'Sometimes, cutting into the present releases the future'
Unobtainium sessions of fictional, impossible material. Chipcrushed, intermittent radio reception circuit-trashings go bang in the night (miscellaneous improvisations with realtime granular freeze-loops). Initial ‘solo’ textures for future projects.
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Triadic integer series slice triggering become Reichian phase loops with an underlying Fibonacci divisor relative temporal offset. Initial live sessions with a custom integer sequencer and Peter Dine’s ‘Loupe 2′ Reaktor ensemble. Only Peter’s included sounds were used in session.
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Kept awake by green glow night terrors via Stephen King, here aurally siphoned into sonic feedback and granular glissandos.
“We always assumed the aliens would have to at least be alive to invade. Not even H.G. Wells expected an invasion of ghosts.”
“Late last night and the night before, tommyknockers, tommyknockers knocking on my door. I wanna go out, don’t know if I can ‘cuz I’m so afraid of the tommyknocker man.”
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Down into the abyssal zone of faux noise floors, where the rasp and spark of cracked media wounds step out of the shadow of digital purity. Turning bits into atmospheres and detritus into tactic (cracktics).
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Oscillations from the aether, Babbage confetti automata caked in etheric mucas hating the moon from a dirty time machine.
Antique Futures Vol. 13 Player
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Phonography played (cooly). Laminar recordings of my own improv were then ‘played’ through a virtual radio tuner and finally combined with ‘dusty’ ambiance’s.
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A return to an inherent obtrusiveness of mine via ‘free splice’ improv compositions. Made of unfolding folders and purposefully misfiled/misplayed audio files, broken mobius looping harmonies attempt to obscure meters in favor of micro tempo/temper changes.
Lateral reference to Frank Zappa’s Synclavier System work applied/combined with impressions of the producer known as ‘Hefner’, in a ‘wonky’ and eventually aggressive manner of some modern ‘glitch-funk’ aesthetic? Or maybe just ‘note-sterbations’ here in the desert ;-)
…in four parts.
Shut Up, He Explained Some More
The Return Of Shut Up, He Explained
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Virtual break and crack rhythms in the fashion of an induced-into-malfunctioning compact disc media/player combo.
Prepared CD (Jazz Skippers) Player
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The playing of several thousand potential ‘drummers’ (drum sound oscillators) derived from an RGB image. Each track is one single drum loop, composed through triggering by a graphic score in 2048 pixel space. Conceptual/title reference to a somewhat obscure Dr. Seuss movie.
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‘No, I am not from outer space…I only work there’. Ambient stingers duet with cracked and broken microbeats.
Captain Kirk Saves Whales and Hunts Ghosts Player
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A decomposition of various traditional stringed and struck instruments, their sampled ‘essence’ exploded onto a sonic topography and then ‘foraged’ back into playback by a hungry, wandering dot. The ‘Circuit Bending’ of acoustic sampled instruments? Special thanks ‘Leafcutter John’ and ‘Bolder Sounds’.
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Two impressionistic ‘paintings’ of found sound percussive gestures.
Per Imp Player
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My own abstract art becomes ‘glitch’. Mix/comp in emulation of a Robert Rauschenberg continuous ‘walk through’ exhibition. Images/notes to follow.
Collected my various ‘Avant Garde Mash Ups’ and Loopy C ‘Plays’ tracks together as consolidated sources/pages:
Avant Garde Mash-Ups Master Track Player Index
Loopy C ‘Plays’ Master Track Player Index
(also visible to right in ‘sidebar’ under ‘Pages’)
These are rebuilds of pages from my former blog (at blogger), I will slowly be updating the accompanying info but for now all the track player links should be active for ‘Discover/Encounter’ sessions 
Also note that the page of ‘Master Players’ allows access to EVERY track on this site, (whether it currently has it’s own dedicated post or not):
All new years around the world are celebrated via the indiscriminate sonic characteristics of ‘noise makers’,etc.
Here is mine (a composed noise trio/concerto of my own sound design extremes):
Granular beats meet avant garde noises.
Radio waves arrive wounded and dead (but ‘undead’) in my high desert front yard. Divorced of their original missions, leaving me only to interpolate the noise back into signls that at least amuse.
A ‘series’ of studies dedicated to the industrial musique concrete of Zoviet France. It’s a long playlist, so I have set it up so each time you use your browser ‘reload’, the order changes.
‘I came to the studio to make noises speak, I stumbled onto music’ (Pierre Schaeffer 1998)
Electroacoustic noise sextet in a virtual cistern.
Another entry in the ongoing ‘Mouse On Merz’ series. Listening back, funny how those 80′s new age electronic music CD’s (ala Peter Baumann’s ‘Private Music’ label) come back to haunt my sonic choices in certain cases. But cool 
(Experimental tracks with the restriction of ‘nature’ recordings as sole source of instruments)
‘Back To The Future Nature’ Player
Further ‘applied electronic sciences’. Studies in a conceptual audio form of the Japanese aesthetic ‘Wabi Sabi’. As in any ‘true’ Wabi Sabi presentation, sometimes the ‘source’ shows through, sometimes not. It is the in-between of the ‘show’ and the ‘not show’ I like to play
“The words wabi and sabi do not translate easily. Wabi originally referred to the loneliness of living in nature, remote from society; sabi meant “chill”, “lean” or “withered”. Around the 14th century these meanings began to change, taking on more positive connotations.[1] Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance. It can also refer to quirks and anomalies arising from the process of construction, which add uniqueness and elegance to the object. Sabi is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs.
From an engineering or design point of view, “wabi” may be interpreted as the imperfect quality of any object, due to inevitable limitations in design and construction/manufacture especially with respect to unpredictable or changing usage conditions; then “sabi” could be interpreted as the aspect of imperfect reliability, or limited mortality of any object, hence the etymological connection with the Japanese word sabi, to rust.”
‘The History of Art is simply a history of getting rid of the ugly, by entering into it, and using it.’ (John Cage)
Error as compositional element.
art by c.gibson
Unedited/unmastered ‘study’ sessions using only the ‘Omnisphere Preview Sample Pack’ (contest for Spectrasonic users).
Sorta turned into a glitchy homage? to early Tangerine Dream, Steve Reich, and Autechre (the ‘glitchy’ part)…sorta Again ‘studies’ as such, but perhaps suitable for the kind of late night journeys/activities associated with such albums as TD’s ‘Phaedra’ and Reich’s “Music For 18 Musicians’. And then there is still the contest…
Two of ‘the three’ for a future trio form…two tracks, minus the third actor. The 3rd player in this ‘audio drama’? Perhaps a processed vox, a ‘dub bass, or whales! (seriously, whales are awesome ‘dubbers’. Not sure yet…but here as a duo for your perusal.
Thanks (as always) to ‘Bernd Keil’ for his ‘Loki’ series of Reaktor ensemble studies.
art by c.gibson
A painting ‘presents’. My (your) eyes trace back, across, down and up…navigating space aloof, and as whimsy. Music can also exist as our described ‘painting’ in this gallery viewing, let me show you and let your ears be eyes.
‘Time glitch’ interpretations of various 20th Century musicks.
Dedicated to the fine folk at Camel Audio, a journey into glitchy ambient strata and planet smoke by an ‘intrepid’ trio of Camel Audio instruments/FX (plus a ‘one legged’ electronic drummer of my own design).
Also related (and more to come):
(Keyboard solo performance emphasizing the additive roots of the C5000)
Camel Audio Website:
art by c.gibson
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