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.