77 Million Paintings by Brian Eno

Eno's Luminous I had mentioned last month that while I was in London I would try to check out Brian Eno's Luminous on display at Selfridges. Well, I did, and I liked it, but I didn't have much to say about it, and I think that's mostly due to the fact that I had seen it only a couple hours after getting off the plane at Heathrow, and really what I wanted to do in that comfortable dark room was lay down and take a nap.

Well, lucky for you, you don't have to rely on my jet-lagged description, you can buy the DVD and watch it yourself. A 77 Million Paintings DVD is now available for sale, and you can learn more about the project at 77millionpaintings.com.

77 Million Paintings by Brian Eno

Three Records You Should Have

Hard to really say this is "ambient" music, but, it's my website, I can do what I want. As far as intstrumental rock, or post-rock, or what have you goes, you certainly do worse than The Six Parts Seven. The music will sound a touch familiar if you're into that other post-rock band, but this stuff is certainly a touch less "epic" or even "progressive." I'm finding the records below to be a really nice accompaniment to the first real spring like mornings and evenings we're finally getting here in New York City. I think you should have a listen to these yourself. Casually Smashed to Pieces Casually Smashed to Pieces

[Everywhere][And Right Here] [Everywhere][And Right Here]

Things Shaped In Passing Things Shaped In Passing

Somewhere Someone Else, Wes Willenbring

A very nice recent acquisition via emusic.com is Somewhere Someone Else, by Wes Willenbring. The record has a really nice pace, and has a nice variety of instrumental sounds, from piano to guitar and on to more traditionally "ambient" sounding stuff. The record sounds maybe a bit "cold," but I mean that mostly in the way I meant when I was talking about the Angels of the Universe soundtrack. This means it might get pushed out of rotation for a while as spring and summer come along, but it's certainly something I see getting a lot of plays towards the end of the year. It's definitely something I recommend you have a listen to. Wes Willenbring's web site offers some tracks via streaming if you're not an emusic user.

Listening to ambient music with eMusic, iTunes, and an iPod

A system for uncovering and then getting back to the stuff I actually like I'm going to detail the process by which I acquire, manage, and listen to ambient music. I don't think there's anything particularly brilliant or even clever about the way I handle things. And parts of it are a bit messy, especially to the librarian in me. But maybe this might be useful to readers trying to deal with large amounts of music.

Most everything I listen to these days comes from my eMusic Premium account which gets me 90 downloads for $19.99. I'm grandfathered in to the old rate, as now they offer only 75 downloads a month at $19.99. For my purposes, this is a pretty reasonable deal. So, after I grab my tracks, here's what happens:

All of the tracks are imported into and labelled "ambient" in iTunes. The music lives on a 2 year old 15" Apple PowerBook, and is backed up to a 250GB Lacie external Firewire harddrive. A smart playlist is populated for each month's downloads, where anything downloaded within the current month and labelled ambient is automatically added. The playlist is synched to a 1G 4GB iPod Nano.

As I listen to music, the tracks that stand out to me are rated from 1 to 5 stars. When synching the iPod with the PowerBook, my recent track plays are sent to last.fm. I like the idea of having this data on the network rather than locked inside iTunes. I only wish there was a more powerful way to connect the two. The rating system works as follows:

  • 1 star means I'm not interested in hearing the track again.
  • 2 stars is essentially meaningless, though slightly more meaningful than no rating. 2 stars means I don't really like it, but it's not bad enough to throw out. I may end up hearing it again and making a decising to raise or lower the rating.
  • 3 stars means I definitely would like to hear the track again.
  • 4 stars means I think the track is oustanding.
  • 5 stars means the track is basically as good as it gets for me.

I then create playlists based on stars. I'll fill the iPod with the 3 star or greater playlist, which means by definition the 4 and 5 star tracks are transferred. If I'm feeling like I want to listen a bit more broadly, I'll listen to the 3 star playlist. If I'm in the mood to hear familiar, favorite tracks, I'll play the 5 star playlist.

This has been a fairly useful way of uncovering music I like and finding it again for later listens. The rating system also forces me to be a bit more of an active listener, which in turn helps me refine my preferences and gives me things to talk about on this site.

Soundtracks, Part 2: Hilmar Orn Hilmarsson & Sigur Ros, Angels of the Universe

Note: This is part two of an n part series.Read part one: Soundtracks, Part 1: Michael Brook, An Inconvenient Truth

Angels of the Universe by Hilmar Orn Hilmarsson, with contributions form Sigur Ros.

Angels of the Universe

This record makes me feel like I'm in Iceland. And I've never been to Iceland. I've been wanting to go to Iceland for at least five years now, since I saw an Iceland Air flight & hotel package advertised on the web. I almost went. And then things in my life changed. Since then, I've seen no less than a half-dozen travel shows on Iceland, the partying in Reykjavik, the hot springs, the trips out into the frozen wasteland. I still want to go. This record reminds me of that each time it comes up in a playlist.

I've listened to this record the past few winters, walking to and from the subway, through wind and snow and ice and rain and burning ears. I wish I could track each listen, but I'm confident I didn't give any of these tracks a listen between April and October. It just sounds cold and bleak. And I mean it sounds cold and bleak in only the very best way.

There's something kind of hopeless and inevitable about most of the tracks on the record, and I find this really comforting. It's mostly string arrangements with the odd, spare guitar or violin melody floating through the middle of it all.

I recommend this soundtrack highly. I think a lot of people probably pick it up because of the Sigur Ros contributions to the last two tracks, which are rather nice. But the first fifteen Sigur-Ross-free tracks are really what make the work worth your attention.

Brian Eno's Luminous

Brian Eno, Luminous Through March 11, if you find yourself around London, you've got the opportunity to check out Brian Eno's Luminous, a "large-scale installation of 77 Million Paintings." As far as I can tell, it sounds quite a lot like what old-school-web-designer-cum-new-media-artist Joshua Davis does these days.

I am, as you'd imagine, a big fan of Brian Eno's music and his thoughts on culture and technology. I'll be in London in just over a week to catch the Arsenal, and so I'm excited to get a chance to take a look at the display. Watch this space for thoughts and photos upon my return.

More Info: Brian Eno's Luminous, at Selfridges & Co.

Package from Temporary Residence Ltd.

Temporary Residence Ltd I came back from lunch today to find a package from Temporary Residence Ltd. sitting on my desk. As I mentioned back in January, new records from Explosions in the Sky and Eluvium are being released next week, and it looks like I got my copies a bit early (this is a different early than some people I know who got their hands on early mp3's via the Web. I try to avoid that, here at ambientmusicblog.com. I'm 100% legit!). In addition to being a few days early, the nice folks in Brooklyn threw in a copy of Destroy Independent Music!, a Temporary Residence Ltd. compilation disc. This is a nice touch.

I haven't listened to the records yet, but I plan to do so over the weekend, and hope to have something to say about them here soon. Nonetheless, the packaging is nice, and getting music via good old United States Postal Service is kind of almost charming. It feels a bit more like I'm involved with the music, and it almost (almost!) makes me wish such a huge portion of my music comsumption wasn't through cold, hearltess download.

Soundtracks, Part 1: Michael Brook, An Inconvenient Truth

It's always hard to pin down exactly what ambient music is, and it's usually much easier to point to examples. Much like United States Supreme Court Justice Potter Stewart said regarding pornography, "I know it when I see it." One place where I often "see" ambient music "happening" is in the world of film soundtracks and scores. What I want to do today is talk about a film soundtrack that received quite a lot of plays in my library over the course of 2006: An Inconvenient Truth by Michael Brook. I plan on following up with some discussion over the next few weeks of other soundtracks I enjoy, and so I'm going to call this Part 1 in an n -part series.

The thing that strikes me about the record is the way the tracks make me feel like I'm standing on the surface of the moon looking towards an Earth that is facing some particularly difficult and urgent questions. And what's amazing about this is, obviously, that I've never actually stood on the surface of the moon. Brook's ability to provide imaginitive access to this point of view with a few spare chords and swirling melodies is what makes the record really stand out for me. Of course this is all essentially informed by me having seen the movie, and the exact scene I'm talking about is what Gore uses so effectively to underline his point. But for Brook to be able to pull these feelings to the front months after I've seen the film is no small achievement.

The last track (before the bonus tracks begin), "Earth Alone," is really the subtle winner here. It pulls together the urgency and tension of the movie, the sense of awe one has when considering the magnitude of the earth's atmosphere and how in such a short amount of time we've been able to affect its course. But it's hopeful. This is not a depressing record.

I really recommend you have a listen to the work. It's available as an eMusic download, on CD at Amazon.com, or via the iTunes Music Store, if you don't mind a little DRM mixed in with your purchase.

Etymotic Research ER6i Isolator Earphones Review

I'm going to preface this review by stating upfront that I am not an audiophile. I don't know that I ever was one, but the abuse I put my ears through as a teenager playing a drumkit, and the amount of time I spent in my early twenties hanging out all night at really, really too loud clubs and raves has certainly rendered any fidelity discerning ability I may have once hypothetically had moot. Also, I'm going to assume that you know the deal with in-ear phones, that you understand how far in they need to go to fit properly and therefore perform properly, and that you're ok with all of this.

So, about two weeks ago I'm in the gym, getting started for my 4x a week hour long elliptical machine freak out session when I realize the left side of my Apple iPod In-Ear Headphones has gone dead. Apple iPod In-Ear Headphones

This seemed like an appropriate excuse to finally pick up a new pair of headphones. I'd been thinking of doing so for months but really never had a good enough reason to spend the money considering I had a pair that worked just fine.

About six months ago the earbud piece on one side of the Apple buds came disconnected from the plastic, but a bit of superglue fixed that. It happened again a few months later, and I employed the same fix, and they had worked really pretty much flawlessly since.

I really can't complain about the Apple earbuds. I had them for around 3 years, and they work surprisingly well for the money. They're perfectly loud enough, insert just deep enough into the ear to provide some isolation, are comfortable, and held up to me wrapping the cable around an iPod nearly every week day.

I have heard complaints about the Apple earbuds and their lack of bass response, but I really encountered no such problem. And, honestly, I suspect the problem for these people is they're not positioning the earbuds properly in the ears. I've been wearing foam earplugs and the like, things you actually stick way down deep into your ears, since I was a teenager. I do notice though that people without experience placing things into their ears are, quite understandably, a little hesitant to really do what needs to be done. Namely, cramming the things in there. It's kind of like when I watch people get freaked out about an eyelash in their eye after 15 or so years of daily contact lens use.

So, the verdict on the Apple earbuds is: They're great, they sound really quite fine to my ears, and for the money you'd be hard pressed to find a better option. That said, on to why I chose to go with something new.

After having a pair of Shure E2c Sound Isolating Earphones in my Amazon wishlist for months, the morning I needed to make the purchase, I spent a few minutes looking around at other options and ultimately, for no discernable reason, decided to go with a pair of Etymotic Research ER6i Isolator Earphones instead. The prices are about the same, the reviews are both consistently positive, and so I called an audible and went with it.

Etymotic Research ER6i Isolator Earphones

I'll say that after a couple weeks of everyday use, I'm happy with my purchase. I don't think I can say I'm thrilled, but that's really only because I was fairly certain I wouldn't be thrilled before I even tried them. Going back to what I mentioned about about the fidelity of my hearing, I pretty much confirmed what I suspected: I can't tell the difference in sound between these ~$100 headphones and the ~$50 headphones I was using previously.

So let's talk about what I can comment on, if not their exquisite sound quality. First, the ambient noise isolation is pretty top notch. They're rated at between 15 and 35dB of isolation, and I can't argue with that. I've stood on a New York City subway platform with these things in my ears, with an Eluvium record playing at maybe half total volume, and I couldn't hear the train pulling into the station. It's a weird sensation, feeling the rushing air, but not hearing the roaring noise, or the roaring music it usually takes to drown out the MTA's finest. I've got a trans-atlantic flight coming up in a few weeks and I'm pretty confident these earphones are going to go a long way towards quieting the noise of a Boeing 777 and maybe even helping me get a few hours of sleep.

Related to the isolation is the depth to which these buds reach in the ear, and what that means for them staying put. Wearing these things in the gym, for an hour of relatively intense activity, with the accompanying sweat, the buds stay satisfyingly where I placed them. This is a pretty big improvement over the Apple earbuds, which find a way of sliding out to the edge of the ear every ten minutes or so, letting in the sound of my fellow gym members, and out the sound of the silly metal music I'm listening to at 6:30am.

The earphones ship with a number of different sizes of eartips, a pair of which are foam and operate like standard foam compression earplugs. I've tried them all out and settled with the smallest size of the rubber eartips. They also came with a set of extra filters and a filter replacement tool, which apparently you're supposed to use periodically to swap out dirty filters for a fresh pair. The Etymotic site has a bunch of replacement eartips and filters available, and I'll probably pick up a set as I can already see the eartips I'm using accumulating gunk. A quick wash in warm soapy water might do the trick though.

So what, aside from my own inability to discern any increase in sound quality, don't I like? Well, the cord might be a touch on the long side, at 5 feet in length. The cord also feels a bit lightweight, and it could stand to be wrapped in something a bit more substantial. These add to the overall light weight of the earphones, but I'm a bit concerned I could snap the cord at some point down the road.

In all, I'd recommend the Etymotic Research ER6i Isolator Earphones to anyone looking for a pair of in-ear headphones that offer a high degree of ambient sound isolation, high sound quality, and a comfortable fit.

New Music from Eluvium, Explosions In The Sky

I'm really looking forward to the release of a couple records coming in February from Brooklyn's own Temporary Residence Limited. One from everyone's favorite Texas post-rock outfit Explosions In The Sky, and another from one of my own personal favorite artists Eluvium. They'll both be available February 20th, 2007. Copia, Eluvium

All of a Sudden I Miss Everyone, Explosions In The Sky

The Eluvium record is titled Copia and the Explosions In The Sky record is All of a Sudden I Miss Everyone. A track is available from each for download:

Prelude For Time Feelers, Eluvium Welcome, Ghosts, Explosions In The Sky

You can preorder the records now or get in on the special Danuary Pack offer that gets you All of a Sudden I Miss Everyone and Copia, as well as Rob Crow's Living Well and Sketchi from Cex for $40.00USD, shipped.

New Stars of the Lid Record coming April 2, 2007

And Their Refinement of the Decline, Stars of the Lid Speaking of Stars of the Lid, their new record And Their Refinement of the Decline will be released April 2, 2007. If the kranky records website was built a bit better (read: without frames), I could link to things properly. Short of that, you can grab the free download of a track from this new 2 CD set below:

Download: Apreludes (in C Sharp Major) (.mp3)

Stars of the Lid, Brian McBride, The Dead Texan

When I look through my iTunes library, some of the ambient records that consistently rate the highest are courtesy of the Texas duo of Adam Wiltzie and Brian McBride, whether working together as Stars of the Lid, or solo as The Dead Texan and Brian McBride, respectively. The records all kind of endlessly drone on without sacrificing a consistent melodic theme. Traditional instruments are blended together and back onto each other to create some really, really great tracks that reward deep listening as well as they provide comfortable, inconspicuous background music. All of the below are highly recommended.

Stars of the Lid The Tired Sounds of Stars of the Lid, 2001 Avec Laudenum, 1999 Gravitational Pull Vs. The Desire For an Aquatic Life, 1997 The Ballasted Orchestra1997

Stars of the Lid/ Jon McCafferty Per Aspera Ad Astra, 1998

Brian McBride When the Detail Lost its Freedom, 2005

The Dead Texan The Dead Texan, 2004

"As ignorable as it is interesting."

There was a time in my life, my teens, when, as is appropriate for a teenage boy living in the American suburbs, rock music was extraordinarily important. I spent a fair amount of time immitating heros on a drumkit in my basement. Later, as an undergrad, I read a lot of philosophy and critical theory trying to figure out if people writing about music in magazines were making any sense. Of course, as one ages, things come in and out of focus, and the kind of things that previously seemed undeniable are now mostly just kind of the stuff that makes up the history of who you are. Rock music doesn't do the same things it did for me when I was fifteen, and that's a relief. Because I'm not fifteen anymore.

I discovered about a year or so ago that the music I was listening to most was the kind of stuff that made the most sense for the environments in which I often found myself: hunched over a computer at home, staring at a different computer at the office, reading a magazine on the subway, drifting off aboard an airplane, or staring out a hotel room window. And this music is what I can only broadly kind of define as "ambient."

Another thing I discovered over the course of a year, downloading and listening to some two-thousand odd tracks or so, is that I really didn't have the vocabulary to speak intelligently about what I was listening to. I didn't even have the basic facts. Who were the artists I was listening to, when was the stuff made, and where did any of it fit in the grand narrative of 21st century music? At best, this makes it difficult to answer the "So what kind of music are you listening to lately?" question, but at worst it makes it nearly impossible to do all the things that makes listening to music so much fun: recommending a record to a friend, discovering connections between artists, or just generally yelling at someone regarding the superiority of record X over record Y in a bar. That's the kind of stuff I like to do.

And so it seems like the best way I can get over this anonymous download-and-listen pattern is to write about what I'm downloading and listening to. I've been writing off and on on the web since before there was anything called blogging, and so the web seems like the natural place for it.

My intention here is not to provide expert commentary. Because I'm not an expert. What I would like to do is simply talk about what I'm listening to. This is mostly a selfish excercise. I want to have a relationship with the music I listen to that is a bit more like that fifteen year old self in the basement. If a reader or two takes a look at some of the stuff here and has an easier time wading through the enormous amount of choice out there, that would be fantastic. Even better, maybe some readers will contribute to the discussion.