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Messages - Scott M2

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Ah yes, Structures from Silence - one of the finest damn ambient pieces ever made IMHO.

I thought Eno's Music for Airports was the first piece to be called ambient because he invented the term.  Never heard that about Satie.

Yes - Satie called his ambient works "Furniture Music" and Eno coined the term "Ambient Music" much later but with a nod to Satie.
Discreet Music notes -
Music For Airports notes -

just listened to all of these and though I enjoyed them, for the live pieces would have much prefered to hear the full sets

any chance of these being released at all?

Thanks so much for the feedback gentlemen! As for releasing full sets - our OM CD was an hour release
from a 2 hour performance (with the groove pieces we play to break up our sets edited out, along with
some less inspired improvisations) but it's currently out-of-print. I can't see us releasing full concerts
without at least some editing - that's just the way I like to hear releases - as opposed to the actual concerts.

Stay tuned for a new dreamSTATE album next month of pieces extracted from AMBiENT PiNG performances
throughout the last decade to help celebrate the PiNG's tenth anniversary next month. I'm quite happy with
the soundscapes I've been discovering.

Here's a photo I rediscovered of dreamSTATE at the PiNG with cheryl o on cello.
It was taken about a year after The Storm Within was recorded - but has some cool analog projections
by General Chaos Visuals.

Lynn & I live in a magical forest of precarious piles of CDs,
populated by amicable unicorns, solemn synthesizers,
dust bunnies & a small black dog.

Hi Carl! Welcome to the H. Forum. You give Buffalo a good name.   8)

Everything and Nothing / Re: Omnivore's Dilemma & Local Food
« on: June 30, 2009, 03:13:15 PM »
There's a big city-workers strike on here in Toronto.
All the main attention is on the lack of garbage pickup
but many farmers markets on city property have to close
and this could be a long one...   :'(

Art and Literature, Movies and TV / Re: Now reading
« on: June 30, 2009, 01:06:26 PM »
Ah yes - Al Reynolds!

Thanks, Scott.  I listened to your links that you posted.  Very, very nice. I agree with Modulator.  I would love to play the Ping someday.

Hi Mark - We'd love to have you at the PiNG someday. Since we're monthly now, contacting us at
(or me at as many months as you can in advance of your your window of opportunity will help ensure we
can fit you in. You can check this page to see what's already booked up.
Unfortunately we can't provide border support with the paperwork and fees - but most US artists seem to manage to flow through. ;)

After the previous discussion it seems appropriate to post another live recording and this track
has been previously edited and uploaded - so I can just describe it and post the link.

"The Storm Within" was recorded exactly 9 years ago today on June 13th 2000. dreamSTATE
was in the midst of a yearlong project called "The Drone Cycle 2000". Each month we improvised
an ambient/experimental concert with a special guest (or two) based around a drone note from
the chromatic scale. (January C with Wally Jericho, February C# with Kurt Swinghammer...).

The Drone Cycle shows had no "maps" - except the July (F#) performance with Steven Sauve where
all 3 of us were playing synched Nord Modulars and we'd actually had a prep session to ensure
that things would successfully work together. Audience members stated it was the best show yet -
so, of course, I'd pressed Play instead of Record and the ADATs were blank.

Our guest for June (F) was cellist/looper cheryl o with synthguy Steven Sauve (aka karmafarm)
who provided additional processing for cheryl from a station in the audience.

As for what I can remember about the editing (on a program (Logic) I no longer use - so I can't
just check the files) the main changes were adjusting the volumes of tracks to feature whomever
was creating the most interesting textures to advance the flow. I do remember that at the end of
this "piece" I was already introducing a new sound to continue the set (which was about an hour long)
and I mixed it right out, to end on cheryl's modulated cello - now "solo" with Jamie's thunder recordings
(from MiniDisc).

Hmmmm - This has turned into far too much text - so I think I'll skip all these extra production musings
in future mp3 postings. Here's the music...

The Storm Within - (cheryl o, Scott M2, Jamie Todd)

128k -
 64k -

* Please note - a remastered version of this track is now available on our "a decade dreaming" album available here:

Hi again - Thought I'd echo Matthew's description of "Erebus and Terror" now that I've listened a few times.
Although the underlying subject matter is bleak (the doomed Franklyn expedition) the music conveys the
expanse and solitude of the north without reducing it to just banshee wind sounds.

On my home front - my original copy of "Electronic Forest" has reappeared but Matthew's "Maalbeek"
seems to have immediately taken its hiding place. A surprise awaits me some day...

Hi Mark - I've been enjoying listening to your concert while writing a long response in a different thread. Thanks!

The problem with live recorded music is that it is no longer live when it is a recording. That must seem like an obvious thing to say and perhaps you completely disagree with me Scott, but listening to live music when it's not played live is a very different experience from listening to live music as it is being played.

There's something about being in a room with a lot of people, and experiencing a "performance" where musicians are able to interact with the group. Most bands have sets and play lists so the effect is minimal, but it's often still noticeable. With electronic, free form, abstracter music the effect is far greater though, almost like being outside in nature, part of a group wandering.

Yet, and having said that, I really do like listening to your work even if it's a recording. It's obvious you're also wandering while you where playing and not following a predefined path. I say obvious, but that's how it comes across, maybe you DID plan very well (and in that case, very good too).

Somehow, the tension of a live performance (where will they go next, where are we now?) comes across well in these samplings.

I also like how as one layer of attention and sounds goes away, there is a shimmer of sound behind it...often the point where you fade out the track and I think...ahhh...I wish I was there to hear where they go next. I especially like her_terrain, sounds modern and old at the same time, I really like it. 

Thanks for sharing these!

Thanks for your comments Jeff and Matthew and especially the deep thoughts about the difference in experiencing live music vs experiencing the recordings of live music. Sorry to take so long to respond but here it is...

Having experienced hundreds of ambient (and mainly improvised) performances at THE AMBiENT PiNG, I can only agree with you Matthew. Even the periods of probing and
uncertain wandering can make the areas where the music all comes together stand higher in the journey of the set. The sharing of the trip changes and charges the experience. Since most AMBiENT PiNG shows aren't in concert venues but in bars and clubs, the experience of each person in the room of the performance will also be different depending on their level of focus at any moment and if they're just letting the music be an environment vs a concert - as per Eno's original definition of ambient music.

When I release a dreamSTATE live recording - I don't hesitate to edit out the "periods of probing and uncertain wandering" if I can achieve it gracefully
and leave what I consider to be the more interesting or more feeling parts of a set. (This is why I usually describe such live excerpts as edits, extracts or ummm excerpts.)
Therefore, listening to the results is definitely a different experience from being at the performance and perhaps more like photos or videos from the journey.

On the setlist front - Jamie and I traditionally draw up what we call a "map" to help keep our set moving along (slowly but surely) so we don't get too trapped in a fog
of our own creation along the way or stuck in a key or drone forever!  A tempo indicator helps us set up delays/loopers/arpegiators to be synchrosonic and grooving.
Something along the lines of: 1) Dark intro (G#m) 10",  2) Atonal 5",  3) Pastoral (A) 10"  4) Groove (Em T80) 10" etc...   We'll nudge each other to move along, if required. Although the general "path" is predetermined, I know one hand will often be setting up a fresh sound anticipating a new twist in the flow and we'll end up traveling in a different direction altogether and the scape is abandoned before being birthed. You may not experience that aspect Matthew as my impression is that you might use a single instrument in live performance, while I like to have at least three - so that one can be setup while playing the other two.

Everything and Nothing / Re: Happy (and relieved) to be alive
« on: June 06, 2009, 10:35:33 AM »
So glad they caught your problem Forest!
(and Holy Smokes Jim! Glad you're still with us too.)

Everything and Nothing / Re: 3rd grandson!
« on: June 04, 2009, 04:46:44 AM »
Congrats Jim!

Now Playing / Re: Currently listening, part 1
« on: June 03, 2009, 07:43:15 AM »
"The Glittering Domain" by Deepspace - very satisfying ummm... deep space music - very good to work within.
"Landmass" by Steve Roach - I'd declare this album and "Dynamic Stillness" to be my fave Roach releases in recent years.
NP - "Still Life" by Amongst Myselves - opening with "Ra's Playground" a slowly evolving track that appeared on one of those Ambient@Hyperreal CDs.

Thanks for the insight. I'd thought it was Sunn Oh as well.
They've played Toronto once or twice and I've been intrigued to experience them
but repelled by their reputation as being superloud - which I try to avoid now.  :o
I particularly liked their track on the Buddha Machine comp.
Album recommendations for something more than sludge?

Other Ambient (and related) Music / Re: short feature on Pete Namlook
« on: June 01, 2009, 07:59:00 AM »
Traveling through the Rockies on the Alberta side I fantasized about having
an A-frame studio perched on a mountainside - but eventually realized that
the influence of the mountains would transform my music into one long timeless drone...

I'd form an all Ted Nugent cover band!

Not an all Mountain cover band?

Traveling through the Rockies on the Alberta side I fantasized about having
an A-frame studio perched on a mountainside - but eventually realized that
the influence of the mountains would transform my music into one long timeless drone...

Everything and Nothing / Re: found sounds
« on: May 22, 2009, 06:50:07 AM »
                I agree to Antdude to his statement try adding some water to the tin.

and 3 ounces of scotch and a little ice: record and sip, record and sip...

Good one!

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