Philip Julian
Location +
Cassette (E118)

Computer algorithms processed using natural phenomena
Natural phenomena processed using computer algorithms

Computer-generated sinewaves were recorded and then
played back into a naturally reverberant room using a stereo
speaker arrangement. The resulting room sound + original
playback were mixed, recorded and then electronically
Computer-generated attenuated white noise, recorded then
played back outside over a stereo speaker arrangement.
Speaker playback + naturally occurring sounds were mixed
and re-recorded.

Recording made outdoors. Naturally occurring sounds +
electromagnetic output from a laptop computer played back
into itself, mixed and processed in real-time using FLOSS
software under GNU/Linux.

See also
Cheapmachines (E65)

Edition of 50 copies (out of print)


A2 has a convoluted genesis — Philip Julian generated a series
of tones digitally, played them in a “naturally reverberant”
room, mixed the two recordings together, and then processed
them. The result is suitably Lucier-esque, with passages of
dense room hiss giving way to a succession of arcing tones.
On B3 Julian reworks a field recording of nature sounds and
electromagnetic output from a computer, also heavily treated.
Similarly segmented in structure, it switches from low-volume
sibilance to murky electronic churn and loop textures, a range
of tones buzzing at different pitches all the while.

Nick Cain in The Wire

This is a curious little release. I couldn’t be bothered to time
either side of the tape, but I suspect there is no more than
half an hour’s music here in total. In places it is very beautiful
indeed, and it has a fragility to it that I like a lot, a feeling that
its all going to snap and collapse at any point. This, coupled
with the still unfamiliar environment for me as a listener away
from the comfort zone of the CD player made listening to this
tape through a good few times a consistently nervous, alert
experience. The processes used to make the music here are
clever as well, touching on ideas we have heard before but
still working as a composition in a precise way I haven’t seen
the like of before.

Richard Pinnell at The Watchful Ear