Has anyone come across Bob L Sturm's "Music from the Ocean"? "Field recordings", so to speak, generated with the data collected at offshore buoys off the coast of California . None of the soothing, gurgling sounds one hears on Attenborough's Blue Planet -- just these undulating electric sheets of sound, a real sense of relentless immensity. You can read an interview with Sturm here: http://www.swanfungus.com/2009/06/interview-bob-l-sturm.html
H
On 18 Nov 2010, at 10:18 AM, Mike Beggs wrote:
> On Wed, Nov 17, 2010 at 6:37 PM, Hein Marais <hein at marais.as> wrote:
>
>> Talking of whom, one of the more better (and more interesting)
>> releases this year is Black Dog's Music for Real Airports, a
>> reposte to
>> Eno's Music for Airports. You can read about it and hear snippets
>> here:
>> http://www.musicforrealairports.com/live/
>
> Thanks for reminding me about this, I love old Black Dog and I had
> heard about 'Music for Real Airports' but it slipped my mind. Good
> stuff... I have to say though that it would be nice to live in a world
> where Eno's version would make sense in airports.
>
> Speaking of Eno, I just read a savage review of his new one in the
> Wire by Ian Penman:
>
> "This may be the first solo Eno work that is entirely without
> interest. It is bafflingly below par. Start with that wincingly twee
> title, so icky and precious it sounds like some high-scorn Young
> British Artist parody of a previous art era’s solipsistic formalism. I
> dunno really: what IS it? Eno’s idea of a joke? Some personal code or
> anagram? A joke about the dangers of self parody?... Mall Gift In Silk
> Wrapping doesn’t even have the virtue of being terrible, or boring. If
> it broached the sublime shadowlands of Boring it might not be so
> bad... Eno is not a dumb guy. Does he not know that, in 2010, the bar
> has been raised – in terms of both quantity and quality – as far as
> anything Ambient/Drone/Imaginary Soundtrack related goes? In other
> words, is it merely the result of myopic laziness, or of overly
> diversified priorities (in other words, straightforward CD-making
> isn’t what really interests or excites him any more)? Or is it
> something more on the level of a kind of politely veiled dishonesty –
> for if the real Eno were to really make music about his real thoughts
> and drives and emotions (an Eno who is, as we know, in real life, full
> of mischief, eros, humour, anger, politics, politicking, who is wide
> open to new sounds and musics) it would surely be a world or two
> removed from this... this... overly polite, formulaic, neat-freak
> suite of instrumental bits and pieces, things that appear to have no
> real need to exist."
>
>> Joel, if that's your thing, seek out Chris Watson's work. You may
>> remember
>> him from Cabaret Voltaire in the early 1980s. My favourite of his
>> is a
>> recording of glaciers shifting, which he turns into a troubling,
>> emotional
>> piece of work, believe it or not.
>
> That's Vatnajokull off Weather Report - I came across this recently
> too, as it happens, and I love it too. I hear he does the sound
> recording for David Attenborough.
>
> Mike Beggs
>
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