada._____Has escuchadoI Am Sitting in a Room (1969) / Alvin Lucier. Sound on Paper Editions (2021)Early Electronic & Tape Music. Imaginary Landscape No. 5 (1952) / John Cage. Sub Rosa (2014)Extended Play (2008) / Janek Schaefer. Line (2008)Mary Had a Little Lamb (1877) / Thomas Edison. Grabación realizada el 12 de agosto de 1927, con las palabras de Thomas Edison en la Golden Jubilee of the Phonograph Ceremony, West Orange, New Jersey (EE.UU.): [Web]The Disintegration Loops (2003) / William Basinski. Temporary Residence Limited (2012)_____Selección bibliográficaBAYLEY, Amanda (ed.), Recorded Music: Performance, Culture and Technology. Cambridge University Press, 2010* BORIO, Gianmario (ed.), Musical Listening in the Age of Technological Reproduction. Ashgate, 2015*DYSON, Frances, Sounding New Media: Immersion and Embodiment in the Arts and Culture. University of California Press, 2009*FRANKLIN, Marianne, Sampling Politics: Music and the Geocultural. Oxford University Press, 2021*GALINDO, Bruno, Toma de tierra. Libros del KO, 2021—, “Del barroco a la inteligencia artificial (un breviario de música y tecnología)”. Conferencia en el Festival Visiones Sonoras, Morelia (México), octubre de 2022GOLDMAN, Jonathan, Avant-Garde on Record: Musical Responses to Stereos. Cambridge University Press, 2023*GRUBBS, David, Les disques gâchent le paysage: enquête John Cage, les années 1960 et l'enregistrement sonore. Les Presses du Réel, 2015*KATZ, Mark, How Technology Has Changed Music. University of California Press, 2010MACÉ, Pierre-Yves, Musique et document sonore: enquête sur la phonographie documentaire dans les pratiques musicales contemporaines. Les Presses du Réel, 2012*MILNER, Greg, El sonido y la perfección. Lée/me Libros, 2015SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2009*STERNE, Jonathan, The Audible Past: Cultural Origins of Sound Reproduction. Duke University Press, 2003* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

For this episode of Songs of Our Lives, I invite MIZU on the show. Her new album, “Forest Scenes,” is such an immersive and emotional listening experience. After talking a bit about that, MIZU gives me a crash course in classical music as well as chatting about the fun of soccer mom music, John Cage's divisiveness, the wonder of Schumann, when Bach loses some of its luster, how incredible Rachika Nayar is, the moment Talk Talk became so much more, Sophie hyping us up, William Basinski in all his glambient glory, Philip Glass overwhelming us with emotion, and loads more!Listen to all of MIZU's picks HEREMIZU “Forest Scenes”MIZU “Distant Intervals”MIZU's website (tour dates, etc)Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

Light in the ocean depths, doors to other worlds, respiratory cycling. The Tehran-based composer discusses three important albums.Ava's picks:William Basinski – WatermusicRadiohead – In RainbowsHarold Budd / Akira Rabelais – As Long As I Can Hold My Breath (By Night)Ava's new album Ginestra is out now on Flaming Pines. Check it out here. She's also on Instagram and X.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

The 586th of a series of weekly radio programmes created by :zoviet*france: First broadcast 30 September 2023 by Resonance 104.4 FM and CJMP 90.1 FM Thanks to the artists and sound recordists included here for their fine work. track list … :zoviet*france: - A Duck in a Tree Link 566a 00 Suzanne Hardy - Intro 01 Mathias Delplanque - Alo 02 Sara Pinheiro - Do que ressoa 03 A Sphere of Simple Green - Perception of the Margin 04 T.R.I.v.M. - Autumn Twilight 05 [unknown sound recordist / BBC] - Wildebeest – Several Grazing and Grunting, with Birds and Insects in Background, Masai Mara National Park, Kenya 06 Piltdown Sound - G2 Transit 07 [unknown sound recordist / BBC] - B.T. – Lines and Tones – Dial Pay Phone: Pips 08 Empirical Evidence - Ondoforma mekaniko 09 Gintas K - IVALO [extract] 10 Mark Warren - Mine – Moraine Stream 3 11 Mark Warren - Kultur Haus – Indoor Rain 1 12 William Basinski & Janek Schaefer - …On Reflection (Five) ++ Suzanne Hardy - Outro … :zoviet*france: - A Duck in a Tree Link 566b

Announcing their debut for Insult To Injury Records, Manchester based newcomer, Lapalace, has furnished the good ship ITI with three ambitious, epic cuts of divergent dance destroyers that touch on Ambient, Jungle and everything in between! Lily Mumby, the creative brain box behind the project, has a no limits approach to her sound palette, with a range of inspiration from William Basinski, to Autechre and Lorn. Backed up by a break-tastic remix from the mighty Thugwidow, Lapalace's Ephemera EP is a tour de force debut that will have disc jockeys rejoicing, the world over. Titular piece Ephemera kicks things off with a trademark Lapalace soundscape, blending both field recordings from the natural world and synthesised sounds, all mixed with a touch of nostalgic 90s keyboard work. The climatic drop manages to be both beautiful and aggressively caustic simultaneously, as hazy, evocative chords meet a thoroughly pugnacious drum breakbeat! Tired Eyes slows the pace a little, immersing the listener in an audio bath of retro, cavernous strings that create a celestial soundscape of truly divine proportions. Constance continues on the downtempo tip, fading into view with its arpeggios darting up and down, underpinned by a frightfully hefty bass line. This tranquil beginning transpires to be a red herring, however, as the drums kick in hallway through and transform the ambience into a full throttle, no nonsense, breakbeat behemoth! ITI Records are very excited to have Thugwidow on remix duties, as we've been a fan of his music for some time. He does't disappoint here either, as he ‘breaks' Ephemera into tiny pieces and rebuilds it in his own image. Make no mistake, this is a dance floor demolisher of the highest pedigree! As the name suggests, the original mix of Ephemera is a rather brief affair, so Lapalace has worked their magic and concocted an Extended 12” Mix for all you lovely club DJ's. Taking the elements from the original and adding a few extra, this lengthier version lets the music breathe, taking it's time as it effortlessly glides along, before slapping us around the chops with that final break. To which we can only say, Amen Brother!

Electronic adventures at the fantastic Smokehouse in Ipswich. Friendship is a large part of the music experience. We meet friends at gigs, we're in bands with friends, and sometimes, when the stars align we get to put on gigs featuring friends. Then there are the magical occasions whereby we are able to promote a gig for a friend who has lived abroad for years and is back in the UK for just a short time. This episode is about one of those magical times. Sure, the huge acts can afford impressive light shows and enough lasers to upset commercial air traffic, but what can artists who haven't already made millions do to make gigs more interesting? This episode of the Beat Motel podcast is a review of a rare UK performance by Egypt-based Nujumi. Support from Jon Bowers, Strandings and Mawhrin Skel. NUJUMIBased in Eqypt, Nujumi describe themselves as 'green pastures and dark debris'. Orchestrated synth and strings emerging from the dusts of the Sahara.Created by Daniel Merrill, one-third of the Dead Rat Orchestra.https://nujumi.bandcamp.com/ JOHN BOWERSIn his first performance returning to Ipswich after 10 years in the Newcastle DIY scene, John Bowers will coax room feedback, chaotic noise, spectral ambience, and extreme dynamics from his modular synthesizer and Pure Data programs. John has a long history in rowdy improvised experimental electronics having performed at festivals including the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Faster Than Sound Aldeburgh, Yarmonics Great Yarmouth and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor's music to Merce Cunningham's Rainforest. He is one third of the noise rock trio Tonesucker. He has just launched a personal record label, https://unlanded.bandcamp.com/. Its first album, Unlanded Volume 1 is planned for release June 2023. https://www.instagram.com/johnthemodulator/ STRANDINGSStrandings is the new project by Dead Rat Orchestra member Robin Alderton. A combination of electro-acoustic elements featuring the folk based influences of his soundtrack work with DRO and solo textural collage work utilising turntables, electronics and manipulated vinyl. For fans of Philip Jeck, William Basinski and CST Records. MAHWRIN SKELDepending on whim, willingness and weather Mawhrin Skel makes music that is often described as noise, drone, techno-alt-orchestral and ambient. His music is characterised by its use of harsh, abrasive sounds, deep frequencies as well as long, slow, and meditative passages. Mawhrin Skel is the stage name of Andrew Culture, occasional novelist and bassist of These Are End Times.https://mawhrinskel.bandcamp.com/

Greetings! Since the over-arching theme of PTE is "multi-genre" avant-garde, I decided to focus today's LGBTQ+ Pride program on living composers working in various styles, some more "avant" than others, but all worth recognition and airplay. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1      6-24-23 PTE Playlist / LGBTQ+ Pride Special   Spectrum I: Red - Divisi Chamber Singers / composer & text: Sally Whitwell - Spectrum - Divisi Chamber Singers (2022) https://divisichamber.com/    Spectrum III: Yellow - Divisi Chamber Singers / composer: Sally Whitwell, text: Monique Duval - Spectrum - Divisi Chamber Singers (2022) https://divisichamber.com/    Syrup & Silicone - Divisi Chamber Singers / composer: Robert McIntyre, text: Savanna Wegman / Spectrum - Divisi Chamber Singers (2022) https://divisichamber.com/    Chamber Concerto No. 2, op. 28B for violin & - violin: Aiman Mussakhajayeva (EYE-mahn mousah-ha-jah-YEH-vah) / Kazakh State Symphony Orchestra, cond. Tigran Shiganyan / composer: Lowell Liebermann - Violin Concerto, Op. 74 | Chamber Concertos 1 and 2 | Air - Blue Griffin Records (2023) https://www.bluegriffin.com/cd-catalog/p/lowell-liebermann-violin-concerto-op-74-chamber-concertos-1-and-2-air    Silent Passability (Ride To The Countryside) - Terre Thaemlitz - Couture Cosmetique: Transgendered electroacoustique sympotomatic of the need for a cultural makeover (or​.​.​. What's behind all that foundation​?​) - Comatonse Recordings (1997) https://comatonse.bandcamp.com/album/couture-cosmetique-transgendered-electroacoustique-sympotomatic-of-the-need-for-a-cultural-makeover-or-whats-behind-all-that-foundation    Monster Walk Instrumental - Jack Curtis Dubowski - Halloween Horror - self-release (2022) https://jackcurtisdubowsky.bandcamp.com/album/halloween-horror    The Only Tune: Part 1 - The Two Sisters / Part 2 - The Old Mill Pond / Part 3 - The Only Tune - voice/banjo/guitar: Sam Amidon / composer: Nico Muhly - Brassland/Bedroom Community (2008) https://nicomuhly.bandcamp.com/album/mothertongue     Fields/Clouds - Meredith Monk and Vocal Ensemble - Book of Days - ECM (1989) https://www.meredithmonk.org/    Vibrate - Rufus Wainwright - Want One - Dreamworks (2003) https://rufuswainwright.com/music/want-one/    Just Imaginings - Wendy Carlos - Beauty In The Beast - Audion (1986) https://www.wendycarlos.com/+bitb.html#1notes    Time is of the Crosscents - ‡Starving Poet§ - Syllabic Idyllic - digital album (2021) https://starvingpoet.bandcamp.com/album/syllabic-idyllic    Out of the Dark, Suite for Chamber Orchestra after Three Paintings by Helen Frankenhaler - London Symphony Orchestra, cond. JoAnn Falletta / composer: Kenneth Fuchs - An American Place / Eventide / Out of the Dark - Naxos (2005) https://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.559224&catnum=559224&filetype=AboutThisRecording&language=English    Disintegration Loops (excerpt) - Wordless Music Orchestra / composer: William Basinski / arrangement: Maxim Moston - Sound And Silence: 'Remembering Sept. 11'  At The Temple Of Dendur  NPR Broadcast 9-10-2011 https://www.npr.org/sections/deceptivecadence/2011/09/07/140265002/remembering-september-11-a-live-concert-webcast-from-the-temple-of-dendur#above 

De Doorgeef-CD bevat pianomuziek, de Hollandse Nieuwe saxofoon en piano, nieuwe releases zijn er met saxofoon solo en koor, en de tip van vanavond gaat over een bijzondere voorstelling in het kader van het Holland Festival. Idee van associate artist ANOHNI. In de Gerrit van der Veenstraat in Amsterdam wordt op 18 juni een orkestbewerking gespeeld van The Disintegration Loops van William Basinski. Check ook het artikel't Vrije Geluiden Weekend op de NPO Klassiek-website! 23.04 CD J.S. Bach C.P.E. Bach Father and Son (Challenge Classics CC 72952) C.P.E. Bach: ‘Prussian Sonata' no. 2 in Bes groot, Wq. 48/2 - I Vivace Einav Yarden [piano] 4'52”   23.12 CD Tales of a Blue Heart (eigen uitgave z.nr.) Margreet Markerink: Luces de Belmonte Ad Colen [saxofoon]; Margreet Markerink [piano] 5'33”  23.20 CD Folies de Baryton (Genuin Classics GEN 23822) Jan Menu: Bit of Bit Arno Bornkamp [baritonsaxofoon] 3'29”  CD Folies de Baryton (Genuin Classics GEN 23822) Jacob ter Veldhuis: Long Before the Sun Came Up Arno Bornkamp [baritonsaxofoon] 7'40”  23.33 CD Music by Henrik Ødegaard (ECM New Series) Henrik Ødegaard: Alleluia. Pascha nostrum Vox Clamantis olv Jaan-Eik Tulve 2'18”  CD Music by Henrik Ødegaard (ECM New Series) Henrik Ødegaard: Pater Noster Vox Clamantis olv Jaan-Eik Tulve 4'28”  23.43 CD The Disintegration Loops (Temporary Residence) William Basinski: The Disintegration Loops D|p 1.1.1 - 1.1.2 - 1.1.3 William Basinski 11'09

Ieder jaar heeft het Holland Festival een Associate Artist; een kunstenaar die genres doorbreekt, een programma cureert en richting geeft aan het festival. Dit jaar is dat zangeres, beeldend kunstenaar en componist ANOHNI. ANOHNI bracht een deel van haar jeugd door in Amsterdam, waar zij woonde aan de Gerrit van der Veenstraat. Pas later kwam zij erachter dat hier tijdens de Tweede Wereldoorlog het hoofdkantoor van de Sicherheitsdienst was gevestigd. Om deze geschiedenis weer aan het licht te brengen, organiseert ANOHNI op 18 juni een uitvoering van het monumentale werk The Disintegration Loops, van Amerikaanse componist William Basinski. Joost de Vries en Thomas Heerma van Voss gaan in deze live-aflevering in gesprek met historica en kunstredacteur van het NRC Bianca Stigter en historicus Koen Kleijn. Een gesprek over de geschiedenis van de voormalige Euterpestraat, Amsterdam tijdens de bezetting en over de rol van kunst in het herdenken.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Neils Bohr returns with a new plan for world peace, Oppenheimer's enemies close in from all sides as the Cold War warms up, and shadowy figures from the world of high finance work to expand the American nuclear weapons program.Original music for this series by https://mountainstandardtime.substack.com/Additional music by Alarm Will Sound, Marisa Anderson, Kali Malone, Zoe Keating, Julie Kent, Ben Von Wildenhaus, Brocker Way, William Basinski, Nine Inch Nails, Mulatu Astatke, Richard D. James, Jon Hopkins, and Nils Frahm. Final song by King Dude. For bonus episodes and a custom series patch, become a patron at: patreon.com/historiumSupport the showwww.patreon.com/historium

Norwegian commandos execute a daring sabotage mission to cripple the Nazi nuclear program. The fall of Werner Heisenberg. Original music for this series by https://mountainstandardtime.substack.com/Additional music by Hildur Guðnadóttir, Max Richter, William Basinski, Moondog, Sølvguttene, Jed Kurzel, Hala Strana, Anne Hytta, Nine Inch Nails, and Nico. Support the showwww.patreon.com/historium

It's Spring Break this week and I'm trying to keep my cool paints with my kid by helping her figure out how to make YouTube videos. It's not going well, but at least Richard Youngs has new album and David Toop has a new collaboration with Tania Caroline Chen. Wednesday episodes are exclusively on Patreon. Album of the Day is: William Basinski “The Clocktower at the Beach (1979)” https://lineimprint.bandcamp.com/album/the-clocktower-at-the-beach-1979 Additional links for the day: https://shrikerecords.bandcamp.com/album/thought-forms https://blacktruffle.bandcamp.com/album/modern-sorrow https://www.bonfire.com/foxy-digitalis-t-shirt/ Brad Rose is the the principal writer and editor-in-chief of Foxy Digitalis, an online music magazine and has run various DIY record labels for the last 30 years. Wednesday episodes are exclusively on Patreon. foxydigitalis.zone patreon.com/foxydigitalis twitter: @foxydigitalis Instagram: @foxy.digitalis Mastodon: foxydigitalis@mastodonmusic.social

Guest host James Heather sits down to chat with Julianna Barwick on a cold winters day in January. Julianna is a composer, vocalist and producer who makes deep, reflective compositions out of the human voice. Her fourth and latest album, “Healing Is A Miracle”, released in 2020, is a distinctive meditation on sound, reverb and the voice and was released on Ninja Tune. Julianna picks and talks about the songs that have influenced and signposted her life (including William Basinski, Bjork & Apex Twin) and also talks about her love of singing caves, Rnb Karaoke, making music on Garageband and how Enya is underrated. Originally aired on James Heather's ‘Moving Sounds' show on Soho Radio. Hosted on Acast. See acast.com/privacy for more information.

Meaning-making with Zac Parsons.  This episode features music made mostly just by plugging in a Roland JX-3P Polyphonic Synth (circa 1983) into a Kustom '36 Coupe amp, but also William Basinski's Disintegration Loop D|P 2.1, as well as "Ann Buchanan Theme" by Dean & Britta. 

"Key Change" 与网络电台 百会 baihui.live 的月度联动。每个自然月第一个星期二，Key Change 伴你正午脑海逃亡。 十一月特辑以来自 Donovan, Jackson MacIntosh 和 The Beatles 的一组安静的民谣作品开启正午时分。之后，William Basinski 和 化名 Daphni 的 Dan Snaith 将耳朵进入漂浮的合成器时间；而挪威爵士吉他手 Eivind Aarset, 从新疆民谣出走的张智、来自印尼的华裔客家女孩黄宇寒和日本的实验双人组 Singu, 在生活裹足不前的当下，用音乐把外面的世界带到你身边。 本期节目首发于2022年11月1日，原链接在这里。 (00:00) Donovan - Marjorie Margerine (04:01) Jackson MacIntosh - Lulu (08:49) The Beatles - Julia (11:41) You'll Never Get To Heaven - Setting Sun (14:32) William Basinski; Janek Schaefer - ... on reflection (three) (19:38) Daphni - Arp Blocks (21:43) Nick Hakim - Happen (25:43) Eivind Aarset - Pearl Hunter (32:30) 张智与旅行者 - 月亮与河床 (38:32) Matthew Halsall & The Gondwana Orchestra - Daan Park (44:46) 黄宇寒 - 灰色的梦 (48:47) Pierre Rousseau & Maria Teriaeva - Mode Par Défaut (50:31) Flocks - revolve (52:28) Singu - Nabegu Key Change x Baihui 往期节目播单 → 私信/合作联络： 微博/网易云/小宇宙/汽水儿 @线性方舟 → 《周末变奏》WX听友群敲门群主：aharddaysnight

Most (if not all) previous Ambientblog mixes always had some dark moments in them, they are never 'just' relaxing. You can only feel release if you also felt tension. This time, I wanted to avoid the darkness and create a 'lighter mood mix'. Not of the 'Ibiza Chillout Lounge' kind, but one that can be played in the background and is still exciting enough to listen to. I hope I succeeded, but of course, you're the one to decide about that!With two hours, Cloudwatching is longer than usual. Only a few tracks are included in their full length, but most are heavily edited or even just short fragments. Also, they are often overlayed, so you'll hear the music in a different context. The extensive playlist below may help you track down the original in their full-length versions. I really hope you'll enjoy watching these -imaginary- clouds! Tracklisting Start Length Artist - TitleAlbum Title, Year, Label 00:00 3:58 Francisco López - Untitled #373Untitled, 2019, Esc.Rec00:17 4:09 Lawrence English - Pre-Approach - CitizenApproach, 2022, Room4001:47 6:04 William Basinski & Janek Schaefer - … On Reflection (Four)… On Reflection, 2022, Temporary Residence Limited06:15 4:02 Arve Henriksen, Eivind Aarset, Jan Bang - The Swans Bend Their Necks Backward To See GodThe Height Of The Reeds, 2018, Rune Grammofon09:22 2:59 Masayoshi Fujita - HarpBook Of Life, 2018, Erased Tapes11:12 4:07 Mombi Yuleman - Mental TelepathyHours Lost, 2022, ZeroK13:14 2:31 Asmus Tietchens - Paralelle Ebene 1Parallelen, 2022, Line14:26 2:41 Abul Mogard - Like WaterStrega Music, 2022, Make Noise Music16:14 2:48 Keda - La Lune De CoréeHwal, 2015, Bruit Clair18:31 4:27 Tapani Rinne & Teho Majamäki - ReflectionOn the Border, 2022, Signature Dark22:34 4:01 Radboud Mens - ConvolutionContinuous, 2022, ERS26:02 3:03 Alex Haas & Michel Banabila - The Woods (ft. Bill Laswell)Singles (2020-2022), 2022, Tapu Records27:58 2:01 Imperial Valley - Fields North Of Kane Spring, Oct 8, 1938Imperial valley III, 2022, Folded Rime29:03 3:47 James Murray - ClearingsCareful Now, 2022, Home Normal31:41 2:02 Raum - DaughterDaughter, 2022, Yellow Electric32:04 3:05 Tierro Cosmico - Eres NocturnaFigments Of Wonder, 2022, Neotantra34:29 2:34 Emmanuel Holterbach - Rivage (Shore)Le Rêve, L'Ombre Et La Vision, 2022, Canti Magnetici35:09 3:51 Holland Patent Public Library - A Road I've Passed But Never TakenSongs To Fall Asleep At The Wheel To, 2022, Dear Life Records38:34 2:11 Thomas Ragsdale & Richard Arnold - The ViewChasing Waves, 2022, Frosti39:24 3:50 David Cordero & Kenji Kihara - GrazalemaKomorebi, 2022, Home Normal42:27 2:14 Abul Mogard - The Rain Has GoneFor Ukraine Vol. 3, 2022, Headphone Commute44:06 3:43 Robyn Miller - GateroomRiven - The Soundtrack, 1998, Virgin47:34 2:12 From The Mouth Of The Sun - Paint & StoriesA Broken House, 2021, Dronarivm49:01 4:23 Olga Wojciechowska - Recreating WorldsFor Ukraine Vol. 3, 2022, Headphone Commute52:50 3:13 Biosphere - Aura In The Kitchen With The CandlesticksDeparted Glories, 2016, Smalltown Supersound55:35 1:46 Jolanda Moletta - Spell II: Daydream And NightbloomNine Spells, 2022, Ambientologist56:32 1:48 Budhaditya Chattopadhay - DhvaniAnthology Of Exploratory Music From India, 2021, Unexplained Sounds Group57:01 6:29 Cell - GeigerOnwards System, 2022, Ultimae Records1:02:46 1:33 Clarice Jensen - FearEsthesis, 2022, FatCat Records1:03:19 4:06 Erik Wøllo - Peace BellsSojourns, 2022, Projekt1:06:30 4:07 Tarotplane - AuximenesAeonium, 2022, Constellation Tatsu1:09:30 2:39 Norman W. Long - Return & RecoveryReturn & Recovery, 2022, Line1:10:51 3:08 Marine Eyes & Antarctic Wastelands - EnshroudedSustain Series, Vol. 3, 2022, Ambientologist1:13:54 1:34 Ryoji Ikeda - Data.Tron (2007-14)Music For Installations Vol. 1, 2021, Codex Edition1:14:37 2:07 Masayoshi Fujita - PonsBird Ambience, 2021, Erased Tapes1:16:39 3:32 Tetsuroh Konishi - Kevaan AaniaScenes, 2021, Off-Recordlabel1:19:38 3:30 Madeleine Cocolas - PresenceSpectral, 2022, Room401:22:17 1:49 Pinkcourtesyphone - Comfortable PredictabilityAll Intensive Purposes, 2022, Room401:23:51 4:10 Clarice Jensen - LoveEsthesis, 2022, FatCat Records1:26:16 3:47 Radboud Mens - ModularMovement, 2022, ERS1:29:16 2:08 Arve Henriksen - The Farmers Of Sonic AlchemyMurimorphosis, 2021, Arve Music1:31:18 2:10 Daigo Hanada - KageSatori, 2022, Moderna Records1:33:04 3:21 Ivan Cebrian - Snow In SilenceInside/Outside, 2022, Oigovisiones1:35:53 3:34 Robert Rich & Luca Formentini - First DayFor Sundays When It Rains, 2022, Soundscape Productions1:39:20 1:48 Sofie Birch & Antonina Nowacka - OutroLanguoria, 2022, Unsound / Mondoj1:41:03 1:50 Sven Laux & Fione - StayTomorrow Everything Could Be Different, 2022, Whitelabrecs1:42:07 4:16 Loscil - Dub For CascadiaEndless Falls, 2010, Kranky1:45:50 2:22 Powlos & Holt - Our Shimmering BreathSustain Series, Vol. 3, 2022, Ambientologis1:47:48 3:33 Anne Chris Bakker - Johan (In Memoriam)A Sketch In Leaving, 2022, Whitelabrecs1:50:45 2:34 Glåsbird - SirsaHimalaya, 2022, Whitelabrecs1:53:15 1:04 Trio Ramberget - D Minor Postlude24 Ways Vol. 1, 2022, Piano And Coffee Records1:54:11 2:08 Galya Bisengalieva - The CrashHold Your Breath: The Ice Dive OST, 2022, One Little Independent Records1:55:48 4:11 Madeleine Cocolas - EnfoldSpectral, 2022, Room40

The Disintegration Loops, William BasinskiWhite Album x 100, Rutherford ChangShare this pod with your friends and buy our merch: https://www.bonfire.com/two-track-audio

A Producer + an Editor = A Preditor. Two discrete roles got combined through circumstance and technology into one efficient super-being working alongside its predecessors. But don't be afraid, there is another new skills hybrid emerging to enter the battle for podcast production supremacy. We hunted, and bagged some of these different species and got their views on what they do best - and what's coming over the hill. On behalf of creators becoming potential clients, we asked 'Which combination of skills do you need in your producer? What are they ? and how to work with the right person'. In this episode we cover: What does a producer do? What does the client bring as a starting point for a podcast? What should potential clients expect from their podcast producer, and what's their remit? Lead Producer, Martin Franklin from East Coast Studio gets some quality Zoom-time with fellow producers, Courtney Carthy, Nick McCorriston, and Louise Poole to explore the different dimensions of production on Planet Pod. Links Courtney Carthy (Linkedin) Nick McCorriston (Linkedin) Louise Poole (Linkedin) Independent Music Podcast (Apple Podcasts) State 51 (WWW) Transcription Martin Franklin Hi, Welcome back to Metapod. This is Martin Franklin from East Coast Studio. And we are still deep diving into the world of podcasting and finding our things tick. So my question for this episode, what does a producer actually do? I noticed that there's quite a variety of approaches to production within the podcasting world. And I was kind of curious about how different people do it. I wanted to produce some sort of guidance for people who are perhaps thinking about producing a podcast or appointing a producer to produce their podcast, so that we just had a little bit of an overview of what what could you expect and the different approaches that different people take to, to do that work. Once again, I canvassed, the Australian Podcasters group, and I had three sterling individuals step forward, willing to talk to me and just share their thoughts in a conversation. So in this episode, I'm talking to Courtney Carthy, from Nearly Media, Nick McCorriston from Sound Boy Audio, and Louise Poole, from Welcome Change Media. And I'm really happy with the conversations that we had, because each of them takes a slightly different approach to the craft of being a producer, which is shaped by their background and their particular aptitude and take on what they what they do best. So we get into what's next for podcasting, music, copyrights, content strategy, and a whole load of other stuff, which, honestly, I hadn't expected to talk about before I hit record on the conversations. Courtney Carthy - Hearing the Potential Martin Franklin 2:07 So let's jump into the first conversation I had, which was with Courtney Carthy from Nearly Media, he's got a really strong radio background, spending almost a decade as a producer for ABC, he very kindly squeezed this interview into his journey from one place to the other in his car. So you will hear the sound of the car in the background. And I did think I could spend a bit of time cleaning up the audio and removing the various traffic noises that are in the background. But actually, I kind of like how it, how it sounds, he's in the car, and he's talking to me through his Airpods. And this is what it sounds like: Radio Production Martin Franklin 2:50 I know your background is originally as a reporter, and then producing in radio, I wonder if you could just give me your take on what's involved in the producer role for for radio. Courtney Carthy 3:04 It's basically everything but speaking on air, is how I used to think of it. So I didn't sort of get myself boxed in about, you know, what was or wasn't part of my job. I think before I worked in radio, I really didn't appreciate or media, you know, Southern first media sort of, like, role that I had was student radio. But I never appreciated how much work there was outside of the final product. And whenever I hear producer, I just think, you know, like, the person that does everything that knows what's going on everywhere. You know, that can that can yell at someone, not that I yell at people, but you know, that can identify, can see the end but knows where to start? Martin Franklin 4:02 Yeah. So in terms of the shows that you worked on, could you just kind of go into what's involved in from a production point of view? Courtney Carthy 4:14 Yes. The bulk of my time at ABC Radio, and, you know, radio in general, was as a live radio producer. So that would be like, you know, finding stories briefing, the host briefing the talent, deciding how we were going to cover a story. So, you know, effectively acting like a bit of an editor you know, sort of more like a newspaper editor, not an audio editor. And then, you know, pushing the boundaries of, you know, what, sort of, you know, angle we might take or, you know, how we respond to something or what the audience might like, and thinking about how that fits into the overall show in the overall context of, you know, where we were, you know, broadcasting. It would be physically, you know, physically getting on the phone, calling people, you know, as fast as you can, so that you can get people booked on that show, either the same day or the next, you know, couple of days. And then live producing the show. So that would be directing the host, updating the host, managing guests coming in and out. Cutting audio, getting audio, dealing with technical problems, answering the phones, pushing the buttons on the desk, sometimes dealing with legal issues, choosing music. You know, there's a whole host of stuff that goes on, as you know. Podcast Context Martin Franklin 5:52 Yeah. So that's, that's great. So can we move on to how does that roll transfer into the world of podcasting, as far as how you do it? Courtney Carthy 6:02 Well, the ability to conceptualise and then conceptualise audio, and hear it before you've heard, it is probably the biggest thing, I spent so much time explaining what shows will sound like and show formats, how they'll run to clients or, you know, just people, you know, that don't work in podcasts. But you know, we'd like to have a podcast made or, you know, helping me with a podcast show. People can't perceive what it'll be like, you know, if you say, you know, we'll have a cold open where you're speaking for maybe 30 seconds, and then we'll hit some music, and then that'll fade out into a second introduction that's got, you know, the proper sort of show, you know, theme and this and that. And then that'll go into the interview. And then we'll do a little bit of voiceover in the interview, you get through all the details, and people just can't hear it, like people that work in you know, radio, or podcasting or audio production can hear it Martin Franklin 7:05 With you taking such experienced role in shaping the podcast, what did the clients bring to you as a starting point? Courtney Carthy 7:15 They usually want a story told or a message conveyed. So they want they want to tell people about how, yeah, their customers that had a great experience, or that they're, you know, Senior Manager is really knowledgeable about something or update their staff on, you know, weekly things. Often, it's something that they're interested in. And you know, that's, that's fine. But it usually often often has to be shaped a little bit to make it interesting beyond their immediate team. And, you know, what's interesting in one context is absolutely uninteresting in another context. And that's, that's not saying that any context is better than another. But podcasts traverse, you know, several contexts, whether that's online, somebody's listening, you know, privately or, you know, you're trying to get listeners publicly. Martin Franklin 8:22 You know, a few years ago, I worked in the culture sector in the UK, and for one of the organisations that I used to work for, we had a media company come in to do some consulting on a project. And they started saying to us, "you need to find a preditor" to do a particular role. And this is the first time I've ever heard this amalgamation of two roles. It's producer, editor, so someone who can conceptualise your content, and then actually create it and edit it gets you from the start right to the finished content. So we've heard from Courtney Carthy, who I think is very much coming from the producer direction. And now we're going to hear from Nick McCorriston, and then coming up after Nick, there's an indication I think of a fourth roll, which is somebody who can do that end to end production, plus, do a little bit of strategy around it as well. And it's probably one of the things that we do here at East Coast Studio. Nick McCorriston - Game Community So let's jump into the interview with Nick McCorriston. When you popped up on the Facebook thread, you kind of introduced yourself as an engineer and editor. Yeah. And I know I've just had a quick look on your, your website and you've got production duties as well. How do you see the difference between those different roles? Nick McCorriston 9:50 It's interesting because I do generally prefer the editing side of work. I like the that's the where I feel skilled. And that's where I feel creative. I feel as though in the industry these days when a company says they're looking for a producer, they're looking for someone who's a script writer, they're looking for someone who is ready to write copy that is ready to churn out more of a commercial, the commercial end of a product, as well as have some skills in digital editing and in in, yeah, digital production and, and generally, some sort of an idea of how to make something sound good. But that's definitely not a priority. So I tend to step away from jobs that pitch specifically as looking at looking for a producer, I like to focus on making the shows that I work on sound good and consistent, rather than sort of focusing too much on an aspect of the shows that I'm not very skilled in and that I'm not confident in Yeah, achieving an end goal with so yeah, like, for me, editing is about Yeah, providing the best experience for a listener that they can consistent experience for a listener. And that's through you know, conforming to loudness standards, so that shows generally sound all the same and sound consistent so that listeners don't have to grab for a volume knob every time they switch your show. Martin Franklin 11:33 Yeah, it's that real sort of technical production level. So when you take on clients, what do they what do they come to you with as far as their their podcast goes? Destiny Community Nick McCorriston 11:45 That's a wide range of stuff. I mean, I've worked with a number of different people over the last five years, I've kind of been working in podcasts in the last five years, I started on a more of a twitch panel show, so focus specifically on a video game called destiny. So it was a podcast called The Destiny Community podcast, and we'd have four or five hosts, and then a guest on top of that. So we'd have a lot of audio that would come in each week. Martin Franklin 12:14 It's a lot of editing, when you get more than three people, it into a whole other level Nick McCorriston 12:18 Well, it becomes it becomes about priorities, then and the show would run for two, two and a half hours. So the priority wasn't necessarily editing anything, editing people's ums and ahs and stuff out of it, it was really just making sure the product was produced and ready to go and ready to be published. Then I started putting the audio on on the video content side of it as well and pushing that out, and that kind of gave me my my my leg up in getting things going. And then from there, I've really only sort of had people contacting me in regards to my skills in the last couple of years really, up until then it was me chasing work and me, essentially looking for listening to podcasts and loving podcasts and enjoying podcasts and identifying the shows that I thought that I could improve on. And then contacting them directly, just cold messaging them saying I think I can do this for you. I can do X for you. For this much. Is that amenable to you? And they'd say yes or no? And then we'd go from there. So Martin Franklin 13:23 Yeah. So from a practical point of view, when when you get a client who says yeah, I, you know, I'm sold on having you work on the show, what are they? What do they sort of supply with for you. Nick McCorriston 13:35 It varies from person to person and content to content. I work with a couple of content creators at the moment who are primarily focused on YouTube these days, but they have podcast sides of their content. Jared Kimber is my main client. He's a cricket journalist, who's based in Australian based in the UK. And we started by him, essentially, just servicing me with a couple of audio files that he recorded with with the guest as an interview. Mostly Zoom calls just like this. I take the good quality audio recording of jarred and clean that up, and then take the Zoom call of the guest and essentially run that through processes to just try and clean that up as best as possible. And make that sound not as harsh as a Zoom call might make something sound sometimes. That's kind of where I got a lot of the basis from my work was sort of doing that and people spotting spotting that. And sort of Yeah, but my pitch is that I can make better audio sound good or more listenable? So that's kind of what I pitched to people is that Martin Franklin 14:45 yeah, and you find people are responsive to that idea that if they sound better? Nick McCorriston 14:52 Everybody's been on Zoom a lot the last two years and everyone knows what that sounds like. And you want to try and avoid that as best as possible. Because it's an experience that a lot of people have day to day still going into gym calls and meetings and having to put up with with the sound of people's rooms over and over again. So yeah, it's it's definitely something that that's been attractive. And yeah, my business or an uptick in, in business over over COVID just meant that I was more consistently working from home and just meant that more people had time to create content. And so that's, that's, that's been the base of the business. Independent Music Martin Franklin 15:33 I had a look at some of the shows that you you produce, and funnily enough, I've just, I just followed one of them today, which, which was the Independent Music Podcast. I absolutely love the sound of that. And funnily enough, you've got the latest episode embedded on your site with a little sort of ticker of the title or something. And one of the artists who's released gets covered in in this episode is an artist who I used to work with the UK. Yeah, great. Janek Schaffer. And he's just got a, an album released with a collaboration with William Basinski. Yep. Amazing. So yes. 'Oh, yeah. Janek', gave a quick listen to it. And I thought, yeah, I, I really liked this. And what I wondered if you have any kind of guidance on his that use of copyrighted music in the show? Nick McCorriston 16:32 Right. That's it's an interesting topic. It's something that I've thought about the independent music podcast quite a lot. They specifically don't pursue any licencing deliberately, that they offer the show as a service. And so any of the independent labels that they work with or speak to, they have a almost an unspoken agreement that it is essentially just a free promotion for them. So they get all right, they get companies, contacting them, essentially asking them to play them on the show. It's not unlike a radio station, essentially. I t's operating as though it's a free promotional service, essentially. And so that, yeah, they don't necessarily pursue any of that. They haven't had any issues with it so far. I've been with them for close to 200 Odd episodes, I think. And 150 Odd episodes. And they did. Yeah, about 200. Before that. So yeah, they've they've everyone's been mostly just really warm. They mostly play labels that they know, Anthony Chalmers is? Well, both of them are former record label owners. Anthony Chalmers, runs Baba Yaga is hot in London, which is a booking, live concert booking agency. And so he runs the Raw Power festival in the UK. And so they both got pretty deep connections to independent labels. They have a sponsorship from the State 51, who were independent label that they play a lot from as well. So yeah, they have close relationships with the labels that they play. Martin Franklin 18:21 Thanks to Nick there for the information and the excellent sounding audio. So stick with me now, because we're going into the web of content with Louise Poole. Louise Poole - The Content Web Martin Franklin 18:33 What should potential clients expect from their Podcast Producer? And what's the kind of general sort of remit? Because different people kind of do it differently? So I just wonder, What's your take on the producers role? Louise Poole 18:49 Well, podcasting isn't radio. So that I suppose that's always important to realise from a production point of view, and from a listening point of view, as well. As when you email me that question about what does a product producer do? I actually thought maybe the question should be what doesn't a producer do? Because it's like everything in a way, depending on how much people want to invest with us in terms of time. The biggest difference between, say coming from a radio production background and taking on clients as a Podcast Producer is when you're in radio, you often are removed from the client when you're making stuff up, someone gives you a brief and so you don't have often have that direct interaction with you with them. And so talking to clients so much of it is less about the skills and more about being a bit of a life coach like a bit of a counsellor or a manager you it's a kind of it's it's coaching the performance out of them but also helping them overcome nerves and and helping their guests overcome the nerves as well. Coaching & Air Checks Martin Franklin 19:56 I really like that approach. Could we just talk a little bit more about some instances of that, that that you've encountered where you need to actually work with the client in order to help them deliver what they want to Louise Poole 20:12 We have a wonderful client who actually helps people overcome impostor syndrome, and is the first to admit that she suffers from imposter syndrome herself. And I'm constantly telling her, Don't give away the farm, you don't have to give everyone everything for free to prove to yourself that you are valid, which is always really interesting, because this is exactly the kind of stuff that she would say to other people to like, if you listened to any of her work her courses, she'd be telling people that as well. So it's, it's often I'll get a text message from clients where they, they might be having a bit of a, we got a record day set up on Tuesday, and it feels really overwhelming. And so it's talking through that, let's calm down. And let's we've got these steps. If we just achieve this, you don't have to worry about the big picture, we're just going to focus on this thing for today. That's all you have to focus on. It's my job to worry about the big picture for us. So I think there's a lot of that, and a lot of, and it seems to be something I would get in radio all the time where listeners would say I hate the sound of my own voice. And we never really hate the sound of somebody else's voice. But when you hear yourself, a lot of people don't like how they sound. And so there's a lot of reassurances that you do sound good, this sounds great. Martin Franklin 21:31 You've got a bit of a USP of having been an announcer yourself at some stage. So do you do you kind of use those skills in the coaching phase with clients? Louise Poole 21:42 Yeah, yeah, for sure. Yeah, teaching them how to present ways to improve, you know, one of the things that we actually do offer ease with the clients that we have is we do do regular kind of regular airchecks of people's productions. So we put it together. And then because I do full service as well, whereas a regular producer might not necessarily take it all the way to the post production stage. I can tell them, Okay, well, here's all the crutches that I've edited out. And here's where we can improve on that, uh, you know, if you pause before this if we do a bit more research on this. And I think that's really quite valuable actually, to come at it from not just a technical point of view, but actually a performance point of view. Martin Franklin 22:24 So when when clients arrive at your door, what do they typically sort of bring with them as far as the podcast that they would like to have produced? Louise Poole 22:35 They have ideas, and I think they have a lot of dreams and visions. And what we do is to take all those ideas and put them into a tangible, workable strategy to bring what they hope they want to make to life, in a practical sense, as well. So and also fitting within I suppose the budget on that too, because, you know, everyone tells me they love true crime podcasts. But the amount of production that goes into a true crime style podcast is not necessarily accessible for most people who want to start a podcast. Yeah, so it's sometimes having those conversations. Content Strategy Martin Franklin 23:11 The other thing I was curious about is you mentioned about content creation, do you get involved in that side of things as well? Or like, helping people to produce content to promote what they do? Louise Poole 23:22 Yeah. So that's, that's the actually. And I probably would say, we have more clients, in least in the early days, because we've only been running the business out for a year that are coming from a more of a spinning of content side. So lots of things to do with social media videos, article writing. So we design this concept called the the content web where we see content, whatever that piece of content is, whether it's a podcast, or whether it's a course that you've written as the spider in the middle, and you can spit it out to all these different places on the web. And you know, that that 130 minute podcast could become five different articles on LinkedIn, it could become, you know, 10 different static posts, it could we could turn it into, you know, those three minute long minimum Facebook videos that fit the algorithm and Reels and, or YouTube. And then all those bits are also interchangeable, like because the content feeds itself. You could then say, well, from that podcast episode, maybe that's the start of a micro course. But then if we move it around the micro course have the spider in the middle could then also shoot out the podcast. Yeah. So we really work with people on repurposing, and that's probably a big thing that came from as an idea from my radio background repurposing, and recycling because people don't listen to all the thing all the time in radio. That was a very good way to put it, but you could run the same break across three different days of the week, and it's not the same audience listening at the same time. And social media is a bit like that. as well, because the algorithms only push out your content to a certain percentage of people. So repurpose recycle, and you save yourself a lot of headache. Martin Franklin 25:08 Yeah, I have a similar similar concept that I tried to promote to a lot of my people, but I find even people who are marketers, kind of seemed to sort of struggle to adopt that. Sometimes I wonder whether they sort of see your podcast as something which is isolated, you know, in itself, it's just like, oh, we'll do this extra little thing. But the idea of integrating it into a whole cycle of messaging seems to be something which is kind of harder than it should be. I don't know, hahah Louise Poole 25:46 No. No, I know. Like, we actually think of the idea. Do we call it a podcast? Like what we're doing? It is a podcast. And that's how people no it but I also think there's this perception that people have a podcast is two dudes sitting in a closet talking shit. And that's not necessarily what it is either. It can be a really powerful branding tool to integrate into your whole strategy. And yes, yes, definitely, in getting people to understand that it is it's a powerful thing that is part of a whole, like, I don't think that you could just have a podcast for your business. And that was the only way that you marketed. Martin Franklin 26:25 But so you're talking about content strategy, really, aren't you? Louise Poole 26:29 yeah, I am down to content strategy. So I know we were talking about what does the Podcast Producer do that but I suppose a really good Podcast Producer was thinking of the whole picture. How do you make this work for the person that you're trying to help succeed?See omnystudio.com/listener for privacy information.

Episode 592: September 11, 2022 playlist: Combustible Edison, "In The Garden Of Earthly Delights" (The Impossible World) 1998 Sub Pop Loraine James, "Choose To Be Gay (Femenine)" (Building Something Beautiful For Me) 2022 Phantom Limb James Murray, "Clearings" (Careful Now) 2022 Home Normal Chasms, "Submit" (Submit) 2022 Felte Amateur Hour, "Buried Alive" (Krokta Tankar och Branda Vanor) 2022 Appetite Clarice Jensen, "Joy" (Esthesis) 2022 Fatcat Yuta Matsumura, "Box Garden" (Red Ribbon) 2022 Low Company S. van der Toorn, "vervlogenheid iii" (vervlogenheden i-xi) 2022 Aural Canyon JJULIUS, "Ett paradis i mig" (JJULIUS "VOL.2") 2022 Mammas Mysteriska Jukebox William Basinski, "DLP 2.1" (The Disintegration Loops) 2001 2062 Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Episode 592: September 11, 2022 playlist: Combustible Edison, "In The Garden Of Earthly Delights" (The Impossible World) 1998 Sub Pop Loraine James, "Choose To Be Gay (Femenine)" (Building Something Beautiful For Me) 2022 Phantom Limb James Murray, "Clearings" (Careful Now) 2022 Home Normal Chasms, "Submit" (Submit) 2022 Felte Amateur Hour, "Buried Alive" (Krokta Tankar och Branda Vanor) 2022 Appetite Clarice Jensen, "Joy" (Esthesis) 2022 Fatcat Yuta Matsumura, "Box Garden" (Red Ribbon) 2022 Low Company S. van der Toorn, "vervlogenheid iii" (vervlogenheden i-xi) 2022 Aural Canyon JJULIUS, "Ett paradis i mig" (JJULIUS "VOL.2") 2022 Mammas Mysteriska Jukebox William Basinski, "DLP 2.1" (The Disintegration Loops) 2001 2062 Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Listening to The Disintegration Loops during wildfire season — a review of William Basinski's seminal album as a meditation on looping thoughts, physical disintegration, and fire. – – – Subscribe to The Wind wherever you get your podcasts, and visit https://www.thewind.org (thewind.org) You can find a transcript of this episode at https://the-wind.simplecast.com/episodes/the-disintegration-loops/transcript (https://the-wind.simplecast.com/episodes/the-disintegration-loops/transcript)

Tonight's edition is a mix of new and classic tunes from The Black Dog, William Basinski, Balmorhea, Tape, Ishq, Kyle Bobby Dunn, Fridge, Directions and plenty…

Midterms continue this week on My Little Underground! Conor Rooney returns for our annual conversation of our favorite full length albums from January to June. Conor was really into the releases from Soul Glo (as did I), Angel Olsen, William Basinski & Janek Schaefer, Alabaster dePlume, and Spoon. As for myself, I talk up long players from Ravyn Lenae, Czarface, Jeanines, Combo Chimbita, and Benny The Butcher. I also get Conor's thoughts on the new Yeah Yeah Yeahs and Perfume Genius collaboration and he gets my opinion of the strange but understandable rollout of the new Black Star album. Sign up for the My Little Underground newsletter: https://www.peteraradio.com/newsletter My Little Underground socials: https://www.facebook.com/mlupod https://twitter.com/mlupod https://www.instagram.com/mlupod/ #mlupod --- Support this podcast: https://anchor.fm/mlupod/support

Tripp Nasty takes us deep into the strange and scary world of Denver's alt music scene. Tripp discusses his history as a computer programmer(??) and future physicist(???) before recently going for his masters in accounting(????) all while developing a deep appreciation of sound and Moog's synthesizers. He also talks about landing in jail for two days during the pandemic (?????) and a Denver industrial band that landed in jail themselves after a prolonged harassment campaign of Tripp and other local musicians that involved fake tours, tear gas, and home break-ins(?????????????). Because Tripp's connections in the underground run deep and Brandon and I already name drop so many bands that range in obscurity, I've included short clips interspersed and laid under as bed music throughout the episode for some additional context for people like Jennifer. The episode opens with Tripp Nasty's "Western Pride" and closes with "On a Snowy Afternoon," both off his recent album Making the Pythons Dance. Other clips in order of appearance include Shonen Knife, the Disco Biscuits, Echo Beds, William Basinski, Sun City Girls, Crash Worship, James Chance & the Contortions, Yonatan Gat and the Eastern Medicine Singers, Harry Pussy, Tripp Nasty's "Snowy Afternoon," the Forbidden Planet soundtrack, Delia Derbyshire, various modular synth clips from Tripp Nasty Sounds on Instagram, Ezra Buchla, and more from Tripp Nasty Sounds. I'm not gonna post song titles since I'm not trying to get us unlisted. You can find Tripp Nasty on his website, his bandcamp, and twitter. Jennifer C. Martin also has a new fiction piece up influenced by her new relationship. Give that a read at Olney Magazine.

Rob Gordon is a DJ, musician and one of Canada's most elusive and influential drummers. Rob sat down with the boys on a balmy Tuesday night to discuss Djing vs performing, Zack Fox, William Basinski, feeling the room, alienation, Erics Trip, drawing a line between yourself and your creativity, non linear performance, nihilistic artists, tension and release, feeling compelled to make good work, Arca, Elysia Crampton, creating your own universe, the death of magic, not having social media, parenting, Rob flips the pod on its head and interviews us, his day job as an exterminator, a TV show staring LA Timpa, spiders, drumming, quitting music, childhood, self realization, duality, reverence and much more! Josh McIntyre Austin Hutchings ---- Cold Pod https://patreon.com/coldpod

Exceptional long workouts on this week's Independent Music Podcast coming at you from all over the musical spectrum. From ferocious Japanese space rock to twisted metal, to fire and brimstone spiritual jazz, there's a lot to spend some good quality time with. On the shorter side, we have Maori recordings from the early 20th Century, ex-Black Dice/Lightning Bolt genre melder Hisham Akira Bharoocha's Yokubari moniker, supreme reissued Israeli post-punk, lo-fi folk, and lots more. Tracklisting Dhidalah – Invader Summer (Guruguru Brain, Netherlands) Yokubari – Buki vs Buki (Chinabot, UK) Cerrero y la Marea – Lamento (Canta Lizeth Micolta) (Llorona Records, Colombia) Minimal Compact – Statik Dancin' (Fortuna Records, Israel) Martha Maclaren – Jake (self-release, UK) GAF & The Love Supreme Arkestra – Fuego en el Cielo (Discrepant, UK / Keroxen, Spain / Foehn Records, Spain) Konvent – Harena (Napalm Records, Austria) Dvanov – Функциональная музыка (Functional Music) (Cruel Nature Records, UK) William Basinski & Janek Schaefer – …On Reflection (One) (Temporary Residence Ltd., USA) Ana Hato – Waita Poi (Canary Records, USA) This week's episode is sponsored by The state51 Conspiracy, a creative hub for music. Head to state51.com to find releases by JK Flesh vs Gnod, Steve Jansen, MrUnderwSood, Wire, Ghost Box, Lo Recordings, Subtext Records and many more Produced and edited by Nick McCorriston.

Antonio Correa, amigo, maestro, compositor y pianista, se sienta en nuestro piano llamado Dionisio para interpretarnos una de sus obras y hablar sobre el minimalismo, el silencio, la aceptación de las influencias dentro de la labor del compositor y de la necesidad de componer. Interpreta para nosotros su obra: Superficie III Música de Antonio Correa: https://lamusicadelaptopper.bandcamp.com/ Música de ALS ECO: https://alseco.bandcamp.com/ Música de OBI: https://obi2000.bandcamp.com Escucha los demás episodios de IMÁN MUSIC SESSIONS EN www.imanmusic.net/sessions Un podcast original de Imán Music Grabado por Jorge Arango Editado por Tariq Burney Presentado por Tariq Burney y Sergio Cote RESEÑA ANTONIO CORREA: Antonio Correa (Popayán, Cauca, 1982) Antonio Correa inició sus estudios musicales en el conservatorio de la Universidad del Cauca a la edad de seis años. No sería sino hasta los doce años que empezaría a estudiar con gusto la música. El detonante de este cambio de actitud tuvo que ver con un castigo muy severo de sus padres tras un acto de delincuencia juvenil bastante menor, pero sumamente vergonzoso. Pasó entonces tres meses castigado sin salir con sus amigos ni ver televisión. La música llegó entonces en su vida, para quedarse, por cuenta del aburrimiento que el mencionado castigo causaba. El gusto de Antonio Correa por la lectura también se asentó en este momento. Para cuando empezó el castigo, no tenía nada más que hacer como no fuera tocar piano y leer. Para cuando terminó el castigo, no quería hacer otra cosa como no fuera tocar piano y leer. Eventualmente, al terminar el bachillerato, entraría a la Pontificia Universidad Javeriana a estudiar piano. Lo de la composición vendría poco tiempo después. Hacia el 2003 conoce la música de Steve Reich y Simeon ten Holt y empieza a componer como Steve Reich y Simeon ten Holt. Hace esto por varios años con algunas piezas de interés, pero con muy poco realmente de valor. Eventualmente, cuando Antonio Correa empezó a tocar la música de Steve Reich y Simeon ten Holt, gracias al ensamble que ayudó a crear junto con Eduardo Caicedo y Adriana Vásquez llamado Als Eco, se dio cuenta de que no necesitaba seguir componiendo alla Reich/Ten Holt, pero que sin embargo, necesitaba seguir componiendo. Su solución inicial fue conservar el gusto por la tonalidad y la repetición, pero eliminó las relaciones rítmicas predeterminadas. Luego, eliminó las relaciones tonales predeterminadas (por tenues que fueran), pero esto no le gustó y volvió a sus ideas y estructuras tonales y modales y a un particular gusto por la lentitud por cortesía de Morton Feldman y Jürg Frey. Así las cosas, hoy por hoy, describe su música como la de un fan de Steve Reich, Simeon ten Holt, Morton Feldman, Jürg Frey, William Basinski y Brian Eno que resultó estudiando música en la Javeriana. Se deduce, por como define su música, que ser original lo tiene sin cuidado… La música de Antonio Correa ha sido interpretada en Colombia, EEUU, Francia, Alemania, Holanda, Inglaterra, Serbia, Croacia, Ucrania, Austria y Corea del Sur. Como intérprete, ha tocado más de una obra…

All we talk about is the smoke. Where I live it has replaced the weather; both conversationally and to some degree physically. Fire has become its own season.I have not had a conversation in over a month that didn't at least touch on the smoke.But really, that's only if we're lucky. Because if we aren't talking about the smoke, it's because a fire has come close enough to talk about that instead. Close enough to our houses or friends houses or favorite places in the mountains that we watch slowly be eaten by a red line as the Facebook group updates the fire perimeter.

Saturday 11 September 2021: Remembering the 9/11 attacks through musical memorials; shamisen player Noriko Tadano performs live

A time out of time, with Pablo's Eye, William Basinski, Ulla Straus, Orphax, Northaunt and Throbbing Gristle.

Straight from Steel Town, we talk to Jlin The Innovator on the third episode of Nuts And Bolts Season #2. Growth and health in music production: it's not just about the skill, but also about the spiritual, says Jlin. Creating layered, propelling compositions, Jlin shares with us her tips on working on the road, affordable gear, and more. Jlin caught everyone off guard with her thrilling albums Dark Energy and Black Origami. She has collaborated with amongst others choreographer Wayne McGregor, and musicians Holly Herndon and William Basinski. Nuts And Bolts is hosted and made by Jessica Sligter, co-engineered by Bridget Ferrill, and co- produced by Anne Gerd Grimsby Haarr. This episode was supported by Norsk Kulturfond.

This week’s episode is full of inspired new releases to feed your internal circuits. There are some infectious, fresh sounds from Placid Angles (John Beltran), Janeret, Fort Romeau, and Smallpeople. An ambient suite from Nivhek, William Basinski, and Midori Mirano. Introspective musings from Helado Negro, Jessica Pratt, and Hand Habits. Classics from Cylob, Polygon Window, […]

Welcome to Episode 15 of The Ambient Zone Podcasts, curated and produced exclusively for us by Digitonal featuring tracks from across The Ambient Zone Playlists 1. 36 – Aphantasia (The Ambient Zone) 2. Sum Wave - Soft Grains (Sum Wave) 3. Special Request – Chrysalis (Houndstooth) 4. Moby – Overland (Mute Records) 5. Max Richter - Path 19 (Deutsche Grammaphon) 6. Christina Vantzou - Some Limited and Waning Memory (Kranky) 7. Group Listening - Snow Canon (Prah Recordings) 8. Oneohtrix Point Never - Black Snow (Warp Records) 9. William Basinski - 92982.3 (2062) 10. Anenon – Verso (Friends of Friends) 11. Hammock – Elm (Hammock Music) 12. Christian Loffler - The Great White Open (Ki Records)

Welcome to Episode 9 of The Ambient Zone Podcast, compiled exclusively for us by our Podcast host, Andrew Dobson (Digitonal) featuring tracks from across The Ambient Zone Playlists 1 Dusk Line Hills - Elskavon (Anthem Falls Music) 2 Infinite Shore - Steve Roach (Hearts of Space Records) 3 Death Valley - René Aubry (Rene Aubry) 4 Dorsal - Bing & Ruth (4AD) 5 92982.3 - William Basinski (2062) 6 Rolling – Roedelius (Deutsche Grammophon GmbH) 7 Orebro - Maps and Diagrams (Nomadic Kids Republic) 8 Spark - Niklas Paschburg (7K!) 9 Drops - Pascal Schumacher (Monday Night Productions) 10 Her Eyes Sparkled And She Walked Away – Xela (City Centre Offices) 11 4 3s 555 [Part 2] - Album Mix - The Black Dog (Dust Science) 12 La petite Fille De La Mer - Remastered – Vangelis (Universal Records)

A straight rant on the legacy of William Basinski’s Disintegration Loops, with background on my time at Pitchfork and as a loop musician. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit shallowrewards.substack.com

Joseph here, presenting the first episode in our three-part 2015 retrospective. This year, we have recorded  individual sets that showcase our personal favorite albums and tracks of 2015. Included within are favorites from Beach House, Dungen, Jessica Pratt, William Basinski, Bjork, Max Richter, Dave DK, Tame Impala, and many many more! I had two hours to work with and […]

A slowly developing amalgamation of mixed-genre madness, fusing ambient, experimental & jazz soundscapes into a mixture of quiet deconstruction. "Slow Decay" is a collaborative mix from Low Light Mixes & Ambient Landscape.  We've each done mixes for each other but we thought it would be cool make a mix in which we both contributed alternating sections.  Gene(ambient landscape) came up with the title and I started things off with a couple of cuts.  I sent it to Gene, he added a few more, sent it back to me, I added more tracks and so on and so on.  Until we had a fascinating 1 hour & 16 minute journey. I love how things turned out. The combination of ecm-style jazz and ambient and experimental music worked perfectly. Don't forget to check out Ambient Landscape here... https://ambientlandscape.wordpress.com/ https://www.mixcloud.com/gab_labs/ Enjoy T R A C K L I S T : 00:00    Signal Structure (w/treatments) - Positive Centre 03:12    Upon Contact Reworked - Jorge Haro (Bruno Sanfilippo) 07:10    The Squealing of Rats & the Squeaking of Boards - Marielle V Jakobsons (w/treatments) 08:45    Parallel Realities (excerpt) - Jack DeJohnette, Pat Metheny, Herbie Hancock 11:40    Dis Loops 1.1 - William Basinski - performed by The Wordless Music Orchestra 21:40    Upon the Break Arch - Benoit Pioulard 26:20    Structural Functions Of Prezens (excerpt) - David Torn, Tim Berne, Craig Taborn, Tom Rainey 30:25    Sluimer (excerpt) - FANTOOM (René Aquarius, Otto Kokke, Dirk Serries, Martina Verhoeven) 34:50    Passage D.E. - Jon Hassell 39:10    Solphaer - Alva Noto 44:05    Porch Swings - Cinchel 45:55    Arder De No Sentir Calor - Mauro Beltran 50:27    Night Peculiarities – Johan Troch 53:19    Tunis at Dawn - Anouar Brahem 59:44    Rosemarie - Trio3: Oliver Lake, Reggie Workman, Andrew Cyrille w/ Vijay Iyer 66:04    Setting Out - Nick Cave & Warren Ellis 67:50    The Wind in High Places: Above Sunset Pass - John Luther Adams 70:45    Tipping Point - Andy Sheppard Quartet 76:15    end