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Music

My music, the offspring of my love affair with sound, incorporates murky atmospheres, unusual field recordings, everyday speech, and an array of instruments deployed in maniacal recombinant polyphony. I seek not only to capture the ordinary and extraordinary sounds of everyday life, but to bear witness to current crises that touch my conscience and impel me to respond.

Much of my music is free. To listen, just click on the links marked mp3.

For those who prefer higher fidelity, cds are available for some of the pieces. Due to limited quantities, a few of these cds are only available on-line through Kagi.com, a secure site which converts currency and accepts credit cards however, folks in the USA can use mail order, too. Nifty discounts are offered when multiple discs are purchased.

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Secretly recorded at orchestral concerts across the country, this collection of intermissions teems with unusual soundscapes, startling (and unintended) collective improvisations, and surprising, sometimes gritty sonic detail from the sacred space of the concert hall. Read the CD's accompanying essay, Intermissions with the Orchestra. Writing in Vital Weekly #562, Frans de Waard wondered "whether these are all real time recordings, unedited. Sometimes it seems that certain phrases return, or am I hallucinating." All of the recordings on Favorite Intermissions are unedited with no overdubs of any kind; Wall of Sound aptly describes it as "a very new and weird direction in 'bootleg' field recordings..."

"Each intermission has its own character," remarks Clive Bell in a review appearing in the May '07 issue of The Wire magazine; Bell lauds Favorite Intermissions as "a high-concept masterstroke by a guerilla phonographer" and adds a sublime description: "The musicians sound like a copse full of birds, all individual voices with no intention to blend."

Corwin Haeck from KOMO radio interviewed me about Favorite Intermissions. In this excerpt, I discuss what I do, composing, and the soundscape of the orchestra; I also tell several anecdotes about making Favorite Intermissions, including SF Variations. The New York Times published an in-depth article about the project with pictures and additional mp3 excerpts. If the page is down you you can read the syndicated version from the San Diego Union-Tribune. Kurt Gottschalk, in the summer 2007 issue of Signal to Noise, called it "strangely compelling" and cannily detected "...with repeat listens, new discoveries and the odd development of favorite tracks." As the son of a symphony musician, bassist Reuben Radding vividly describes the microscopic activity at intermission in his review for Bagatellen, calling "After Beethoven" "the perfect retrograde inversion of the concert experience."

In his review in All About Jazz, Francesco Martinelli raises pertinent questions of ownership and authorship: "who owns the rights, the composer of the original work, the absent conductor, the incorporated orchestra, or the single musicians? And should they, or some of them, actually hold the rights to "performances" that weren't there until DeLaurenti spotted them, even if none of the "right owners" can demonstrate their ownership, or even recognize the work?"

Cover photo by Ian Vollmer.

1. Holst, Hitherto 17'07" 2. Before Petrushka 10'35" 3. SF Variations 4'31" mp3 4. Holding Out for Ein Helden 8'58" 5. Awaiting AGON 14'53" 6. After Beethoven 11'49" Favorite Intermissions is a 68 minute manufactured compact disc packaged in an old-school jewel case. The cd: $14 (including shipping) is available once again! After lengthy negotiations with UMG, the corporate parent of Deutsche Grammophon, the disc has been repackaged and reissued in a second edition of 500.

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Inspired by Glenn Gould's Solitude Trilogy, Live in New York at the Republican National Convention Protest September 2 - August 28, 2004 welds combative field recordings of the various protests and art actions with police transmissions, NOAA weather alerts, radio broadcast anomalies (splashes and sprays of tape hiss, enigmatic numbers glossolalia, crude phase encoding), and wild card audio snatched from the airwaves into a vivid soundscape of dissent.

Live in New York... is the fourth in my series of Ulterior Audio Discs: CDs that bypass the usual distributor-reviewer-store route and appear unexpectedly to an unsuspecting audience at a limited, site-specific time. From August 25 to 31, 2005, the CD lurked as a free bonus in 10,000 issues of Real Change, a Seattle newspaper that not only advocates for the poor and homeless but addresses issues along the entire continuum of social justice including the war, economic policy, fair housing, and poverty. Live in New York... is an homage to Luigi Nono.

In late August/early September 2005, Live in New York... was also on the radio, broadcast on Giant Ear))) on free103point9, Fieldwork on 2SER 107.3 FM in Sydney Australia, Vermilion Sounds on Resonance 104.4 FM in London, Electric Storm on CKLN 88.1 FM in Toronto, Canada and many other stations around the world.

This project was made possible by 4 Culture, Mark Radonich and Present Sounds, Puffin Foundation, Yellow Fox Foundation, and the Pausanias Foundation for Maverick Composers.

Collage by Christopher DeLaurenti; inset photo by Ian Vollmer.

1. prologue 15" 2. Thursday, September 2 15'16" 3. late evening: Thursday, September 2 and Friday, August 27 2'55" 4. Wednesday, September 1 11" 5. Tuesday, August 31 3'57" 6. "Our streets!" 8'04" mp3 excerpt  mp3 7. late evening: Tuesday, August 31 1'29" 8. Monday, August 30 43" 9. Poor People’s March 8'50" 10. "Arm the Poor! Stop the War!" 9'56" 11. Sunday, August 29 3'38" 12. Saturday, August 28 8'37" 13. coda 1'06" Live in New York... is a 65 minute manufactured compact disc packaged in a DVD case with a collage cover. This hand-numbered edition of 100 includes an insert and a rare paper artifact. The cd: $10 This is also available from the fine folks at Carbon Records.

I'm honored to be part of composer/guitarist Michael Nicolella's latest disc. Alongside other Northwest composers including Nicolella, Joshua Kohl, and David Paul Mesler, Shard features works by Dutch composer Jacob Ter Veldhuis, Elliott Carter (his short, whipcrack "Shard") and Steve Reich's Electric Counterpoint, orchestrated by Nicolella with an arsenal of unusual electric and acoustic guitars. Classical Guitar magazine described Shard as "a challenging but endlessly rewarding release from one of the contemporary guitar's most gifted stars."

Cover by Richard Kehl.

13. grey angel 4'06" Lonely electric guitar tones descend into a roiling, corrosive stratosphere of echoing voluntaries, digital chipfuzz, and cryptic glitches. Michael Nicolella: Shard is a 65 minute manufactured compact disc. Available through CD Baby, Guitar Nine, and Amazon.

Armed with CD players, MiniDisc gear, and a laptop, nine West Coast phonographers perform two sets of improvisations utilizing various field and site recordings from around the world. Improvised in real time with no editing or processing by Steve Barsotti, Marcos Fernandes, Mark Griswold, Alex Keller, Dale Lloyd (Lucid & and/OAR), Perri Lynch, Robert Millis (Climax Golden Twins), Toby Paddock, and Christopher DeLaurenti. Engineered and produced by Doug Haire for Sonarchy at Jack Straw on April 12, 2003; Executive Producer: Marcos Fernandes for Accretions.

From the liner notes by Gino Robair: "Guided only by their ears and the time constraints of a one-hour radio broadcast, the Phonographers Union goes a step further by layering their recorded memories: they let the sounds speak for themselves, listening to see what the juxtapositions suggest. Like strangers being introduced at a gathering, the displaced sound-worlds meet. Familiar sounds mingle with unfamiliar sounds and enjoy each other's company."

A top 10 pick of the radio program Remember Those Quiet Evenings, this disc garnered good and sometimes baffled reviews. The rockist Q magazine opined "Rain pours down, a dog barks, a child's crying is looped into a Public Enemy-style screaming motif: it has the quality of music, but it sounds like sitting in a park. Such ludicrous ambition can only be admired."

Writing in grooves, Ed Howard summed it up nicely: "This group, more than most field recordists, seems particularly interested in using recordings as a vehicle for improvisation. Rather than creating their own sounds in real time to blend with the contributions of the others, these musicians are placing pre-recorded sounds into the constantly shifting contexts created by their peers. Each new addition subtly shifts the ongoing dialogue, taking it to new places as the layers add up to a powerful and cohesive whole."

Cover photo by Andrew West.

Photo by Doug Haire. Listen to Real Audio extracts. Phonographers Union is a 55 minute manufactured compact disc. Available from Accretions

This two disc set collects N30: Live at the WTO Protest November 30, 1999 and its sequel, N30: Who guards the Guardians? On November 30 1999, armed with a portable DAT deck, I ventured into the streets of Seattle to make front-line field recordings of the heady and harrowing protest against the WTO. Spattered by pepper spray, enshrouded in tear gas and pelted with rubber bullets, I captured the sonic maelstrom of drums, slogans, chants, screaming and violence.

The January '01 Wire published an extensive review of the first N30 disc on page 60, "...You listen on the edge of your seat, every shout and noise significant, the raw emotion on show extraordinarily moving..." erasing clouds wrote "N30 is part historical document, part musical composition using nontraditional instrumentation, part evidence to the importance of the event, and always riveting." Grooves ran a nice feature on page 14 of their Spring 2001 issue and keenly noted "a certain narrative to it, from a joyous carnival marching past the fish stalls of the Pike Place Market, through an increasingly tense and fraught stand-off with the King County Police, to a final (and very disturbing) culmination..." François Couture of the All Music Guide dubbed the double edition an AMG Pick and commented "In both of these long pieces, it would have been easy to bet on emotion and exploit the 'human angle' of this historical day. The strength of N30 resides in the fact that DeLaurenti keeps things decent and true, letting the events unfold in your ears, putting you there. Don't worry about emotions, they will get to you just the same, ringing truer and more forcefully." Field Recording in the Line of Fire at the WTO recounts how I made the recordings on that day.

N30: Who guards the Guardians? fuses official and unofficial recordings of police transmissions made on November 30, 1999 into a simmering polyglot of radio traffic, polyphonic speech, splashes and sprays of tape hiss, enigmatic numbers glossolalia, and other broadcast anomalies. An oral history made in the moment, this 57 minute radiophonic work depicts how law enforcement acted and reacted on that unforgettable day in Seattle history. Some notes on N30: Who guards the Guardians? contains more details on the piece.

Finally, I keep forgetting to mention that you can synchronize both N30s; start the blue disc's N30 6 seconds after the red disc's N30.

Front and back covers by Christopher DeLaurenti. Screenpainted by hand, each back cover is unique.

red disc 1. cocaine 7'30" mp3 Armed with two microphones and a tiny card inscribed cocaine, folks read from the card while I taped the results. cocaine is an ear-popping mosaic of voices, vehicles, words and other urban sounds. 2. Harbinger 8'28" live version mp3 Imagine Philip Glass and Conlon Nancarrow as trance DJs. Harbinger overlays shifting pulsations ranging from 180 to 200 bpm with truculent, irregular melodic phrases. 3. N30 61'28" mp3 excerpt  mp3 N30 is a symphony-sized amalgam of radio documentary, field recording and musique concrète. blue disc 1. N30: Who guards the Guardians? 56'40" mp3 2. DFW 5'58" Rhythmic corrugated walkways in Dallas-Ft. Worth International Airport. 3. Adrift in NYC 8'48" mp3 Field recordings from the Big Apple. The N30 red disc is a 78 minute manufactured compact disc; the N30 blue disc is a 72 minute manufactured compact disc. This set, the last of the N30 discs, are hand numbered to 100; about 25 remain. The cd: $10

Me recording at the World Trade Organization protest on November 30, 1999. Yes, that grey plastic thingy is my microphone boom.

"Exploration is not so much a matter of covering the ground as of digging beneath the surface: chance fragments of landscape, momentary snatches of life, reflections caught on the wing-such are the things that alone make it possible for us to understand and intepret horizons which would otherwise have nothing to offer us."
Claude Lévi-Strauss, Tristes Tropiques (1955; translation by John Russell)

Commissioned by Sand Point Arts and Cultural Exchange (aka SPACE), The Sand Point Sound Gazetteer (SPSG) is a compact disc of on-site field recordings that documents some of the sonic spaces of Sand Point Magnuson Park. Like the atlases and gazetteers of old, the SPSG pinpoints typical, unusual, and mysterious (remember the Latin phrases Hic sunt Leones and Terra Incognita denoting unknown territories on Medieval maps?) locations of sound activity from playing fields to distant parties to surging culverts to balloons contorting in the wind to...

In the exploratory sprit of early dictionaries and ancient maps, SPSG is woefully yet earnestly incomplete, betraying the character and compulsions of its lone compiler. I hope the SPSG not only invites careful listening, but spurs others to explore and document the quickly changing sonic spaces of Sand Point Magnuson Park. Read more about the SPSG.

Seattle Parks Dept. map altered by Christopher DeLaurenti.

1. Tubes by Building 47 4'59" mp3 Nearby birds and passersby heard through resonant tubes. 19. Scree in Building 193 2'03" mp3 79. Firecrackers in Metal 16" mp3 87. Gate Closing at Sand Point 1'36" mp3 The Sand Point Sound Gazetteer is a 69 minute CD-R packaged in the tabloid Project 18: VERGE exhibition broadsheet, SPACE Transmissions and sealed in plastic bag with a backer board. This site-specific release debuted at SPACE's Project 18: VERGE exhibit from August 16 to September 13, 2003 at Sand Point Magnuson Park in Seattle. I recently unearthed the last half-dozen remaining copies; one last copy is available. The cd: $6

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I'm excited to be included in Locust Music's Location Sound series. From the label's description: "The fifth installment in the Met Life series brings us a tongue firmly in cheek offering from the rapid cut up techniques of Seattle's Chris Delaurenti. Simply put, it's a little exercise on waste and getting wasted. This field recording documents the removal of waste at a transfer station in Seattle and the response rides the pun to its excessive extreme as DeLaurenti quickly becomes a participant in the flailing and drunken fanfare at a party, raising the ever important question What on earth are we all doing? No doubt, it's this style, edgy humor and raw guerrilla techniques that make DeLaurenti a sort of Fellini of the audio underworld."

I loved Darren Bergstein's description in e|i magazine: "Like freeze-frames plucked from a world operated by Schwarzenegger and Skynet, garbage trucks belch their loads, dumpsters defecate, creaky hydraulics engage stained orifices awaiting the onslaught of glass, cans, crushed paper. Incongruously above this filthfugue, birds chirp in glee while observing the ensuing mayhem. About as close as the ears might wish to get to a landfill-sobering in many ways, rugged those these sounds may be, it's questionable how many brave souls will want these "images" invading their aural canals."

For me The night I met Maria C_____ was also a breakthrough not only in shaping mundane yet sonically alluring matters of my life (driving, parties, taking a leak, chatter) into an epic, but also in the use of "blurry audio." Given a sonic miasma of several simultaneous conversations, our hearing filters out extraneous (usually distant) material and focuses on the foreground (like the person next to you). Audiologists call this "the cocktail party effect." Good microphones capture just about everything, revealing what the ear filters and relegates to the background. The mediocre microphones of The night I met Maria C_____ , placed in unusual places and in near-perpetual motion, find a middle ground by warping and blurring the background into sometimes strange, gnomic, not-quite-in-the-foreground sounds.

photo by Christopher DeLaurenti.

1. Inside the Wallingford Transfer Station 16'02" mp3 excerpt A vivid field recording of my favorite city dump. 2. The night I met Maria C_____ 19'17" Too much fun! The night I met Maria C_____ is a 35 minute manufactured compact disc. This CD, unlike most of my albums, is in most stores and available on-line from Locust Music, Forced Exposure, and Amazon.

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The Australian Sound Design Project corralled ten sound artists and composers - Petri Kuljuntausta (Finland), Samuel Pellman (USA), Jon Drummond (Australia), Aaron Ximm (USA), Greg Hooper (Australia), Viv Corringham (United Kingdom), Pierre Thoma (Switzerland), Gabriele Proy (Austria), Michelle Nagai (USA), and yours truly - to respond to notions of place. The works range from classic electroacoustic and soundscape compositions to unedited field recordings. Ten works journey through the acoustic environment, charting an internal response and providing unique insight about each locale. Released by Move Records of Australia.

3. Your 3 minute Mardi Gras 3'00" A rapid-fire portrait of New Orleans' 2001 Mardi Gras. Hearing Place is a 72 minute manufactured compact disc. This disc is available from Move Records in Australia.

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Released in early 2002 by Electroshock Records, this collaborative album with Artemiy Artemiev is an atmospheric agglomeration of interplanetary whispers, sunspot-inspired static, and epic, empty expanses of space.

In the All Music Guide, Francois Couture wrote "Nothing is predictable during this hour of music. Both artists supply ethereal electronics and ghostly samples. Most of the album is spent in abstract electronic gestures, sculpted with artistry, slightly menacing. The title of Internal Static Bursts describes the quieter passages very well. The 15-minute Transmission from the Coalfire is the strongest piece, a puzzling chunk of electroacoustics, well-paced and attention-grabbing." Exposé reviewer Peter Thelen found the disc "Sometimes jarring, hard-edged, and downright frightening, other times gentle and subtle, with bristling energy that lies just below the surface, but it's never far from the cutting edge..."

Cover by Konstantin Galat.

1. Conlon's Dub 6'41" 2. A Glimpse 2'03" 3. Internal Static Bursts 3'36" 4. Transmission from the Coalfire 15'06" 5. Aboard the Coalfire 3'53" 6. Recalibration 7'10" 7. Received Through the Nebula 14'04" 8. Solar Speech 4'25" mp3 Sunspots sabotage the telemetry... 57 Minutes to Silence is a 57 minute manufactured compact disc. Eurock has a limited number of copies. It may be hard to find elsewhere; contact me if you have trouble locating a copy.

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This 21 track 73 minute CD from the Seattle sound art collective SoniCabal encompasses skin-curdling noise, home-made instruments, perverted gadgetry, cracked electronics, lowercase sound, beatbox perversion, and modular synths gone amok. On KUOW 94.9 FM's The Beat, composer and music writer Gavin Borchert aptly described the cd as "...out there on the cutting edge." Rotcod Zzaj, writing in Improvijazzation Nation #55 said "If you are in to cutting edge sonics, you will NOT want to miss this one... far more than just voice loop stuff, these folks explore turf that few have trod. Gets our Most Highly Recommended for listeners who have abandoned fear! A genuine Keeper!"

A good summary appeared in Vital Weekly #339: "Highlights are Christopher DeLaurenti's spooky and quiet scary Malevolent based on samples of a desperate female voice heard through a phone with some hissing drones underneath, and Bakshish fascinating mixture of ritual eastern chant and harsh electronics on his Peyote. Also worth mentioning is Mabuse's use of slow jazzy rhythms built on voice-effects, screeching noises and distorted organs on his work titled Sphygmomameter and finally [The] Bran Flakes' track The Magical Fairy Princess that utilizes children's music to create excellent cut-up-collages reminding a little of People Like Us. Overall a great compilation of musical experimentation giving an impression of the flourishing atmosphere that surrounds the Sonicabal community."

Exclusive tracks by atlatl, Bakshish, Steve Barsotti & Dave Knott, The Bran Flakes, Christopher DeLaurenti, ffej, Carl Juarez, Alex Keller, Meri von KleinSmid, inBOIL, Intonarumori, Dale Lloyd, Mabuse, Mutant Data Orchestra, rebreather, R.S. Pearson, TCOR and others offer a glimpse of Seattle's experimental music scene.

Cover by Carl Farrow.

17. rebreather goes octophonic at the Seattle Art Museum '58" mp3 Live octophonic (8 speakers) performance installation in Brotman Hall and the Grand Stairway of the Seattle Art Museum. The Seattle Weekly described rebreather as "...serving up sonic beauty and terror for the cocktail hour." 21. Malevolent 4'24" mp3 Malevolent presents a triptych of frantic characters whose presence and presentation may disturb some listeners. Not for children or idealists. SoniCabal2 is a 73 minute manufactured compact disc. The cd: $7

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The phonography group is dedicated to discussing and disseminating field recordings and field recording strategies. Collated by Dale Lloyd, the phonography.org compilation features sumptuous field recordings by Chris Knapp, Yannick Dauby, Toy Bizarre, Jon Tulchin, Marcos Fernandes, Marcelo Radulovich, Jeff Carey, Yuko Nexus6, Brekekekexkoaxkoax, Marc McNulty, AS11, Dale Lloyd, and Rod Stasick.

Frans de Waard of Vital Weekly called it a "...wonderful collection..." and "Great stuff!" Jeremy Keens of Ampersand Etc. observed "Like a good photograph, there are lots of things to listen to/for in each of these pieces, and they also raise your awareness of the sounds around you. Well balanced and nicely programmed, it is a great listening experience."

Cover by Dale Lloyd.

7. Riding the 44 Back to Ballard 4'47" Recorded aboard a Seattle Metro bus in November 1999 with a Tascam DA-P1 outfitted with stereo Audio Technica Pro 37R microphones strapped to a Noisette Y-boom. No editing, layering, or compression. phonography.org 1 is a 72 minute CD-R hand-packaged in a nifty plastic sleeve. This cd is out of print.

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Loud. Weird. Disturbing. No Compromises. Critics praised or damned this record, which I took as a good sign. Long before I ever wrote for 'em, the Seattle Weekly called it "scorching" while UK music mag The Wire hailed Three Camels as "...brave, forthright and utterly committed. It's breathtaking in scope and energy..." and deemed it "...very very good indeed." CMJ wrote "His aural art just might challenge your notions of music (maybe causing you to dispense with them altogether?)" 21st Century Music noted that "...the listener is delighted by a frenetic montage of quotations (Wagner and Gershwin among many others), electronics, vocalizations, and orchestral punctuations. The colloquialism everything but the kitchen sink seems apropos; but in a good way." Kind praise came from ND, an encyclopedic magazine dedicated to adventurous music: " Even though culled from six years of tapes, the record enfolds a cohesive geometry of intent: experimentation. Dali painted the invisible object, DeLaurenti records the inaudible instrument."

Cover by Ian Vollmer.

1. The Old Frontier 6'42" "...calls to mind Stockhausen dissecting Stravinsky after listening to lots of Merzbow." Dead Angel 2. Canon Sludge 1'17" My one minute manifesto. 3 - 5. Three Camels for Orchestra 12'56" "...a seamless orgy of sound exploration." Dead Angel 6. Hiram's Blood 12'05" "...sounds like the music the whale would make if it were Miles Davis, not Jonah in its belly." Option 7. Use the Test Data 3'56" 8. Iszkarrchse 3'50" 9. Mirror of Venus 6'56" 10. Dimming Hope, Rising Ambition 10'13" Three Camels for Orchestra is a 57 minute manufactured compact disc packaged in jewel case with a glossy color fold-out poster. The cd: $10

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Cover by Konstantin Galat.

let me tell you about Tiger Tiger 10'53" mp3 let me tell you... pays tribute to Duran Duran, a once-popular though now neglected pop group from the early 1980s whose music seethed with complex timbres and sophisticated studio techniques. Using convolution, milliseconds, moments, segments and sections of Duran Duran's Tiger Tiger were heavily filtered, passed through one another (and other Duran Duran songs) and composed into the final piece. An alternate and equally satisfying mix of let me tell you about Tiger Tiger is the last track on Electroacoustic Music vol. 5 on Electroshock Records. This compilation also includes Claire Laronde's outstanding Vibration de la Matiere, one of my favorite pieces. This cd is out of print.

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I aimed a flashlight at a wax paper image being scanned.

Sylvian's Wood 4'44" mp3 Sylvian's Wood bathes the listener in a mysterious ichor of sloughing voices and silbilant rhythms. Sylvian's Wood is on Owasso Night Atlas, released by the Infrasound Collective. This compilation has music by many fine adventurous Northwest musicians including Tucker Martine, Mark Fauver, Ed Petry and Dennis Rea. Bestowing 5 out of 5 stars, Outburn called the cd a "...slick, smart, and thoroughly addictive compilation..." Sales of this disc benefit The Tentacle. The cd: $10

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Cover by Carl Farrow.

Atramentous 3'50" Gloomy, convex murk. The SoniCabal is a free-form group meeting monthly to discuss composing, recording, performance and other issues relevant to experimental musicians. The compilation features tracks by many Seattle electronicians including inBOIL, Fevermachine, the Mutant Data Orchestra, Intonarumori, and Alex Keller. SoniCabal 1999 is a 64 minute CD-R hand-packaged with a mini-zine in a gatefold cover. This cd is out of print and impossible to find. I only have one copy. Rats!

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Some of my shorter pieces still reside on my old site.

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If you live in the USA, you can send a check, MO or well-concealed cash to:

Christopher DeLaurenti
PO Box 45655
Seattle, WA 98145-0655
Whether you want one or several cds, please add $2 for first class postage.

about selling my music:  Yes, I'm a starving artist adhering to my musical ideals. Any support is greatly needed - and appreciated! All of these cds were manufactured in short runs and will not be re-pressed. As with any adventurous music, if you dig it, get it before it disappears.

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Contact me with comments on anything you hear on delaurenti.net.

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