Post-classical ambient minimalism for crepuscular airports

For Those Confined to Shelter in Place

We’re navigating a period of tremendous challenge. Hopefully most of us will emerge on the other side. Of greater concern is the state of our communities and whether we’re strong enough — physically, spiritually, economically — to survive what will likely be degradation of historical proportion.

Quiescent coverSuss Müsik can’t mass-produce hospital equipment or develop vaccines. Suss Müsik can’t even tell you that everything is going to be all right, because who knows what’s going to happen.

The only thing Suss Müsik knows how to do is make sounds. A number of listeners report that some of Suss Müsik’s output has a calming effect on them, a sort of vibroacoustic conditioning that elevates concentration, improves mental outlook, and reduces stress.

Suss Müsik won’t even begin to pretend that an hour of ambient noise will successfully halt the decimation of global life. All that can be hoped is that, possibly, this piece can serve as a mentally therapeutic diversion for those who need it.

The piece is called Quiescent and is offered for free to anyone* who wants it. The running time is exactly 55-minutes. Put it on as background while you work, meditate, mourn, heal or rest. Or listen intently and think about a better future that can’t arrive fast enough.

*Subject to Bandcamp limitations on free downloads per month. If the download isn’t available, contact Suss Müsik and a download link will be provided to you.

Egret Zero EP

Egret Zero album coverThings slowed down a bit on the Suss Müsik communications network; however, there was a great deal of activity behind the scenes. For one thing, we launched a new musical project with the very talented Wm. Wolfgang Allen called Egret Zero.

The first EP was released at the end of 2019, with easily another three albums’ worth of material yet to be mined. The EP is available on all the usual channels (YouTube, Spotify, Amazon, Bandcamp) with a possible vinyl release under discussion.

There is every possibility that Mr. Allen will release at least one or two solo albums within short distance as well, and you would be well within your senses to explore his guitar and electronic landscapes when they become available.

NON Released

NON coverSuss Müsik has released a new album entitled NON to close out 2018. NON is described as “four electroacoustic pieces based on live improvisations using piano, percussion, Moog synthesizers, electric guitar, primitive electronics, sampled wind instruments, hitting things, obfuscation.” This is as good a description as any. NON is available on Bandcamp and will soon be released on the usual commercial channels.

Next “Singles Project” Release

As part of a continuing effort we’re calling The Singles Project, Suss Müsik is developing an extrapolation of musical motifs centered on the invention of the telescope. The release will consist of two short pieces built around the same sonic framework with different arrangements: one performed solely on piano and violin, the other using more ornamental instrumentation (keeping with the “fake orchestra” concept) and electronics. The basic structures are in place, now on to finalizing the composition and recording/mastering the output. The release will be titled Lippershey.

Misophonia

Misophonia album coverSuss Müsik is continuing to release “The Singles Project,” a series of thematic two-track recordings each based solely on a given concept or theme. All releases are issued and distributed under the self-formed Lůno banner.

The latest of the series is titled Misophonia, now available on Bandcamp and soon to be available on your favorite music streaming vehicles: Google Play, Amazon Music, YouTube, Apple Music, iTunes, Spotify etc. Suss Müsik further penetrates the world with our post-modern nonsense.

Misophonia consists of two tracks, each around eight to ten minutes in length, based on the compositional idea of cyclical phasing. The pieces consist of percussion (mostly vibraphone and marimba), slide guitar, little rocks dropped on strings, birds, and vocals. If you love the music of Steve Reich (comparable to his album The Four Sections), then it’s possible that you might like this. Full description below:

The door to the Suss Müsik studio leads to a wooden gate, behind which is a garden where birds of all types assemble. Occasionally we walk the path with a small box of birdseed and let the creatures fight it out. At one point, we counted as many as forty birds fluttering about the property.

In totally unrelated news, Suss Müsik has been reading about the pineal gland. This is the part of the vertebrate brain that splits the two haves of the thalamus joint and produces melatonin, the hormone that modulates circadian and seasonal sleep patterns. The pineal gland is also known as “the third eye,” a term of metaphysical significance to those who pursue a higher spiritual consciousness.

There is a theory that the pineal gland is the gateway through which we are able to communicate with non-human lifeforms. Suss Müsik wonders if the birds have a similar means of instinctual, non-verbal communication. Perhaps there are sounds we find repetitive or annoying (repetitive dripping water, chewing gum, the tapping of a pencil, etc.) that enable communication with extraterrestrial species beyond our audiophiliac astral plane. But that’s another topic for another time.

Misophonia I and Misophonia II were originally composed and submitted as part of the Disquiet Junto global collective of weekly music projects.

A Record Label Called Lůno

Lůno logoSuss Müsik is in the process of remastering and reissuing a back catalogue of releases under a new label called Lůno. The whole idea of a “record label” seems wonderfully anachronistic, given the way music is distributed and consumed in today’s world driven by small screens and short attention spans.

In any event, the short-term intention is to establish a consistent and commercially accessible library of Suss Müsik material. We needed some sort of vehicle to accomplish this, so we created Lůno as a way to build a properly viable distribution network.

In the longer term, it’s not impossible that Lůno may encompass additional avenues or collaborations. There is already a YouTube channel of meditative, “sound healing” experiences which will hopefully be expanded.

The first two Lůno releases Zygotes and Hiko are available in all the usual spots: Apple/iTunes, Amazon, Google Play, Spotify, YouTube Music, and probably some other places. The next release will likely appear this coming week. All seven fans of Suss Müsik are undoubtedly teetering on the edges of their seats.

Live Studio Improvisations

Suss Müsik is releasing a series of live improvisations, recorded straight to 8-track in the studio. This effort (working title Non) is in conjunction with an upcoming announcement regarding Suss Müsik’s distribution of material. We’re very excited about these developments.

Anyway, the first release of the series is titled Op-Ed and was performed on treated piano, guitar, electronics, organ and percussion. It got a little crazy after a while, but this excerpt of three and a half minutes was captured nicely.

2018 Refresh

Now that Zygotes has been released, Suss Müsik is exploring new paths in sound creation. We learned quite a bit making music for fake orchestras, and we’re looking to expand that palette into new realms and languages.

In no particular order, here is what has Suss Müsik excited for the time being:

Creating rhythmic signatures involving tuned and found percussion. This comes from a long fascination with non-western musical influences, including the drumming practices of such artists as Babatunde Olatunji.

Use of the Slonimsky-Schillinger symmetric system for creating notation logic using randomized scales. We don’t pretend to understand quite all of it, but it’s an interesting way to work.

Extrapolation of live recordings into sequential patterns. In other words: playing live in a studio for some amount of time and drawing small bits of material from the session. For example, the results of what happens when a digital delay artifact is compressed and randomized with other voices (not unlike the work of Markus Popp, only using instruments rather than software).

Greater accessibility. Suss Müsik was encouraged by the response to our most recent Disquiet Junto submission, which has us thinking that it might be fun to create a series of quirky, danceable dub compositions. Think early 1980’s bands like Maximum Joy or The Pop Group.

A New New Album to Replace the Old New Album

Cover of Zygotes Suss Müsik is preparing a proper release entitled Zygotes. It will consist of six compositions for “fake orchestras” using strings, piano, woodwinds, percussion, sound collage, little electronic doodads and (in one instance) a Roland CR-78 rhythm machine. It could be our best effort or our worst, or perhaps somewhere in the middle. A preview track entitled Mersozhaun is available on SoundCloud, so you can judge for yourself. The cover is a picture of a newly-cracked egg with its yolk oozing all over the place.

Update: the track has been removed as we are getting closer to official release.

Fake Orchestras

Suss Müsik has been doing quite a bit of composing lately. Much of the material falls under the category of what we call “fake orchestras,” often involving some combination of digital and traditional strings, piano, woodwinds and percussion. We think of it as something like a broken consort. We explored this concept on a couple of Disquiet Junto projects over the past year, and we’ve expanded upon this dynamic to create new pieces of increasing depth and complexity.

In order to fully pursue this new approach, Suss Müsik has once again (to the probable dismay and irritation of our seven fans worldwide) delayed the Decatenation project for the short-term future. It makes more sense thematically, since the final track listing of Decatenation skews more toward definable song structures, with at least one piece resembling what could almost be considered a “single” in some weird parallel universe.

It’s interesting, upon reflection, the somewhat convoluted path Suss Müsik has taken over the past eighteen months from ambient minimalism (i.e. music as meditative furniture) to something more structural and intentionally arranged. We think it’s a good progression, and Suss Müsik embraces the challenge that the interplay of instrumental voices presents when working more acoustically.

In other news, Suss Müsik is exploring the possibility of playing some live dates in 2018. We are not yet certain how this will work logistically or what it will involve, but we’ll let you know.