910 Noise Compilation v3 out now... go to http://www.myspace.com/910noise and message the guys to get your hands on it.
"Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 m.p.h. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments."
John Cage on the future of music - from a lecture given in 1937
time inCognition is originally by atsense
play LOUD:
atsense
eye on the wall remix of my track "the last mile" yo
Last Mile (EOW suicide mix)
echohead
40 minutes 35 secs of IDM and ambient:
marumari - carnivorous temptations pt 1
not breathing - meloncholie battlecat
dykehouse - last track
marumari - war of the wolves
boards of canada - hi scores
marumari - transport sequence: earth
l'usine - ask you
joseph scott - 100miles
coil - triple sun
the black dog - raxmus
scanner vs tonne - sound polaroids (tokyo mix)
singe & verb - hover dub
VARIOUS ARTISTS - 910 Noise: Volume One CD (910 Noise)
This is the first release for this noise label, and it's a damn good one at that, providing an aural outlet for many unknowns in the 910 area code (North Carolina). The tracks range from simple ambient to harsher elements of power electronics and even avant / cut-up method acts. The CD disc (which looks like a record, complete with grooves) opens with one track from Mr. Stonecipher, which is a mix of power electronics and an almost IDM sound similar to Aphex Twin - very good stuff. Uva Tena provide a double dose of ambient synths and humming drones, while Barefoot Machete follow them up with two almost danceable numbers. Next up is a single track from Double Suicide (Mike B) and his depressingly delightful guitar-driven almost-shoegazer sound. A shame only one song, as his work is one of the highlights of this disc. Puke on Mike deliver two tracks of an industrial-meets-noise cut-up, and Subterrene (another highlight) bring to mind an eerier sound of what you might find played at a rave's 'chill room'. Vanishing Cream play two near-child-like keyboard frenzies just before Lath comes in with two industrial-meets-noise numbers in the vein of early SPK. Carl Kruger tinkers with knobs as tweeters screech the highest of pitches, all as bass hits its lowest levels. The awesome Mindcrosser begins the wrap-up with two looped soundscapes that bring to mind a cold wasteland of hopelessness. Authorless provides the disc's outro with a lo-fi distortion of field recordings and found sounds. I hear there's already a Volume Two in the preparation stages, and by what's in Volume One, I can hardly wait to hear what keeps coming out of the 910 area code.
(reviewed at feastofhateandfear.com May 5, 2007)
The Sound of Art: Subterrene brings intrigue to the soundscape
By: Erin Perkins
Encore Magazine
Music is described as the art of arranging vocal or instrumental sounds in time, as to produce a continuous, unified melody, harmony or rhythm, according to dictionary.com. However, there is a difference between sound and music. Sound is vibrations transmitted with frequencies capable of being detected by hearing. Some may say they're one in the same.
Subterrene's Grant Stewart is not one of those people. Stewart may not fit into the definition of unified melody, harmony or rhythm, but he does offer sensational sound patterns that stimulate hearing.
The Wilmington native is a sound experimentalist of sorts. Examining various tones and samples as a visual artist would use color and textures, Subterrene paints the aural soundscape with a dubby paintbrush, creating a world which can be both minimally subdued and striking in complexity. Entrancing and slightly perplexing, Subterrence takes the ordinary, simplistic and overlooked sounds of the world and uses them as musical instruments.
Originally a rocker, Stewart branched out to electronic forms. "I am a nerd about electronic gear, I use different ingredients in the mix of turntabalism," he explains.
The outcome is unusual instrumentals that are hard to define, but mostly consist of the "electromagnetism of instruments." Simple tools, such as a turntable, are used to morph sounds with digital effects and juxtapose against drumbeats. When the computer-generated audio is finalized, the result is a soundscape of curious patterns. Although the music appears borderline creepy and faintly disturbing, Stewart describes it as "strange and relaxing."
Stewart's interest music began at early age, when the synchronizer on his Merlin electronic game caught his attention. "You played notes, and it would play it back," he reminisces. "I was fascinated."
A thinker outside the box, Stewart was not impressed by popular musicians. "I was led in a different direction," he shares. "I am not a fan of pop, and I am not interested in the mainstream. I like art for arts sake."
His interpretation of music can be summed up as just that, a form of art. "I dont want people to be turned off," he urges. "I just want them to be excited and take away something they've never heard before."
Hear of what he speaks and take away a new brand of art-rock, musical noise or whatever you choose to call it. If you attend Stewart's debut performance, youll hear Subterrene's experimental noise and progressive dub, free of charge, at Bottega Art and Wine Gallery, a perfect setting for someone thinking outside the box. Be there Saturday, August 19th at 9pm. You can also check out music samples at www.myspace.com/subterrene.