There is only so long we can ignore your letters and electronic mail. Despite six volumes worth of life-soundtrack, you needed more. There is, you wrote, so much life to live, and not enough soundtrack to fill it. We have listened and, in graciousness, responded. We are now two volumes closer to providing the perfect score to your entire existence.
With you in mind, we are pleased to announce volumes 7 and 8 of the Library Catalog Music Series. These are versatile pieces and it will be up to you to fully discover their various applications but rest assured that we are providing our standard, industry-famous 100% Satisfaction Guarantee. You will not be disappointed. Our two new composer recruits, Richard Swift’s Instruments of Science and Technology and Kristin Miltner, have crafted music that will unfold in new ways with each subsequent listen.
Advertising executives! Don’t bother with backward-masking your corporate sloganeering. Seventy-two-percent of Soundologists say that music from the Library Catalog Music Series will adequately stimulate the consumption cortex in shopper’s brains. These two new volumes will be the only hook you need to start reeling in the Benjamins.
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Instruments of Science & Technology’s Richard Swift (born Ricardo Sigilfredo Olivarez Swift-Ochoa, 1977) is an artist who lives in the Northwest region on the United States of America. He’s made lots of different music. He normally sings, but doesn’t at all on this recording. Music for Paradise Armor was made on varying recording mediums, such as a Tascam 4-track cassette player/recorder, an Otari 50/50 – 8-track half-inch recorder, a 16-track 2-inch machine constructed by Studer, and a computer made by Macintosh. There are a lot of what Swift calls “modern clickity-clacks” and “zzzoops s s s”, as well as the occasional “bleep bleep blaaaaap” found on this disc. These sounds apparently reflect our tech-centric lifestyle in the West. We have magnet trains, remote control car door locks, and affordable robotic limbs, yet we still flush our toilets with drinking water. Guard yourself.
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Kristin Miltner is a composer, video and installation artist, and sound designer living in Oakland, California. She most often performs music live with versions of her custom software. She has designed this to scan sound files and live input, allowing her to instantly restructure the sounds into sequenced arrays of units of varying lengths. This scanning idea is like imagining a giant octopus in a long thin hallway with continuous windows on each side. One can touch both sides of the hallway with one’s fingertips (if one is an octopus). The length of the hallway is infinite. So the octopus runs up and down the hallway opening and closing windows, letting a little bit of water in here and there, but never stops moving back and forth, and some windows stay open for longer than others. But there’s a rhythm to it; it’s an efficient octopus. The ocean is the sound source, the hallway and octopus are the scanners, the windows determine what gets in, and the octopus’s rhythm is the sequencing mechanism.
Kristin has performed at Noise Pancakes, 964 Natoma, the San Francisco Tape Music Festival (SFTMF), 21 Grand, and the San Francisco Electronic Music Festival (SFEMF). She is the sound designer for many well-known games and toys, including Leapfrog’s Leapster and Didj, Electronic Arts’ Sims 3 and Sim Animals, Mattel’s Xtractaurs, and a number of Facebook and iPhone games. She is the production manager of the San Francisco Electronic Music Festival, and an active member of the festival’s steering committee. Her debut solo recording, Grains, can be found at www.praemedia.com.
