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op less obvious more intricate and to produce a denser richer texture which is perhaps less electronic sounding the drone works well as a kind of stable firmament under which details can be inscribed and transformations can occur i feel like we are developing our own kind of spectral music spectral in the sense of paying attention to all the minute details of color and grain within a particular recorded sound so in a way for us the drone just naturally comes out of this approach as time and rhythm are sublimated by tone and color arriving on the heels of curling pond woods campfire hymns and beach boys homages davis somnia may have caught some listeners by surprise in fact the album was created in tandem with his carpark albums even if the timing of the releases makes it appear otherwise an early version of clouds as edges was issued as a six minute single in 2001 somnia brings to fruition davis s long standing passion for the genre an interest that began as early as high school when he discovered indian classical music modal jazz aphex twin s ambient works reich and eno davis bases each somnia piece on a single instrument yet alters its sound so completely via computer that the result sometimes bears little resemblance to its origins speaking between tour stops in montreal and boston he says i did constantly ask myself how far do i take this process i was trying to reach the point where the instruments sound qualities were radically transformed but not beyond the point where you could no longer recognize the original instrument its tone color i believe is still apparent in the end his audacious instrument choices included a bowed psaltery for archer and a toy harmonica for diaphanous edit describing his production approach to archer davis says i wanted to create a piece that shimmered with rich overtones so i sampled myself playing every diatonic note on the bowed psaltery and then used a max msp patch to generate a drone which i then processed towards its final form even more arresting are the whistles and moans of mirages version 2 that were generated from a schaaf punch card music box which generates sounds when holes are punched out of staffs displayed on cardboard strips and then fed into the music box using music box samples i wanted to transform the stereotypical associations we have with music boxes he says and using spectral graphical processing and resynthesis techniques ended up creating a haunted quality somnia not only includes long tracks like the 22 minute campestral version 2 but also short pieces like the 4 minute furnace i struggled a lot with song duration and album length davis admits campestral had a long melody to begin with and with time stretching transposing and layering it ended up being a naturally longer piece at the same time i liked the idea of incorporating shorter pieces to show that an immersive and effective drone can still be created in four minutes his interest in the project extends to the stage as well each night i ve been creating a new piece using real time processing on one of the instruments i ve brought on tour bells glockenspiel harmonica melodica stylophone egyptian double reed flute gongs farfisa autoharp guitar et cetera he says sometimes i ll also incorporate field recordings and improvisations into the live tapestry robert henke a k a monolake shares davis enthusiasm for bringing drone material to the stage although for him the ideal scenario for presenting signal to noise would be a multi channel setup with the audience completely surrounded by sound even though the drone is most powerfully experienced live as its duration isn t determined by album running time the two slowly mutating works on signal to noise are definitely immersive for the album s 32 minute title piece henke used a yamaha sy77 to generate timbres he then filtered pitch shifted and processed to create drifting wave like clusters while static bursts and rumbles on the more programmatic studies for thunder were sculpted to mimic thunderstorms henke s interest in drones stems from a fascination with gradually evolving structures even if their forms are different for me a pulsating repetitive club track the music of steve reich a thomas köner soundscape or distant urban traffic noises are all equal sources of inspiration and delight while davis s arbor and curling pond woods are on carpark chicago based kranky seems the more fitting home for somnia given the label s roster of drone related artists like stars of the lid charalambides and growing by the title alone growing s most recent album the soul of the rainbow and the harmony of light begs associations with young and the psychedelicized 60s period even if the title derives from an 1893 essay by bainbridge bishop on his 1877 color organ invention a device capable of playing sound and corresponding light together or separately while group members kevin doria bass and guitar and joe denardo guitar embrace the drone s primal power the roar of anaheim ii for example their seething shards of guitar and waves of delay are loud but not dissonant or cacophonous their ambient doom sound is rapturous elemental in force and ethereal in effect the album opens with onement an 18 minute epic of shuddering guitars harmonium like drones and cymbal noise that eventually engulfs all other sounds the harmonium sound reappears in the more incantatory epochal reminiscence where crystalline tones appear alongside gargantuan guitar slabs the group s interest in drones is evident on its 2003 debut the sky s run into the sea but that interest emerged long before as a developing bass player doria gravitated towards artists like sonic youth earth glenn branca young riley and pandit pran nath likewise denardo was captivated by earth s 1993 earth 2 special low frequency version sub pop and he s still wearing out the grooves on terry riley s organ improvisation persian surgery dervishes in addition he says it s always wonderful to see sunn 0 play to feel its awesome power when asked about memorable drone related experiences denardo cites a visit to the dream house and in doing so echoes davis who visited there with keith fullerton whitman and david grubbs an eternal voice the sum total of artists working in drone related genres is immense as evidenced by an inquiry into the practitioners favorites in addition to minit blades cites brendan walls and scott horscroft fielding s eclectic list includes birchville cat motel the dead c the master musicians of joujouka harvest music of chad tuvan throat singing inuit women and sufi music tilley says i m very interested in what radian is doing because the group is merging the sonic and spectral with the rhythmic and melodic greg davis cites the impact of alvin lucier s music on a long thin wire and the tamburas of pandit pran nath and mentions rafael toral fennesz hazard keith fullerton whitman growing and more in a long list of favored contemporary drone artists given the fervent level of artistic enthusiasm for the genre one wonders if there has been a surge of recent interest davis contends that there have always been practitioners even though current technologies allow drone music to be more easily produced a sentiment shared by henke and denardo there have always been practitioners but even more than the media deciding what to cover i think the listening public is paying attention says denardo in certain parts of the country people consistently come to our shows and earth and branca have never stopped doing this type of music henke similarly notes the media s intermediary role as a factor if you are a music journalist and on your table are ten eurotrance cds and one drone record which one will you remember the resurgence of interest in drones goes hand in hand with a resurgence of interest in minimalism says blades in recent years there has been an increase in total listening and drone listening requires total immersion in the sound environment i also believe that with the global atmosphere of violence and terrorism meditative and total listening experiences are more highly regarded blades cites artists like zoviet france hafler trio nurse with wound bernhard gunter oren ambarchi and phill niblock as carrying on the drone tradition why does the drone have such enduring appeal its music and sound environment is very minimal and pure devoid of fashions or trends like glitch says blades another factor is its vast spectrum of stylistic possibilities that it can simultaneously accommodate the unearthly funereal epics of deathprod s morals and dogma and the stately beauty of jóhann jóhannsson s virðulegu forsetar maybe its longevity is rooted in something more primal denardo says that the most inescapable drones and those which keep us from any true silence are the low pulses of our circulatory systems and the high hums of our nervous systems or perhaps as davis says it s because the drone is the eternal voice of the universe further reading four musical minimalists by keith potter cambridge university press 2002 minimalists by k robert schwartz phaidon 1996 dream encounters la monte young meets mark webber the wire december 1998 issue 178 early minimalism the wire april 2001 issue 206 inside the dream syndicate the wire april 2001 issue 206 web info greg davis growing robert henke loop orchestra minit just intonation kyle gann la monte young mela music eternal light art foundation further listening greg davis somnia kranky growing the soul of the rainbow and the harmony of light kranky robert henke signal to noise imbalance the loop orchestra not overtly orchestral quecksilber minit now right here staubgold john cale day of niagara inside the dream syndicate vol i table of the elements john cale dream interpretation inside the dream syndicate vol ii table of the elements john cale stainless gamelan inside the dream syndicate vol iii table of the elements john cale sun blindness music new york in the 1960s vol 1 sun blindness music tony conrad early minimalism vol 1 table of the elements tony conrad with faust outside the dream syndicate 30th anniversary ed table of the elements terry riley in c sony terry riley in c 25 th anniversary concert new albion terry riley persian surgery dervishes newtone la monte young the melodic version of the second dream of the high tension line stepdown transformer from the four dreams of china gramavision la monte young the tamburas of pandit pran nath just dreams la monte young theatre of eternal music shandar la monte young the well tuned piano gramavision related listening the sheer number of drones related recordings verges on astronomical but a representative list might include glenn branca symphony no 5 altavistic charalambides joy shapes kranky rhys chatham an angel moves too fast to see selected works 1971 1989 table of the elements deathprod morals and dogma rune grammofon stuart dempster underground overlays from the cistern chapel new albion john duncan phantom broadcast allquestions earth earth 2 special low frequency version sub pop faust ravvivando klangbad fripp and eno no pussyfooting eeg fushitsusha the wisdom prepared tokuma gas zauberberg mille plateaux philip glass music in twelve parts nonesuch keiji haino so black is myself alien8 harmony rockets paralyzed mind of the archangel void big cat ryoji ikeda matrix touch jóhann jóhannsson virðulegu forsetar touch thomas köner nunatak gongamour barooni alan lamb primal image dorobo jean françois laporte mantra metamkine alvin lucier music on a long thin wire lovely music roy montgomery scenes from the south island drunken fish phill niblock young person s guide to phill niblock blast first nurse with wound soliloquy for lilith idle hole pauline oliveros deep listening new albion jim o rourke happy days revenant paul panhuysen partitas for long strings xi records charlemagne palestine schlingen blangen new world pelt empty bell ringing in the sky vhf folke rabe what dexter s cigar steve reich early works nonesuch includes come out and it s gonna rain steve reich four organs phase patterns newtone janek schaefer above buildings fat cat stars of the lid the tired sounds of kranky sunn 0 flight of the behemoth southern lord sunroof bliss vhf tangerine dream zeit sanctuary castle rafael toral violence of discovery and calm of acceptance touch david tudor rain forest mode records vibracathedral orchestra dabbling with gravity who you are vhf windy carl consciousness kranky richard youngs advent jagjaguwar zoviet france the decriminalisation of country music tramway february 2005 re posted without permission from an article found on textura org http www textura org archivespages abcd dronesarticle htm posted by industrial music library at 11 11 am 0 comments email this blogthis share to x share to facebook share to pinterest tags labels drone music glenn branca la monte young nurse with wound terry riley industrial music a condensed history read the full post by gay til death on industrial music for industrial people the something awful forums industrial music is a widely varied style of music which today doesn t really have a common thread other than it sounds dark originally it was experimental confrontational abrasive and vulgar started in the late 60s and early 70s by radical post hippie artists in england coum transmissions later becoming throbbing gristle and san francisco monte cazazza who collaborated with throbbing gristle and it s members for many years it spread through out the uk and europe without making a huge impact in the us until the 80s save for a few artists and mainly in san francisco with monte cazazza who coined the term industrial music and boyd rice in the late 60s there was coum transmissions a radical artist collective the two most important members were genesis p orridge and cosey fanny tutti these two along with peter christopherson aka sleazy and chris carter they made up the musical aspect of coum transmissions eventually coum became throbbing gristle every throbbing gristle show was recorded and eventually released on cassette on their label industrial records these dudes had a huge impact on the experimental music scene in the uk us and europe like minded individuals and copy cats popped up and a scene was born for the next 30 years industrial expanded and evolved or devolved in some cases ranging from pop music masquerading as something dark or sinister to some of the most vulgar and abrasive music out there after throbbing gristle broke up and went their separate ways many said industrial had died and thus retroactively we call anything after the tg break up post industrial i have to say i don t like this term it stinks of something made up on wikipedia or some forum 20 years after the fact so from this point we have a huge amount of music to explore since dozens of sub genres have sprung up since tg s last performance most notably we have neo folk power electronics electro industrial ebm dark ambient death i...
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