Carl Stone - Electronic Music From 1972-2022 - VINYL LP
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Electronic Music from 1972-2022 seeks to frame fifty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 (InchThree ConfusongsInch and InchRyound ThygizunzInch, featuring the voice and poetry of Stefan Weiser - later known as Z'EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival marking Carl Stone's evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving. Stone's practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences. In the decades since, he's explored various ways to compose this process, creating temporal envelopes in which found sounds - existing tracks or field recordings - can take form. Whilst the technologies he's used have changed and samples have varied beyond categorization, what's remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events. Stone's impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.
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- GenreDance and electronicDescriptionElectronic Music from 1972-2022 seeks to frame fifty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 (InchThree ConfusongsInch and InchRyound ThygizunzInch, featuring the voice and poetry of Stefan Weiser - later known as Z'EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival marking Carl Stone's evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving. Stone's practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences. In the decades since, he's explored various ways to compose this process, creating temporal envelopes in which found sounds - existing tracks or field recordings - can take form. Whilst the technologies he's used have changed and samples have varied beyond categorization, what's remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events. Stone's impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.ArtistCarl StoneTitleElectronic Music From 1972-2022FormatVINYLLabelUnseen Worlds
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Electronic Music from 1972-2022 seeks to frame fifty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 (InchThree ConfusongsInch and InchRyound ThygizunzInch, featuring the voice and poetry of Stefan Weiser - later known as Z'EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival marking Carl Stone's evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving. Stone's practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences. In the decades since, he's explored various ways to compose this process, creating temporal envelopes in which found sounds - existing tracks or field recordings - can take form. Whilst the technologies he's used have changed and samples have varied beyond categorization, what's remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events. Stone's impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.
Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone's slow-evolving, time-bending composition. While we can't always identify the source, we can hear that his sounds come from somewhere, and that there is a InchcorrectInch or InchcompleteInch version of them in theory; and so we can hear when they are being changed. What drives Stone's music is the flow that he draws out of those differences the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of InchMae YaoInch's twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of InchSonali,Inch or the slow, ambient evolution of InchBanteay SreyInch. InchWoo Lae Oak,Inch issued in a single side edit for the first time, is an exception. It's samples - a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone hallmark is clearly present, he locates the inherent emotional properties of the sounds - the tingling anticipation of the string and the calm nobility of the wind - and takes them into unexpected expressive territory tag Unseen Worlds
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CNBLUE to the 14th single with the first title song with a Japanese title! Also includes InchCountdownInch featuring TAKUYA (UVERworkd) and InchMagic Hour.Inch The limited edition type A includes a DVD with a music video of InchJinsei SankaInch and making-of. *Limited time offer a serial code [A] (system requirements unknown
Following his critically acclaimed collections Electronic Music from the Seventies and Eighties and Electronic Music from the Eighties and Nineties, Carl Stone pairs Baroo (March 2019) with a double-LP album of recent works, including the final section of InchFujikenInch, his epic journey through southeast Asian field recordings and street cassette culture. On all six tracks, composed between 2013 and 2019, Stone's pan-global playground of looping synths and Asian pop culture remains as fertile as ever, digitally shattered into unimagined patterns and gestures, either through the MAX programming language or (in the case of InchKikanbouInch) by generating unpredictable loops within an Elektron Octatrack sampler. The title track is the first recorded from Stone's ongoing collaboration with the Japanese vocalist Akaihirume. Elsewhere new influences come from rock (the slow drum break of InchBia BiaInch), disco (the Nile Rodgers-esque guitar riff InchKikanbouInch) and hip hop (the frenetic percussion loop of InchHan YanInch). Their diversity only adds to Stone's borderless musical vision, a world where rhythm becomes atmosphere, song becomes beat, and pop becomes art.
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