#audio collage

[detectiveangel]

post-traumatic synthesized dreamscape no. 1

this digital sound composition is an attempt to transcribe (record, mollify, exorcise) my emotions looking back on the events of last february as i experienced them.

i was living in st. petersburg as a graduate student researcher, one of the dwindling ragtag lot of americans with no family ties to russia still trying to live there, when the russian military invaded ukraine early in the morning the day after february 23rd, the federal holiday honoring military men that was once red army day. i had already given up on my dream of living in russia for anything approaching the long term and was trying to stay for just as long as i safely could as History unfolded around me. i left russia 24 hours after the start of the invasion and made it back to the u.s. safe but mentally shattered. I’d spent months navigating or avoiding tense encounters with russian migration police as weekly updates to civil law gradually made it very nearly impossible to legally reside in russia as citizen of a designated “enemy nation;” and then finally found myself alone in a windowless room with an fsb agent in the remote checkpoint by the finnish border that terrible morning. my battered psyche imploded before the questioning, which was, objectively, very mild, even began.

back in the u.s., i spent months struggling to operate my own person before i realized that i had ptsd from a war to which i had barely been a distant bystander. i started therapy and saw massive improvement after just a few months. good fortune, which saw me safely through so many close calls and near-disasters during the grinding buildup and violent lurch into fully-fledged military rule in russia, blessed me yet again.

before entering formal therapy, i leaned very heavily on intoxicating substances (alcohol in russia, marijuana in the u.s.) and movies to keep the terror at bay. my understanding of myself in this phase of my life is heavily mediated by cinema, especially cinema made or set in the wwii and early “post-war” era. this time when society’s psychic wounds were only just scabbing over and could be seen on nearly everyone who crossed a camera feels less like the past and more like a parallel present still playing out in ever-more garbled reproductions in the nightmare fantasies that govern life in the places that never healed properly from the traumas of the ‘40s. to make beautiful or joyful art has become impossible, but the need to externalize our disordered response to trauma in art is stronger than ever. our voices can no longer carry a tune, but we have all history’s old recordings to grind and reshape into new kinds of music that may somehow express the emotions no amount of time and treatment can resolve.

some notes on the recordings i used as material for this piece

during this last year of trauma recovery, i saw myself most vividly in one particular cinematic incantation of postwar psychosis co-created by a brit and an american both too young to have experienced wwii but raised in its fallout as men in societies where the publicly synthesized idea of maleness is overwhelmingly suffused with the radioactive particles still emitting from the atoms of that war. watching mickey rourke’s performance in alan parker’s metaphysically-canted neo-noir “angel heart” (1987) somehow made a narrative out of the glossolalia of confusion and pain humming at the core of my being during the strung-out spring that followed the terrible winter of ’21-’22.

in the autumn before that winter, i had found strength and solace from the encroaching fascist terror in russia in the exploration and nurturing of my own masculinity. i had long identified more with a masculine perspective than a female one, but various factors limited the extent to which i expressed this identification. various other factors led to me reaching new levels of masculine identification and expression that fall, and this was a positive, self-actualizing experience that nurtured me during the months in which i lived under increasingly dire threat of repression from a government officially opposed to the existence of queers, americans, and gender studies researchers within its borders.

months of trudging alone through seedy hotels, anxious crowds, and icy boulevards, all while looking over my shoulder for police, were bearable if i saw myself as a sort of postmodern pastiche of film noir protagonists, a hardboiled detective working an increasingly dangerous case, an existentially bedraggled man in the wrong time, space, and body muttering clever wisecracks for the benefit of none but himself and perhaps some imaginary audience of ghosts and angels. at that time i hadn’t, to my knowledge, actually watched any of the classic bogart & co. detective movies, so my metaphysical drag act was itself composed from impressions and parodies. i was, however, quite intimate with other strains of 1940s cinema (i was in the archives mainly to study a film from that decade) and though my active memory has retained nothing of “casablanca” (1942), i did see that film at a Formative Age and this would seem the most likely source of my improbable and ultimately impossible lifelong obsession with becoming a jaded-yet-romantic american expat on the fringes of europe.

lying prone in the rubble of my exploded expat fantasies back in my native california, i watched movies projected on my ceiling and in most cases enjoyed a vacation from my psychological perspective through the temporary occupation of another. but once in a while, i caught my own reflection in the kino-eye. such was the case with “angel heart,” a meticulously formalist meditation on the fractured collective psyche of “postwar” america via the methodical deconstruction of a man composed entirely of echoes and fictions masking unbearable trauma from participating in ritual human sacrifice both literally (as an occultist) and metaphorically (as a soldier in the war). as a supernatural creation bearing the souls of both perpetrator and victim of the sacrifice, his trauma response is self-annihilating – a mystical representation of the psychosis experienced by all us cogs in the war machine, one-souled or otherwise. the two souls bound up in harry angel/johnny favorite both experienced the war from a sidelined, un-masculine position: one as a section 8 discharge dismissed after a brief, traumatizing stint of service, the other as an enlisted entertainer. this allegory resonated in the contours of my imagination with incredible sonority, but i saw my reflection well before the plot unfolded, in the very first scenes of the film, in the physical demeanor affected by mickey rourke loping awkwardly through dirty manhattan snow in a wool trenchcoat. i had caught a similar reflection many times in the windows of moscow and petersburg as i trudged through dirty snow, insulating my frightened self from a hostile world with a similar wool trenchcoat and self-effacing butch affect cribbed from cinema-mediated memories of ‘20s-‘30s tough guys.

my identification with this character/performance is only one undercurrent of this noise-music composition, but it is the one i feel needs the most explication. the meanings carried by the other voices (among them those of vyacheslav tikhonov portraying an exhausted soviet agent within the ss in early 1945 berlin, leonid utesov singing the praises of his beloved odessa, and alexander vertinsky crooning an emigrant’s lament for distant st. petersburg) are more self-apparent.

2/23/2023

media sampled here:

audio from the films

“the third man” (1949)

“семнадцать мгновения весны” (1972)

“angel heart” (1987)

“black angel” (1946)

“casablanca” (1942)

song recordings

“у черного моря” (leonid utesov, 1953)

“girl of my dreams” (etta james, 1960)

“чужие города” (alexander vertinsky, 1936)

“крейсер «аврора»” (choir of the leningrad pioneers’ hall, 1982)

additionally

personal audio recordings

midi file created from the composition “песня о далекой родине” (1972) by mikаеl tariverdiev

the accompanying video was created with samples from the above-mentioned films, as well as personal recordings and archival footage from a filmed concert performance by leonid utesov in 1940.

audio edited & produced using ableton live 9

video edited & produced in windows movie maker + microsoft clipchamp

some notes on the recordings i used as material for this piece

during this last year of trauma recovery, i saw myself most vividly in one particular cinematic incantation of postwar psychosis co-created by a brit and an american both too young to have experienced wwii but raised in its fallout as men in societies where the publicly synthesized idea of maleness is overwhelmingly suffused with the radioactive particles still emitting from the atoms of that war. watching mickey rourke’s performance in alan parker’s metaphysically-canted neo-noir “angel heart” (1987) somehow made a narrative out of the glossolalia of confusion and pain humming at the core of my being during the strung-out spring that followed the terrible winter of ’21-’22.

in the autumn before that winter, i had found strength and solace from the encroaching fascist terror in russia in the exploration and nurturing of my own masculinity. i had long identified more with a masculine perspective than a female one, but various factors limited the extent to which i expressed this identification. various other factors led to me reaching new levels of masculine identification and expression that fall, and this was a positive, self-actualizing experience that nurtured me during the months in which i lived under increasingly dire threat of repression from a government officially opposed to the existence of queers, americans, and gender studies researchers within its borders.

months of trudging alone through seedy hotels, anxious crowds, and icy boulevards, all while looking over my shoulder for police, were bearable if i saw myself as a sort of postmodern pastiche of film noir protagonists, a hardboiled detective working an increasingly dangerous case, an existentially bedraggled man in the wrong time, space, and body muttering clever wisecracks for the benefit of none but himself and perhaps some imaginary audience of ghosts and angels. at that time i hadn’t, to my knowledge, actually watched any of the classic bogart & co. detective movies, so my metaphysical drag act was itself composed from impressions and parodies. i was, however, quite intimate with other strains of 1940s cinema (i was in the archives mainly to study a film from that decade) and though my active memory has retained nothing of “casablanca” (1942), i did see that film at a Formative Age and this would seem the most likely source of my improbable and ultimately impossible lifelong obsession with becoming a jaded-yet-romantic american expat on the fringes of europe.

lying prone in the rubble of my exploded expat fantasies back in my native california, i watched movies projected on my ceiling and in most cases enjoyed a vacation from my psychological perspective through the temporary occupation of another. but once in a while, i caught my own reflection in the kino-eye. such was the case with “angel heart,” a meticulously formalist meditation on the fractured collective psyche of “postwar” america via the methodical deconstruction of a man composed entirely of echoes and fictions masking unbearable trauma from participating in ritual human sacrifice both literally (as an occultist) and metaphorically (as a soldier in the war). as a supernatural creation bearing the souls of both perpetrator and victim of the sacrifice, his trauma response is self-annihilating – a mystical representation of the psychosis experienced by all us cogs in the war machine, one-souled or otherwise. the two souls bound up in harry angel/johnny favorite both experienced the war from a sidelined, un-masculine position: one as a section 8 discharge dismissed after a brief, traumatizing stint of service, the other as an enlisted entertainer. this allegory resonated in the contours of my imagination with incredible sonority, but i saw my reflection well before the plot unfolded, in the very first scenes of the film, in the physical demeanor affected by mickey rourke loping awkwardly through dirty manhattan snow in a wool trenchcoat. i had caught a similar reflection many times in the windows of moscow and petersburg as i trudged through dirty snow, insulating my frightened self from a hostile world with a similar wool trenchcoat and self-effacing butch affect cribbed from cinema-mediated memories of ‘20s-‘30s tough guys.

my identification with this character/performance is only one undercurrent of this noise-music composition, but it is the one i feel needs the most explication. the meanings carried by the other voices (among them those of vyacheslav tikhonov portraying an exhausted soviet agent within the ss in early 1945 berlin, leonid utesov singing the praises of his beloved odessa, and alexander vertinsky crooning an emigrant’s lament for distant st. petersburg) are more self-apparent.

#music #personal #noise #sound art #soundscape #trauma #ptsd #war #movies #my life in movies #film #russia #ukraine #ussr #cinema #digital music #art experiment #noise art #sound collage #audio collage #россия #украина #война #кино #музыка #video art

[burlveneer-music]

Carl Stone - We Jazz Reworks Vol. 2 - 6 pieces crafted from the music of 10 albums from the We Jazz catalog

We Jazz Reworks is an idea that repurposes some of the label’s output 10 albums at a time. That is, we invite producers whose music we love on board, and one by one, they tackle 10 albums worth of source material, of which they are free to use as much or as little as they choose. The series evolves chronologically, so this volume being number two, the source material is pulled from We Jazz LPs numbers 11 through 20. The artist has complete freedom. Volume 2 in the series happens with Carl Stone, a legendary figure in creative music. His career spans decades of unlimited musical innovation. Stone’s recent output on Unseen Worlds, the label who has also been instrumental in issuing some of his remarkable earlier work, ranks among the most original art of our time and renders notions such as ”genre” virtually meaningless. Here, We Jazz originals by Terkel Nørgaard, OK:KO, Jonah Parzen-Johnson and more are met here with a fresh sense of discovery, spun around and delivered ready for the turntable once again. Carl Stone says: ”It was wonderful that We Jazz gave me carte blanche to work with any materials from the set of ten releases in its catalog. This freedom to work with everything could have been a mixed blessing though, as it could be a challenge to try to deal with so much musical information. In the end I did what I almost always do: Let my intuition be my guide and to seize upon any musical items that seemed to fit into an overall approach.” ”To make a new piece I usually start with an extended period of what really is just playing, the way a child plays with toys. Experimentation without necessary expectation, leading to (hopefully) discovery of things of musical interest, then figuring out a way to craft and shape these into a structured piece of music. Each track uses a different approach, which I found along the way during this play period.” This conceptual approach becomes complete with the design, in which album graphics are treated in a similar fashion, reworking what’s there. This time around, the artwork is reinvented by Tuomo Parikka, a great friend of the We Jazz collective and a regular cover collage contributor for the We Jazz Magazine.

#Carl Stone #jazz #electronic #remix #cut-up #audio collage #plunderphonics #2022 #we jazz #experimental

[musicianfiend]

Music Genre: Industrial

Industrial Music is a genre that defies convention, challenges societal norms, and invites you to explore the fringes of sound and culture. Join us on a journey through the sonic landscapes, provocative themes, and passionate communities that define Indus

Industrial Revolution’s Echoes Industrial Music draws its name and inspiration from the Industrial Revolution, which had a profound impact on society, technology, and labor. The dehumanizing and mechanized nature of industrial work, as well as the social and political upheaval of the era, left a lasting imprint on the artistic and musical landscape. Post-Punk and Avant-Garde Influences The…

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#Alternative Culture #Alternative Fashion #Alternative Genres #Alternative Scenes #Artist Interviews #Artistic Challenges #Artistic Expression #Artistic Freedom #Artistic Subversion #Audio Collage #Audio Collages #Audio Innovation #Aural Art #Avant-Garde #Avant-Garde Influence #Confrontational Lyrics #Contemporary Artists #Contemporary Music #Countercultural Expression #Counterculture #Cultural Diversity #Cultural Impact #Cultural Influence #Dark Aesthetics #Dark Atmosphere #Dark Soundscapes #Dark Subculture #Darkwave #DIY Ethos #DIY Shows

[thedeadd0ll]

#SoundCloud #collage #Audio collage #music #06.04.2022 #glitch #glitch hop

[flourbray]

Climbing in cycling & Everest - Public Service Broadcasting

#babys first webweave :) #this song and everything this band has ever done lives in my head entirely rent free; audio collages are so incredible #web weave #public service broadcasting #cycling

[icarrymany]

idk all of what merseis swap au entails but if alex and tim are swapped maybe TIM had a passion project he was working on when shit went south. he was the music guy. maybe hed get prickly with his friends who only kind of know how to play instruments but r trying.

#i think that makes brian his producer £\>|*|€|€ #bro was the MIXER he knew the software #hes got folders of horrendous beats (for the funny) and real stuff too #i imagine him being super into sampling. music collage. #maybe the investigation is much more audio driven. or lol what if theres music video footage #ugh so good #jays on bass and alex is keys to me (in a modern band context- otherwise hes BRASS) #and since jay and brian swap roles #bass is nowhere near what being the star of a movie is but maybe he has an important riff or two to learn #imagine their audition tapes... hehehehe

[rearranging-deck-chairs]

my writing is honestly way less stories than like,,, collages around a certain theme

#usually barely know the theme myself #im really not a writer #i tend to say poet half jokingly but im not really a poet either i have no poetical skill #im just a collage artist #just bc it's words youre collaging doesnt mean youre writing anything #but like my fic and my videos function in v v similar ways #am i writing dialogue when i arrange snippets of audio in a specific way to imply new meanings? #no more than i am writing dialogue when it's just my keyboard and my google docs #t b h #i mean half the lines in my written dialogue tend to be actual lines from the show too #repurposed

[disease]

THE BODY TRAIL ONEOHTRIX POINT NEVER [AGAIN, SEPT 2023]

#RELEASE RADAR #audio #oneohtrix point never #abstract #ambient #experimental #sound collage #warp records #again #electronic #music

[veil-touched-rights-org]

an angelo volta collage

#night shift podcast #angelo volta #the night shift: an urban fantasy audio drama #veil vocalizes #coffee and a collage #i made this in between customers at work so it may not be the best #i plan on making more both generally and for angelo individually

[zhuhongs]

這該死的拘執佮愛 (tse kai-sí ê khu-tsip kah ài) - This Damned Obsession with Love -- 珂拉琪 Collage

你的心 親像花  Ií ê sim, tshin-tshiūnn hue Your heart blooms into a flower

無人應 隨蔫去   bô lâng ìn, suî lian-khì Nobody cares, it withers silently

你愛的人 誠固執  lí ài ê lâng, tsiânn kòo-tsip The one that you love is so stubborn

予伊的夢 伊提袂起 hōo i ê bāng, i the̍h bē khí  Your dream is too heavy for them to carry

你是一个 如此溫柔的人 lí sī tsi̍t ê, lû-tshú un-liû ê lâng  You’re such a kind person

你應該 愛你值得愛的人 lí ing-kai, ài lí ta̍t-tit ài ê lâng You ought to love someone that’s worth your love

但是 頭前有我欲行的路 tān-sī, thâu-tsîng ū guá beh kiânn ê lōo But there’s another road for me to walk

毋知你敢會了解 m̄ tsai lí kám-ē liáu-kái I wonder if you can understand that

是按怎拆開你的 心肝內底 sī-án-tsuánn thiah-khui lí ê sim-kuann lāi-té Every time I tear up your heart

會看著 暗淡的愛流成水 ē khuànn-tio̍h, àm-tām ê ài lâu sîng tsuí I can see our dark love flowing into the water

當我越頭離開時 心內亂雨紛飛 tǹg guá ua̍t-thâu lī-khui sî, sim-lāi luān-ú-hun-hui When I turn around and leave, it’s raining inside my heart

因為你 的眼神 in-uī lí ê gán-sîn Because the way you look at me

戇戇咧望 真毋願 gōng gōng teh bāng, tsin m̄-guān struggling, so damn reluctant

若是你 會當看著 (亻因)佇咧彼搭 nā-sī lí, ē-tàng khuànn-tio̍h in tī-leh hit-tah If you are willing to see where they got stuck

咱就會使 做伙搝彼陣落水的人 lán tio̍h ē-sái, tsò-hué giú hit tīn lo̍h-tsuí ê lâng Then we could give a hand to those who are struggling

伊寫的彼條歌 是拆破生死的紙 i siá ê hit tiâu kua, si thiah-phuà senn-sí ê tsuá The song that he wrote bore so many tragedies in our history

敢講你 真正攏無感覺 kám-kóng lí, tsin-tsiànn lóng bô kám-kak Don’t tell me that you really don’t feel anything

是按怎拆開你的 心肝內底 sī án-tsuánn thiah-khui lí ê sim-kuann lāi-té Every time I tear up your heart

會看著 暗淡的愛流成血 ē khuànn-tio̍h, àm-tām ê ài lâu sîng hueh I can see our dark love flow into blood

當我無閣咧注神 磕袂著就想著你 tng guá bô-koh teh tsù-sîn, kha̍p-bē-tio̍h tō siūnn-tio̍h li If you are willing to lend a hand to those who are drowning

伊寫的彼條歌 是拆破生死的紙 i siá ê hit tiâu kua, si thiah-phuà senn-sí ê tsuá The song that he wrote, bore so many tragedies in our history

敢講你 真正攏無感覺 kám-kóng lí, tsin-tsiànn lóng bô kám-kak Don’t tell me that you really feel nothing, nothing at all 

猛獸亂使 侵門踏戶  bíng-siù luān-sú, tshim-mn̂g-ta̍h-hōo Beasts are coming, waving paws and trampling

厝邊頭尾 寸草無生 tshù-pinn-thâu-bué, tshùn-tsháu-bû-sing Every corner of the homeland is burned to the ground

#collage #珂拉琪 Collage #珂拉琪 #taiwan #southern min #hokkien #hoklopop #audio

[ice-palace-art]

I'm already making a new hobby redacted related ahhhhhh

Anyways I love Avior so damn much. I wanna make more who should I do >:3

#redacted asmr #redacted audio #icyart #redacted avior #sketchbook #scrapbooking #collage

[lomemarsupial]

all the yowzas souls reborn a trepedation or trek through sound and sensing Halloween head trip journey from '11 b@camp hoppingplace sputterfy

meh somehow that spoify went from like 4 or 5 people a month to 316 monthly listeners so I wonder what happened.

Here's some creativity from that audio collage nonetheless which did transfer over to Chameleon Shelter pretty heavily so. Note these posts are alive and'll go back in and edit and update time 2 time. Unless I get my account flackered again for reasuns un-known. Waitin' for UPS to drop strings off. Re-string a reso.

thank you we will love you all forever now

This post was posted by automated webjackal.

#audio collage #diy sound #sound collage #producer #creator #sound tinkering #audio play #soundtrack #instrumental #composition #composer #acoustic guitar #sound recording #original music #leemonster #lome marsupial #halloween #spooky sounds #audio mysteries #sound creator #audio roleplay #alternative music #experimental sound #Youtube

[samayalost]

█ Pay_de_Menta_-_I-S-U-X-D-I-X.mp4 

 ▄ Los samples fueron sacados de los compilatorios de anuncios japoneses 【CM 1991-96】FUJI FILM SUPER HG 400他 15秒×5 30秒×8 del canal de Youtube nv850hd3 y 【懐かCM】TVCMで振り返る平成（1989 - 2019）修正版 del canal de Youtube 第六天魔王Rokten. 

 ▄ Pay de Menta Colectivo: https://paydementa.jimdofree.com

#youtube #pay de menta #pay de menta colectivo #samayalost #music #my music #electronic music #dj #djing #music on tumblr #music video #plunderphonics #plunderphonic #sound collage #bastard pop #audio piracy #sampling #sampledelia #vaporwave #postvapor #post vaporwave #signalwave #slushwave #aesthetics #aesthetic #80s #ntsc #vhs

[daily-utsu-p]

Daily Utsu-P #130:

貼絵 (Harie) / Collage feat. RIME | Original, not featured on any album. This song was made to promote the CeVIO voicebank RIME.

#utsu p #rime #cevio #rime cevio #utsu-p #utsup #cevio rime #harie #collage #original #no album #2022 #music #audio

[rearranging-deck-chairs]

made a little video bc i miss making little videos

cw flashing images

#one day i will learn how to mix audio well but today is not that day #nonetheless happy with this one #got some new ideas into this one i think #like i often come back again and again to the same ideas represented with the same clips #but here i had some new ones #like the schoolbell -> 13 in prison i thought that was good #reverberates through the entire rest of the video #theta sigma stuck bored in school a planet like a prison #teachers guards family high council it's all the same #also really liked the clip with the master where i made it look like a spotlight going over him #found that kinda by accident but i think it slaps #especially bc the spotlight is like glitchy #and just like all the comparisons between different places the doctor's been trapped #a barn a planet a lighthouse a prison it's all the same #everybodys always watching them everybodys always keeping an eye on them #the troublemaker that Will always run but can never escape #bc the rat flees the maze and falls off the table and is still in the room you know what i mean #little labrat #two thousand years removed from a life you dont even remember and youre STILL in the cage #also i think one of the strenghts of collage art is when you can recontextualise the original and make it..like...More #or pull out more new meaning from known things. i think thats like. good. i think thats the point of collage #one of them #and i do think of what i do as collage #and i did a couple of good recontextualisation in this i think #tecteuns line 'what would you give to know' it's like i heard that for the first time. that is EVIL holy shit #also 13s line 'doesnt even matter now' sounds so different without the visual. sounds so flat and resigned

[disease]

PLASTIC ANTIQUE ONEOHTRIX POINT NEVER [AGAIN, SEPT 2023]

#RELEASE RADAR #audio #oneohtrix point never #abstract #ambient #experimental #sound collage #warp records #again #electronic #music