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Stephen Cornford - Music For Earbuds album flac

  • Performer: Stephen Cornford
  • Title: Music For Earbuds
  • Size FLAC ver: 1813 mb
  • Date of release: 2013
  • Style: Field Recording, Noise, Minimal, Musique Concrète
  • Other formats: RA ADX AC3 DTS XM DXD MP2
  • Genre: Electronic
  • Rating: 4.1 of 5
Stephen Cornford - Music For Earbuds album flac

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Music for Earbuds CD €1. 0. Stephen Cornford - Samuel RODGERS. Boring Embroidery CD €1. Binatone galaxy CD €1.

Tracklist

1 Untitled 3:13
2 Untitled 6:34
3 Untitled 15:17
4 Untitled 3:05
5 Untitled 6:13

Comments (2)

black coffe
Review by Brian Olewnick:"Five tracks, constructed from "unprocessed acoustic recordings of the feedback between a single earbud headphone and a cassette walkman tape head." Whoda thunk? Maybe consider this to be a distant cousin of Toshi's nimb with a similarly incredible audio range and here, crucially, wielded in pared-down fashion by Cornford, allowing the surprising depths of each sound field to become apparent. Each of the cuts inhabits a different world: a grating, slippery whirpool, endlessly tracing a veering ellipse; a high, transparent keen, also circling but next to impossible to discern clearly (very beautiful); a looser, wetter version of the first, dizzily careening; a splintery array of razor-like needles, rotating but also spewing acid. These four surround the central, and longest track (15 minutes), a rather astounding faunal trompe d'oreille wherein one hears all manner of birds, lizards, amphibians and insects. I can only imagine the glee Cornford must have experienced cobbling this world into existence. Does it last a tad long? Perhaps, but still you're forced to marvel at the slightly alien expanse that unfolds. Very enjoyable, often amazing stuff."
Oghmaghma
“Having recently reviewed Yann Leguay’s excellent “Quasi Static Crack Propagation” on UK label Consumer Waste, I was initially inclined to approach label co-curator Stephen Cornford’s new solo release “Music for Earbuds” in much the same way. After all, both works consist of music composed using re-purposed electronics (Leguay’s from various CD, tape and DAT machines, Cornford’s from the feedback between those cheap little earpieces you get free with iPods and a single cassette head), and in a recent interview Cornford had written eloquently about putting consumer electronics to uses that their original designers had never dreamed of. It took me a little while to hit upon the idea that maybe, perhaps, something more was going on.The most obvious ‘clue’ is the middle track — in typical Cornford style, the title of each track is simply its track number, so this is “03”. Upon first listen, I needed several moments to convince myself that I wasn’t hearing recordings of bird song. The veracity with which Cornford has mimicked the individual sounds of a diverse rainforest full of birds using nothing but a cassette head and earbud is nothing short of astounding. However, it was only when I started thinking about how to describe the album’s other four tracks, the harsh insect-like buzzing of which I had up to this point considered quite abstract, and when I noted these tracks’ relative lack of any sort of compositional development when compared with the record from Leguay, that an impression began to form that I soon found unable to shake.That impression was that what I was listening to was in fact a collection of nature recordings. The more I listened, the more I recognised all the familiar characteristics of the nature recording as a type or genre: the ‘metallic’, droning timbres that sound so like microphone captures of insect activity; the aforementioned chirruping and screaming of birds; the apparent absence of imposed structure or of compositional devices, any variations seeming undirected and stochastic; even the continuation, in true nature recording tradition, of the rainforest recording long past the point by which I’d gotten the idea. An album of nature recordings: ‘earbudus bristolianus’. I’m still not sure whether this uncanny mimicry is intentional on Cornford’s part, or is merely the product of my own overheated imagination. But perhaps the fact that such a resemblance is perceivable is enough to set a question itching at the back of one’s mind: what is actually the difference between ‘Music for Earbuds’ and a ‘real’ nature recording? Could any act of making an earbud or a speaker or any kind of manufactured sounding device sound like a bird or an insect be considered, at its core, an act of semblance? After all, at the end of the day it’s all current through a wire.There’s another possibility here, of course, and that’s that I’m completely misreading what Cornford is trying to achieve with “Music for Earbuds”, and that the only one plagued by such doubts regarding the possible animal life of consumer electronics (or the mechanical lives of birds and insects) is me. After all, those earbuds only sound like birds because there are real birds, right? Exactly. In which case, you should absolutely sit back and enjoy this album as another fine example of the interesting abstract sounds to be derived from mistreating consumer electronics, and assume that any resemblance between the sudden ending of the last track and the abrupt cuts used in nature recordings to signify the pressing of a field recorder’s ‘stop’ button are entirely accidental."

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