Carl Stone – Electronic Music from 1972-2022 (2023) [FLAC 24 bit, 96 kHz]

Carl Stone - Electronic Music from 1972-2022 (2023) [FLAC 24 bit, 96 kHz] Download

Artist: Carl Stone
Album: Electronic Music from 1972-2022
Genre: Electronic
Release Date: 2023
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:58:53
Total Tracks: 11
Total Size: 2,25 GB


1-01. Carl Stone – Three Confusongs (07:52)
1-02. Carl Stone – Ryouund Thygizunz (14:38)
1-03. Carl Stone – Vim (10:26)
1-04. Carl Stone – Noor Mahal (12:16)
1-05. Carl Stone – Flint’s (08:43)
1-06. Carl Stone – Morangak (06:29)
1-07. Carl Stone – Ngoc Suong (22:32)
1-08. Carl Stone – L’Os à Moelle (23:17)
1-09. Carl Stone – Walt’s (04:33)
1-10. Carl Stone – Kustaa (03:17)
1-11. Carl Stone – Merkato (04:45)


Electronic Music from 1972-2022 seeks to frame fifty years of Carl Stone’s compositional activity, starting with Stone’s earliest professionally presented compositions from 1972 (“Three Confusongs” and “Ryound Thygyzunz”, featuring the voice and poetry of Stefan Weiser – later known as Z’EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving.Stone’s practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences.

In the decades since, he’s explored various ways to compose this process, creating temporal envelopes in which found sounds – existing tracks or field recordings – can take form. Whilst the technologies he’s used have changed and samples have varied beyond categorization, what’s remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events.

Stone’s impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.

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