Dave Seidel / mysterybear

Music and other stuff. CDs on XI ("Involution") and Irritable Hedgehog ("~60 Hz"), more on Bandcamp primarily, also YouTube and Soundcloud.

[daveseidel]

My latest drone release. Pay-as-you-like for now.

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Greg Kowalski's video for my track Sundering Void, from the Intercosmic release on Bandcamp

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[daveseidel]

Quick phone capture of the latest set of experiments. Bass comes from Prismatic Wall, "plucked" by Peterlin through 2HP ADSR, then through Radius; pitches from R2Rawr via Stochaos and Cascading Register). Percussion-ish sounds from Noon and Scrooge driven by Amoeba and IDUM plus Clicker, all clocked by Peterlin. Additional wacky sounds from Casca Mesa using CV input from Stochaos and Cascading Register.

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Listen/purchase: Asymptotic Ocean by Dave Seidel

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[daveseidel]

Something to close out 2020. I encourage you to download it for free if you're interested.

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My set is at 7:30pm on the outdoor stage.

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New track (free/PWYW).

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A visit to Dave Seidel's studio

Here are some photos from my visit to Dave Seidel’s studio in New Hampshire. These were taken after our conversation which became Episode #2

Photos by Alexander Hogan, from The Root Cellar podcast interview.

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Composer & Musician Dave Seidel

Listen now (44 min) | Episode 2: Alexander speaks with composer and musician Dave Seidel. Subscribe to the podcast mailing list at http://th

I was interviewed for The Root Cellar Podcast.

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Revised and improved version of the piece in the video, including alternate mixes. Pay-as-you-wish for the first week.

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A new piece for Dvina and electronics, with visualizations by Greg Kowalski.

[daveseidel]

Work in progress.

https://soundcloud.com/mysterybear/untitled-wip-snippet-marva-bed

[dustedmagazine]

Dave Seidel — Involution (XI)

Photo by Rob Nuuja

Involution by Dave Seidel

When Anton Webern died in 1945, he’d left a legacy involving music of insistent change. His most radical compositions employed a language of quick-shod note and sound color transformation, certainly deployed according to the tone row but in the service of an icy viscerality and a kind of atomistic mysticism that the laws of serialism only partially elucidated. The “minimalist” reaction to the often dogmatic compositional aesthetics to follow was both anticipated and far-reaching and remains so. Dave Seidel’s electronic work emerges from the collaborative fruits of that thorough-going reaction to Schoenberg’s world, but it also incorporates elements of second Viennese School innovation in surprising ways. As the row gave rise to compositional trajectories as diverse as Boulez and 1960s Stravinsky, Seidel’s path was fed and fostered by the variously tempered scales used by La Monte Young and those traveling in his orbit. Beyond the wildly varied combinations of microtonal intervals, Alvin Lucier’s tone collisions also form an integral component of what makes Seidel’s music so unique, but neither of these account for the extraordinary combination of staticity and motion that exist at the heart of the two long compositions on offer here. Both conquer the blow-by-blow concerns of temporality via the sustain, but beneath their crystalline surfaces ripples the oscillating intrigue of constant motion.

Keep reading

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Three hours of microtonal ambience, free.

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(Dave Seidel)