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Carl Stone
Wat Dong Moon Lek

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Format

Release date:

UW042DIGITAL
• Instant Bandcamp download code

Carl Stone continues his late career prolific renaissance with a new album of sculpted, tuneful MAX/MSP fantasias. Stone “plays” his source material the way Terry Riley’s In C “plays” an ensemble – with a loose, freewheeling charm connected to the ancient human impulse to make sound, melody, and rhythm from anything. Stone’s unique technique simultaneously focuses and sprays sound like a symphony of uncapped  re hydrants. Is this techno, avant-garde, sound art? It’s simply (or rather fantastically messily) Carl Stone.

Press

Wire Magazine, June 2022
Review by Claire Biddles

“a follow-up equal to 2020's thrilling Stolen Car… there is an infinite quality to his work... It's clever, effervescent and gloriously fun. What a privilege to have Stone releasing at such a formidable rate.”

Track List

DIGITAL TRACK LIST

  1. Rikido (6:38)
  2. Longo (8:28)
  3. Korzo (4:20)
  4. Mozell's (4:33)
  5. Wat Dong Moon Lek (5:36)
  6. Apsara (4:18)
  7. Jangara (3:30)

Credits

All music composed and performed using the programming language MAX
Rikido Longo Apsara recorded at Radio Free Nakano Tokyo
Korozo performed live Berlin Kiezsalon June 26 2019
Wat Dong Moon Lek recorded at Civitella Ranieri Pizza Studio
Mozells and Jangara recorded at PLB Studios Los Angeles
Mastered by Stephan Mathieu, Vinyl cut by Lupo
Thank you to Michael Rosen/Digital in Berlin, Tim Page and Frances-Marie Uitti

℗ Electro-Acoustic Music (ASCAP)

About Carl Stone

  • Carl Stone
  • Carl Stone is one of the pioneers of live computer music.  He studied composition at CalArts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. When New Music was exiting the loft scene of the 1970s and entering the more commercial realm of the 1980s, Stone guided his art through that transition period by fusing his compositional ambitions with systems of live performance that were simultaneously pop savvy, commercially suicidal, and technologically forward-thinking.  He moved away from pure electronic sound and was among the vanguard of artists incorporating turntables, early digital samplers, and personal computers into live electronic music composition.  An adopter of the Max programming language while it was still in its earliest development at the IRCAM research center, Stone continues to use it as his primary instrument, both solo and in collaboration with other improvisers.  In addition to his work as a composer, Stone served as Music Director of KPFK-FM in Los Angeles from 1978-1981, director of Meet the Composer California from 1981-1997, and President of the American Music Center from 1992-1995.  He currently divides his time between Los Angeles and Japan, where he is a faculty member of the Department of Media Engineering at Chukyo University in Japan.