I love contact microphones and vibration speakers. I love using them in combination for feedback and/or sound filtering the most. As Barker say’s himself, “making instruments out of objects”. It made total sense when my friend sent me a link to the video above.
I mean it is kinda cool and it totally makes me want to build something myself (I’ve been planning on getting a big sheet of metal so mounting it properly like this is probably a good idea).
My biggest issue is it’s framing around being a cheap project for ~€150.
I’m always interested in stuff around ‘work’ and/or ‘labour’ around DIY music scenes and how it intersects with wider criticism of capitalism etc. I wanted to note and share a handful of resources that you might find as useful as me.
First, a couple of newsletters. Cherie Hu describes her journalism as ‘covering the nexus of music, technology, and business’. Her newsletter Water and Music is frequently insightful. Also, David Turner’s Penny Fractions covers similar territory, often taking a slightly stronger stance which I enjoy.
Mat Dryhurst and Holly Herndon’s Interdependence podcast focuses upon interviews with ‘figures shaping 21st century…
A key term within my practice, and the broader music communities I identify with, is DIY. But what does this mean?
Firstly, this won’t be a history of DIY, or even a particularly in-depth consideration. Instead, a brief collection of thoughts, notes, and reflections. A starting point.
DIY in its simplest form stands for Do It Yourself. I’ve no idea of where this term emerged, or from what context. Some may only think of hardware stores and putting up shelves. It doesn’t feel productive at present to go into great depths. There are also competing/complementing terms such as Do It…
I’ve previously talked about how to set up Tor Hidden Services, at home on a Raspberry Pi. As I’ll be moving around soon and not have a permanent base to run such a mini-server I have been thinking about what to do.
One option would be to take it with me and run it as a portable, nomadic server. This is appealing on several fronts but not practical for me right now as under some circumstances encryption technology and the use of Tor is highly scrutinised and problematic. Whilst I’m simply self-hosting and publishing my own music, therefore acting perfectly…
In my previous post I migrated from a Raspberry Pi home server to Google Compute Engine for the purpose of hosting Tor Hidden Service versions of my websites. This was primarily as I will temporarily not be able to run small home servers rather than due to any particular limitations of a home based setup.
In my case the main project effected by this is thehouseorgan.xyz and its onion version tho2f4fceyghjl6s.onion.
The House Organ is built with the static site generator Jekyll. I won’t be covering how to set this up or use it as there are ample tutorials. Also…
I’m briefly introducing this text as it is taken directly from a supplement I recently published with TQ#15. It was quite spur of the moment, having wanted to try and collect some of these thoughts for a while now, so I contacted Andy and he was up for it and it all came together quite quickly. It’s likely to be out-of-date quite soon, but it does represent a current snapshot, of the problematic flows of power and capital that run through our practices of recording and releasing music on-line.
Last year I Onionised Bandcamp, that is to say I used EOTK to set up a Tor proxy to Bandcamp.
My friend and collaborator Kevin Sanders used EOTK to mirror an academic repository as a proof of concept. It got me thinking about what services used by musicians might look like if they also harnessed the privacy enhancing potential of Tor to protect against tracking and monetising user attention. This led to trying out EOTK with Bandcamp as a little experiment.
A couple of things happened as a result of this. I built it and the limitations of the system…
I’m a bit late posting on here but I’m still pleased to announce I’ll be playing in Nottingham on Monday 16th March.
Organised by Nottingham Forum for Artistic Reserach (NottFAR), this is the second instalment of their quarterly NottNOISE showcases. The lineup includes pianist Xenia Pestova Bennett with bassist James Opstad; clarinettist Tom Jackson performing a new work by Stephen Crowe; electronic duo Dirty Electronics and Dushume; and yours truly, electronics improvisor Murray Royston-Ward.
Doors 7pm for 7.30pm start. Free Entry. Rough Trade Nottingham.
Here’s a conversational performance ‘bot’ I knocked together over a couple of days. It was made to ‘perform’ at Isolated Mass #2 2020 (where it largely failed) but continues to live on, ideal for one-on-one interaction.
If you want to have a play you can visit https://t.me/jehovasfitness_bot (you’ll need Telegram installed on one of your devices).
As a response to Covid-19 and the numerous event cancellations, there’s a whole range of online streaming and other publishing endeavours going on. Taking part in ‘Isolated Mass #2 2020’, I saw it as an opportunity to explore the format.
I’m late to this game and missed the connection to the Baltimore late-90s noise scene. I spotted some odd wooden devices in the shop window of Patch Point a couple of years ago. Peter Blasser’s world of weird audio electronics has been seeping in ever since.
Of particular note are his ‘Paper Circuits’. Nothing fancy, no conductive ink, just a print at home substrate for poking and soldering components. They’re a low-cost, accessible entry point for making. Well sort of. They come with a level of esoteric symbolism to decipher. …