I made the mistake, somewhere along the way, of allowing myself to make a few of these audio collages where the seams were not so obvious and the results were — gasp — sort of genuinely pretty. […]
Guinea-Pig Fleet — Fire Raids: Tokyo Like “Hiroshima Tattoo,” the two-disc “Fire Raids” set is one of the old recordings that I have returned to with equal parts fondness and regret. Originally released in 2002 […]
Guinea-Pig Fleet was really the culmination of the first set of Libertatia Laboratories projects — some twenty years ago — a noisy sort of “ambient” project, driven by research I was doing at the time on nuclear and incendiary warfare, nuclear tests and civil defense. […]
I’m sharing the tracks here with a bit of a nod and wink. They are, among other things, uncharacteristically musical, even if that musicality is a bit mutated. […]
[ Libertatia Laboratories — Audio Experiments — Main Page ]
The song remains the same — more or less. All of the various tracks that will make up relays & reconstructions are instances of a single composition assembled in Wotja, the generative music software I’ve been using on most of the hors du troupeau tracks. But because the software introduces gradual and partially random development into the composition as it unfolds, the sameness is relative — particularly as that development is allowed to continue. So, in order to explore the extent and character of that development it has made sense to allow the development to continue hour after hour, but also to record multiple instances of a “single” composition at similar lengths, both as audio files and as midi files. […]
After a silence of nearly twenty years, it’s a pleasure to relaunch Libertatia Laboratories. The new project, hors du troupeau, undoubtedly scores low on the quirkiness scale, next to old friend like Guinea-Pig Fleet and Elephant after Elephant. […]
Libertatia Laboratories was a short-lived CDR label, featuring my own work and that of various other noise-makers from the fringes of the Bowling Green, OH scene. Whatever their other merits, the recordings are, for me at least, pleasant reminders of the vibrant experimental current of which they were a part. […]
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