Tag Archives: guitar


[img] Saturday Night On The Outskirts Of Town

Photo: @catmthomas. Thx to everyone who deemed me, and then The Tell, worthy of Saturday night. Had a blast. Until the next time!
May 21, 2017 at 01:35AM
via instagram


[dream journal] 0517-0518: The Endless Sky Store

On a quest to find a guitar pedal I’d read about called the “Endless Sky.” It creates large ambient washes and textures from playing only one note on the guitar. Features a cowboy boot on the hand-painted graphic with lazy clouds around the six dials and three foot switches. One knob is labeled “reality fade,” the rest I don’t recall. Driving a desolate dusty oceanfront road, and come upon the pedal’s graphic on a supertall sign for a roadside-burger-shack-sized store on the ocean side of the road. Pull in.

Parking lot is dirt. Ocean breaks and foams over huge boulders behind the store (the vibe is El Rey de Pescado in Naiguata, Venezuela). Several sprays from crashing waves threaten to envelop the store, but the age of the small building conveys that it’s held the sea back for a long time, and a quiet serenity about the place gathers as I approach.

As I’m walking up to the store I feel like my thighs are really rubbing together. Looking down, I discover that my thighs have not ballooned, but rather, my pants have turned into Renaissance royalty red-velvet gold-seamed pantaloons.

Tattered screen door. Inside the store, there’s just a counter with four Endless Sky pedals sitting next to an analog cash register.

“One,” I say.

“You don’t want to try it first?” the proprietor asks me, without looking up from a yellowed newspaper.

“No need,” I say. “I know it’s perfect.” I look at the pedal and notice the brand.

“Thought this was a secret Strymon,” I say.

“Nope,” he says, still fixed on his paper, “it’s a Nemo. This is the only pedal they make.”

“Well well,” I say, “even better.”

{WAKE}


[track] split seconds [disquiet0194-clockplay]

PROCESS
I do not own a clock (or any time keeping device) that makes operational noise, so I used a CC-Attribution sample at freesound.org of 4 one-second clock ticks that looped perfectly without any cutting at 120 BPM. This juggled me a bit, since the 60 BPM clock ticks were playing in double-time to be in real-time at half-time to the track time.

The clock is layered a few times to build counter-rhythms and dynamics, to evince the double-timeness of its sampling. A very rough bass track came from a few 8 and 16 bar loops. The bed arose from an 800% stretch of my recent “chasing flight” (Thereflectors – Chasing-flight). Aiming for playful sweetness, I strummed chords over the result in two live passes and voila, here we are in the present.

In the end, I learned clocks can keep all sorts of time.

:^D

Clock Loop by Natalie Kirk (Esper Studio, Sydney, AUS)
freesound.org/people/OwlStorm/sounds/212181/

PROJECT
More on this 194th Disquiet Junto project (“Record the sound of a clock and make something playful and sweet out of it”) at:
disquiet.com/2015/09/17/disquiet0194-clockplay/

More on the Disquiet Junto at:
disquiet.com/junto/

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/

Image associated with this project by Brian Biggs, who drew it specifically for this project, and who provided the project’s timely creative nudge.
mrbiggs.com/
dancerobotdance.com/
@dance-robot-dance


[track] chasing flight

ambient.drone.guitar

CHAIN
Pigtronix Infinity Looper –> Small Sound / Big Sound Sparkle Motion –> SS/BS Mini F*ck –> Electro-Faustus EF107 Regurgitator (send/receive: tc electronic flashback –> Earthquaker Grand Orbiter) –> electro-harmonix SuperEgo (send/receive: EQD Arpanoid –> Diamond Tremolo) –> EQD Afterneath –> Strymon blueSky –> Line6 Fender Blackface emulator


[track] c swells [disquiet0189-tonelayer]

PROCESS

Single notes in the key of C, staggered and stacked to move through different chords. “Attack” was eliminated using a combination of my trusted E-bow fed through an EHX POG2 with its attack setting jacked all the way up for max swell. Tape Delay, Phaser, Reverb added for space travel (or ocean travel as the case may be here).

RIG

Fabien (Peekamoose Custom Guitars M2), EHX POG2, Small Sound / Big Sound Sparkle Motion, tc electronic flashback delay, EQD Grand Orbiter, EQD Afterneath, Strymon blueSky, Line6 POD-XT (Vox AC-30 emulation), RECORDING DAW: Sony Acid 7.0 (Win 8.1), MASTERING DAW: Harrison Mixbus 2.5 (Mac OS 10.7.5)

PROJECT

Create a dense stack of attack-free tonal material from one audio source.

Step 1: Choose an instrument that can create extended tones.

Step 2: Record a short loop of a single held tone on that instrument. Use a volume pedal or other tool to eliminate the attack at the start of the tone.

Step 3: Create many more such loops, all with the same instrument, and layer them atop the original loop.

Step 4: Record a document of these layered loops lasting approximately 1 minute.

Step 5: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

————————————————
More on this 189th Disquiet Junto project (“Create a dense stack of attack-free tonal material from one audio source”) at:
disquiet.com/2015/08/13/disquiet0189-tonelayer/

More on the Disquiet Junto at:
disquiet.com/junto/

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/


night flight: le rêve de fabien [disquiet0181-instrumentaldream]

My latest guitar is named Fabien, after the pilot in Antoine de Saint-Exupéry’s “Night Flight.” It has quickly become my fav instrument. I read him the passage below from the book last night and woke up to this track in my DAW. Seems Fabien dreamed me reading to him in French.

A Dick Dale-esque fast-picked drone over a sample of “the world’s largest wind tunnel” simulates propellers and everything’s capped off with some more samples of 1980s weather satellite telemetry. All samples are from a Bainbridge sound effects disc circa 1989. The beats are garage band.

“Night Flight” tells the story of a mail pilot lost over Patagonia and the ways tragedy and the relentless drone of modern life intersect and collide on the ground. In this track, one of my favorite novels meets my favorite guitar.

Fabien is a Peekamoose Custom M2 (http://peekamoose.com). He’s pictured being held by his luthier, Paul Schwartz, in the shop where he was forged.

————————————————-
NARRATION

“Fabien, quel est votre position?”
Fabien, what’s your location?
….

Sans avoir à lutter, il serrait les mains sur les commandes. Quelque chose se préparait qu’il ne comprenait pas. Il bandait ses muscles, telle une bête qui va sauter, mais il ne voyait rien qui ne fût calme. Oui, calme, mais chargé d’un étrange pouvoir. Puis tout s’est aiguisé. Ces arêtes, ces pics, tout devenait aigu : on les sentait pénétrer, comme des étraves, le vent dur. Et puis il lui sembla qu’elles viraient et dérivaient autour de lui, à la façon de navires géants qui s’installent pour le combat. Et puis il y eut, mêlée à l’air, une poussière : elle montait, flottant doucement, comme un voile, le long des neiges. Alors, pour chercher une issue en cas de retraite nécessaire, il se retourna et trembla : toute la Cordillère, en arrière, semblait fermenter.

“Je suis perdu.”

Instinctively he tightened his grasp on the controls. Something he did not understand was on its way and he tautened his muscles, like a beast about to spring. Yet, as far as the eye could see, all was at peace. Peaceful, yes, but tense with dark potency. Suddenly all grew sharp; peaks and ridges seemed keen-edged prows cutting athwart heavy head wind. Veering around him, they deployed like dreadnoughts taking their positions in a battle-line. Dusk began to mingle with the air, rising and hovering, a veil above the snow. Looking back to see if retreat might still be feasible, he shuddered; all the Cordillera behind him was in seething ferment.

“I’m lost.”

————————————
More on this 181st Disquiet Junto project (“Imagine your favorite instrument is dreaming while it sleeps — what does it sound like?”) at:
http://disquiet.com/2015/06/18/disquiet0181-instrumentaldream/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/


a child’s doll reflection [disquiet0180-matryoshkamusic]

PROCESS
A loose adventure in nested loops. There are a few drones (each 1 note) underneath respective two, three, four, five and six note loops. the main section consists of the two note and six note loop played together with some variation, looped six times. Everything else fades in and out.

Like memories.

I own a matryoshka as a result of a trip to Russia I took in 1985. In the course of that journey, I acted as a teenage cold war secret agent, carrying cultural and religious documents and artifacts behind the then-iron curtain. This track has nothing and everything to do with looking back on that adventure. As a bonus read, here’s how my trip as a “Spring Break Spy” began:
http://westyreflector.net/2013/01/customs-playboy/

So xclnt to be contributing to the junto again.

:^D

RIG
Fabien (a Peekamoose Custom M2 by http://peekamoose.com), EHX SuperEgo, Diamond Tremolo, EQD Grand Orbiter, EQD Afterneath, Strymon blueSky, Pigtronix Infinity Looper, Fender Blackface emulator (Line6 POD-XT), Sony Acid Pro 7, Windows 8

———————————————-
More on this 180th Disquiet Junto project — “Use the Russian nesting dolls as a model for a musical composition” — at:
http://disquiet.com/2015/06/11/disquiet0180-matryoshkamusic/

More on the Disquiet Junto at:
http://disquiet.com/junto/

Join the Disquiet Junto at:
http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
http://disquiet.com/forums/


San Jose Museum Momentum Follow-Up

Disquiet.com’s Marc Weidenbaum and the other participants in the San Jose Museum Momentum Installation talk about their respective interventions.

Weidenbaum’s description:

The San Jose Museum of Art has uploaded this eight-minute video featuring the various folks who, like me, contributed works as “interveners” for its current Momentum exhibit, which celebrates the museum’s 45th anniversary. I talk in the video at 2:52 and 3:59.

My piece is “Sonic Frame,” a response in three screens to a video by Josh Azzarella. Each screen contains a unique set of seven different audio tracks composed to complement it, so each time the video plays anew it is accompanied by different sounds. Among the participating musicians are Taylor Deupree, Natalia Kamia, Julia Mazawa, Steve Roden, Naoyuki Sasanami, Christina Vantzou, Stephen Vitiello, and Scanner.

The Momentum exhibit runs from October 2, 2014, through February 22, 2015. More on the exhibit here (“How Sound Frames Vision”) and at sjmusart.org. Video hosted at youtube.com.

From the Museum’s YouTube description:

Published on Dec 23, 2014
What happens when a museum invites a ballet dancer, a bicycle designer, a bodypainter, a calligrapher, a cartoonist, a comedian, an inventor, a poet, a sound artist, and a yarn-bomber to “intervene” in an exhibition? Learn about the ten super creative people behind the exhibition “Momentum: an experiment in the unexpected.” The exhibition is on view through February 22, 2015.

The exhibit runs through 22 February 2015.

My original post on the exhibit, including a list and links to all the artists involved.


Space Walk [disquiet0152-comet67pcover]

PROJECT
Record your own cover version of the “song” sung/emitted by Comet 67P/Churyumov-Gerasimenko.

PROCESS
The comet’s rhythmic oscillations took me to a droning arpeggiation space. With this “cover,” wasn’t replicating the comet so much as evoking its spirit.

—————————————————————-

More on this 152nd Disquiet Junto project — “Record your own cover version of the ‘song’ sung/emitted by the comet Comet 67P/Churyumov-Gerasimenko”

Copyright Notice: Original Data Credit: ESA/Rosetta/RPC/RPC-MAG.
Sonification: TU Braunschweig/IGEP/Manuel Senfft, CC-BY-NC-SA 4.0
http://creativecommons.org/licenses/by-nc-sa/4.0/

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


Particle Theory

16 November 2014

Drifting Moon/Spinning…
Sum + Difference
All The Rage
Melody Chaos
Welcome To The Interzone
Turnaround, Annie
Intransitive Disappearance
Truth Is A Lonely Place
Roadside Justice
Truth Is A Lonely Place
Particle Theory
The Shimmer Of Stars…

bandcamp | freemusicarchive


Turnaround, Annie

she didn’t feel suspicious – or paranoid
she didn’t see the distance – into the void
she learned to play with all the memories – like toys
she said it made it easier to drown the noise

she worked for years – to create confusion
as she waited for life to reveal itself as an illusion
along the way she learned not to search for conclusions

as we drove the roads around my house
she wasn’t gonna stop until she broke down
all those angry hours

she said, “don’t tell me when to turn around…
“i’ll tell you when we turn around
“just keep driving towards the moon
“don’t you dare turn around

6am underneath the subway tracks
she said if that train was a plane I’d jump right on its back
then she rolled her eyes and taught me how to fade to black

as we drove the roads around my house
she wasn’t gonna stop until she broke down
all those angry hours

she said, “don’t tell me when to turn around…
“i’ll tell you when we turn around
“just keep driving towards the moon
“don’t you dare turn around


San Jose Museum Momentum Installation

The Momentum exhibit runs through February at the San Jose Museum Of Art. Sound artist, writer and Junto founder Marc Weidenbaum curated the sound (as an “intervention”) for one of the installations, the video Untitled #8 (2004) by Josh Azzarella. Back in August, Marc sent out the silent video as project Disquiet0138-videosonicvoid, and challenged us to create a looping piece:

Compose a 2.5-minute soundtrack to complement the silent video “Untitled #8, 2004″ by the artist Josh Azzarella. The video is intended by the artist as a “Never Ending Loop,” as is this audio accompaniment.

Untitled #8, 2004 from Josh Azzarella

Marc “intervened” the video for Momentum with 21 sound pieces, including 14 that were created for disquiet0138-videosonicvoid, to loop over 3 different screens.

For Marc Weidenbaum, Josh Azzarella’s video Untitled #8, in which a form slowly shifts, suggests a visual parallel to the ethereal nature of sound: perceptible yet intangible. Through his online collaborative project Disquiet Junto, Weidenbaum collected and curated original works of music and sound from an international community of colleagues, which he then added to unsynced iterations of Azzarella’s silent video. Intended to explore transformation and stasis, the sound elements create auras, halos, and contextual sonic frameworks that gently alter the viewer’s experience and perception of Azzarella’s video art.

Screen #2 incorporated a remix of my track done by Lee Rosevere, who had asked me to create something for him to use that week:

This is my original:

I am ecstatic that my work is in a contemporary museum. It’s even sweeter that the tracks were the result of spontaneous collaborative processes that echo and fractal much of what’s good about our current technological environment.

The other artists Marc used put me in esteemed company, to say the least:

Screen.01
Taylor Deupree
Van Stiefel
Natalia Kamia
Naoyuki Sasanami
Carlos Russell
Mark Rushton
Paolo Mascolini (Sozu)

Screen.02
Stephen Vitiello
Steve Roden
ævol
Marcus Fischer
Julia Mazawa
Westy Reflector + Lee Rosevere
Ezekiel Kigbo (The Atlas Room)

Screen.03
Steiner (Stijn Hüwels)
Christina Vantzou
Scanner
Inlet (Cory K.)
Jean Reiki
Marco Raaphorst
bad trails

Finally, here is what the exhibit looks like:


132 Frets [disquiet0147-slightnoise]

PROCESS
Every frettable note (incl. harmonics) on Jolie (my Gibson ES-335 DOT reissue), granulated and held through an Electro-Harmonix SuperEgo synth engine and then fleshed with infinite feedback through a TC Electronic Flashback tape delay. Both pickups were active and thrown out of phase to broaden the aural spectrum.

PROJECT

Step 1: Record 8 seconds of white noise in your own personal style.

Step 2: Upload the finished track to the Disquiet Junto group on SoundCloud.

Your finished work should be 8 seconds long.

———————————-
More on this 147th Disquiet Junto project — “Record 8 seconds of white noise in your own personal style″

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion


Vertical Lyfe [disquiet0146-swypingsilence]

PROCESS

Transposed the swype into notes by turning the QWERTY keyboard into a musical keyboard:

1. Correlated the major scale to the letters following G by repeating the octave pattern though the alphabet (e.g., J=C, N=G, V=A, etc…)
2. Assigned low octave (1) and high octave (3) to the bottom and top rows, respectively, of the qwerty keyboard.
3. Mapped “silence” against the above interpretation, such that “SILENCE” transposed to E(2) B(3) E(2) E(3) G(1) C(1) E(3), which turns out to be an articulation of E-minor or G-major, depending on your mood. As the E begins and resolves the sequence, E-minor is where it begged to fall in the end.

The droning bed of the track is my falling into all the notes contained in the word “silence” in a NanoStudio for iPad synth, looped once and held through the end.
The floating over that is an eBow, “swyped” as it were through the notes that make up “silence,” using the octave positions dictated by the keyboard.
I had the notes under the entire swype, between the letters of “silence,” mapped out, and planned on realizing the actual symbol more in the piece. I ran out of time, however, as I had to stop recording when the toddlers above me started playing indoor basketball. This is a regular occurrence, I feel fortunate, however, they didn’t start rolling through their (uncarpeted) apartment on their Razr scooters or tricycles, which is their favorite pastime. That becomes thunder on the ceiling that not even Dinosaur Jr’s Green Mind played at full blast can drown out. So instead of more guitar layers, you get a loop of one of the average ball bounces on my ceiling picked up by a condenser mic and run through a tape delay pedal. Hence the title of my track.

Vertical Lyfe = no true silence, just a specific sort of “city silence.” It’s an active-listener silence, because you have to tune things out in order to achieve it. I meditate better for having lived in NYC for the last 20 years, I think, because I have to work for the meditation. That said, I don’t wish to live in an anechoic chamber, but sometimes dreams of a house in the country, with nothing but sounds of rustling leaves and distant rushing water, just take me over.

PROJECT

Step 1: Consider the symbol that results from using the Swype technique to enter the word “silence” on a keyboard, as shown in image at this URL:

goo.gl/swcNxA

Step 2: Develop sonic associations with this symbol.

Step 3: Produce a short piece of music informed by those associations.

Step 4: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 5: Listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Length: Your finished work should be between one and three minutes long.

———————————————————————-

More on this 146th Disquiet Junto project — “Make a short piece of music based on a typographic symbol for the word ‘silence’″ — at:
disquiet.com/2014/10/16/disquie…46-swypingsilence/

More on the Disquiet Junto at:
disquiet.com/junto

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/


Truth Is A Lonely Place (Lee Rosevere Remix) [disquiet0138]

Collaboration with Lee Rosevere, wonderful (and prolific) Canadian producer and musician.
leerosevere.bandcamp.com
happypuppyrecords.ca

Lee’s liner notes:

When this project was launched, I emailed my online buddy Westy Reflector @thereflectors to see if he’d be up for a collaboration and I was thrilled he agreed. I’ve wanted to do a big huge ambient landscape with his glorious guitar tracks and this seemed like a perfect opportunity.

He wrote an original song and sent me the stems (guitar, drone, drums) and you can hear his original version here:
Thereflectors – Truth-is-a-lonely-place

I added lots of reverb (as I love reverb) and piano pads and bass in Ableton Live to his original unedited guitar tracks.

I then mixed a second version, using only an excerpt from his original guitar track and looped it over the newly-created background – this is the version here, which seems to work best when sync’d to the video (vimeo.com/21678371)

It also fits in the sense that Josh Azzarella’s work largely deals with taking an image and “altering or removing the punctual event in the image.” (www.joshazzarella.com/about/)

Huge thanks to Westy for wanting to work on this together, as he could’ve (and did) come up with something excellent completely on his own and didn’t need me at all to drench it in reverb… but it was a great experience and I’m greatly looking forward to the next opportunity.

****

——————————————————-
More on this 138th Disquiet Junto project — “Compose a 2.5-minute soundtrack to complement a work of silent video art″ — at:
disquiet.com/2014/08/21/disquie…38-videosonicvoid/

More on the Disquiet Junto at:
disquiet.com/junto

Join the Disquiet Junto at:
soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:
disquiet.com/forums/

The image associated with this track is a still from the video that inspired it: “Untitled #8, 2004″ by Josh Azzarella.


truth is a lonely place [disquiet0138-videosonicvoid]

PROJECT
Compose a 2.5-minute soundtrack to complement the silent video “Untitled #8, 2004″ by the artist Josh Azzarella. The video is intended by the artist as a “Never Ending Loop,” as is this audio accompaniment.

Untitled #8, 2004 from Josh Azzarella on Vimeo.

If not visible above, view the video here:
vimeo.com/21678371
www.joshazzarella.com/videoworks200408/

PROCESS
Lee Rosevere (@happypuppyrecords and @happypuppy2) emailed me shortly after this project went live, suggesting we collaborate and that I might start him off with a few guitar melodies. This is the original track I cut for him. I also sent him stems, and he ended up slicing, looping and manipulating my guitar to construct a brilliant rework, which I consider to be the definitive version of the track.

It’s always fun to see into the DNA of a remix, and the Junto is nothing if not about shared spaces, so I uploaded my track to the group, in addition to Lee’s putting his up, for the weekend-geneticist thrill of it.

——————————————————-

More on this 138th Disquiet Junto project — “Compose a 2.5-minute soundtrack to complement a work of silent video art″

More on the Disquiet Junto

Join the Disquiet Junto

Disquiet Junto general discussion

The image associated with this track is a still from the video that inspired it: “Untitled #8, 2004″ by Josh Azzarella.


[vine] “break it”


[vine] #drafts circular loop, circa june 2014


The Fourth Of IX [Disquiet0134-MusicFromChoreography]

My Disquiet Junto contribution to soundtrack 03:00-03:59 of the film [IX] by Cori Marquis.

PROCESS
Pulled out aces through nines from a deck of cards.
Shuffled. Cut twice. Drew the top card.
4 of hearts.
So, fourth minute of nine (03:00 – 03:59).

At ~01:47 in the original 9 minute film, the dancers tapped their shoulders with their fists for a couple seconds. I tapped along into a tempo reader and it came out to 75.2 BPM.
Tracked bass and drums around the dancers’s movements, and decided to go double time at ~03:27 to match the sped-up circular camera movement.
Improvised drones, grains and generative arpeggios through various effects, layering into a pigtronix looper.
Played one guitar track live over the loops and rhythm tracks into Acid, starting with feathery harmonics to match the dancers’ caressed helixing, then moving through a kind-of New Order “Republic”-era vibe to mirror the camera’s movement.

The Fourth Minute of IX from Westy Reflector

I got an early-90s feel from the film. Things were still okay then. Kurts (Vonnegut & Cobain) were still alive, The Replacements were still making records and there were still hidden movements and corners of the world you could call your own. My mind went to “Regret” by New Order.

TUNING
Open D# (D# Bb D# G Bb D#), aka the “Blood On The Tracks” tuning, 1/2 step down.

RIG
Jolie (ES335-DOT Reissue w/ http://peekamoose.com custom pickups & electronics), EQD The Warden compressor, Zvex Box Of Rock, EHX Superego synth engine (effect send: EXH POG2, EQD Arpanoid), tc electronic flashback delay, Strymon blueSky, Pigtronix Infinity Looper, Line6 POD-XT, MOTU 828mk2, Sony AcidPro 7.0, Win 8.1

PROJECT
More on this 134th Disquiet Junto project — “Compose music to accompany one minute of a dance video by Cori Marquis.”

More on the Disquiet Junto.

Join the Disquiet Junto.

Disquiet Junto general discussion.


[a few words on] an imaginal space: clouds and seas and black-eyed-dogs

This is my fav in a series of soundtracked “cloudscapes” by An Imaginal Space (a.k.a. Spook), a vivid, ethereal and shimmering-from-a-mountaintop-at-sunrise ambient guitarist out of Derby, UK. A wonderful presence in all of my social streams, he’s cloaked in a bit of mystery, but I ask no questions and nothing more of him than to continue his lovely (and enviable) prolific output.

via the you tube track description​:

I have been creating some timelapses of clouds outside of my work office window and thought I would combine these with some improvised ambient guitar.

His “Sunday Seascapes” series are improvised explorations of elegant refracted guitar lines over sweeping swells of effects, and capture perfect sonic snapshots of the ocean’s eeriness and majesty. My fav of the recent few was from 13 July 2014:

An Imaginal Space duets with a wide range of musicians, and his layered guitar is seamless. Most of the time he’s added his tracks well after the original recordings, but his additions often result in the definitive versions of those tracks, as if his work had been there all along. Case and point is this duet with Dirk Maassen, a world-class ambient pianist:

from the soundcloud track description:

I could not resist adding some ambient guitars to this wonderful piano composition by Dirk Maassen. Please check out more of his beautiful music @ascoltadi

So many wonderful moments from Spook, it is difficult to know how to even do justice to a curation. The moment that hooked me on him for good, however, came earlier this year when this wondrous instrumental cover of Nick Drake’s “Black Eyed Dog” appeared in my soundcloud stream. It left me thinking of what Nick Drake would have done with the ambient and sound-manipulation tools we have today, but it also sent me backwards in time. The airy jazz-inflected drums and fixed rhythm of Spook’s playing recall Bryter Layter, and take the track out of the shadow of other, more well-known Pink Moon-era tracks. In the soundcloud notes, Spook says he feels his cover is “unfinished.” But in a way, this is the best way to leave a tribute to Nick Drake, the most glorious unfinished musician the world’s ever known:

More of An Imaginal Space (Spook):
music.animaginalspace.com
soundcloud.com/an-imaginal-space
twitter.com/animaginalspace