A Patient Art Form — Windy & Carl and Optigan Conservatory
Nobody rehearsed, nobody planned, and nobody can say with any confidence where half the sounds on 'Windy & Carl Meet Optigan Conservatory' came from.
A collection of some of the ambient music artists and releases featured on The Tonearm.
Nobody rehearsed, nobody planned, and nobody can say with any confidence where half the sounds on 'Windy & Carl Meet Optigan Conservatory' came from.
Jeff McIlwain's tenth Lusine album, 'Melting Days,' makes the case that rhythm and atmosphere were never opposites to begin with.
Recorded fast and almost entirely improvised, 'Music for Babies' sets Julia Shapiro's melodic instincts against Samur Khouja's appetite for dissonance, and the conversation takes in sad clowns, nose flutes, hearing music as a child, and why they never went to meet Maria Nissan.
The Florida sound artist walks through his greyfade debut 'Kicking A Dark Horse,' the punk shows that taught him to build things himself, and the modular practice that, 15 years in, no longer surprises him.
The Philadelphia sound artist talks about the windowless clean room where he prepares chemotherapy for patients he never meets, the Trappist retreats that showed him what silence is for, and his growing conviction that irony is a poor use of anyone's energy.
Back in London after years of scoring films and documentaries in Los Angeles, David Norland discusses 'La Source,' the free hand he was given on the wordless black-and-white 'Carousel,' the monastery basement he intends to record in next, and the composer's right to a full night's sleep.
On his fourth album for Hausu Mountain, and his first on vinyl, the restless synthesist talks improvisation, the burden of the solo record, and the surprises that arrived in the mail.
The Vermont musician behind 'Forager' talks foraged field recordings, a boyhood spent in Indiana megachurches, and why he wants no part of the wellness playlist.
On the occasion of CIANI/ORKEST, Suzanne Ciani discusses handing her solitary Buchla music to a 50-piece orchestra, the ocean and the wave beneath her compositions, and the young players bringing analog modular synthesis back.
Recorded in an off-grid Spanish farmhouse during a brutal La Niña winter, 'The Exit Diaries' is the sound of a musician who scrapped an entire album's worth of dark orchestral music, listened obsessively to Alice Coltrane, and arrived somewhere he hadn't expected.
The ambient composer on her cassette release 'Yarrow,' frog taxis, the power of dormant seeds, and the dread of leaving one's recorder out overnight in the rain.
'The Observer Effect' finds violinist Meredith Bates recasting quantum mechanics, feminist intuition, and acoustic ecology as one long, uninterrupted act of listening.