Maybe/hoping, by Sunday, I’ll post mp3’s and downloadable Apple lossless tracks from my completed recording, Slidemare. (Tonight I’ve posted the track list and credits, and will post track notes with the tracks.) To build up to this, I’m going to provide context by exemplifying the most important influences for my first new recording in 8 years. There are four tracks that didn’t make the cut, so I’ll post at least two of those, too.
These masterful influences also provide a portent of the kinds of sound worlds I design in a painterly way. The genre conventions I have one foot in are several: drones, dark ambient, and, noise. My play-in-sound is intended only to please me, so, tis not likely to be universally palatable! My music, for the daring listener, hopefully warrants excursions through its strange sonic worlds.
I’ll present examples in the order the various exemplars flowed into my own sound field. First up, Pauline Oliveros. She’s, firstly, a genius in many dimensions–as composer and instrumentalist, as educator, as philosopher, and as inspiratrix. It is enough to say that her Deep Listening Band provided a startling initiation when I first heard their self-titled recording on New Albion almost twenty years ago. Her deep listening philosophy has been very influential for my sense of the total experience of sound.
What is Deep Listening?
Deep Listening® is a philosophy and practice developed by Pauline Oliveros that distinguishes the difference between the involuntary nature of hearing and the voluntary selective nature of listening. The result of the practice cultivates appreciation of sounds on a heightened level, expanding the potential for connection and interaction with one’s environment, technology and performance with others in music and related arts. (src=deeplistening.org
An interesting report about Deep listening from a sensitive neophyte: