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at intense style too where it s so loud and overwhelming it s completely immersive davis might just as easily be alluding here to the volcanic roar of young s theatre of eternal music ensemble lou reed s 1975 scabrous feedback fest metal machine music or the droning riffage of sunn 0 and growing dream syndicates each day multitudes flock past the unprepossessing entrance to the dream house unaware of its musical significance located at 275 church street in manhattan s tribeca district where la monte young and marian zazeela moved in 1963 the dream house functions as an ongoing exhibition and performing space for young s music and zazeela s light installations the loft s white interiors are bathed in zazeela s colored lights and large speakers emit the ongoing frequencies of young s drones sounds resonate more loudly or softly depending on one s position in the room another dream house was operated from 1979 to 1985 at 6 harrison street a six story building where young and zazeela lived though they kept the church street loft as a legal address no history of drone music is complete without young even if voluminous documentation of the artist and his work is available elsewhere born in 1935 in a small log cabin in bern idaho to a mormon family and initially trained on saxophone he even played with free jazz legend eric dolphy young discovered anton webern japanese gagaku indonesian gamelan and indian classical music upon his 1957 arrival at ucla exposed to the ragas of ali akbar kahn young developed a fascination for sustained tones and with his 1958 landmark composition trio for strings which eschews melody and pulse for static chords and sustained tones arguably founded minimalism a 1959 darmstadt summer course with karlheinz stockhausen exposed young to the radical philosophies of john cage young s piano piece for david tudor 1 in which the performer offers a bale of hay to his piano to eat and a bucket of water to drink clearly shows cage s influence young then moved to new york to study electronic music with cage and briefly became involved in the dada influenced fluxus movement of course young wasn t the first to use the drone it s fundamental to indian music but he can be credited with reviving it within western classical music based entirely on four alternate tuned pitches the second dream of the high tension line stepdown transformer from the four dreams of china 1962 with a later eight trumpet version issued on gramavision in 1991 was his first drone piece in just intonation which substitutes the equal temperament pitches of conventional western music for tuning that pythagoras quantified in ancient greece and is used in many non western musics and by composers like pauline oliveros and glenn branca with sustained overtones that eventually destabilize the listener s grasp of space and time its harmonies evoke the electronic hums of hydro wires and power transformers that transfixed young as a boy by 1962 young was performing with a small ensemble that was eventually christened the theatre of eternal music in 1965 aside from the voices of young and zazeela the group variously included violinist tony conrad violist john cale hand drummer angus maclise trumpeter jon hassell violist david rosenboom organist vocalist terry riley and others dedicated to realizing young s the tortoise his dreams and journeys an ongoing composition that young initiated in 1964 the music conflated elements of improvisatory jazz minimalism indian music and psychedelia into one with the group s ritualistic and ferociously loud bowed strings voice improvisations lasting for hours around 1965 young attached a microphone to his turtle s aquarium motor in order to tune his ensemble to its hum hence the work s title later variations of the eternal ensemble included the theatre of eternal music brass ensemble led by trumpeter ben neill and the theatre of eternal music string ensemble led by cellist charles curtis young s landmark composition remains the well tuned piano the title parodying bach s well tempered clavier a raga like multi tonal and ongoing work begun in 1964 and performed in 1981 on a bösendorfer imperial grand piano a performance issued initially on vinyl and then as a five disc set on gramavision that five hour version is eclipsed by a 1987 performance issued on dvd that better matches the work s six uninterrupted hours and includes the enhancing spectacle of zazeela s light sculpture of course the theatre of eternal music s other members established themselves beyond their association with young terry riley a case in point arguably his most important work riley s revolutionary 1964 in c comprises 53 melodic modules that can be repeated as often as desired by an undetermined number of instruments with the piece formally ending once all players reach module 53 in 1997 conrad issued the four disc set early minimalism volume 1 which includes the scorching sustain of 1964 s four violins plus three 1990 s extensions each album given the name of a month in 1965 the infamous falling out between young and conrad is well documented but merits brief mention as it helps clarify why relatively few of the theatre of eternal music s recordings have been issued even though many group sessions were recorded young has refused to release them despite the protestations of his former colleagues the discord is rooted in young s assertion that he is the sole composer of the original performances the others contend they are co composers of what were collectively improvised sessions a recording of the ensemble was issued in 2000 the 31 minute inside the dream syndicate vol i day of niagara and while the recording s sound quality is abysmal the document does capture the ensemble s glorious roar and its attempt to freeze sound bridging the gap john cale brought his viola but more importantly young s concepts to the velvet underground before moving on to a storied solo career of great recordings fear slow dazzle and collaborations with eno wrong way up and former vu partner lou reed songs for drella rather perversely reed himself kept the drone flame alive with the 1975 release of metal machine music two albums of seething noise that outraged his transformer fans and found them returning to the record stores in droves demanding refunds the loop orchestra s john blades says i clearly remember it turning up in all the second hand record shops in sydney just after it was released while greg davis recalls it playing once in a chicago bookstore he was working in at the time much to the bewilderment of the store s customers one presumes the ongoing debate over the work s legitimacy was re ignited in berlin 2002 when the german new music group zeitkratzer performed the piece live with reed joining in on guitar drones awareness spread to prog and art rock aficionados with the 1972 release of tangerine dream s double album zeit arguably supplanted by 1974 s seminal phaedra and the 1973 release of no pussyfooting comprised of two drones generated by robert fripp s guitar and brian eno s loops and synths while krautrock fans discovered tony conrad through his outside the dream syndicate collaboration with faust in 1974 reissued with a bonus track on table of the elements in 1993 the drones phenomenon held steady throughout the 80s and 90s due to influential works by the hafler trio zoviet france nurse with wound phill niblock glenn branca charlemagne palestine earth keiji haino and others during the 90s the barren dronescapes of thomas köner s gong generated nunatak gongamour and teimo releases offered a diametric contrast to the comparatively warmer ambient drone techno hybrids zauberberg königsforst and pop created by wolfgang voigt under his gas guise in the early 1980s australian radio programmers john blades and richard fielding started experimenting with tape machines by cutting rearranging and rejoining pre recorded tape to generate loops developing their ideas further as the loop orchestra the pair made its 1983 debut with four reel to reel machines playing slowly evolving constructions far from static the group s loops ebb and flow hypnotically i believe our music is only drone like due to the nature of tape loops says blades there is a slow progress and evolution through the duration of a piece but i prefer the term ambient as this is the effect created by most of our music after all the so called ambient music of eno discreet music music for airports is really very dronal in spite of technological advances the four compositions on 2004 s not overtly orchestral were generated using those same reel to reel machines why do so when newer technologies are available according to blades we have a great affection for the technology of reel to reel machines a technology which has been largely left behind by the digital age the machines are beautiful pieces of sculpture the loops are simple very organic and very human the digital technology is purely a black box and too easy and cold also tape loops and reel to reel tape machines are historically significant as the history of electronic music dates back to musique concrete we re dedicated to creating a body of work that cannot be instantly identified with any past or current movement or style or era adds fielding a music that has no patina of contemporariness no obvious technological or technical development no mastery of technique and no mature style blades says we generally try to keep the music as free of associative and identifiable elements as possible our first record released in 1991 included a 20 minute piece called suspense created from tape loops made from suspense and horror movie music from the 1940s to the 1980s films like creature from the black lagoon in this case identifiability was part of the intended effect on the other hand bride was created using loops from the soundtrack to the 1936 film bride of frankenstein with all the loops layered and the music fragmented the original score became unrecognizable it depends on the theme then whether loops remain identifiable or not new practitioners asked about current drone artists blades says at the moment the most significant artist creating beautiful intricate layerings of electronic sound is minit the group formed by jasmine guffond and torben tilly in 1997 uses sampling digital processing and electro acoustic techniques to create meditative soundscapes four of which are heard to fine effect on the recent now right here the epic title track is the most impressive a 20 minute drone whose shimmering tones grow into a dense mass until a bass line appears anchoring the piece magnificently while the piece is largely abstract the timbre and color of its french horns remain readily identifiable the use of french horn was instrumental in the process of developing the kind of ecstatic build up that we wanted says tilly klara logan played the horn to an already existing bed of sound and it was her playing that in turn modulated the development of the piece as it leads up to the introduction of the bass line asked to describe minit s sound tilley says when jasmine and i began the minit project around 1997 our music was and to a large extent still is built almost entirely out of looped samples over the last five years we ve attempted to make the loop 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 ...