Ambient Music Links, 11/3/08

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  • u-cover records
    "since 1999 u-cover works on bringing fine electronic music to a worldwide audience. until 2008 we've realized this as u-cover records and a number of offshoots showcasing different setups and formats."
  • Spekk
    "Established in January 2004 by Nao Sugimoto (aka mondii) based in Tokyo, Japan. Spekk explores and focuses on various interpretations of minimalism ranging from experimental electronics, electro-acoustic to field recordings and unclassifiable tones... whether they are structured / non-structured or improvised / non-improvised or even just documents of phenomena. All the artwork is designed by mondii & uison in custom made book-shaped paper packs."
  • schole records
  • Infraction
  • [ Hypnos ] www.hypnos.com
    "hypnos.com is the home of Hypnos Recordings, now expanded to include sub-labels Binary (aka Hypnos/Binary) and also the Secret Sounds imprint (aka Hypnos Secret Sounds). This site also hosts a number of resources related to the music and the artists in the ambient/atmospheric scene."

There's more where this came from at del.icio.us/ambientmusicblog.

Hammock & Taylor Deupree, Live in NYC

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A couple of Ambient Music Blog favorites, Hammock and Taylor Deupree are teaming up to play a live show November 22nd in Williamsburg, Brooklyn at Monkeytown.

From the Monkeytown site:

"In a special north/south collaboration, Nashville, Tennessee’s melodic ambient duo Hammock and New York sound artist/photographer Taylor Deupree conjure up a stargazing soundtrack with captivating visuals."

Eno - The Studio As Compositional Tool

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"Which puts me in mind of the first piece on Music For Airports (Editions EG). I had four musicians in the studio, and we were doing some improvising exercises that I'd suggested. I couldn't hear the musicians very well at the time, and I'm sure they couldn't hear each other, but listening back, later, I found this very short section of tape where two pianos, unbeknownst to each other, played melodic lines that interlocked in an interesting way. To make a piece of music out of it, I cut that part out, made a stereo loop on the 24-track, then I discovered I liked it best at half speed, so the instruments sounded very soft, and the whole movement was very slow. I didn't want the bass and guitar - they weren't necessary for the piece - but there was a bit of Fred Frith's guitar breaking through the acoustic piano mic, a kind of scrape I couldn't get rid of. Usually I like Fred's scrapes a lot, but this wasn't in keeping, so I had to find a way of dealing with that scrape, and I had the idea of putting in variable orchestration each time the loop repeated. You only hear Fred's scrape the first time the loop goes around." from Downbeat, 1979