SoniCabal 2:
Track Notes


 

1
TCOR: Springs of Wright    0.59
  18-year-old drop-out Orville Wright made a printing press out of recycled stuff, including a damaged tombstone and buggy parts. A sonic contraption of a similar vein.

4
Dale Lloyd: Embryonic in the Same Traditions    0.58
  Embryonic In the Same Traditions was composed for the SoniCabal 2 compilation, in February of 2001, using electronic and taped source material and the Sound Forge 4.5 editing program.

5
Steve Barsotti & Dave Knott: Gongalong    5.02
  Dave Knott: stringboard, scrub tool; Steve Barsotti: springframe, rubber tube, scrub tool. Composition using improvised sketches. Contact: www.speakeasy.org/~kazbar/steve

7
Intonarumori: Live at Consolidated Works 12/15/00 [excerpt]   3.56
 

A short excerpt of an hour long piece recorded live off the board during an Intonarumori performance as part of the Imagined Lanscapes / TacticalNavigation performance series at Consolidated Works in Seattle. More information on Intonarumori is available at www.intonarumori.com


10
The Sub/Con Group: X-Communication    11.09
  Scott Bennet: bass; Jim Deal: programming, turntables, saxophone; Mike Rand: flute, synthesizer; Jeff Mueller (xaxis wye): vocals, percussion. Recorded and mixed by Scott Bennet.

15
*S*A*M*S*A*R*A*: Play Station Central   4.57
 

This song is developed according to musical principles which include total improvisation and subliminal messages. The song contains real adolescent sexual frustration channeled to a Creation of HP Lovecraft's fictional writing.


17
rebreather: Rebreather goes octophonic at the Seattle Art Museum [excerpt]   0.58
  Abrasive, sparse, ethereal, abrupt, and wistful, rebreather (Alex Keller and Christopher DeLaurenti) improvise live electronic music from the digital glossolalia of sabotaged consumer electronics, homebrew circuits, and obsolete devices.

18
Carl Juarez: Minmax Dub 23   5.12
 

Minmax is intended as an exploratory piece, using changes in musical technology as an opportunity to develop some new techniques and perhaps discover new compositional forms.

Aside from street ambience — mostly collected at Pike between 3rd & 4th in downtown Seattle — no straightforward recordings were used, nor was any MIDI was used at any point in this piece. For gestural fun and tactile involvement the rhythm track was created by scrolling through patch demonstration sequences on a synth module; other construction took place in Pro Tools Free, whose auxiliary bussing can bring out much more than you'd expect from eight audio tracks. I am indebted to Scott House for CPU time and equipment access (not to mention encouragement) without which this piece would not have been created.

As a listener I find a lot to enjoy in Minmax — the stuttered, semimechanical rhythm and the jazz/hiphop sensibility that appears as if by design; the association of tension with event density and irregularity — and the subsequent release into predictable groove; the evocation of an urban sonic landscape that accentuates the human "street-level" scale without violating bystanders' privacy; the aural sensitization that enables the listener to follow the beat beyond audibility and back again; the lovely metallophonics . . . but there perhaps the composer is just pleasing himself.


20
R.S. Pearson: Large Cortical Areas  2.26
  A piece that creates a misty pulsing state of being, which expands and develops over time, while still remaining in control.

21
Christopher DeLaurenti: Malevolent  4.24
 

Incorporating murky atmospheres, unusual field recordings, everyday speech, and an array of instruments deployed in maniacal recombinant polyphony, Christopher's music resides at http://www.delaurenti.net/ along with many music-related essays and articles...

Malevolent presents a triptych of frantic characters whose presence and presentation may disturb some listeners. Who is malevolent?


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