Archive for the vuzh music news Category

News updates

Monday, 06 June 2014

It seems I’ve fallen a bit behind on updating my news feed. Stand by for multiple updates… sorry if this clogs your feed reader!


Wednesday, 02 February 2014

New release by C. Reider

C. Reider – I’d’ve

This is a collection of drone work that I think is particularly beautiful. I made this work from about 2000-2003, completing & mastering in ’03. Because I liked it so much, I wanted to release it in a special edition. Plans never worked out so it sat unreleased for over ten years.

It’s out now, you can have it for free if you want it. Please listen.


Sunday, 01 January 2014

There is a new release by C. Reider at the excellent netlabel Eg0cide. The album is titled “Distressing”

It is free to download from:”

Eg0cide welcomes well known sound activist C. Reider (founder of Vuzh Music netlabel and experimental band Drone Forest), who sent us a very interesting “process-music” album based on the use of 4 sounds he found irritating. The result of these sound studies will make you discover the hidden musical potential of what most of us usually hate to hear.

Description by the artist:

This album requires some explanation. “Distressing” is a collection of ‘sound studies’ as Eg0cide label administrator Serge-Antoine would put it… although, to me, ‘sound studies’ describes everything I’ve ever done in music. I would call the sounds presented here ‘process-music’ because the method of arriving at the sounds is systematic and understanding the method is necessary for a full appreciation of the work.

The idea for “Distressing” came about from a discussion I was having with an internet acquaintance of mine named Sarinne Fox, who uses the twitter handle @NoiseHelp. She and I were talking about annoying sounds, and my position was that there are no objectively irritating sounds, “noise” is nothing more than a personal judgment about sound. I think there could be something beautiful about any sound.

I did not always hold this opinion, and our conversation led me to think about sounds that have irritated me in the past. When I arrived at a few of them, I decided to make a project out of them, to explore the sounds. The four sounds I decided to focus on were 60 cycle mains hum, white noise, dial tone and the piezo beeping of my alarm clock. I listened to recordings of these sounds for a while, and I think perhaps the only bothersome thing about them to me was the initial shock of going from silence to an un-ignorable sound. Once that shock had passed, there was plenty to notice… not so much in the sounds themselves, but in the dynamic act of perception.

In thinking about these sounds, and the thematic element of ‘things that annoy’, I decided to apply a technique that annoys me. The use of longform sound stretching, is in (very) common practice in contemporary ambient music, popularized by the computer program Paul’s Extreme Sound Stretch, aka PaulStretch. I think this tool can be very useful, but in my view right now it’s being over-used in an unimaginative way. People seem to simply pile up a minute of sounds, hit the button and Voila! An hour of instant ambient smush. Maybe that’d be interesting if it weren’t so ubiquitous.

I don’t actually have the PaulStretch program, but I had previously used the time stretch algorithm in my go-to audio editor Amadeus Pro in another project I did recently that poked fun at the PaulStretch craze. In a collection called “Squeezed”, I found twenty-four longform ambient netlabel releases from various artists that allowed for derivative works in their licensing. I then used the time stretching function in Amadeus Pro to render each of them to under a minute in duration. Twenty four hours became twenty four minutes.

For “Distressing” I began with a one minute segment of each base sound and stretched it to an hour in length. Then I took that file and squeezed it back down to a minute in length. Then I repeated that process a few more times. With each stretching and squeezing cycle, the original sound came apart a little more, became porous and lost luster – became distressed. I compare it to the fatigue that occurs when you bend a piece of metal back and forth.

What you hear in “Distressing” is a small section of the four sounds – mains hum, white noise, dial tone & alarm beep – followed by an excerpt from the first hour long stretch which segues into an excerpt from the second stretch (where the 1st file was squeezed back to a minute, then stretched back out again), and then an excerpt from the third (where the 2nd file was squeezed and re-stretched). As the track progresses, you hear the original sound decay and change, only to receive a shock when the next sound begins unaffected.

The variations in the stretched parts arise from the process. Since the stretching algorithm in my audio editor does not use the spectral smoothing that PaulStretch does, the results are glitchy and not smooth and ambient. As the track plays you can hear the effect the process has on the sound as the more heavily processed iterations fade in.

For those interested, a more detailed description of each step is attached below.

C. Reider
January 12, 2014


One 60 second source file is selected.
The speed is altered to 50% of its original speed, resulting in a file twice its original length.
This same step is done five more times, resulting in a file of a little over an hour in length.
This file is saved as iteration 1.
The speed of this file is altered to 200% of its original speed, resulting in a file half its original length.
That same step is done five more times, resulting in a file of about a minute in length.
That file is altered to 50% of its original speed, resulting in a file twice its original length.
That step is repeated five more times, resulting in a file that’s a little over an hour in length.
This file is saved as iteration 2
The speed of this file is altered to 200% of its original speed, resulting in a file half its original length.
That same step is done five more times, resulting in a file of about a minute in length.
That file is altered to 50% of its original speed, resulting in a file twice its original length.
That step is repeated five more times, resulting in a file that’s a little over an hour in length.
This file is saved as iteration 3

Quick math reveals that from start to finish, each of the 4 sounds was processed 30 times to result in the final version, therefore 120 distinct stretching/squeezing operations were done to make this recording.

A multitrack program is used to compile the 4 resulting tracks. The original sound plays for a few seconds, then iteration one fades in and plays for 3 or 4 minutes, then iteration 2 plays for a few minutes, and finally iteration 3 for a few minutes. Each iteration fades out as the following one fades in.”

New at Dystimbria

Sunday, 01 January 2014

There are two new releases available at Dystimbria.

Dystimbria is a netlabel focusing on music that lies between ambient and noise music. Each new release samples from the previous releases, lending a continuity to the catalog.

The newest releases for 2014 are by Katarrhaktes with a track called “The Breath that Conjured the Fall” and Kinematik VKE giving us “Placental Drops From A Gestating Sky”

They are both available for downloading and streaming for free at

Caroline Park – RIM

Saturday, 12 December 2013

Now available on Vuzh Music:

Caroline Park’s “RIM” is a free download.

The Sound of Melting Pewter

Sunday, 12 December 2013

I have a new recording out on the Impulsive Habitat netlabel. It’s titled “Oído con plomo”, and is a collage of site recordings made at the pewter casting shop where I have worked for a very long time.

It can be streamed or downloaded here:

A short essay written by Marc Weidenbaum about my new recording “Oído con plomo” was published at the Disquiet website.

Read it here:

Occupy Dreamland

Sunday, 11 November 2013

A new release at Vuzh Music from Schemawound.

A noisy, bracing set of improvisations with a looper.

Get it for free here:

Graham Wafercast

Wednesday, 10 October 2013

The newest episode of Robert Nunnally’s Graham Wafercast, a podcast about music and sharing culture, features a long monologue by me. The format of the show is that Robert gives the artist questions which serve as prompts and the interviewee responds without interruption. I delivered a somewhat long and rambling history of my early years with music and networking… perhaps you will find it interesting.

Listen here:

Graham Wafercast Episode 7, C. Reider Interview, hosted by Robert Nunnally (gurdonark)

Failing CD Player

Tuesday, 10 October 2013

I have a new release out on the Ideal State Label’s No Number Series. This series presents brief recordings of improv and composed music, all available as CC licensed, pay-what-you-want downloadable releases on BandCamp with extremely minimal cover art.

With this release I am exploring my idea of sound improvisation… exploring the boundary between documentation (a la field recording) and improv.

“failing CD player” is a hybrid improvisation / documentary recording of a malfunctioning CD player during the very final fourteen minutes of its malfunctioning. Once this recording was completed, it ceased operating on any level, whatsoever.

The recording features a four channel live-mix comprised of the 2 audio outs from the CD player, a contact mic taped just above where the CD spins on the player, and an induction coil held in my hand.

During this recording, I discovered that there was some effect on the spasming of the CD player caused by the position of my hands near the machine; once I discovered this, my hand motions were more dynamic and eccentric, and the output seemed more “expressive”, or perhaps at least “interactive”.

Listen and/or download at this link:

Also check out the rest of the releases on this fine label. I’ve chosen the No Number Series because I like the releases here, and I like the aesthetic and focus of the label.

MUME Selections

Saturday, 09 September 2013

There is a new album by Miquel Parera available at Vuzh Music for free download.

Among the things that have long interested me as an artist, and also as the manager of this netlabel, is how personal artistic style emerges. If the artist disengages from conscious activity during the creative act, how does the work still represent the artist? What is style? Does style occur in the subconscious? Where and how and when does style intertwine itself with action? In the case of Miquel Parera, and others working in this field, the use of automatic, random and algorithmic composition to remove recognizable stamp of the human composer still does not fully remove personality from the finished work, this collection of music is a fine example. This work sounds like Miquel Parera’s music, even as he attempts to remove his ego from the work.

Get MUME Selections here:

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