The background engine noises of iconic science fiction spaceships can be remarkably soothing. That is why Spike Snell created 12-hour sound loops of the background hum of the TNG Enterprise (prev.), the old Battlestar Galactica (and the new), a Cylon Basestar, the Discovery from 2001, the Heart of Gold, the Millennium Falcon (made from the sound of a P-51 Mustang), Mass Effect's Normandy, Babylon 5, Serenity, and hundreds more. Strangely, these fake space ship sounds don't sound too different from the actual noise on the ISS or space shuttle Atlantis. And if you don't like any of these, you can always generate your own!
White noise a little too stuffy? Nature sounds a little too outdoorsy? Wish Starbucks had a cricket infestation? Mix it up with a custom ambient noise generator!
musicForProgramming(); a series of mixes intended for listening to while programming to aid concentration and increase productivity (also compatible with other activities). [more inside]
"The following is a short demonstration of Quintronics' latest musical invention called The Singing House. This drone synthesizer can be installed into any building in order to provide its inhabitants with a pleasing chord that is constantly changed by the weather." Brought to you by the maker of The Drum Buddy. [more inside]
Spartacus Roosevelt Hour Podcast is a weekly hour of obscure noise, glitchy electropop, fake nostalgia, bastardized exotica, tweaky lounge, creepy ambient and musical non-sequiturs. Also, it features an Alabaman with a Skype account named Spartacus Roosevelt.
Even if Lou Reed had dropped out of music after the break-up of the Velvet Underground, his name would still be forever etched in the history of rock music. Yet his solo career, filled with eccentric detours and radio-ready rockers in equal measure, remains one of the most fascinating canons in all of rock music. Metal Machine Music, however, is a unique entity in itself, proudly pushing at the very boundaries of what pop music is capable of. Zeitkratzer’s performance not only makes the original album ripe for critical re-evaluation, but it’s a performance that stands on its own ground...Why Does the Music Have to End?: An Interview with Lou Reed regarding how he came to play Metal Machine Music live in 2002.
The idea of treating everyday, ambient noise as music is not terribly new, but Noah Vawter's device turns ambient sounds into music (in a somewhat more traditional sense of the word):
Ambient Addition is a Walkman with binaural microphones. A tiny Digital Signal Processing (DSP) chip analyzes the microphone's sound and superimposes a layer of harmony and rhythm on top of the listener's world.
No, I'm not sure how they get it to not devolve into a wall of feedback... though that'd be pretty rad too.
A Piano In A Gallery. David Cunningham (the guy behind The Flying Lizards! Wikipedia because the main at-least-quasi-official site's down, but while you wait 16 days for that, why not read this interview with Deborah Lizard for your FL Fix) and his new project... A Piano In A Gallery. No, he's not actually PLAYING the piano -- the visitors are. It's a sort of similar thing to both Brian Eno's gallery work with ambient tape loops on different time cycles, creating an ever-shifting collage of sound and David Byrne's recent Playing The Building. The room is mic'd, and the sound is run through a piano, and amplified, both bringing background noises to the foreground AND creating feedback-style loops, as those sounds are also run into the mics and so forth. So... if you happen to be in London.... [via WFMU]