Friday, June 29, 2018

now available:

Jeff Witscher "Approximately 1,000 Beers"

Revisionist country music, live deconstructed country music. 10 songs, cd comes with additional fold out poster with art by Simone Niquille. Songs touch on generic topics such as working, live, drinking, revenge and offsetting the relative margin calls between profit and love. Created using, Melobytes, Iphone 6, Youtube, Microphone, Macbook Pro 13".

Dedicated to Reginald Wrangler.

"I went 2.7 seconds on a bull named Fu Man Chu"

I'll be looking for 8 when they pull that gate

Saturday, April 1, 2017

Jeff Witscher "Fy Monkey Sisaj Kura" cd-r

Jeff Witscher "Fy Monkey Sisaj Kura"

Single track titled "2022 call option August for $11.75 vanillaThat means $3,525 (11.75 * 3 options". Please select correct shipping option. 


Sunday, October 9, 2016

Sam Wolk "Trop-plein" cdr

New stereo improvisations by Sam Wolk. Max/MSP, Acoustic objects and feedback, SP-404, Saxophone (Max Lesser), Voice (Charmaine Lee)
The trio of improvisations which follow are variations on a single idea. Running a Max/MSP patch and interacting with it is a method of transducing energy from one form to another. Electrical energy drawn from the grid is ultimately transformed into acoustic energy emerging from speakers along with the accompanying, over-flowing waste energy [entropic release]. The ephemeral, unstructured heat released in the process of generating structured acoustic energy [the composition] takes multiple forms: the discarded acoustic energy of computer keys pressed while manipulating the patch, the kinetic energy of hard drives whirring as data is read from disk into the patch, the thermal energy of CPUs radiating out and the acoustic energy of fans loudly attempting to reroute those heat flows. In this trio of variations the central theme is feedback. These ephemeral energy fluxes associated with keys, fans, disks, and CPUs are subjected to recycling [feedback] as the energy they produce is transduced by a contact microphone and the computer's internal microphone back into electrical audio flows which serve as the input to the Max patch itself. As such, manipulating the audio at the human-computer interface generates the very energy flows which are transduced into the audio to be manipulated in the first place... The computer processes its own unstructured flows of waste energy back into structured audio [the output of the patch]. The machine is not treated as an abstract, universal computational device whose digital nature renders its physical existence irrelevant. Instead, as it harvests its own unstructured heat and processes it into structured audio, its physical identity is embraced for what it is: a concrete, individual, material machine imbricated in a larger system of energy flows.
Recorded at the Harvard University Studio for Electro-acoustic Composition, 2016.
Special thanks to Jeff Witscher.
Play loud.

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Meyers "On Perfromance" cdr

Sparsely over the course of the last decade I've been able to perform my music in Minneapolis with venues varying from art galleries, bars, and basements. In these different spaces I've had to adjust my music over the years to suit the atmosphere of each venue. With audiences composed of people with varying degrees of interest in my music—quieter sound and sparse arrangements did not work in a live setting. As a performer I've had audiences range from appreciative, to apathetic and aggressive—the very first show I played featured an audience member who threw a punch at the promoter in an attempt to end my performance. Over the years each space and audience in this city has affected my approach to performance. 

"On Performance" is a composition for live performance presented in 3 parts that attempts to meld the audience with the performance. "On Performance" is a mix of synthesized music and unprocessed audience recordings for live performance. "In Performance" is a live performance processed from the previous compositions audience recordings. "On Performance (Variation)" is the first composition repeated with processed and arranged audience recordings. The intent of these compositions when performed live is to make the audience consider their participation in the performance, complicit or not. 

—Justin Meyers

On Performance (9:27)
In Performance (9:05)
On Performance (Variation) (9:27)

All source material live and synthesized recorded Spring—Winter 2015. Thank you to all in attendance.

"Woo" by Jack Callahan

"In Performance" recorded live December 23rd, 2015 at Honey, Minneapolis, MN

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Sunday, November 8, 2015

Seaver & Witscher "Country Music"

Now available new music from Daryl Seaver & Jeff Witscher. Compositional works heavily influenced from listening to contemporary country music. Pieces of moderate length that can be listened to intently or peripherally with varying results. Daryl Seaver also records as Samantha Vacation with releases on LIES.

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Eric Frye "Some Consequences of Four Incapacities" 

We're very happy to announce new works from Eric Frye. A collection of focused compositions exciting and dynamic as much as they are stimulating and cohesive.

Recent developments in mathematics, including Grothendieck’s work in algebraic geometry, showed once again that the representational leg of mathematics is more than just an auxiliary tool for its conceptual leg. The new concepts like that of Topos require new modes of representation, otherwise they remain to be properly treated (and in some cases even properly identified). The new modes of mathematical representation require us - but also allow us - to conceive, imagine and perceive things differently. The very fact that most of today’s mathematical concepts have no rigidly associated “bodies”, visible or otherwise perceivable, serves as a strong motivation for an artistic work aiming at the aesthetic - and hence also material and technological - construction and a further reworking of these abstract concepts.

Eric Frye’s compositional output perfectly demonstrates how this works in practice. Through a series of methodically structured auditory events Frye investigates new modes of perception and spatial cognition. These events are composed specifically to stimulate and disrupt the cognitive perceptual process as the human mind attempts to correctly segregate and organize sound objects. As the piece unfolds it reveals topologically transformed sonic morphologies which trigger hallucinatory reactions through a succinct succession of auditory cues. Frye's sound pieces emerge as an artistic expression of novelty and freedom, which, by Georg Cantor’s popular quote, is indeed the essence of mathematics. 
- Andrei Rodin

Total Running Time: 24:08

Written and produced by Eric Frye.
Design by Jeff Witscher.
Text Objects Without Structure by Andrei Rodin.

Recorded at Harvard University Studio for Electroacoustic Composition.
Anechoic chamber recordings at Orfield Laboratories, Minneapolis.

Special thanks to Andrei Rodin, Sam Wolk, and David Berg for their invaluable contribution and important assistance.

Sincere appreciation to Jeff Witscher.

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Sunday, July 19, 2015

New cd-rs

Two new cd-rs available below: 

Sean McCann & Matthew Sullivan "Live at the Roxy" cd-r

Recorded March 14th, 2014. This stands as the duo's only live performance in three years time. It holds all new works from an, as yet, unrealized album.  Performed to an audience of ambivalent teenage girls with their boyfriends in tow.

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Luminous All Kudler "Salvia Dante" cd-r

The CD started off as trying to test the flexibility of some Super Collider code I had written as well as see how far I could get with some new code that was more in line with the general aesthetic idea I had for these recordings. Well, can I make music that sounds like this using this code which is not so good at, well, making this kind of music. I was happy with the results of two extended jams I recorded, but thought that they kind of dragged so I started splitting them up and moving them around. Since the release was going to be a CD-r I could make individual tracks that wouldn't all run together, like on record or tape, as well as focus a little more on specific digital sounds and more quiet sounds that get lost on aforementioned analog media. I got a little carried away with the fun of making tracks, so all the tracks ended up on the shorter side so I could slam more onto the disc. The softer, more spacious (not spacey!) approach I took on these recordings reminded me of field recordings and fun exercises with my mouth I had been recording on my phone so I put those in as a sort of pallet cleanser, but also to highlight the difference between the crackly softer noisier digital sounds recorded well, and the crackly softer noisier acoustic sounds recorded as poorly as possible. Non-pitched sounds take a lot of forms, noise takes a lot of forms. I didn't want to get harsh, but I wanted to check out some different noise and make some well defined improvisations at the same time. I used what I always use and what is at my disposal: Super Collider code I write, some recording software, my cell phone and my body. All these things that are all extremely interconnected and at this point part of the same organism that constitutes the person Ben Kudler, me.

I'm happy to talk more about specific coding practices and objects used for anyone interested,

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