../melody in chaos
In a serene and random Creative Commons YouTube use this week, Truth Is a Lonely Place [Disquiet 0138] soundtracks a beach sunset at the 12:22 mark in a half-hour journey through California’s North Coast by videographer Michael Bonic.
The original track is off my 2014 record Particle Theory:
…and was composed in 2014 for the Disquiet Junto #0138 – Video Sonic Void.…
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YouTube travellers Mother of GROM include a couple of my tracks over the final leg of their family’s 7-country 1-summer European swing. “GROM” is the nickname of their van, a converted Ford Transit XLWB mk7 minibus.
Lee Rosevere’s remix of Truth Is A Lonely Place opens the video; then Particle Theory appears midway through.…
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Xtra fun w/the mixed in sounds. I’ve always wondered what the dish felt like being washed. And always great when Lee Rosevere and I manage to collaborate – even asynchronously through a stranger!
:^D
Published on Sep 29, 2016
GoPro+ water test.Music:
Lee Roseveres – Dusk
Westy Reflector – C Swells
three fav words. thanks. https://t.co/1yfMqMdR43
— westy (@westyreflector) June 22, 2016
June 22, 2016 at 07:23PM
via IFTTT
Broadcasting since 1922 from Kingston, Onterrible, CFRC 101.9 FM is Canada’s longest-running campus-based broadcaster and a “100% not-for-profit, volunteer-powered media that fills the gap left by the mainstream.” The acronym, however, does not stand for Canadian Free Radio Company, but, rather, “Canada’s Famous Rugby Champions,” since sports broadcasts comprised most of the station’s original programming, save for a few lectures, concerts and convocations.…
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Lee Rosevere and I wrote and remixed | two | versions | of “Truth Is A Lonely Place” in August 2014 for a Disquiet Junto challenge to compose a soundtrack to an endlessly-looped silent film by Josh Azzarella. Lee’s remix track eventually found its way into Disquiet.com Mark Weidenbaum’s Fall 2015 installation of the video at the San Jose Museum Of Art.…
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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.
Trailer for a crowd sourced documentary about a day in the cycling life around Torino, Italy. Uses my track Infinite Destination [off Hola, Sayulita! (2010) and Reflected.10×10 (2012)] and in a brilliant case of bona fortuna, my friend Lee Rosevere’s stellar slice of electro-acoustic positivity, These Moments [off Music For Malls (2014)].…
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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.
So this is awesome. Producer and musician Lee Rosevere asked if he could “bash and crash” over Drifting Moon / Spinning Earth, so I stripped the original drum and percussion tracks and sent him a pre-master studio file. From 3000 miles away, he came back with the glorious result above.…
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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.
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…
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WFMU’s Liz Berg from 6/27/2014
Few things are more awesome (or cool or hot or sick or tight or quiche or jelly or whatever euphemism you use to say “yes!”) than getting played on WFMU. In this case, my track Windfall (also at the Free Music Archive) spun midway through the June 27th episode of the Liz Berg show, which airs every Monday morning from 9 to noon (podcast stream/download/subscription available at link).…
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A 2nd remix by Bassling (Jason Richardson) of my riding waves. In it, Bassling adds his deft bass to Lee Rosevere‘s percussion and vibraphone, my guitar and nofi‘s original track. This rounded-out full-on quartet performance creates unexpected harmonic convergences and becomes a whole (and real) band – thankfully without van politics, ego mastications and “yellow-M&Ms-only” rider demands.…
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Canadian musician, producer and label founder Lee Rosevere used my riding waves for the 132nd disquiet junto challenge, adding hi-hats, cymbals and triggered rhythmic vibraphone flourishes. His additions lend an elegance to the track, highlighting and engaging all sorts of spaces without causing any clutter. From the soundcloud track description:
…I didn’t want to get in the way of Westy’s guitar and took a cue from his introduction of the melody of “Mercy Street” to play mostly hi-hat and cymbals, ala Stewart Copeland (who appears playing cymbals on Peter Gabriel’s SO album..
I recorded and released records as The Reflectors from 2000 to 2010 (most of the band’s catalog is on Spotify, iTunes, CDbaby, Bandcamp, etc…). Arcade Fire co-opted my homonym this year and has been touring as “The Reflektors.” So I’ve resurrected my Reflectors to return the favor.…
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My contribution to the 17th week of the disquiet.com junto. The challenge was to take 30 seconds of a field recording, and slowly and seamlessly transition it into 1 of 2 given pre-existing tracks. Sounds could be added and the source tracks manipulated in any way. The first five seconds of the field recording and the last 5 seconds of the pre-existing track, however, were to be left untouched, aside from fading in and out.…
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