KZSU’s Day of Noise — 24 hours of live on-air performances in the studios of Stanford’s college radio station — came and went last month, but you can see and hear the whole thing. Jin, who’s videoed and photographed the event for the past several years, went all-out this time, with two cameras per studio and lighting filters to boot. The full 24 hours were streamed live in two 12-hour segments (YouTube sets a 12-hour limit on streams) that are available now.
Bonus: That’s my voice at the start or Part 2. I was asked to stall for time, to make sure no music got lost as we made the transition between video streams.
Smurph, who handled sound engineering for all 24 hours, made an audio recording of each act separately, and you can find those files on KZSU’s Day of Noise web page.
The use of turntables as noise/improv instruments has long fascinated me, mostly in the sense that I wasn’t sure how it was done.
My interest got piqued by four CDs released in the span of about one year by Martin Tétreault and Otomo Yoshihide, both “playing” turntables. The discs — Grrr, Tok, Ahhh, and Hmmm — document a European tour in 2003, with each CD meant to reflect a particular mood (the titles are hints).
I enjoyed those albums and spent a lot of time wondering how they created all those sounds, and what it really meant to “play” a turntable. Some sounds resembled a characteristic record scratch or the scraping of a finger against the needle. But what were they doing the rest of the time?
Only now did it occur to me to go look.
In my defense, YouTube’s avant-garde catalog was more sparse a decade ago. But in 2017, a quick search for Tétreault answers my questions right away. My French isn’t good enough to follow along with this interview, but the visuals say it all: He uses discs that are wrapped with different textures, giving him different sounds to play with.
He also uses a sound board (as shown in the photo up top), which gives him a few more options.
Well. Now I know.
By the way, Yoshihide and Tétreault had an established musical partnership before those 2003 concerts were recorded. Here’s a sample of their work from 1999.
From the “need to get out more” file: Two of the local musicans whom I’ve known the longest have been part of an interesting electronics trio for quite some time, and I never noticed.
Tender Buttons performs electronic/computer noise (plus keyboard, frequently) with an aesthetic that seems to emphasize smooth flow. At even-handed volume, they’ll amass sounds, some comforting, some abrasive, and it seems so placid until you realize it’s gained enough momentum to border on harsh. And then they’ll shift back down to a smaller mode.
An all-star army of musicians will be handing off the mic, figuratively to produce 24 hours of sounds, tones, clatter, harmony, improvisation, and whatever else may happen. Performances alternate between two studios at KZSU, so that as one act performs, the next one can set up, keeping the music seamless save for introductions by DJ Miss Information — who in past years has MC’ed the entire 24 hours.
I was able to help only for the very beginning and tail end of KZSU’s Day of Noise this year, but it was still a lot of fun.
As usual, a small group of hero DJs made the Day of Noise possible, including Abra (who emceed all 24 hours) and Smurph, who I believe was on hand for most of the sound engineering.
I even manned a sound board this time. The group was Big City Orchestra, a quartet that used styrofoam as its main sound source. They bowed it, poked sticks into it (tuning them beforehand, because they started their set with a droney piece) and ran the sound through all kinds of effects. By the end, it was a wall of noise. It was pretty cool.
Pictures follow. I caught a few minutes of Karl Evangelista and Tom Djll’s band, Revenant, but didn’t get a chance to say hi; their set ended as I was helping set up the audio for BCO.
Thanks to the efforts of Abra (@abraRadio), KZSU will again present the Day of Noise: 24 hours of drone, electronics, ambient, improvisation, and … well, NOISE!
It’ll be on Saturday, February 8, just about all day. That’s 12:01 a.m. or thereabouts, until just about midnight the next night. Find out more and see the full schedule on Facebook.
You can listen worldwide at KZSU’s Web Feed, or in the Bay Area, you can tune us in on good old radio at 90.1 FM. Listening in the car with the windows rolled down, to spread the noisy goodness, is a particular pleasure (and totally comfortable in what passes for February ’round these parts).
KZSU is doing its 24-plus-hour Day of Noise again, starting just a couple of hours before Sunday, April 14.
You can see the whole schedule, and descriptions of the artists, at that link above.
It’s an impressive undertaking managed by some very motivated students who are into drone, electronics, laptop improv, and … well, noise! I love that they’ve filled the entire day with music, including some afternoon hours that will apparently be broadcast at Stanford’s White Plaza.
Do tune in, starting midnight tonight — 90.1FM if you’re within range in the Bay Area, or kzsulive.stanford.edu/ if you’re not. As my kids said last year: “It’s just noise!“