#sam kidel

[daydr1ver]

i love this a lot. its also a difficult listen emotionally.

[ozkar-krapo]

Sam KIDEL

"Disruptive Muzak"

(LP. The Death Of Rave. 2016) [GB]

[dustedmagazine]

Martina Lussi — Diffusion Is a Force (Latency)

Diffusion Is a Force by Martina Lussi

Lucerne, Switzerland-based artist Martina Lussi started off recording 20-to-30-minute pieces and whittled them down to the slightly shorter ones that made her Selected Ambient debut on Hallow Ground. For Diffusion Is a Force, her second full-length, she’s trimmed her works down further, shelling out a set of condensed, pop-sized productions of makeshift but well-defined electronic music, the longest track barely breaking the five-minute mark.

Regardless of length, Lussi has consistently attempted to incorporate as many styles as possible into her work, both blending them together and letting them sit side-by-side, in attempt to stretch her own authorship and to test its breaking point. Lussi limited the length of her pieces on Diffusion as a way of matching “the ever-quickening pace of communication.” The ground Lussi covers suggests that she’s not only amusing fleeting attention spans but also challenging herself with the restriction of time length.

On Diffusion Is a Force, Martina Lussi names her songs after made-up perfumes and meaningless phrases. Each piece is a fusion of sparse electronics, effected vocals, guitar, or harp, and field recordings, many coming from recognizable sounds in public spaces, like jeering crowds from a stadium. At times Diffusion will feel sterile but picturesque, carrying the same sort of torque of a James Ferraro piece but less humorous, and it can also feel slippery or just out of reach. The conceptual fibers of the titles and music are elusive, and the imagery that transpires is overt in detail but various in proximity.

Maybe as a result of compacting her pieces, Lussi breaks from a traditional ambient stance and tries her hand at the discrete and embedded messaging, which has become prevalent in electronic music over the past decade or so, Pan’s output being a good reference. Bits of this approach could be lifted from Lussi’s latest cassette, Installations 2016/2017, and much of it is in tune with Latency, the Parisian label she's settled into, sitting well with the two releases leading up to hers: Sam Kidel’s Silicon Ear and Laurel Halo’s Raw Silk Uncut Wood. Like those albums, Diffusion revels in ambiguity and coded, loosely conceptual sound associations. Latency, led by Sidney Gerard and Souleymane Said, takes interest in more experimental club sounds with ambient leanings, oozy meanderings with non-committal beats, the ones that generally reside on the B-side of a 12”. In short, the label lives up to its name. The interest in grey areas is in how they can flourish and intrigue in a different manner than straighter material; sound can grow in odd environments. The typically reticent nature of the 12” B-side doesn’t paint Diffusion’s sound, the album though does well with the liberties it presents.  

Ian Forsythe

[thephilosopheroftheboudoir]

Sam Kidel

Disruptive Muzak

[thepeoplescloud]

Live @ Google Data Center by Sam Kidel (2018)

Track 1 from the Silicon Ear album by Sam Kidel, Live @ Google Data Center  trespasses in Google’s data centre in Council Bluffs, Iowa to perform electronic music amongst the humming banks of servers and endless cable runs, without actually breaking in. In a process he describes as “mimetic hacking,” Kidel used architectural plans based on photos of the data centre to acoustically model the sonic qualities of the space. The resulting acoustics on Live @ Google Data Center simulate the sound of Kidel’s algorithmically-generated notes, rhythms and melodies reverberating through the space, as though a bold illegal party was being held in the maximum security location. Kidel’s manipulation of his generative direction of the music, all inspired by images of the data centre.

[camango]

20.4.5

Sam Kidel - Silicon Ear

[loftop]

Sam Kidel - Disruptive Muzak

この曲大好きだけど、こういう意図があるって今知った。 結局そういうの好きだけど完全に迷惑電話で笑う。 Kid炎上しなくてよかったね。（したのかな？）

あ、いいヴェイパーですね。とこの見た目でピンときた人もいると思いますが、そう今回のテーマはMuzak。有線放送や企業、店舗のBGMに使われそうなあの手のインスト (エレベーターミュージック) の総本山企業にして、のちの2010年代にはヴェイパーウェイヴの父として崇められたMuzak。快適なムードで一切の邪魔をしないこの音楽が、快適でない音楽になったらどうなるか?--- その試みのもとにSamは"Disruptive Muzak"なる音楽をつくり、本来のMuzakにふさわしい場所、たとえば官公庁らのオフィスに電話をかけ、待ち時間のBGMなMuzak vs Disruptive Muzak、その後のオペレーター vs Disruptive Muzakという具合に、電話ごしから自作Muzakを流してみた、というテストを行ったそう。

A面はその記録を加えたもので、B面には純粋なDisruptive Muzakを収録 (みんなも使ってみては、とのこと)。アンビエントに、エレクトロアコースティックに、ダブに、ミニマルに、あの軽さをSam Kidel流に解釈しています。

http://www.meditations.jp/index.php?main_page=product_music_info&products_id=19052

[joydah]

Stack Music

Streaming platforms and creative labor in the gig economy | Rob Arcand | Tiny Mix Tapes  

[soundmafz]

Sam Kidel live at LUFF 2017

[gluepullo]

29th / 30th April 2k17 / www.club-adriatico.com

[sendthemusictokepler186f-blog]

(sam kidel)

[mcastradio]

Sam Kidel

Sam Kidel – Hope @ Telepathic Fish 1993 Unknown – Unknown [Sangeet – Zenith, Ambient Vinyl Mix, 1993] William Orbit – Silent Signals [Mixmaster Morris – Ambient Mix @ Telepathic Fish, 1993] Unknown – Unknown [Open Mind – Ambient Mix, 1993] 3 Phase – Space Generator [Mixmaster Morris – Ambient Mix @ Telepathic Fish, 1993] Unknown – Unknown [Open Mind – Ambient Mix, 1993] Unknown – Unknown [Sangeet…

[deep-dive]

Sam Kidel – Live @ Google Data Center