Longform Editions 16 presents four new pieces from a diverse set of artists exploring ideas through sound composition surrounding listening, perception and focus, both in the abstract and our everyday.
it was always worth it
Having forged a stark individual path with her deeply personal domestic and field recordings, Texas-based claire rousay offers a compelling exploration into the dynamics of human relationships and self-perception. Listening to it was always worth it—heavily scored with voice-to-text—is to recast your ears towards the ghosts of lost loves and find a new perspective.
"I love the sound of voices, especially the voices of my loved ones. Those are the sounds I listen to."
Head of the influential 12K label, New York's Taylor Deupree's own work plays on rich, abstract atmospherics and, along with his solo work, has found immense acclaim through collaborations with kindred spirits Ryuchi Sakamoto and David Sylvian. Canoe is a supreme work of stillness and meditation with a mysterious sense of calm, evocative of being adrift at sea.
"With Canoe I hope to instill a sense of solitude, loneliness, and the hushed searching for and unknown something, just out of reach."
Platonic Solids 1
Melding cello composition and electronic elements, Clarice Jensen has been fascinated by the five shapes that make up the platonic solids, writing graphic scores based on these along with the elements of earth, fire, air, water and the quintessence Plato assigned to them. Platonic Solids 1 portrays sound that evokes stasis and movement at the same time, and very generally, explores the perception of sound through dimensional space and time.
"I'm fascinated by what happens to my perception of time when I'm listening to music, particularly work that is minimal and long… I find myself getting lost in galaxies inside the minutiae of something my ear has attached to."
The Babbling Brook
Strategy, the long-running alias of Portland mainstay Paul Dickow, offers The Babbling Brook, a stunning sound collage of continual, rolling change, rotating on a seemingly unending axis of calm and chaos. An ode of sorts to the movement of water, the piece represents Dickow's ongoing quest to challenge the more traditional sense of ambient music.
"This concludes a long series of explorations of unsequenced, improvised approaches to music which does not commit fully to the traditional sense of "ambient" music as purely contemplative in nature, but instead offers moments of confrontation, surprise, dream logic, or disorientation interwoven with sustained, immersive elements."
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