Archive for the vuzh music news Category

Chew Cinders

Saturday, 02 February 2017

I’m very pleased to announce a new release on the excellent Midnight Circles tape label!

Chew Cinders is out now, available in free download or limited casssette C-26!

This music was recorded in Summer 2016, and I’m particularly happy with it. It’s the first music released that I made after my near-fatal illness in late 2015.

The Midnight Circles label describes the work very well:

C. Reider – “Chew Cinders” C-26. 2 part sound-collage by C. Reider (USA). Great and dense combination of droning electronics, pitched voices and field-recordings. “Chew Cinders” possesses a resonating rhythm, sometimes flowing, sometimes cut-up in nature and blends generated and found sounds to an intriguing unity.

Both parts of ‘Chew Cinders’ focus strongly on the manipulation of time and pitch. Throughout the record chunks of voice & field-recordings are slowed down and mixed into a sweeping array of synthesizers and noisier drones that evolve into long and dense passages from time to time. The cut-up character of the album blends electronics, effect-manipulations and field-recordings into a varied sound collage with parts that change abruptly in tone while other passages fade slowly into one another. ‘Chew Cinders’ combination of sounds spans from generated, synthetic tones to recordings of metals and bells, anonymous rooms as well as anonymous voices.

I strongly encourage you to look into the other releases on the label as well. Midnight Circles releases some really high quality stuff.

New tapes!

Sunday, 08 August 2016

I’ve just released two DIY cassettes. They’re both limited editions too, small run, so get yours!

Sophist I


Sophist II


From the description:

This is a series of very rough tracks, mostly improvised, experimenting with the integration of drum machines into my noise setup. These tracks are not very composed & polished.

Digital version will not be released until a later date. Buyers of the cassette do get a pile of download codes to giveaway if they want to.

Azure Bell, Midnight Well

Thursday, 06 June 2016

Thirteen years after our previous collaborative effort, I’m happy to announce the release of “Azure Bell, Midnight Well” by C. Reider and Tarkatak. The new release expands on the industrial ambient of the first album “The Druser Pricid“, with a more atmospheric, place-evoking release of edgy ambient music.

Frans de Waard said of our original collab: “Both guys really know how to create a psychedelic atmosphere in sound, with dark soundscapes and hallucinating loops, analogue synths and processed guitar sounds. Like said, the music here is very much related to Troum, but has a particulary strong voice of its own.”

I hope you will take the time to download & listen to this new work.

Link to Azure Bell, Midnight Well

Interview on Process

Monday, 02 February 2016

In this interview just published by Perfect Sound Forever, Daniel Barbiero and I converse about the “Tape Loops” and “Not Subliminal” releases and some of the process and other attendant issues that come with a contemplative sound practice.

A Conversation about Process, Being with Sound, and the Pleasure of Surprise

Tape Loops

Friday, 11 November 2015

I have a brand new album of experimental tape loops which is titled, simply enough:
Tape Loops.

I’m pretty happy with how it turned out, and I think you might dig it, so please check it out.

Be sure to read the .pdf file, which contains a detailed methodology.

Get it here:

Two new compilations

Sunday, 05 May 2015

I have tracks on two cool new comps.

One is put together by Tom Ellard, re-igniting his old Terse Tapes imprint.

It’s called Oompa Loopma Riot, named after a riot at a darts competition.

I rather like my track on that one, hope you do too!

I also have a track on this compilation of Taylor Swift cover versions. Yes for real.



Not Subliminal

Tuesday, 12 December 2014

I have a new release of new music!

A lot of what I released this year was unreleased stuff from around a decade ago. This is brand new work, and it stands in stark contrast to the earlier work, in some ways.

“Not Subliminal” has just been released on the Control Valve netlabel. There is no direct link to the album, due to the way the netlabel is structured. You need to visit and click the photo to get to the download page.

The netlabel’s succinct description of the work is “cassette experiments”. Pretty accurate.

I experimented a lot with cassette players & cassettes this Summer. Further releases will document the full extent of the results of these experiments. This particular set of recordings is primarily improvisations with multiple handheld tape recorders and players. I scavenged a bunch of these and a bunch of tapes from thrift stores this Summer. Much of the process involved recording some stuff onto one tape while playing back previously recorded stuff on the other tape players, and letting it all mix together out loud… recording everything onto the shitty little onboard microphones that these handheld tape recorders had. The sounds I recorded mingled together with environmental sounds and got grittier and more lo-fi as continually overdubbed. Some results were extremely distorted, others just muffled and gritty.

One exception to the method used on most of this album is “Gala Video ’94”. In that track, I took a found video cassette and cut strips out of the tape down to 1/8″ so that they could play on a standard cassette player. You can hear the video data as audio in this track, and on occasion the audio soundtrack cuts in. When I sliced the video tape I tried to do it in a curving way so that different areas of the 1/2″ wide video tape would be exposed to the 1/8″ player head as the tape advanced. This explains the changing nature of the track as it progresses.

So, a lot of what I released this year might be described as “pretty”, or “approachable”… this release can’t really be described that way, but I think it’s really interesting to listen to. I hope you will too.

Download the album at:

The work is released under a CC BY NC SA license (the netlabel does not list a license).

C. Reider – Awkward Hugs

Sunday, 09 September 2014

This new release by C. Reider ends a string of releases of older material that had been held back unreleased. This material was recorded in 2007. This is some of my most approachable, least “difficult” work.

“This is some work I did in 2007, directly after ending my work with the drone collective Drone Forest. I wanted to do some music that fell far outside of that group’s constraints (no beat, no melody). This music reflects an interest in minimal techno that I had at the time. The exploration of beat-oriented material during this time eventually led to the series of releases I called The Electret Quintet, which merged the accessible material presented here with a more experimental approach.”

This release is free to download from the excellent Bumpfoot netlabel based in Japan.

Release page:

Process Music in Netlabels

Sunday, 08 August 2014

Daniel Barbiero has written an article in Italian art music blog Percorsi Musicali titled Systems Aesthetics in Contemporary Sound Art: Two Netlabels.

It describes my reduction process, as well as discussing other colleagues who have released on the Vuzh Music label, such as Caroline Park, Miquel Parera and Thomas Park.

I encourage you to read it:

Daniel Barbiero – After 30 x 12 (for C. Reider)

Wednesday, 07 July 2014

Daniel Barbiero has a new album out for free download on the Open Sound Group netlabel run by Graham Dunning.

I played on it, but Daniel also based the piece on a recording of an improvised performance I gave in October, 2012. I had uploaded the recording to SoundCloud (it is not there any longer), that’s where Daniel heard it. He wrote an event score for “individual gestures” for double bass “from a closed vocabulary of actions to be taken in relation to the sound material”. (Score available for download here:

(detail of part of the score)

After he’d recorded his performance of the composition, he asked me to contribute a layer of electronics. In consideration of the importance Daniel places on the non-action / quiet engagement in his compositions I naturally drifted toward my method of reduction, a process which frequently produces great swathes of silence followed by tiny scribbles of sound. As I have described here:, the reduction process is essentially a noise reduction filter, sort of an antimatter cousin of convolution, wherein a sound is chosen to filter another. I used a recording of Daniel’s performance as the filter and the recording of my improvised performance on October 30, 2012 as the target.

Listen to the finished work, which is free to stream or download at the following web address:

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