Listen With Others No.9 – June 5th 2026
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1. Circles III by Christina Kubisch 14’48”
“There was a special fertile atmosphere in the early eighties in Milano. Somehow all these activities and the search for new sound worlds and techniques were a vital step on the way to what today is called sound art, though the term was not common then. Some characteristics of what is defined as soundscapes or sound environment are included in Night Flights: a special interest in sound colours, musical structure based on may layers of natural recordings and the intent to open up the listener’s space even with the limited means of a vinyl recording.” ~ Christina Kubisch
https://imprec.bandcamp.com/album/night-flights
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2. Hétérozygote by Luc Ferrari 26’19”
“You could call this music “Anecdotal Music” for if the organisation of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. However, the anecdote is hardly formulated and is open to plural interpretations. The listener is then asked to imagine their own story by rejecting – if necessary – the one suggested by the author.”
https://lucferrari.bandcamp.com/album/h-t-rozygote-petite-symphonie
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3. Dead Letters by Gregory Whitehead, Part I 16’20”
“The editing process was obsessive, as I shaved slivers from slivers to get the rhythm exactly right. Inspired by the dance and music of the Tarantella, the structure circles and spins, offering multiple beginnings and ends; entrances and exits into the warehouse of undelivered feeling.” https://gregorywhitehead.net/2012/06/15/dead-letters/
https://staalplaatlabel.bandcamp.com/album/dead-letters
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4. Automatic Writing by Robert Ashley 46’00”
“On Automatic Writing, Robert Ashley composes under the influence of his ‘involuntary speech.’ (In his liner notes, Ashley revealed that he suffered from ‘a mild form of Tourette’s.’) The piece starts quietly, with scraps of Ashley’s mild, tremulous voice arranged next to more fluid French translations and barely-there touches of Moog. After Ashley’s phrases lengthen enough to encompass sense-making phrases, a bass-register groove briefly appears, vanishes, then returns. Few pieces so quiet have proven as captivating; many that intend to be equally startling can’t capture Ashley’s range of surprises.” — Seth Colter Walls, from Pitchfork’s “Fifty Best Ambient Albums of All Time”
https://robert-ashley.bandcamp.com/album/automatic-writing
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