times picayune Sommeil: A Concert for Sleep
Antenna, one of those all-bohemian art galleries in Bywater, is celebrating its first anniversary Saturday with a sort of artistic pajama party.
Here’s how it’s supposed to work. You unroll your sleeping bag at Antenna, have a soothing cup of tea and prepare to drift off to dreamland along with however many other people can fit on the rug-strewn floor.
Then, you watch video projections of geometric patterns on the ceiling and listen to “Sommeil,” a nine-hour “concert for sleep” performed by experimental composer Tanner Menard.
Menard, 30, says he grew up in rural Vermilion Parish and studied conventional classical music composition at Louisiana State University. It was a stint as an intern at an experimental recording studio in San Francisco that turned him on to ambient music — the kind of dreamy soundscapes you hear on public radio’s “Hearts of Space.”
Menard, who moved to New Orleans in July, used the Internet to ask ambient music composers around the world to produce a piece of sleep music for the nocturnal concert he was planning. He eventually received 96 somnolent samples from Brazil to Poland to Japan to New Zealand.
Menard said the samples include environmental recordings of water, slowed down gongs, a baby cooing, city noises, and other “dense, droney” sounds. He will mix and layer the samples DJ-style during the concert, hoping to create a “giant sleep mash-up,” that will induce an “abstract and consciousness-raising experience” in his listeners.
And where better to stage an abstract and consciousness-raising experience than Antenna? Opened April 12, 2008, by a group of like-minded artists and writers (Brad Benischek, Courtney Egan, Anne Gisleson, Susan Gisleson, Shawn Hall and Case Miller), the cooperative gallery is an anything-goes alternative to the more staid commercial showplaces.
If you want to hear a nine-person poem read from a scrap wood sailboat, in a gallery scattered with apple-green broken furniture (Mark Yakich’s “Green Zone New Orleans”), Antenna is the place to do it. If you want to view heroic murals dedicated to the utopian visions of 1970s arena rock bands painted directly on the walls (Tim Hailey’s “Take a Chance on Rock and Roll LIVE!”), Antenna is the place to do that too. How about cartoons exploring the subject of cannibalism (Brad Benischek’s “Meat Vs. Dirt”)? Antenna’s the place.
http://blog.nola.com/dougmaccash/2009/04/visitors_to_the_antenna_galler.html
Gisleson said the goal of the gallery is to foster “the culture of creativity” that she believes has been fundamental to New Orleans’ recovery. Despite the cost of keeping the doors open, the group has extended its lease for another year. Saturday’s sleep concert is a fundraiser, where patrons will pay $15 for a show during which they’re more than likely to nod off.
Menard said that “Sommeil” is not the first-ever sleep concert. He based the event on an all-nighter staged by composer Robert Rich in 1982. He plans to remain largely hidden from the prone audience during the performance, though he will peek at the sleeping crowd from time to time to better adjust the ambient musical mix. When the audience awakes it will be Easter morning. The Antenna folks predict a visit by the bunny.
norman records review of ‘canopy of sky on black’
Tanner Menard is the 6th artist to grace Install’s ‘Installation’ series. Install, if you didn’t know, are responsible for the recent Caretaker CD that’s shook the ambient/hauntological scene up a tad recently. ‘Canopy of Sky on Black’ starts with the sound of someone possibly scoffing a bag of monster munch by a microphone before the waves of drone crank up and start removing parts of your conscience and displacing them in small bubbles throughout the solar system. I’m never sure how to review this kind of music as it’s like trying to pass comment on the hum of an electrical generator heard through elaborate earpieces made out of tiny seashells & minute prisms, each slight turn you make refracts the audio sensation, like a sonic hall of mirrors (thanks Ant!) It’s fucking good anyway, very transcendental & uplifting with tons of atmosphere, a dense, riveting tapestry of heavenly sound.
disquiet.com review of ‘the now of sound’
Tandem Drone MP3 from Jerman and Menard
For close to 50 minutes, the Zen-cast tandem drone session “The Now of Sound” by Jeph Jerman and Tanner Menard puts the world on hold (MP3). The sound is that of some threadbare sine wave casting its shadow on a blank horizon. To the extent that it has any sonic substance at all is only hinted at toward the end when, for an admirably extended period, it comes to a very slow face; the result not only delays the piece’s close, but also emphasizes just how voluminous, in fact, the preceding seeming quietude had been. Kudos to the record label, Archaic Horizons, for informatively summarizing the duo’s recording process:
‘The Now of Sound’ was created from a synthesis of synthetic bells, written in Supercollider by Tanner, and of desert recordings from Jeph. This amalgamation was then projected with homemade equipment by Jeph, onto the resonant portion of a gong. The resulting frequencies were recorded with a contact microphone, then post processed with basic computer effects.
More details at archaichorizon.com. More on Jerman at jerman.littleenjoyer.com. More on Menard at his aptly named myspace.com/barelyaudible.
special forces reviewed in san francisco bay guardian
The play also ironically pays tribute to the Hollywood image of the fighting 1940s in a saving-the-world-from-Private Ryan sort of way, whereby that soldier has morphed into Lt. “Dame” Anderson. This startlingly tough and disturbingly efficient female soldier (powerfully rendered by Helen Sage Howard) leads a rogue special ops mission that Dinah must reach before its misguided objective is carried out. Set on a sparse stage (accented with Jeremy Cole’s authentic-looking costumes and blasts from Tanner Menard’s viscerally loud soundscape), the production evokes the moral desert of the hardware-strapped US project in Iraq as it intersects (in a way that leaves one pondering) the panorama of gender confusion under a regime of militarism and war. (Avila)
envyronie press release arizona state university
The announcement of the “Battle of the Bands” winner concludes the outside portion of the evening, and the audience will be invited into the lobby where sound artist tanner menard and the ASU Wind Symphony will create an edgy pre-concert sound installation entitled “cosmi[c]ity music.”
The first performance on the Gammage stage will be the premiere of a piece by Arizona composer Kenneth LaFave. LaFave’s piece, “Gateways: Concerto for Electric Guitar, Singers and Symphonic Band,” was fashioned as an answer to the division between popular and classical music. The concerto is for electric guitar and band with a chorus that will sing in Medieval and blues style. World-renowned Jazz guitarist Paul Bollenback will perform the concerto.
The last piece of the night, “Circus Maximus,” also known as “Symphony No. 3,” was written and will be conducted by Oscar and Pulitzer Prize winner John Corigliano. Corigliano is internationally celebrated as one of the leading composers of his generation. He has won global acclaim for his highly expressive and compelling compositions and ever-expanding technique in orchestral, chamber, opera and film work. Corigliano received the Pulitzer Prize for his “Symphony No. 2 for String Orchestra,” and his music for the motion picture The Red Violin won an Academy Award for best score. “Circus Maximus” is Corigliano’s first work specifically written for concert band.
joe’s last mix top pick for conference
‘the now of sound’ on koop commercial suicide texas experimental radio station
‘the now of sound on ears pealed’
more ‘the now of sound’ sightings
http://www.friendlyvirus.org/releases/T3/
another japanese blog about ‘the now of sound’
i have used a free translation software to get a really rough
translation, special thanks for reviewing this one
《主語なし》The new work from the net label, Archaic Horizon that have the disposition and spirit that were starting) is (be in April, 07 the release on the net of the masterpiece ‘Ariill’ of the cellar (Celer) that was announced with the form called CDR of individual production in 05 (incidentally, it is released even ‘Red Seals’ of Celer in the winter of 07 from Archaic Horizon). This ‘The Now of Sound’ is the collaboration work by ジェフ German (Jeph Jerman) and タナー メナード (Tanner Menard) of joint signature that becomes pure it is on July 20, 08 (release day wa).
It is アンビエント/ドローン sound of terrible terrible 驚愕, to can listen to in this ‘The Now of Sound’, when crush bravely briefly and have said from a/the conclusion. 《主語なし》I feel it even to only be the continuance of the sound of the durability that rather than that, the sound that was brought forth with the zenith of エレクトロ acoustic that was inquired into thoroughly roars low music now. 《主語なし》It continues it with the register of as that the sound of the sound in a terribly low cycle, is able to take and is able to listen to to the nude ear only dimly. The playback by the fine audio device in the environment that was arranged sensibly, to listen to nonexistent the place where does to this tremendous solemn and a beautiful sound is left with ディープ and take or fixing the headphones does not リスニング, become the major premise upon at least? 《主語なし》It is thought even to be a Herculean task fairly, to listen to all the ドローン, that affect it amid a daily noise and noise and take as it is crowded a/the sinking deeply in an abnormal low area. 《主語なし》As it gives a groan, wa it depends on playback environment possibly, I might be unable to take and might be unable to listen to the continuance of the slight low-pitched sound that flows almost. 《主語なし》However, メナード wa, this ‘The Now of Sound’ called work sbj, each listener of living environment in environment sound, or various レヴェル in air of vibrations is noise group of real っ merely middle in ドップリ with dissolves (buries? the the the the the the that it 《主語なし》) I am said to wish that is queried with a/the form strongly. Although it is same at all the ピュア な sound art that mixes with アクシ dental with many of the incidental sound vibrato that do not occur/exist only the instantaneously in nonexistent playback environment, and was brought forth by the collaboration of メナード with German, with あう that may be that it observes completion as the work of the form that always differs. 《主語なし》Hardly I able to take and able to listen to it and the ドローン sound in an ultra low-pitched sound exists in the place as the sound of sound certainly in all of. Than it is taken and listens to as sound existing as a/the sound the aspect where these two sound writers are finding out strong significance, to the methodology that notifies something will be certain by vibrating the atmosphere of space even if more dimly. 《主語なし》Or, is it counted in even the intention called the practice of the リスニング action by every sense including the sense of hearing? Also, ultra low frequency of ドローン sound of nude ear to work is heard, even if it depends on the degree that has buried into the swirl of environment sound and noise and an/the one should become the one that differs subtly. To change the environment and setting of a/the playback this and that and able to enjoy the degree of the change of the minute sound of a/the perfect situation limit or. 《主語なし》When it becomes so already, as for this the one such as the sound material for an/the experiment does even the feeling like near rather than that one work now. This ‘The Now of Sound’ is the work that has a/the ディープ な character to such fruit deeply.
To listen to the move of the low-pitched sound, that becomes 壮麗 that was brought forth by the hand of メナード with German thoroughly and take I asked to cause use the headphones that is called an/the evil course with preparedness. 《主語なし》By tightly seal the ear with the headphones and doing environment sound and noise a/the シャット out it will be seen the terribleness of the ドローン sound of ‘The Now of Sound’ more clearly. 《主語なし》It is and come to able to do a/the sense with the brain directly clearly more. 《主語なし》It reaches in 10 seconds these 48 minutes and make Chodai and be beautiful, get at the truth of and アンビエント/ドローン work that withstood especial solemnity た thought as shown in the thing without hindrance at all even if rather than that it has called a/the sound art, sound art music now even though it is a mini Mali stick. 《主語なし》The sound production that I can listen to here anyway, is not ordinary even this っぽっち. 《主語なし》The collaboration work for that that メナード pursues ピュア な sound itself limitlessly with German started from the place where brings the sound source that becomes the material that I made mutually first of all. This, be the 1st stage of production work. German offered the field レ coding sound source that recorded it in the desert of Arizona for ‘The Now of Sound’ the sound of the bell, that メナード made with a/the supercollider (SuperCollider) furthermore. The work, that these both cause (シンセシス) that integrates the sound that brought became the 2nd stage of production. This is carried out by using the analogue machine parts that German made personally and connect it two sounds and the resonance sound of the gong, that German plays had been decided that it is added as a/the secret ingredient there, as such a mediation that combines it. That had refined it to ドローン of a final low frequency, by using the method of classic エレクトロ acoustic that releases the sound, that was completed from such work in space as sound vibrato and pick up it with a/the contact microphone and cause amplified carefully be a/the No. tri-level. This method is a thing the that German does with best. And, the 4th stage in the last is the work of the sensitive post-processing that arranges the form of the sound by メナード that utilized digital イフェクト. That, passes many of distance of the digital and analogue as such Hoso Hoso and finished is the process that comes and goes ‘The Now of Sound’ in 10 seconds 48 minutes. The elaborate sound of a/the great work is brought forth it is thought that a/the bone would have been the work that fairly breaks with hand work with Cima Cima of as this, to. The one that does not become ordinary, to the depth and 迫 real of the enthusiasm that tilt it to the creation of the エレクトロアコースティック な sound of German after all, is able to feel. 《主語なし》It is not a joke, to that affects pure even to the sound, the where of sound and sublimate the thing to a/the work and be desperate and challenge and continue it. 《主語なし》I sympathize and be plain I am challenging it to that even, メナード causes (the sound of easy) with the sound philosophy that was inquired into to the end of the adherence to 頑な of such a German expressed as the sound as Soviet NIC vibrato namely the music previous sound thing, here resolutely. The collaboration work ‘The Now of Sound’ that such both, pursued the sound of adherence did passable く that gets after all and got the magnificent soundscape and phase by the ドローン sound of a terrible minute low frequency. 《主語なし》It is sound itself certainly, that it is here and affect and be the thing. 《主語なし》Making the music in a general meaning this continuance of the low sound, that hardly can take and hardly can listen to whether or not it is able to recognize is entrusted to the filter of the personal sense to each person music and sound that listen to this completely. However, (music as/, granted that could not take and could not listen to ‘The Now of Sound’ entirely) sound as it is neither what even the failure of hearing even if decide and be the useless in time. This is the sound that rather than that, is not heard such a work that listens to mere because it is also the work for that that mobilizes all the sense including capturing, the sense of hearing and receive as the sound that becomes pure. 《主語なし》Also, even even the vibrato of slight sound might can not do a/the sense there, when it does it possibly. 《主語なし》What kind of meaning can I find out to, the sound of the sound that is not possible the sound and sense that I am not able to take and listen to? There becomes a big key. 《主語なし》’The Now of Sound’ and I listen to it/the result of the evident action/deed that does it a/the sense is able to such that itself is the work that has an important meaning to such that I recycle it to, it over merely in the daily living environment to obtain and whether or not be equal. 《主語なし》And, it becomes the エクスペリ mental music/sound experience that it itself is irreplaceable. The result is not regular always. 《主語なし》It is unique matchlessness permanently almost. Exist as a part of the sound of each instantaneous sound in each environment from, ‘The Now of Sound’ become ‘The Now of Sound’.
And, as for you what be you able to take and listen to in 48 minutes of 10 seconds of ‘The Now of Sound’? 《主語なし》Was it seen the sound of the bell there? Was seen the wind that blows in the desert of Arizona there? 《主語なし》Was it seen the resonance sound of the gong there? 《主語なし》It should will seen something there probably, when I look hard to the ドローン sound of the low frequency that closes the eye and become the 壮麗. 《主語なし》Even the case that has had seen even the one that is not seen, wa it depends on the degree of the concentration at the time of the hearing will be possible. 《主語なし》I look hard to the sound of the sound in a/the moment. 《主語なし》It is the work that even even the surface might can not take and might can not listen to, granted that ‘The Now of Sound’ will listen to it with the such light sense to a general music work. 《主語なし》However, it is never the work of difficult contents. 《主語なし》Is not it heard, or it is heard? 《主語なし》Is not it possible a/the sense, or it is possible a/the sense? 《主語なし》Is not it seen, or it is seen? And, to touch the previously certain one finally, has become with all. Even what is not difficult. 《主語なし》It is an extremely simple clear case. All the sound be because be the vibration of the atmosphere and only be sound. (In 08)
‘joe’s last mix’ on metafilter
Thanks to all for the very enthusiastic, positive feedback! For those interested (and still looking at these comments at all), below are excerpts from a longer analytical comment I wrote to a colleague performing the piece, to help him conceptualize the piece better.
I commissioned joe’s last mix while I was in graduate school, as a tribute & memorial to my stepfather Joe, who died in 1994, way too early, after a 5-month struggle with cancer. Tanner was 20 when he began work on the piece.
I’d like to comment in 2 areas, the personal and the technical. Personally, I commissioned joe’s last mix as a celebration of the life of my stepfather, Joe Sullivan, who passed away in 1994. I wasn’t sure what type of piece I wanted, and it was Tanner who suggested a celebration rather than a memorial. Tanner knows my family well, but never knew Joe—after talking with us about him, Tanner realized how much light and happiness he’d brought to our family, and chose that as his poetic inspiration. In fact, the musical material for much of the piece comes from “Within You, Without You” from the Beatles’ Sgt. Pepper album—the opening melody in the horns/piccolo uses the same notes from the raga used in that track!—since Joe was a big Beatles fan.
That’s why the piece ends so abruptly—it doesn’t end so much as just stop. The large scale form is obviously ternary, with elements of return reminiscent of sonata-allegro form; it’s really a big mix, as the title says. The first section can be thought of as the first record of a mix, the second section (at letter G) is where the second record is dropped, and the third section a mixing of material from the previous 2 records. The piece winds up and up through to the end, which is the point where a third record would need to be dropped; as Joe’s life ended too soon, a piece incomplete, if you will, so does joe’s last mix end in process.
The material used in the work is surprisingly very simple—most is presented in the first 16 bars. The whole piece happens in 16 bar units, and can be thought of in layers, or planes, of sound. At the opening, there are 2 planes: the melody in the horns, with the piccolo highlighting the overtones of the horn sound, and the bells adding dissonance; and the groove in the timpani/bass/piano. New layers are added every 16 bars, and are frequently foreshadowed 4 bars early, as with the clarinet/mallet percussion entrance in measure 13. Moving through the first section, this pattern becomes evident.
[....]
It would probably be helpful at this point to comment on the section headings, peculiar though they seem:
brahms ][ raga refers to the pitch content of the opening melody, as I mentioned earlier: it’s the raga from George Harrison’s track on Sgt. Pepper. ‘Brahms’ refers to the opening of Brahms’ First Symphony, with its pounding timpani and vivid sense of space and expansiveness, which Tanner was trying to evoke.
a sequence of darkened quavers refers to the sequential (or episodic) nature of this section, which I outlined above. ‘Darkened quavers’ means that tanner is using the 2 scale degrees (D and C#) of a minor scale that were omitted in the first section.
phat man can dance is kind of an in joke, but it basically means that this section should really groove, and feel like a dance. The ‘phat man’ comes from an image Tanner had stuck in his head while writing the piece of a heavyset, kind of dorky guy (in a fluorescent lime green t-shirt, according to Tanner’s imagination) dancing terribly, but very enthusiastically. I love that image, as it speaks to directly to the liberating quality of both this piece, and music in general.
waydown ][ breakdown refers both to the musical explosion and disintegration that occurs in the transition into letter O, but also to the sensation of a trance-like (or ego-less) state that music and dance can induce in the participant. It is, in a sense, ‘crossing over’ into a different non-self state of consciousness that is being illustrated. It’s also about crossing over from life into what’s next, hence the dreamlike quality of the music, which should be emphasized.
the edge referring to the threshold of being and non-being. Consider as you will.
