more of Diego’s work can be found here (visual) and here (sound).

These electronic instrumental tracks are like postcards documenting a character through the ups and downs of everyday life, where the mundane and magical rub shoulders. They explore textures and moods, as short stories or sketchbooks can, resulting in the wide stylistic approaches (cartoon-ish, poignant, atmospheric) presented. The album is not programmatic; rather, the stories are up to the listener.

Sequenza 21

Steve Moshier’s Limestone Gates will include five tracks from “Boy’s Life” (1983); a section from Deliquium in C (1989); and “Sudan” (1992). These pieces featured as “environmental” soundtracks to collaborative theater works that grew out of the fertile art/music scene of downtown Los Angeles.

Analog warmth, a cozy tape hiss and only the essential notes lull one into a lucid meditative state. This is ambient music that seems to be saying something we forgot about.

http://stevemoshier.com

Name-your-price download.

These three pieces rely on inefficient, imminently obsolete technology to perforate silence with sound.

“Audio found in the silent 8mm home movies of the Ring family” (2011) captures electromagnetic impulses created by dubbing vintage home movies, randomly ganged one after the other, onto VHS tape.

“The mute right channel of Lionel Marchetti’s Train de Nuit (Noord 3-683)” (2010) is at once an homage and an investigation of Marchetti’s work, composed, unusually, “pour un haut-parleur” (“for one speaker”) and thus heard only on the left channel, in mono, not stereo. Released by Metamkine in 2002 on a 3-inch CD, Marchetti’s Train is a feast of digital errors, recessed dialogue, and juxtapositions (a coughing smoker, the clack of rails, a snippet of “Riders on the Storm”) that startle and delight the ears.

When analyzing this work, I was surprised to find audio submerged in the apparently silent right channel. The mute right channel of Lionel Marchetti’s Train de Nuit amplifies this residue and elevates ostensibly digital black into a series of barbed points with lo-fi grit reminiscent of 8 bit, 11.025 kHz samples.

Remote (2002) is from a series of unedited improvisations with an analog television and sluggishly vintage 1980s-era remote control.

All of these works may be considered as co-compositions. An inversion of ambient music, co-compositions are intended for solo studio listening or can be “fleshed out” in tandem with back- and foreground sounds, preferably those from your everyday life. The mute right channel of Lionel Marchetti’s Train de Nuit is also an apostrophe piece, a composition whose title acknowledges (and I hope honors and brings attention to) the root of the work.

http://www.delaurenti.net

1. audio found in the silent 8mm home movies of the Ring family

2. the mute right channel of Lionel Marchetti’s Train de Nuit (Noord 3-683)

3. Remote

Intriguing work from one of the most creative sound artists in the US.