Living 4’33”

I haven’t experienced Mute’s STUMM433 release yet, it’s not due out until May. The proceeds from its sale go to charities, so that’s a big huge plus for it already. Pulling big names like Depeche Mode and Moby will hopefully make for good sales.

This is also not the first time 4’33” has been “recorded” for the purpose of a record release and not as part of a live performance. Frank Zappa has done it, Pauline Oliveros and the Deep Listening Band plus others, and some even got sued for it. However, this tweet from the John Cage Trust, of all places, put me on guard:

Immediately, I think… “cover”? How? What is this photo?

So once I start looking into this, I learn about the accompanying videos. The Laibach one featured on the Mute website (which cleverly includes a shot of the Cramps Caged/Uncaged homage from 2000) is a kind of short silent film. I imagine many (if not all) of the other videos will be similar. So it’s telling that they refer to it as a “cover” and use words like “interpolation” to describe this collection.

The terminology now makes sense to me. These are not performances of the original score, but takes on Cage’s own expansion of the idea that it could be performed as anything, at any time, for any duration (like the versions of 0’00” from Song Books). Presenting an alternative action during the “silence” of a representative version of 4’33” is not so much a reading of the score as it is an interpenetration of events. Which is fine, even enjoyable. Nevertheless, the very idea of 4’33” in the popular eye is surrounded in jokes and doubt, so it is ironically funny to think that a recording imparts the same sort of wonder that a live experience of it does.

Spoiler: it doesn’t.

In addition to witnessing it several times, I performed 4’33” at my undergraduate recital (on classical guitar!). Let me tell you… it is much more than just the sounds around you and what leaks in. It is a visceral experience that isn’t captured in a recording, where the very best of intentions can only pay tribute to the surreal actuality of sitting there, enduring the seconds as nothing happens. The tension in the audience is very VERY real. Sometimes funny, sometimes raucous, but regardless the performer must stay focussed. There is simply nothing that gives the work the heft that Mute describes without experiencing it firsthand.

As a kind of funny postscript… when I was near the end of my time in grad school, where I rigorously studied voice and Cage’s music, I was asked to participate in a production of Theater Piece, a work of simultaneous but unrelated events. Somehow, CF Peters (the sole publishers of Cage’s scores) heard of this production, that I was involved, and assuming me responsible tracked me down to demand royalties be paid for staging the piece. Except – for once – I wasn’t staging it, I was merely performing, and explained as much. I wonder… had I said we weren’t performing Theater Piece, only doing a cover of it, if they would have left us alone. 😉

Finally, I recommend No Such Thing As Silence: John Cage’s 4’33” by Kyle Gann if you’re curious about the mythology around this composition. It is far from my “favorite” piece of Cage’s but is assuredly the most important in American musical culture.

So You Want 10 Albums?

Ok Bob. You asked for it. With one caveat.

In no particular order, post 10 of your favorite albums, one per day, which made an impact on you. Post cover, no explanation, nominate someone each day to do the challenge.

I think these games are fascinating windows into peoples’ aesthetic, but because of FB’s sorting and selection criteria, I see maybe TWO of a particular friend’s ten-albums-once-per-day series. So, if I am taking the time to compile, I want to make sure you see them all. Plus I’m all into the cross-platform sharing thing and doing this on my blog helps me spread the word of good music (and keeps me writing). And being a DJ there are plenty of previously posted lists, check out previous blogs for more of my listening habits and recommendations.

One final note: this was fucking hard, and I had to mostly stick with certain genres (I can’t even begin to describe the numbers of vocal music recordings that have influenced me, for example). To cull influential albums down to 10 is worth the challenge alone… indeed, mine goes to 11. It could be an entirely different list tomorrow. Nevertheless, every one of these has a story (and not necessarily musical ones), but in keeping with the guidelines of the challenge, they will remain untold… for now. 🙂

Pink Floyd ::: The Dark Side of the Moon
Jethro Tull ::: Stand Up
Sound Track ::: The Cooler
Miles Davis ::: Kind of Blue
Naked City ::: Grand Guignol
Autechre ::: LP5
Shpongle ::: Are You Shpongled?
Peter Gabriel ::: Us
Squarepusher ::: Selection Sixteen
Lusine ::: Serial Hodgepodge
John Cage ::: Sonatas & Interludes for Prepared Piano (Joshua Pierce, piano)

Fullerton Art Walk Menagerie

Here’s my own collection of aural glass animals for you to enjoy… a mix of groovy and beaty dreamscapes (3:38 @ 256K cbr mp3), recorded live for the Fullerton Art Walk on Friday (April 6), accompanying tattoo artist Jon Kelly (known for Olde Tyme Tattoo) as he applies his latest in biomechanical fashion.

=== e d  i   t ===

…by the way a vinyl mix…


Now Playing

– Lackluster ::: The Invisible Spanish Inquisition –

– Steve Martin & The Steep Canyon Rangers ::: Rare Bird Alert –

– Marcus Fischer ::: Collected Dust –

– Woob ::: Paradigm Flux –

– Stimming ::: Cheesecake –

Listening in 2011

Three years ago was the last time I did any kind of “year’s review” of aural nourishment, and I sort of feel the need to do it again. Those 24 hours of music are worth revisiting, and the following may not even count as a “best of,” but it is some of the best music I’ve heard this year, and I listen to an awful lot. Maybe call it a “compendium”? No that sounds too boring. In actuality this list is simply nothing more than a bunch of shit that goes on my iPod and ends up staying there for longer than it takes for me to get bored of it.

And yeah, there’s some strange shit indeed. Although I don’t cover any “pop” here, there’s still a very wide range of music represented, listeners will be hard pressed to find at least something attractive on this list. Click on the album title to find where you can get the release; you’ll find an amazing amount of these are on bandcamp and can be streamed for free. These also aren’t in any particular order, they all stand alone on their own and can’t really be compared to each other as a “top-#” list. So without further a’do…


Andy Stott
Passed Me By / We Stay Together
Modern Love

I am so happy the throbbing washing machine multi-textured off-balance-beat dub techno sound has continued strong thanks to this artist. The constantly appearing layers are the most surprising and pleasing parts of these tracks, looping sound combinations you just don’t expect, spanning a wide spectrum. There emerge strange hypnotizing rhythms, thankfully not always percussively so, drawing the ear into a swaying communion.


Kangding Ray

I like this label, I really do. I can listen to entire albums of strategically placed pitch-shifted static and buzzing and genuinely enjoy it. These tracks, however, have a personality that stands out among all the other click-pop-n-wrinkle hardcore glitch. Check out older albums too, all extremely nice static buzz filled phat bass ear candy with more of an organic character than your typical release from here.


Aril Brikha
Palma / Forever Frost
Art of Vengeance

Getting involved in the Chicago house DJ scene made me a huge fawning sucker for that special deep style of dimly lit underground basement club speakers-in-your-ears house. These EPs – on Brikha’s new label, very worth following – provide a longing glimmer of those nights, a sliver of a view into that unending helical mass of filtered 4×4, but with the added flavor of a nicely wrought darker melodic display and just the right amount of unpretentious builds, expertly structured above thick analog basslines.


Daniel Menche
Sub Rosa

Really getting into the subtle noise of this album, a stereophonic treat where tendrils of sound creep into formation, directed by equally interesting shifts in rhythm. I’d certainly call it difficult listening, but more on the down-low engaging side than an all out aural assault, it even works as passive earpaper while I sysadmin. This artist is new to my ears this year, so definitely looking forward to discovering more, and super glad I bumped into this release when I did.


The Black Dog
Liber Dogma
Liber Kult (Book 1 Ov 3)
Liber Temple (Book 2 Ov 3)
Liber Nox (Book 3 Ov 3)

Dust Science

It was a great day when Ken Downie teamed up with Dust Science to resurrect The Black Dog in all its weird glory. It’s like a hole was in electronica and nobody ever knew it until new albums and remixes started showing up these past few years, and now here’s a slew of new tracks (colored vinyl if you’re one of the lucky ones!). The label page says the 12″es are meant a continuation of the more darkly ambient Music for Real Airports, but they are definitively more straight-ahead techno. Dogma, on the other hand, is one of my favorite listens of the year, meant as a snapshot of what tBd does live, and the result is a beautifully organic evolving mass of electronic exploration and funky groovability. I never got into this band much pre-Plaid, but what I’ve heard from that era doesn’t touch the production values of what they’re doing now.


The God Particle

I can’t deny my love of this band and when even a small two-track release appears I’m all ears. So although some of their tracks get way too poppy for my taste, it’s perfect that these are somewhat oldskool, and I especially love the Pink Floyd mimickery (not entirely unlike Download’s “Flight of the Luminous Insects”). I guess there’s a lot I like in tracks like these that remind me of my favorite times as a kid listening to the unfolding of albums like Dark Side of the Moon, and that can’t be a bad thing.



It’s really special when I find a record that caters more to darker electronica, the type of filtered analog sound with delicate beats and expansive reverberation atmospheres, the kind you’ll often think “man this would sound killer on a big system in the middle of the desert,” complete with crunchy liquid percussion. It’s not all beats though, there are some incredibly intense ambient sections that equally wrap your ears in haunting melodies from the other side of the chasm.


Margaret Dygas
Margaret Dygas

There is a playfulness in this album that compliments the regular cut-up and deep techno feel I usually get from the label. You know the drill: clean round synth harmonics contrast with crisp lines of shuffly drums and jazz-based samples nestled among the swelling and swaths of ululating drones… sounds typical, yes? Her arrangements are anything but; simple dissonant tonal contrasts propel the tunes beyond a boring four-by-four, and from out of nowhere you’re sifted into head-bobbing syncopation that evolved from surprises you didn’t even realize had happened.


Amon Tobin
ISAM (Control Over Nature)
Ninja Tune

Some regular fans were real disappointed, but the people I know who love it probably do so for all the same reasons i do: a poignant lack of sampling other works, intense abstract sound design, at times tableau-like, to-the-point sonic explorations, familiar filtered analog synth kaleidoscopes mixed with ample digital acrobatics and just the right touch of an eerily disturbing off-kilterness. I got the fantastic blue-fabric bound book version from Amoeba in LA, which is this amazing outlay of a miniature insect-like world created by Tessa Farmer (interestingly enough the very day I interviewed at Buzz). I share some heritage with the album too, mastered as it is by my buddy Shawn (aka Twerk) over at AudibleOddities.


Les Enregistrements Variables

When I listen, I keep wanting the solemn hypnotic repetitions to evolve into a live jam of some sort, and I fondly call this melancholy collection ‘shoegaze klezmer’, if for nothing but the acoustic instrumentation. My favorite parts of it are the weirder, more experimentally minded sounds, rhythms and ambience that flow between and around the masterfully arranged conversation between the instruments (all played by the same composer and arranger). This is a record I might expect to find as a solid Tzadik release with some extended soloing, and will hopefully be picked up beyond its homemade short-run life and get some play out as a real ensemble.


Matthew Mercer
Pianissimo Possibile

If you listen to any amount of electro-acoustic music you’re as painfully aware as I of the the glut of piano works. Fortunately idioms those… here broken… gLitsched… expectations frustrated – (just look at the title) – an immensely enjoyable equal footing of structure and form with materials instead of turning into some kind of accompaniment… driven and poignant, thickly colorful expositions.


Hash Bar Remnants, Part I & Part II

Rod Modell has got the knack for delivering a constant stream of floaty reverberating dub, and these installments are no exception. Slightly ambient tracks with lighter drums sit neatly beside heavier beats that could easily be mixed into techno – in fact all two volumes provide a wealth of nice and long dub house tracks for the discerning mixologist (there is even a follow-up release of loops from these records).


John Tejada

Usually when I see any remix on something done by Tejada, I get it, but have never been so much into the full albums. This one is the exception, a stellar atmospheric and minimal techno release, not to mention I just love having a Tejada vinyl with the ubiquitous Kompakt circles.



Geoff White finally takes off his techno mantle and gives back some even greater tracks from his more smoothly downtempo project. I like his house beats a lot, and the first Aeroc album was excellent, but this one takes all the elements of that goodness and fills in the rest with more of it, generously connecting with samples he uses in more upbeat affairs. Some of the best combinations of weird sounds and more traditional (acoustic) guitar licks out there, with plenty of groove to catch yer hook.


Phantasma Disques

AMEN / AMEN Remixes
Tundra Dub

When you’re actually searching through the underground for new things instead of just allowing them to pop up, you tend to run into some pretty awesomely strange shit (I mentioned the strange shit, right?). So first of all, I hate this genre title: Witch House (and I know you’re thinking, “RUN’s house!”). The alternatives are maybe not that better… ‘Okkvlt’ is probably what works best for me, but there’s also ‘Zombie Rave’ or the more musicological but equally confusing term ‘drag’… not so easy to tell what they actually describe. To that end, I feel like these releases not only encapsulate a lot of what I’ve heard from this style, but also what has gotten through to me more than other stuff. Orchestral, subtle folk, wide range of analog synth timbres, a rave element dialed down to icey glacial projections, plenty of noise and drone elements scattered throughout. Beyond style really, where a lot of genres meet up to melt together in an underworld of aural sublimity. I especially like the aspects of this genre that seem to be meant to keep it underground, for instance the indecipherable symbols and alternate typefaces for titling make it quite difficult for search engines, and a lot of the cover art are just bizarre and weirdly disturbing collages or suggestive imagery, which of course I find fascinating because the music echoes the same combinatory spirit. Highly contrasting, highly original stuff.