Wilderness And Luxury (Dasa Tapes, 2022), mixes for Radio Sygma & Beyond/Below

Wilderness And Luxury is my first album of creative music since 2018’s Beginners , and like last year’s Fraufraulein tape Solum , feels to me like creative practice and language catching up with my life in California. In other ways, I hear materials that I’ve been working with for years finding new expressions and clarity.

As ever, a poetry of personal language and public topographies, a potential for our inner language and responses to find a relationship together. A reckoning of the distance between people, shaped by our engagement with the world around us. Over the past 4 years of my life, I began to understand this topography as wilderness and luxury.

Similar to how Solum brought into relief the required changes of our relocation on how Andy & I create collaborative music, the materials and processes we have stuck with, and those that have lost connection, or are in ways unavailable to us right how, Wilderness And Luxury is my language changed. I think all of the electronic material was recorded on the floor of our bedroom in February and March of 2020, with headphones, over the low vibration noise of the large kitchen exhaust fan, above our ceiling, from the restaurant below our apartment.

The sunrise will flood our windows, we can see the trees from the same view, and on clear nights the colors of sunset reflect onto the city to our east. The sound of recycling and compost trucks wakes me most mornings, but the bus stops at the far end of the block are not as insistent. Climbing the small hill that crests our street, the mountains are visible across the bay. I spent a lot of time over the past two years out in this topography with our child, just going where we go and seeing what we see. The trees and the water is so close, a city has laid itself through and upon this, then wrapped itself with the same trees and water.

The selection, editing, mixing and sequencing of what has become Wilderness And Luxury took place mostly through the spring and early summer of 2020, with small adjustments as I lived with this work. Some of the field recordings are from our time in California, some are archival.


Technically/technologically, this is my first work to be reproduced in my Squid Salmpler era, salmpling (and re-sampling) entirely from within the system. This filled a huge desire for me in my hardware, coming very close to how I used buffers and live sampling in Max and Reaktor.

I’m doing a lot of pretty fresh discovery on these tracks, iirc managed by Marbles, Batumi, Let’s Splosh and Cold Mac. The primary voices are Plaits & Mangrove/Cinnamon, or Plaits/Rings, with Three Sisters doing their thing. Quantization is from Quantimator->Stages. Some of these tools I’ve moved on from in the interim, for instance I never quite hit with Mangrove in this fashion again, but I’m reminded of the very copacetic relationship I had with Clouds.

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well, this is lovely (and quite lush-sounding) … haven’t yet given it a proper listen with headphones, but there’s a spare and enveloping beauty about these tracks. the bit of background / context is appreciated. i don’t know that i could’ve identified any particular modules used here, i do like the refined sort of sound language at play. feeling a distinct sense of melancholy, or emotive quality to “Governed Wilds”, and then it’s a pleasure to listen through all over again. wish it were longer, but there’s definitely a lot to chew on. nice work!

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this to me is why billy’s work is so engaging. if you go back through the trajectory of his work, it’s def a case of him bending the tools and not the other way around. every time someone says ‘rings has a sound’ my immediate reaction is ‘yeah but, check out my dude here’

i’ve said as much before, this level of restraint is inspiring.

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as I am clearly in a season of self-promotion:

every once in a while I get asked to contribute a mix, and I was definitely cheered to get one from
for the Beyond/Below series. lots of friends on this one.

starts with baby beavers, ends with wolves.

We’ve lived in San Francisco for 4 years now (we moved on February 1st 2018). I have been a parent through that duration which is its own ride, and this has drawn me out of art and music and “adult life” circles that we were used to back in Brooklyn. I have let this undo my relationship to what I am listening to and when, and what if anything needs to be said about it. The way different air, different trees and an enviable proximity to the ocean work to lighten things that maybe used to act more crucial.

There are a grip of real life friends in this mix, and a lot of sound from the outside world, and the world that exists beyond the couple square miles I tend to inhabit. One track from Andy and one track from Andy & I as Fraufraulein which I think is a first for mixes I’ve made, I don’t know how else to thread my listening from myself outwards without genuinely starting there, the sound we have made for ourselves (here) as an origin or at least a signpost. So yeah, a mix of locations and some are real and some are abstract and some are in-between.

Abby Lee Tee - At The Beaver Lodge II - The Kits Are Alright
anne-f jacques - poudrerie - échaudage
Andy Guthrie - Gyropedie - Hill, Mountain
Alyssa Moxley - Underdrift - Night smoke over the caldera
Marja Ahti - Still Lives - Ashes Over Hatching Eggs
Max Hamel - Sounds of Summer: Field Recordings of Solar Electronics - Side B (excerpt)
Josh Mason - Utility Music - San Francisco, 9 April, 1970
Kindohm - VR Sunset - New Beaches
Olli Aarni - Värejä hangella - Nokoset bussissa (edit)
Horaflora - Eaves Drop - Lunacy In The Garden Of Forking Paths (excerpt)
Kevin Corcoran-Giacomo Salis-Paolo Sanna - Sul filo - Ombra (excerpt)
fraufraulein - solum - 6
International Sangman - Death Roads & Spirit Ways - Dub 321
Etelin - Frisson - Purple with Bloom
Sydney Spann - Sydney Spann - Oceanic-E.L.M. - Fog Off Cedar Bonnet (excerpt)
Christian Michael Filardo - Rare Volume - Volume 1
Shuta Hiraki - 絹雲 Cirrus - 周辺 outskirts
Melissa Pons - Wolf Soundscapes - Gerês

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I don’t make work to seek particular compliments but this kind of language lets me know that I am meeting the larger goals of creating abstract work. like most artists working in a mechanical/technological medium, I do enjoy the process of understanding and discussing tools - I simply really enjoy working on my music and I do owe that to my instruments - my creative aims are for an experience, if enabled by those instruments, reaches beyond the instruments and into language. or I guess, the way the struggle for accurate language of experience forms poetic thought.

I appreciate it from both of you.

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Finally bought this. Really enjoying the sounds, I am sure I will return to this more often as the music gives me room to think but also transports my mind away from where I am. Good stuff.

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Could you try to put into words what it is about this recursive sampling procedure that helps you express yourself? Live recording and bouncing between buffers, the loss of quality, and immediate recontextualization of a sound has been an emergent inspiration for me over the last year or two.

I am still digesting this tape, but I really like it. Thanks for sharing.

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this is the kind of friction I like to approach. I appreciate it.

I’ve never connected with “create a pool of samples and loops” but I’ve almost always felt the way samplers touch and express sound. I’ve always connected with synthesizing sound, but not really creating melodies and riffs, especially as I moved away from doing “songs in a band.” as my instruments for using the former to build related forms out of the latter continued to develop (especially thru a transition from laptop to eurorack etc), my connection for this approach has sustained. I don’t have a fully formed creative idea when I sit to play. being able to explore and capture and build from what works is fun for me and helps me map the spaces in which I want to find relationships with sound, where I think a creative language is expressed in a way that is, maybe, receivable and convertible to that of a listener’s inner language. I’m just guessing that the latter is what actually happens but that’s the way I think of it. I want a listener to know that I connect with doing this, even if it’s not bright bouncy sound.

It is awesome that I can do this pretty easily even on the 3u I posted in the 104hp thread, instead of with an old powerbook and a midi synth and audio interface - I won’t deny my approach 20 years back still holds its charms (a lot of what I did in Reaktor are the roots of where I’m at on this release). I don’t think of “lo fi” as a signpost for me when working like this, I think of “digital” - the reduction available on the Salmpler is pretty crisp (compared to Cocoquantus, where it’s more uh busted). I like the edges available in granular techniques. I like the feeling of collage or montage (I think montage is more appropriate given I’m working with multiple voices but I’ll accept either?).

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beautiful thought here…

i’m very curious to hear how you use these because i have both and feel more adept with cold mac for creative & spontaneous exploration

anyway thanks for bumping this because it slipped past me (and i also had no clue you’re active on lines :smile: )

ps: savvas and danai are the best

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[quote=“glia, post:9, topic:53021”]
beautiful thought here… [/quote]

thank you. I try to take things lightly but with commitment?

I find both of these modules fine companions for how I think of generating modulation (and “structure” - “it’s not a bridge, no one needs to walk on it”) in my instruments. I like to have places to begin the movements, and ways to distribute and change those movements (maybe based on those movements), instead of having a bunch of different modules I have to think about. I love multiples, my 6u has I think 9 1:3 channels of multiples.

for me, Splosh (basically) takes ~4 sources and sploshes them across 16 potential destinations. most often these are “audible” places - opening vcas/lpgs, occasionally related timbral changes, occasional CV hiccups. No knobs, I don’t have to touch it or really think about it, but changing something about 1of the four sources changes how it sploshes - not dissimilar from how Survey can move everything differently, and I approach Cold Mac similarly.

Make a more significant change by making a small change, if I’m getting that across. I don’t want everything to feel “always in sync” - I want the sense of interrelated movements coming together and moving apart and overlaying in different ways when they return, small collisions when things meet.

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excellent reply
thank you!

okay this is it for me for releases for at least the season, phew. generally very recent recordings (okay 2021) collaged together. eurorack, plumbutter, wingie, interiors and exteriors. thanks for listening yall.

edit: now with soundcloud

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