(Duration: 02:15.) "Discard" by Moldilox, aka Joseph Luster. At the end, the notes all pile up in a big distorted mess on the floor." I like the result because it evokes the lazy, slouching walk of someone with their pants hanging down too low.
The hip-hop beat was also temporally distorted with nonlinear time-stretching. The color wash in Jeremy Traum's illustration gave me an excuse to start with a nice drone extruded from the piano sound-source, because, come on, who doesn't like a nice drone? In a separate process, the piano recording was temporally distorted by shuffling chunks in an audio editor this edit was run through a filterbank. The two sound-sources I chose to use were a recording of solo piano, and a hip-hop beat. Artist's Description of Piece: "Broadly, my concept when planning/recording 'StaffGrabbing' was to portray the disorder of a system that may once have been in order, and a 'rude intrusion' that hastens the breakdown. The whole composition was created in Audiomulch." The rhythmic noise is taken from the beginning of an old cylinder recording. The sounds I used are a combination of found recordings and original material, the swash of orange/swell at the end is a loop taken from a public domain recording of Beethoven's Adieu au piano, altered with a granular processor. The result is repeated figures of a few notes, clashing in layers, covered in a haze of recording and processing artifacts, and resolving in a swell.
The key elements for me were the few remaining notes on the foreground staff before they were burgled, the jumble of notes in the bag, the noise and detritus scattered about the burglars, the orange swash, and the impression of musical remnants. Artist's Description of Piece: "I chose to interpret actions and elements contained within the image as the basis of musical instruction. (Duration: 06:26.) "Adieu for Industry" by Sighup, aka Steve Hamann.
Milkytracker note on download#
Direct links to download (as well as an interface to stream) the individual MP3s are provided.
Please note that the links below in this post will interrupt the streaming audio. Updated May 17, 2010: A tenth track, by Simon Lott and the group Beta Collide, coordinated by Beta Collide member Brian McWhorter, has been added. Updated May 4, 2010: After the initial seven tracks, an eighth by My Fun and a ninth by Jettatura were added. Should you be interested in contributing your own interpretation of the Traum illustration, contact me at *protected email*. (The music shown in the image is reportedly an excerpt from Ernest Bloch’s Suite hébraïque, which dates from the early 1950s.) To read the Atlantic article and see (in larger format) the image in question, visit. I made some additional comments at, where the audio is housed. It is named Despite the Downturn: An Answer Album, the title phrase taken from a sentence in McArdle’s article.įor my (written) critique of McArdle’s piece, go to these two links:,. You can flip back and forth through the playlist using the small arrows. Some contributors used the notes as a starting point, while others took the canvas as a picture to be interpreted: Since the purpose of this album is to respond musically to McArdle, I’ll now let the music speak for itself. In a small irony, the illustration used to decorate the article interpolated a detail of a preexisting work that appears to not yet be in the public domain: The article was accompanied by this beautiful illustration by Jeremy Traum. The article, by an editor at the magazine, Megan McArdle, was titled “The Freeloaders.” It purported to assess the impact of file-sharing on the music industry, but it framed the argument in a manner that (in my mind) contributed little to the important ongoing discussion about the nature of copyright in the Internet Age instead, it simplistically equated the “music industry” with the record industry, and pointed an accusatory finger. What they all have in common is that each is a response to - a non-verbal answer to - an article from the May 2010 issue of The Atlantic.
Milkytracker note on series#
The interface immediately below will stream in sequence a series of tracks that I commissioned from the musicians.
0 kommentar(er)
