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ONE SOUND EACH DAY: MAY 26-30 May 30, 2009

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www.12k.com/onesoundeachday

MAY 26
Pound Ridge, NY, 10:56pm

some sort of large insect caught between a glass window and a screen.

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MAY 27
Pound Ridge, NY, 11:14am

an intentionally dirty recording of a looper pedal (eventide time factor) looping a synth and sounding pretty bad.

MAY 28
Wilton, CT, early afternoon

geocaching in the Marble Van Haelewyn – Richards Preserve in wilton, connecticut during a light rain shower. the forest sounded (and smelled) pretty amazing. at the end, the raindrops were hitting the microphone, i think.

MAY 29
Pound Ridge, NY, 10pm

an ebow resting on the G-string of my acoustic guitar.

MAY 30
Katonah, NY, around 5pm

at the Beaver Dam Sanctuary in Katonah. large grassy field

ONE SOUND EACH DAY: MAY 25 May 30, 2009

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no sound.

SEAWORTHY LIVE @ SYNCRETISM, MAY 28TH (AUDIO) May 30, 2009

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a short bit of audio from the Seaworthy gig @ Syncretism in Fortitude Valley, Australia from 2 nights ago.

sw_live

http://audioboo.fm/boos/25167-seaworthy-live-syncretism-28-05-09

PILLOWDIVER “SLEEPING PILLS” REVIEWED ON COKEMACHINEGLOW May 29, 2009

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8867

LINK TO PAGE

Don’t do it, René Margraff! Put down the razor and switch off the gas. Things are never as bleak as they seem, particularly when you’re such a dab hand at painting your lovely often-melancholic, post-rock-influenced ambience (© Pillowdiver 2009). Yes, while one part of Berlin applies deluxe IDM to the city’s bustling skyscapes, here’s a German producer who toys with reverb and watery space-rock instead. The debut Pillowdiver LP, Sleeping Pills, is a warm and sensual line-graph showing hikes in Diphenhydramine use, each track named after the quantity of sedatives its writing attempts to mimic. “Twenty-Seven,” then, is the point at which things come to a head: it seems the sleek beats/soft music combo won’t let Margraff’s eyelids settle, the only option left to him being to fog his brain with a hazardous number of caplets. It’s an alarmingly pleasant sensation, a lingering, Cocteau Twins texture, slow like the bombs at the end of Apocalypse Now (1979) and a somewhat idyllic realization of what such a dangerous ingestion would provoke. In real life, sleep would be out of the question: taking between ten and thirty-five 50mg keeps you awake, livid, and zombified, making you imagine transparent fleas have infested every corner of your room. No room for any sparking Morricone guitar and drone sunrise there, of course, but fleas don’t make for good listening. This does, and very good. Best mixed with vodka, worldly goods, and a made-up map to a treasure chest.

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COMING THIS FALL: SMALL COLOR May 28, 2009

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smallcolor091

MYSPACE
WEBSITE (JP)

SEAWORTHY ARTICLE IN TIME OFF MAGAZINE (AU) May 27, 2009

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Seaworthy_0509_v

FULL ARTICLE HERE

(excerpt)
LOST AT SEA

SYDNEY’S SEAWORTHY BEGAN LIFE IN A LOUNGE ROOM AND RECENTLY MOVED TO A BUNKER. MATT O’NEILL SPOKE TO FOUNDING MEMBER CAM WEBB ABOUT THE BAND’S ONGOING HOMELESSNESS.

It’s popularly acknowledged that there are very few undiscovered territories left in art. The general evolution of creativity that has developed exponentially over the course of human advancement has slowed considerably in recent years as something resembling order has fallen upon the cacophony of creatives inhabiting the world – with even the most unconventional of practitioners fitting into the construct. It’s almost impossible to conceive of an artist acting independent of some variety of similarly-minded scene or setting. Sydney’s Seaworthy, however, demonstrate the superficial nature of such pessimistic conclusions.

“I think the tricky thing for artists like Seaworthy is connecting to people,” Seaworthy guitarist/composer Cam Webb muses. “I mean, particularly in Australia, those usual means of connecting to your audience are somewhat difficult. It’s not the kind of music that’s going to get regular radio play. It’s kind of funny – I struggle with what to call my music. The music that I’m making is generally what I consider to be made by electronic musicians and soundscape style artists but because I’m using ‘traditional’ instruments it sometimes gets referred to as post-rock or even indie. I think it’s hard getting people to hear you.”

ONE SOUND EACH DAY: MAY 24 May 26, 2009

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MAY 24
Tarrytown, NY, mid-afternoon

inside a stone silo at Stone Barns. it had just started raining outside and the beginning of this recording happened to catch the very first thunderclap outside. distant voices, footsteps, and metal coat hangers provide sounds in the natural reverb of the silo.

ONE SOUND EACH DAY: MAY 23 May 26, 2009

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MAY 23
Croton on Hudson, NY, around 4pm

a renaissance band playing at a festival. my distance to them combined with the crunching of gravel underfoot makes it sound like an old radio transmission.

ONE SOUND EACH DAY: MAY 22 May 26, 2009

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MAY 22
Pound Ridge, NY, early afternoon

birds on a loop.

ONE SOUND EACH DAY: MAY 21 May 26, 2009

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MAY 21
South Salem, NY, late morning

a beautiful, small stream in the woods. shallow water, breaks in the tree canopy. binaural microphones placed in two different areas of the stream for different Left/Right water sound.