How I found to this music

Kyle Gann, in the middle of an old post found here, explains a bit of how I ended up listening to all the music that I now play on my show. I ended up liking the 20 second intros and outtros of songs more than the songs themselves. I liked it when artists goofed off just as the volume faded out. I loved hearing the weird chord to end the song, the odd drumming pattern that started off just as you thought they'd repeat the chorus one more time, etc. I loved the crazy starts to songs that finally wrapped into the more usual rock song format. And, like I said, i started liking them more than the actual songs that came in between the intro and outro.

So I started looking for new sounds in music. This started in about 1992. This was right when I started missing musical movements, like, oh, My Blood Valentine (whose Loveless I now love, but didn't hear for roughly 7 years) or Radiohead (a group I only liked again after Kid A, mainly because I hadn't even heard OK Computer for the first 3 years it was out) . First I veered into free jazz, lots of Coltrane, and John Zorn, including Naked City and Masada. Some time in 1993, I heard Crumb's Black Angels and Reich's Come Out and in my first year of grad school, for no good reason that I can recall, I bought Glass's Einstein on the Beach. I'd had some other Glass, old records and such, but that opera blew me away. I didn't know how to find more of the music until years later. I was just kind of ignorant until roughly 2001 or 2002, to be honest. I spent the late 90s listening to international music of all flavors, anyway.

Anyway, it's amusing to have Gann describe the problem of a listener like me before the switch to listening to minimalism. As Gann writes, "For many of us, the large-scale course of the piece is precisely the point, even (or especially) if it goes nowhere." I love that line of his, and steal it all the time: music that ends up going nowhere. I seem to play a lot of that on my show.

Dec 16, 2008 playlist

Next week, I'll be doing a show of crazy German and US new wave music, the ultimate in synth-dressed punk DIY music (man, some of that stuff is crap, but GOOD crap). This week, I'm doing really long songs. I don't even know how many I'll play. I'd planned to do the whole Philip Glass opera, Einstein on the Beach, but realized that my mood wasn't in it. Plus, who wants to study to that material? (It's finals week at UMaine, for those not at UMaine.) I have my serious emotional attachment to the piece, and it flips my brains around every time I immerse in it as fully as during a radio show in which nothing else gets played. The piece is 3+ hours, and I have a 2 hour show. So, perhaps another reason I'm not playing it is that I showed up at the station too late.

So what I'm playing instead is:

Constant Mix mp3 from C. Reider

The link takes you to the place where I first found out about this piece (this morning!), and links from there take you further to the download at archive.org. (Irony moment: I am late to this show because of futzing about trying and failing to submit a paper to arxiv.org, pronounced the same way.) Read up on the music at both locations, because it's interesting. The music is a collection of drones, with the drones removed, in essence. What's left at that point? Fascinating sound, accidental blips and blops, arhythmic material, and an incredibly dense, interesting listen.

Music for 18 Musicians - Steve Reich

This is the 1996 recording, a bit longer than the 1978 ECM recording, a bit smoother and more richly textured. I don't know which I like better. Much like with the 1970s recordings of Music in 12 Parts and Einstein on the Beach compared to the 90s recordings, there's a certain amount of sound harshness to the original recordings. I think it's an artifact of the recording style from the 70s but also I have a sense that they wanted to sound more lush in the 90s. Most of the time, I like the harsher DIY sounds of the 70s, from back in the day before these were hugely supported artists.

Anyway, the music is just plain beautiful. It is one of my favorite pieces ever, and has been for the past 6 years or so. It's just amazing to listen to. So many elements of it are memorized and familiar to me, and yet each time I listen to it I get this thrill as something happens that I hadn't heard before. It's a piece that makes me LISTEN. It's a thorough pleasure, every time.

There's a ton on Reich online. I'm curious when Kyle Gann will have more to say about the piece. His response to Galen H. Brown in this thread was interesting - I'm not a composer, though, so a lot of it is way beyond my understanding. Sigh. Anyway, the whole article is a great read even for an ignoramus like me.

Not that it matters, but my favorite interview with Reich happens to be at the indie rock online mag, Pitchfork .

Music in 12 Parts - Philip Glass

I like many of these 12 pieces immensely and can't stand others just as strongly. Go figure. I'll be playing parts 1, 9, and 6, I think. (There's a numerical reason for that, but I'm still playing with it.)

If you're interested in the guy, check out this long article on Philip Glass. There is a ton more on the web about him, and you can listen to nearly his entire catalog up to 2001 with the IBM Glass-engine, here. Pretty slick, that.

Grand Unified Theory of Band Suckage

I've been listening to Pandora, the funky Music Genome Project radio station (I have no better name for it), and have enjoyed occasionally coming across good new songs that I didn't know. I have my Terry Riley playlist, my Steve Reich playlist, and today, for the hell of it, I put in Radiohead. Sure sure, a few songs of Radiohead, Beck, Coldplay (ack! skip that), as well as Muse, Modest Mouse, and a few others.

This brings me to my Grand Unified Theory of Band Suckage. Good bands go bad when their drummers go boring. Imagine a band with a creative drummer, a fabulously interesting rhythm section, a drummer who dances over the beat, a drummer who cares to stay off the typical rock 2-4 rhythm (boom-CHACK-boom-boom- CHACK, every damn measure). This is an interesting band. Think of historical examples, the Police (Stewart Copeland) or Radiohead (who only got interesting to me when Phil Selway stopped being an indie rock formula drummer). Ah, but it's the Police who make my point. By the time the Police made it huge, they weren't as interesting. Honestly, go back and listen to Synchronicity. It's not as interesting as Ghost in the Machine or Regatta de Blanc, and it certainly doesn't have the musically creative desperation of Zenyatta Mondatta (which I find a brilliant album, by the way). And that travesty, Don't Stand So Close to Me '86, well hell, that's just shit. And one reason it's shit is because of the stupid 2-and-4-beat drumming. What was Copeland thinking? (For those who care, the excellent New Yorker writer and author Alex Ross actually answered an email from little old me, not at all related to this topic, and pointed out that Phil Selway's drumming on the last Radiohead album was the actual strength of the recording. Huh. Proof of my Grand Theory? or just a chance to name Alex Ross in a blog post?)

So here I am, back in the present day, listening to Modest Mouse. And it's that song that was kinda popular (forget the name, don't care to remember it), the one where they sound like the Talking Heads. High voice like David Byrne, a certain kind of guitar, blah blah blah. But the reason it's NOT the Talking Heads is that ... the drums suck. I mean, maybe they don't suck, but they sure are boring. There's no there there. They don't do anything at all for me. It ain't Chris Frantz playing, let's put it that way.

So. If ever a band you've loved suddenly isn't as interesting as before, listen to the drums. If they're boring, it's a sure sign that the songwriter has taken over in the studio and the band itself is kinda dead. And, usually, this means that the band is no longer interesting to listen to.

PS: Lesser known variant of theory: bassist suddenly stops doing interesting things. Overarching theme of theory: rhythm section matters.

PPS: Further applications of this theory are the Cure, when you look at their albums up to Pornography and compare them to the albums since, oh, say Mixed Up (which reworked old rhythms, good choice!), Death Cab for Cutie, the Decemberists, Liz Phair, and Einstürzende Neubauten. I wouldn't call it a Grand Unified Theory if it only applied to a few genres of indie rock. It's an across the board kind of thing... at least in my present mood.

UPDATE 20081216: Talking to my brother-in-law, he mentioned a band I'd meant to write about but hadn't. When REM's drummer left, what happened? That's right: years of suckage. They seem to have grown closer to their present drummer over the years, which helped their last album be quite good in comparison to the dreary years.

2008 Dec 9 Playlist

I'm liveblogging the show, again, though not as much as last week...

Track -- Artist -- Album -- Composer if not artist (or not known)

• Salzburg Bells Multiple — Michael Wittmann — Herrnau Kirche Aufnahmen


• Red Bird (part 1) — Trevor Wishart — Red Bird/Anticredos
  
  Man, this is some weird music, but actually kind of fun to listen to. The found sounds, the weird sampling, the overlapping of oddness. I wonder what drove the people to do this - then again, I'm enjoying it.


• The Harp of New Albion: IV. Cadence on the Wind — Terry Riley — The Harp of New Albion
  
  12.21 Just intonation, where the intervals of note to note make sense, but the intervals of note against note sound dissonant. This is a calm piece.


• Postcards From Italy — Beirut — Gulag Orkestar
  
  Oh, let's go ahead and put in some vaguely gypsy sounding music with a ukelele or something, along with actual English language lyrics (songs? with lyrics? on this show? impossible!). But it's a bit of joyous music in the otherwise weird stream that I'm pumping out.


• Badminton Girl — Fennesz — Endless Summer [Bonus Tracks]
  
  12.32h This isn't as bubbly happy as last week's track. It still has that incredibly heavily processed guitar sound to it, like you can't quite hear what some lovely new age guitar is doing because it's been sludged down and made opaque. Sound opaqueness is a fascinating thing, and I do love my thick textures.


• Love Will Tear Us Apart — Susanna and the Magical Orchestra — Melody Mountain — (Joy Division cover)
  
  This is a sad version as different from the original as the Swans version is trippy happy. Ah, well. I do love the song, and it's nice to throw things for a loop when you get a chance.


• Death of the Spider + Epitaph — Group 180 — II. — Béla Faragó
  
  This is a nice piece of postclassical music, downloaded from the ubuweb archives, and it's freaking great to listen to. It's got all the minimalist elements that you can think of, repetition, phasing, additive parts, but is obviously not the 60s minimalism anymore. It sounds kind of like Music for 18 Musicians, and yet does an entirely different job along the way. Totally worth it to play this for the first time. Hey, how often does college radio get an oboe?


• The Sinking Of The Titanic — Gavin Bryars, Alter Ego, Philip Jeck — The Sinking of the Titanic — Gavin Bryars
  
  13.01h This returns to the opaque buried sound from Fennesz, but is being played to commemorate Dec. 7, Pearl Harbor Day. Yeah, sinking and all that. The sound starts with thick turntable static and some rumbling down beneath. I know that eventually the sounds of the bass (Bryars playing) and other noises will come in, and eventually we get the sampled interview of the woman who survived the wreck, and so on. This is entirely different from the Point Music release (was it on Point?) from a few years back, all beautiful, with the hymn Autumn rising up out of the iceberg crash and slowly descending into the thick sludge of water-based noise. This version starts out with sludge and barely ever rises out of it. There's no iceberg crash, there's no story being told in direct terms. It's being told in noise and scrapes and dark moods, throughout.


• Derveshum Carnivalis — Terry Riley — Atlantis Nath
  
  This really doesn't fit at all to the 17 minutes of Titanic that I just played, but it's kind of an off-kilter carnival atmosphere. It makes me think of Tom Waits and the Black Rider, a bit, but not as murderous. Hey, bells. Ha. I feel good about the orchestration. Oh, and the opening chord wasn't too different from Autumn. Yeah, I'll go with that as to why I did the mix the way I did.


• The Sea Organ of Zadar, Croatia — City of Zadar
  
  13.22h THIS was what I was supposed to play after the Titanic. Whoops. But how can you not love a randomly generated organ making honking noises and creating floating weird little patterns, based on waves pushing against air bladders which create the different sounds along the coast of Zadar?


• I — Terry Riley — Poppy Nogood And The Phantom Band “All Night Flight” Vol. 1
  
  In keeping with the swirling organ noises, this one goes vaguely Arabic (must be the instrumentation that makes me think of this, at first blush), and I love the slow development - nothing happening but so much going on, thick textures and patterns which keep doing the same thing (except not), more and more instruments being layered. It's almost noise, it's almost dervish trance music, it's almost a weird saxophone driven jazz piece, and it's none of those, either. Oh, right! And then you get to the weird mixing, where it sounds like the sound board is making errors, until you realize that's only in a few instruments, and later on it even takes on a rhythm.


• Coming Up (again) — A Beautiful Machine — Solar Winds, White Noise, Antigravity
  
  13.33h A shoegazer track to put on after the Terry Riley drones, why not? I never really listened to these guys as much as Slowdive they remind me of Lush and Ride at times, but they're worth listening to more, and a great example of when the postclassical style and one or another indie college radio style overlap. This was a totally seamless transition in musical style, where this song even sounds nearly boring in comparison (what, using only guitar and bass for sound? and only the drums to lay down a nearly boring and blatant rhythm?).


• Nikko Wolverine - Of One Forbids — Chas Smith — Nikko Wolverine
  
  Though it's played on pedal steel (you know, that country music instrument), it sounds just fine in a segment of a show dedicated to sustains and noise. Long overtones drone on, melodies get played out in places where you don't think any music is being played (I swear, there's some game where my ears hear the feedback and make up sounds that aren't actually composed), and it refers back to the moody darkness of the Sinking of the Titanic. Matter of fact, the two go hand in hand very nicely.


• Tread on the Trail — The ARTE Quartett — Terry Riley: Assassin Reverie — Terry Riley
  
  Starts off with a drone, and then suddenly a jazzy little saxophone jumps out. It's repeated in another line, and we're off. Yup, a sax quartet doing Terry Riley, with all that means in terms of minimalism, jazz, chamber orchestra, swirling sounds, overlapping parts doing identical things at different times, and more. Plus, it's in a brighter key, so it takes the dark drones from before and turns them into something happier. Gets kind of chaotic after a while, but that's fine, too.


• Mankaiyarkkaraci — Temple De Chidambaram — Inde Du Sud — Periya Melam
  
  Last song of the set, takes the tone and texture of the saxes and turns them into Indian (eastern, not american) music.

Random other links

Sometimes, it's not just music, but other fascinating things that come along while reading around the web while drinking some water...



Kyle Gann on Composing Generously

Then there's some Awesome architecture.

Want to find great music that's long out of print? There are a zillion sites out there, but A Closet Full of Curiosities is one of the best.

And, finally, here's a crazy way of conveying a message: every 12 hours, the clocks line up again to spell out the right message, but otherwise it looks like chaos. Phasing at its best!

Playlist and comments, 2008 Dec 2

Today's playlist comes with some commentary as well... A lot of this music is new to me as I play it, so hey, that's what you get, commentary as I listen to it in detail for the first time. I'm live updating, as new pieces get played.

Track -- Artist -- Album -- Composer if listed

• Salzburg Bells Multiple — Michael Wittmann — Herrnau Kirche Aufnahmen
  
  12:00. This is a recording from when we lived in Salzburg last year, and is a nice found sound multimetric piece as the different bells ring at different rates, creating that typical church sound chaos. It was recorded on our last weekend in Salzburg, when we'd gotten so used to this sound during the day, and realized we wouldn't hear it anymore. I have a few other recordings, hence the "album" title...


• Assassin Reverie — The ARTE Quartett — Terry Riley: Assassin Reverie — Terry Riley
  
  Wow, what a chaotic piece, starting off with a nearly trite sax quartet section, then getting really noisy during the middle with sounds and samples, and ending with a sad little coda that continues to use found sounds and samples but is somehow somber, morose, kind of melancholic. Look at all the chaos. The assassin's work done, sitting around, lamenting what just happened.


• Cendres — Kaija Saariaho — Chamber Music
  
  12:20. A pretty "normal" piece of chamber music, in comparison to what I usually play. Flute, piano, and a string quartet seems to be the orchestration. A bit twee at times, a bit much on the heavy bowing and dark thick rich texture at other times, a bit playful in between. There's some spoken moments, reminiscent of Kronos doing Black Angels and so on. I'm not sure I like the pieces as a whole, but it's got some nice parts to it.


• Nikko Wolverine - The Presence Of One — Chas Smith — Nikko Wolverine — Chas Smith
  
  12:33. I love the sustain notes on Chas Smith's pedal steel, the way certain sounds slice across the spectrum, and the way a long, meditative build up is interrupted when these sound slices come along. Yes, I know, I'm not expert in listening to music, I just describe it. But it's lovely to pay attention as the texture of this piece builds up (a theme for songs later in the show, as well). I love attending to the increase in textures, the overtones and sustains coming off individual moments. Reminds me of looking at conceptual art, where your eyes slowly adjust to the artist-created environment.


• You Can’t See the Forest…Music — Daniel Lentz — Cold Blue — Daniel Lentz


• Stumpf 2-3-4 2006-05-01 — Onophon
  
  12.41. These two (Daniel Lentz and Onophon) are pieces in which different speakers talk in syllables and eventually figure out how to make a single sentence. Both work on the principle that the speeches are out of synch, and it takes all piece to get them to be one. The Daniel Lentz ends up saying "you can't see the forest for the trees. you can see a pot of gold at the end of the rainbow. don't put the cart before the horse. better late than never. birds of a feather flock together." Onophon, on the other hand, starts with the full phrase, then lets it fall to pieces, and finally catches up to itself again at the end. It's verbal phasing, which is pretty cool. The Lentz seems to be more like Larry Polansky's four voice canons, in that you end up in a place of coherence, but perhaps I'm hearing it wrong.


• It’s Not The Bullet That Kills You - It’s The Hole (for Chris Burden) — Laurie Anderson — Airwaves — Laurie Anderson
  
  12.52. What a dorky hoedown song, with silly lyrics. I love it. It's a nice alternative to the previous few songs. Throw people off guard or something. It makes me laugh.


• In This Light — John Kuhlman — Cold Blue — John Kuhlman
  
  Start off with menacing bass, some singing deeply buried in the mix, and it seems like any moment now, Thurston or Lee should be popping with some angular chord work in an early Sonic Youth song. But now. This is on the Cold Blue label, and it's like some shamanistic ritual of a death metal band that left the drums at home and only had the bass track. Ha ha. Everything is low end, except for the overtones on the bass strings, and only slowly do other noises almost like seagulls come in (wtf?). No, wait, that's a guitar. And is that a...? chorus? Maybe not. Okay, then. I could go toward Glass's Koyaanisqatsi after this, but I think I'll stick with the Sonic Youth instead...


• Having Never Written a Note for Percussion — Sonic Youth — SYR4: Goodbye 20th Century 2 — James Tenney
  
  1:00. Did I ever think I'd like this album as much as I do? No, I did not. I love this album. This piece is typical: a single note, to crescendo and decrescendo, that's all. But it takes them 9 minutes to do it, and they do it well, and everything that I love about texture and layers of sound comes together, so that the drums show up right at the right time, and then fade out again later on, and so on. I love this whole album, with its Oliveros and Cage and Nam June Paik and even a hysterical little Yoko Ono moment. Totally worth it, and it helps make sense of what came later on the NYC Ghosts&Flowers album, which I also liked and others didn't. Oh, well.


• The Happiest Day of Our Fucking Lives — Royal Trans — In An Expression of Form, Vol. II
  
  No, I can't read the title on the air. This song continues the mood of the last one, a sustained drone, without the (de)crescendo, though. If you listen close, you can tell that it's on an 12 beat rhythm, at least for a while. (Dang, just realized that one speaker had been dead for a while - ugh, bad audio bugs the shit out of me.


• Merle (Die Elektrik) — Einstürzende Neubauten — Zeichnungen des Patienten O.T. — Bargeld/Einheit/Unruh/Chung/Borsig/Caffery
  
  13.14h This gets much more noisy and oh so painfully evil in its text. "Do you know a Merle? Are you related to her? That's good. Too good." There's more in terms of threatening questions. "But only know her by name!" "Shame, because she won't last long."


• Wa yay yay Saadiya — Hassan Hakmoun — The Fire Within: Gnawa Music of Morocco
  
  A great antidote to the previous song, and where the noises of metal against metal were threatening in the previous piece, they get turned into great gnawa cymbal percussion (what are those cymbals called? I could google, but I'm lazy about links today...). This song is just entirely different from the previous piece, this one joyful where the last was threatening. Hassan Hakmoun played this past summer at the American Folk Festival here in Bangor, and he kicked fucking ass. I saw a few sets, and they were simply stunning, so that you lost all sense of time and just drowned in the rhythm. He even did a few rock star moments, leaning over the monitor to surround himself in sound, things like that. It was funny.


• Snowing — Cylob — Mood Bells — Cylob
  
  13.22h Bells and cymbals, continuing on that theme, but returning to the drones of earlier in the show with some of the background music. This is more rhythmic than most things I play, I guess. I like it. The whole album does a great job with bells - duh, that's its title, ain't it?


• Endless Summer — Christian Fennesz — Endless Summer — Christian Fennesz
  
  13.24h. Processed guitar sounds from the Viennese musician. I like this, with the occasional open, lovely, beautiful chord rising out of the noisy chaos. Things are processed all wrong, you feel like someone is singing but it got screwed up through the guitar vocoder (think Frampton, but with bad pedals). And yet, it's a happy little chord under it all, a smile in the music, even when noises try to take over all the damn time. Oh, and the record skipping sounds in a song called "endless summer" are funny, implying the run-out groove on some old vinyl.


• monolakemotionblur — Monolake — unreleased — Robert Henke
  
  This is part of Monolake's monthly free downloads, and some of them are really great pieces. This one is more club oriented than really makes sense in a "postclassical" show, but I don't care. I felt like some light beats, you know?


• It Was up in the Mountains — Laurie Anderson — You’re the Guy I Want to Share My Money With
  
  13.43h This album title has always appealed to me, making me smile. Most Laurie Anderson makes me smile, because even now it's so damned inventive. This song continues a thread of this show, which is the weird, nearly threatening lyrics. I mean, tigers?! Otherwise, it sounds like some native american story being told, just from accent, but tigers? huh?


• When I See Scissors, I Cannot Help But Think Of You — The Dead Texan — The Dead Texan
  
  What's with this title? The music is a thick texture, not as broken as Christian Fennesz, and the piano is a bit, I don't know, pathetic in its movie soundtrack quality. I liked this better last night when I decided to put it on my show. Sigh. It's got some nice points to it, but it's kind of boring.


• Small Mr Man Pants — Odd Nosdam — Burner
  
  Weird lyrics. "I gotta say, a bird in the hand is nice to have, ha ha ha ha." Again, not really postclassical music, but I'm enjoying the thick noisiness of it, the way the lyrics get lost in the mix. I think I was on a shoegazer kick when I was listening to this last night. Nothing wrong with that, I guess.


• ciao — Lee Maddeford — Chamber music
  
  13.53h Every show needs some accordion.


• 12305te Nacht — Einstürzende Neubauten — Strategies Against Architecture III
  
  This is my 12,305th night - the first few thousand I forgot... I love this song. The lyrics are too hard to translate, and the music is just on the cusp to when they got horribly boring (to my ears). I saw them live in Vienna in the spring of 1993, an outdoor show on a flatbed truck on the Ring.

New blog entries

I've started this blog to be able to list my show playlists (a bit of book keeping on my part, mostly) and to toss out links to music that I find out about or enjoy. Hey, this rank amateur postclassical listener and DJ might even toss in some commentary about what I enjoy and what I don't. When a vague musical reference happens, I'll blog about it, during my show. That should keep me occupied nicely, I suppose. Running commentary on the music, why not?

A lot of what I play is coming from other sources with free downloads online. I try to keep to the legal side of things, and a lot of my music is from emusic, where my 30 tracks a month subscription has done me very well over the years. I'll try to link to what I can while I am doing my shows, so that you can follow up on it.

Comments and suggestions are appreciated. Thanks for tuning in. Enjoy the music.

Playlist 2008 Nov 25

Track -- Artist -- Album -- Composer if listed

Salzburg Bells Multiple -- Michael Wittmann -- Herrnau Kirche Aufnahmen --
Drumming Part I -- Steve Reich -- Drumming -- Steve Reich
Lithophone picancala a -- V.A. -- Musique Kabiye --
Lithophone picancala d -- V.A. -- Musique Kabiye --
Lithophone picancala c -- V.A. -- Musique Kabiye --
Lithophone picancala b -- V.A. -- Musique Kabiye --
In C -- Terry Riley -- Sonic Rebellion -- Terry Riley
Knee Play 1 -- Philip Glass -- Einstein on the Beach (1979) -- Philip Glass
Einstein On The Beast -- dj BC -- Glassbreaks --
Drumming Part II -- Steve Reich -- Drumming -- Steve Reich
Donga drum Solo 1 -- V.A. -- Musique Kabiye --
Opening -- Nathaniel Bartlett -- Precipice -- Phillip Glass
Donga drum Solo 2 -- V.A. -- Musique Kabiye --
the good and the bad -- Sonic Youth -- debut --
Donga drum Music for the habiye -- V.A. -- Musique Kabiye --
One + Two Fifths -- Charlemagne Palestine -- Four Manifestations on Six Elements --
(5) -- Wieland Samolak -- Steady State Music --
tapetenapathie -- Onophon -- einsatzdichtung --
TJ-RM-20 -- Eberhard Blum/Tom Johnson -- Rational Melodies -- Tom Johnson
01 Sourat Yassine -- Le Coran Cheikh, performed by Abdel Samad -- Tellus #23 - The Voices of Paul Bowles --
typing music repeat -- Steve Reich -- -- Steve Reich
Treefingers (extended version) -- Radiohead -- Memento Original Film Score --
Earthquakes; Tennant Creek -- JTBullit -- jtbullitt.com -- Earth
Underwater River Critters -- JTBullit -- jtbullitt.com -- Sudbury River
06_Stumpf_2-3-4_2006-05-01_02 -- Onophon -- --

Playlist 2008 Nov 18

Track -- Artist -- Album -- Composer if listed

Salzburg Bells Multiple -- Michael Wittmann -- Herrnau Kirche Aufnahmen --
CB-KG04 - mehr oder weniger I -- Carola Bauckholt -- Klingt Gut -- Carola Bauckholt
May This Bliss Never End -- Jacob Ter Veldhuis -- Shining City -- Jacob Ter Veldhuis
Celestrograph I -- Jeff Harrington -- Celestographs -- Jeff Harrington
03GayCowboys -- Corey Dargel -- Less Famous Than You --
In/Still -- PLOrk: Princeton Laptop Orchestra -- Live at Richardson Auditorium -- Curtis Bahn and Tomie Hahn
Amkea: Melodique -- Leo Kupper -- Ways Of The Voice --
False Relationships and the Extended Ending -- Matthew Raimondi -- Morton Feldman: The Viola in My Life -- Morton Feldman
The Park -- Robert Ashley -- Private Parts - The Record -- Robert Ashley
The Sinking of the Titanic -- Wordless Music -- Wordless Music Series -- Gavin Bryars
2/2 -- Bang On A Can All-Stars -- Brian Eno: Music For Airports (Live) --
Act I Ending -- Robert Ashley -- Improvement: Don Leaves Linda -- Robert Ashley

Playlist 2008 Oct 28

Track -- Artist -- Album -- Composer if listed

The Happiest Day of Our Fucking Lives -- Royal Trans -- In An Expression of Form, Vol. II --
Salzburg Bells Multiple -- Michael Wittmann -- Herrnau Kirche Aufnahmen --
Sarah Palin speaks -- Henry Hey and Sarah Palin -- CBS interview -- Henry Hey and Sarah Palin
God is a Killer -- Galen H. Brown -- -- Galen H. Brown
Just the Right Bullets -- Tom Waits -- The Black Rider --
Life On Mars -- The Thing -- Life Beyond Mars - Bowie Covered -- David Bowie
By The Riverside -- Harmonia 76 (with Brian Eno) -- Tracks & Traces --
Longitudinal Vibration -- Ellen Fullman -- Tellus #4 --
The grass is greener (Gate Zero-Remix) -- Weigl & Hoffmann -- [iD.042] - Elevate (EP) -- Philipp Weigl & Michael Hoffmann
Petals -- Kaija Saariaho -- Chamber Music --
Moscar -- Tsuki -- I Wish That Mountain Could Have an Eye --
Shamansong -- Joan La Barbara -- Joan LaBarbara: Shamansong --
Uncle Jard: Part 1 -- The ARTE Quartett -- Terry Riley: Assassin Reverie -- Terry Riley
Uncle Jard: Part 3 -- The ARTE Quartett -- Terry Riley: Assassin Reverie -- Terry Riley
The Ones Left Behind -- Glenn Brown -- Sodium Light City -- Glenn Brown
20:00 -- Kenneth Goldsmith -- Fidget --
Spheres Within Spheres -- Cylob -- Mood Bells -- Cylob
four-voice canon #18, Trio Canon For Christian Wolff -- Larry Polansky -- Four-Voice Canons --
Spectral Canon for Conlon Nancarrow (1976 version; piano roll roll punched by Nancarrow) -- James Tenney -- Cold Blue -- James Tenney
Bud Ran Back Out -- Kyle Gann -- Mechanical Piano Study -- Kyle Gann
The Tallest Man, The Broadest Shoulders -- Sufjan Stevens -- Come On Feel The Illinoise! -- Sufjan Stevens

Playlist 2008 Oct 21

Track -- Artist -- Album -- Composer if listed

Salzburg Bells Multiple -- Michael Wittmann -- Herrnau Kirche Aufnahmen --
Kaspar ist Tot -- Hans Arp -- Dada > Antidada > Merz --
All the Rage -- Kronos Quartet/Bob Ostertag -- All the Rage -- Bob Ostertag
Sarah Palin speaks -- Henry Hey and Sarah Palin -- CBS interview -- Henry Hey and Sarah Palin
Different Trains: America - Before The War -- Steve Reich / The Smith Quartet -- Different Trains --
Mothertongue Pt. 1: Archive -- Nico Muhly -- Mothertongue --
TJ-RM-01 -- Eberhard Blum/Tom Johnson -- Rational Melodies -- Tom Johnson
A Crystal Fascination II -- Glenn Brown -- Sodium Light City -- Glenn Brown
TJ-RM-06 -- Eberhard Blum/Tom Johnson -- Rational Melodies -- Tom Johnson
Thousand Year Dreaming: Breathing & Dreaming - Annea Lockwoo -- Annea Lockwood -- Thousand Year Dreaming --
Fourses -- Tsuki -- I Wish That Mountain Could Have an Eye --
TJ-RM-14 -- Eberhard Blum/Tom Johnson -- Rational Melodies -- Tom Johnson
In Automobilien Reich -- Hans Arp -- Dada > Antidada > Merz --
Forenoon - Hirumae, Just Before Noon -- Pauline Oliveros & Miya Masaoka -- Accordion Koto --
A Keyhole for Peeking -- Tom Hamilton / Mike Silverton / Al Margolis -- Analogue Smoque --
TJ-RM-16 -- Eberhard Blum/Tom Johnson -- Rational Melodies -- Tom Johnson
More Noise Please -- Steven Jesse Bernstein -- Prison --
Majorette -- Cylob -- Mood Bells -- Cylob
Makondi -- Don Cherry / Ed Blackwell -- El Corazón --
Semi-simple remix (Babbitt, Iverson, King) -- The Bad Plus -- --
Traum -- Tsuki -- I Wish That Mountain Could Have an Eye --
Elegant Detours -- Marty Walker -- Dancing On Water -- Michael Byron

Playlist 2008 Oct 7

Track -- Artist -- Album -- Composer if listed

Salzburg Bells Multiple -- Michael Wittmann -- Herrnau Kirche Aufnahmen --
Afternoon - Hirusugi -- Pauline Oliveros & Miya Masaoka -- Accordion Koto --
Cern-LHC -- Monolake -- -- Robert Henke
Sixties -- David Demnitz -- Gamelan As A Second Language --
Chords -- Morton Feldman -- Three Voices For Joan La Barbara --
Movement For Andrea Smith -- Larry Polansky -- Simple Harmonic Motion --
A Non Accented Legato -- Morton Feldman -- Three Voices For Joan La Barbara --
Snow Falls -- Morton Feldman -- Three Voices For Joan La Barbara --
Retrace Our Steps, Act 1 -- Paul Bailey Ensemble -- Retrace Our Steps EP -- Paul Bailey
Retrace Our Steps, Act 2 -- Paul Bailey Ensemble -- Retrace Our Steps EP -- Paul Bailey
Retrace Our Steps, Act 3 -- Paul Bailey Ensemble -- Retrace Our Steps EP -- Paul Bailey
Retrace Our Steps, Act 4 -- Paul Bailey Ensemble -- Retrace Our Steps EP -- Paul Bailey
The Mermaid Song -- Beth Custer & The Joe Goode Performance Group -- The Maverick Strain And Other Stories --
A Wasp on Her Abdomen -- Chas Smith -- Aluminum Overcast -- Chas Smith
All the Rage -- Kronos Quartet/Bob Ostertag -- All the Rage -- Bob Ostertag
Jamaica Heinekins in Brooklyn #1 -- Palestine/Coulter/Mathoul -- http://music.download.com -- Palestine/Coulter/Mathoul
Bowed Metal Music 3 -- Peter Warren And Matt Samolis -- Bowed Metal Music --
Im Not -- Panda Bear -- Person Pitch --
1 + 1 -- Ulrich Krieger -- Early American Minimalism - Wall of Sound II --