Suss Müsik amassed enough decent material from the latest collaborations with artist B.G. Madden to put out a proper release. Co-Process Volume 2 continues the path forged by Co-Process released earlier this year. It’s all glitchy, droney, ambient weirdness. Sound was created from audio scans of Madden’s visual art, which was provided in the form of postcards delivered via US mail. (These quarantine days necessitate drastic creative measures). The scans were then manipulated using all sorts of technical gadgets, from grain synthesizers to DIY electronic devices. The album is available on Bandcamp, and more of Madden’s beautiful artwork can be seen here.
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.
Suss 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.
Things 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.
Suss 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.
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.
Suss Müsik returns from a brief hiatus to release the eighth and latest in a series of live studio improvisations. This one uses primitive electronics, vibes, fake strings, bass, Moog synth, drums, and looped guitar feedback to create a vaguely fusion effect. Somewhat recalls Morris Pert’s work with Brand X, if a bit updated with post-rock tendencies. Recorded live to 8-track in August 2018.
This makes eight releases in the Non series. We may consider compiling these into a proper “album” at some point, or using some of this material in other ways.
Suss 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.
Suss 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.
Suss Müsik is releasing a series of thematic two-track recordings based on a singular idea. We’re calling it “The Singles Project.” The first of the series is now available on Bandcamp. It’s called Hiko and the description is below.
The word “hiko” is one of several terms used by Eskimos to describe ice. According to the theory of linguistic relativity, a language’s structure is tightly bound to the culture in which it is spoken. Eskimo languages are polysynthetic, meaning that morphemes are invented organically through everyday usage: a suffix added here, a prefix deleted there.
Glaciers undergo a similar process of fissure and restoration. During winter, enormous sheets of polar ice laboriously drift towards the sea. These giants thaw in summer, breaking into chunks to be later reconstituted into the frozen bulk. Increasingly warmer global temperatures have created what scientists call “ice mélanges” where glacial ice becomes granular and slushy, slowing movement and inhibiting the regeneration process.
For these two works composed as a suite, Suss Müsik sought to represent varying textures of glacial ice using sound. The first movement of Hiko I explores the viscous, wintry state of glaciers traveling at the speed of molasses. The second movement of Hiko I represents the thawing and breaking of glacial ice during summer.
Hiko I is composed for cello, violin, Moog synthesizer, ice cubes, flute, organ and piano. The echoey ice-clink harmonics heard at the end of the piece are the result of the Moog effects processor filtering the sound of ice cubes being cracked.
For Hiko II, larger fragments are broken and diffused to depict the ice mélange as a state of purgatory. The smallest components are constantly in motion, yet there is no reconstructive outcome to conclude the piece.
Hiko II is composed for violin, viola, cello, vibraphone, vocals, mellotron, piano, tuba, trombone, Moog synthesizer and ice cubes. The sampled ice cubes were clipped and sequenced to resemble a percussion instrument played with mallets.
Music is a form of language, and the sound of ice hitting glass is inherently percussive. Both of these pieces use the live sound of ice cubes being dropped into a glass tumbler. (It’s surprisingly difficult to keep accurate time with melting ice — the cubes get slippery after a while).
Hiko I and Hiko II were originally composed and submitted as part of the Disquiet Junto global collective of weekly music projects.
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.