A couple of nice shots of my performance at Trident in Boulder on July 7 have arrived. The first color photo is by Don Poe, and the others below, including the black/white photo are by Loretta Cummings.
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In this interview just published by Perfect Sound Forever, Daniel Barbiero and I converse about the “Tape Loops” and “Not Subliminal” releases and some of the process and other attendant issues that come with a contemplative sound practice.
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A Conversation about Process, Being with Sound, and the Pleasure of Surprise
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http://www.furious.com/perfect/creider.html
http://www.furious.com/perfect/creider.html
http://www.furious.com/perfect/creider.html
http://www.furious.com/perfect/creider.html
http://www.furious.com/perfect/creider.html
http://www.furious.com/perfect/creider.html
We Need No Swords published a review of Tape Loops, which can be read here:
https://weneednoswords.wordpress.com/2016/01/10/c-reider-tape-loops/
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Marc Weidenbaum wrote an article published in Disquiet, titled “Strain and Grain” which describes my new release Tape Loops.
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Check it out:
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http://disquiet.com/2015/11/20/strain-and-grain/
When you use public domain (and CC) recordings to make your music, sometimes you get nice emails from the people you sample!
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I used Michael Westra’s voice on the track “Fast Hands” from my album Awkward Hugs on the BumpFoot netlabel. You can find that work here:
https://archive.org/details/foot229
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His reading from “Complete Hypnosis” can be found on LibriVox here:
https://librivox.org/complete-hypnotism-by-a-alpheus/
was reviewed in Avant Music News.
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Daniel Barbiero writes:
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C. Reider’s Not Subliminal, a collection of five mostly real-time improvisations for multiple cassette decks, is an essay in post-acousmatic sound art carrying echoes of an age of mechanical reproduction past.
Reider’s sound sources are cast-off audio tapes he found in thrift stores as well as a video tape cut down to play on an audio cassette deck. One or more tapes were run and manipulated while a separate deck recorded the resulting sounds, in addition to any ambient sounds present. Underneath the hissing of tape and the humming of the decks’ playback machinery some of the sounds of this audio salon des refusés jump out and identify themselves: Various talking heads, bits of now-unpopular pop music, scrambled fragments of a theatrically delivered monologue on Scientology.
As with much of Reider’s work process is brought to the foreground, in this case as embodied in the sounds of the machines constructing the work—the squeal of spindles turning, the general rattle and buzz of moving parts. The artist’s hand is also audible, snapping cartridges onto sponsons, pressing buttons, picking up the next tape to go into the deck. In the end what isn’t subliminal here are the immediate, explicitly indicated sonic traces of the conditions and means of these improvisations’ production.
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can be downloaded for free from the Control Valve netlabel.
David Nemeth’s excellent roundup of his favorite netlabel releases of the year is worthy reading for anyone into free experimental music. Load your computer or iPod or whatever up, tons of good stuff here:
Interesting Albums of 2014
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I was pleased to see a mention of Daniel Barbiero’s “After 30 x 12 (for C. Reider)” (to which I contributed electronic sound),
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my first release of 2014 “Distressing“,
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and also to Martin Rach’s excellent 2014 release on Vuzh Music, “Mongrel Drone Set“,
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There’s also some crossover with my list of recommended netlabel releases from 2014, so there ya go.
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Finally, somewhat stunningly, my album “the Plangents” was nominated for the Brainwashed end of year reader’s poll, and actually received enough votes to place on the list. I’m very pleasantly surprised about that. Dig it:
17th Annual Brainwashed 2014 Reader’s Poll
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David Nemeth wrote a piece about “Not Subliminal” in the latest blog post from Acts of Silence:
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I was very pleased when I heard that C. Reider had released a new album based on experimenting with cassettes and cassette recorders. Not Subliminal cries out to be released on a cassette, but Reider bucked that trend and went digital. Don’t get me wrong, if he released a cassette of this type, my PayPal account would be all over it.
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The premise of the Not Subliminal, Reider writes, “involved recording some stuff onto one tape while playing back previously recorded stuff on the other tape players, and letting it all mix together out loud … recording everything onto the shitty little onboard microphones that these handheld tape recorders had.” Not Subliminal‘s dissonance and self-referential audio recordings point the work into the genre of manipulated field recordings as well as the experimental. Genre lines are usually quite gray with Reider.
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Over the last year, Reider has been releasing a lot of older work which bordered on “real music” [see my review of Malaventura’s Malaventura04], so this reviewer was quite happy to read that Reider will be releasing more of this cassette work in the future.
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“Not Subliminal” is still available for free download from
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There was a review of Miquel Parera’s “MUME Selections” posted at the Albert Trapezoid blog:
http://albertetrapezoid.com/netlabel_fishing/
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Here’s what they had to say:
I find both the sound of and concept behind this release to be pretty intriguing. Also described as “Automatic Music for Musical Metacreation Weekend,” Miquel created these four pieces as part of the 2nd International Workshop on Musical Metacreation (or MUME2013).
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Let’s start with discussing “musical metacreation.” A simple description is that it’s a creative activity where people develop software that autonomously generates compositions. The machine, if you will, is endowed with creative behaviors and produces original sound. As you can likely gather, this whole endeavor involves the overlap of many fields including art, science, technology and philosophy. (You can find out more about this world at the metacreation.net website.)
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I’ve heard of musical metacreation being done in different contexts and with various styles of music; some attempt to adapt the style of certain artists, while others attempt to strip away the ego of the creator. In this case, Miquel worked on the software and “MUME Selections” is the result. In comments on the Vuzh site, he says: “Contrary to what we had expected, stylistic coherence has emerged (or so I think). When I try to reach the ultimate motivation to make noise, I realize that this is a sort of challenge: to what extent I am able to eliminate me myself. It may seem simple, but it is very difficult…”
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So what of the end result presented in “MUME Selections?” Overall let’s say it’s ideal for fans of more abstract electronic music. You’ll hear lots of buzzes, glitches, drones and pops – electricity! I’d recommend listening with headphones. The titles for each piece are somewhat generic and functional (“nxMUME01,” “nxMUME02,” etc.) and provide no clues. As Miquel did, perhaps it’s best for the listener to try to put aside his or her own self and accept the sound on its own terms.
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Vuzh Music was started in 1990 by C. Reider to distribute his own music to the underground home-taping network. It has evolved to its present manifestation where it continues as a distribution point for projects by C. Reider, but it also re-releases select work from the cassette underground and new music by other artists. Click around the site; there is lots of compelling stuff to be found.
– See more at: http://albertetrapezoid.com/netlabel_fishing/#sthash.Oc4vVzEO.dpuf
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.
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It can be streamed or downloaded here:
http://impulsivehabitat.com/releases/ihab081.htm
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EVEN COOLER:
A short essay written by Marc Weidenbaum about my new recording “Oído con plomo” was published at the Disquiet website.
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Read it here:
http://disquiet.com/2013/11/29/the-sound-of-melting-pewter/