March 5 2PM London UK Cafe OTO


Sunday March 5 2017 2PM
REALISTIC MONK (Carl Stone + Miki Yui) kicks off their tour of Europe and the UK with a performance at the famed Cafe OTO in London. Cafe OTO provides a home for creative new music that exists outside of the mainstream with a programme of adventurous live music seven nights a week. Please note that this is an afternoon show. Doors will open at 2pm and the performance will start shortly after.

Artists:

  • REALISTIC MONK (Carl Stone + Miki Yui)

£10 (£8 ADVANCE £6 MEMBERS)

Cafe OTO
18–22 Ashwin street, Dalston London E8 3DL
London Great Britain

Map (English) at here
hello@cafeoto.co.uk
https://www.cafeoto.co.uk/events/realistic-monk-carl-stone-miki-yui-matinee-show/
https://www.cafeoto.co.uk/info/

March 7 20h30 Padova Italy Auditorium Pollini


Tuesday March 7 2017 20h30
REALISTIC MONK (Carl Stone + Miki Yui) perform in Padova, a presentation of the Centro D’Arte In collaboration with SaMPL – Sound and Music Processing Lab, part of the Music Conservatory “Pollini”.

Auditorium Pollini
Via Carlo Cassan 17, 35121 Padova
Padova Italy
049.8071370
Map (English) at here
book@centrodarte.it
http://www.centrodarte.it/concerti/2017-03-07-realistic-monk/

May 4 start 19h30 Yokohama JP Yokohama Airegin

Thursday May 4 2017 start 19h30
Carl joins with collaborating partner vocalist Akaihirume for a special one-night event as part of the Yokohama International “Anything Goes” Night Music Festival 2017. Also joining for the event will be the gorgeously toned cellist Mori-Shige. It promises to be a fine evening!
Festival Support:
Embassy of Denmark,
Embassy of Switzerland
and others

Artists:

Adv ¥2500 Door ¥3000 (1Drink minimum)

Yokohama Airegin
Sumiyoshi-cho, 5-60 Naka-ku, Yokohama
Yokohama JP
045 641 9191
Map (English) at here
Map (Japanese) at here
http://www.airegin.yokohama

Boomcat Loves Our New Release and Makes Us Laugh Telling Us So

You can read the full review here

<This release> lights up our pleasure centres like a quid in a fruit machine, using a palette of eastern-tuned scales, processed vocals and pop samples to conjure a majorly playful array of idiosyncratic, angular and intriguing arrangements that resonate with Robert Ashley’s mercurial cut-ups as much as The Automatics Group’s incisive dance pop detournements and the proto-glitch music of Nicolas Collins. 
It’s all totally new to us and feels like somebody just opened a big skylight onto our listening lives, flooding us with new sensations between the baroque computer music of Sukhothai (1977) and the wormholing drone of Chao Praya (1973), taking in the soothingly ethereal Shing Kee (1986) and strobing structure of Don II Jang (1982), along with the haunting nocturnal transition of Kuk Il Kwan (1981) to lay out whole new worlds before your ears.

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Our Latest Release Score’s Bandcamp’s “Best of Contemporary Classical” November 2016

Bandcamp is a global community where millions of fans discover new music, and directly connect with and fairly compensate the artists who make it. Their mission is to provide all artists with a sustainable platform to distribute their music, while making it easy for fans to directly support the artists they love. This review is from the Best of Bandcamp Contemporary Classical: November 2016 listings

This astounding anthology collects two-and-a-half hours of the early electronic experiments of Carl Stone, an L.A. composer who studied under Morton Subotnick and James Tenney and worked with Buchla synthesizers back in the ‘70s before finding his true passion: a kind of experimental sampling approach that presaged the developments of folks like John “Plunderphonics” Oswald and Paul Lansky. There are a couple of those early analog synth pieces—thick, long tone drones—made as a student at Cal Arts, included, but the real thrills come from the sample-based work. Stone’s work relied on tape machines, building layer after layer of the same passage of music—like the minute or so of Renaissance harpsichord music in “Sukothai” that folds in on itself until there are 1024 simultaneous layers of the music piled up, and rhythms disappear in a buzzing haze of abstract sound. Towards the end of 1982, he began working with the now-primitive Publison stereo digital delay unit to create dizzying hall-of-mirrors refractions built from tiny fragments of Asian pop, American R&B and classical records that he manipulated with a maniacal rigor to generate sound profiles that drifted toward fleeting recognizability—such as the lick of “My Girl” in “Shibucho”—before pushing off into different chopped-up patterns. Today’s technology could tackle these time-consuming time experiments with ease, but Stone’s resourcefulness and originality is unmistakable, and these sounds remain fresh decades later.

Textura Reviews Our New 3-LP Release

Full review here
The only prosaic thing about Electronic Music from the Seventies and Eighties is its title. Otherwise, the eight pieces (one a digital-only bonus) on this three-LP collection of pioneering work by American electro-acoustic composer Carl Stone constitute an oft-mesmerizing two-and-a-half hours; in fact, of the seven album tracks, five are so extensively explored they each take up a full album side. What makes the release especially significant for students of electronic music’s history and development is that all are previously unpublished pieces, the sole exception being “Shing Kee,” which surfaced on a 1992 New Albion CD release.

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Pitchfork Weighs In With One of the First Reviews of Our 3-LP Set

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From Andy Beta, published October 1 2016. You can read the complete review here

Stunning indeed, full of purring drones that at first appear to hardly be moving, only to have them slowly slide and reveal infinite amounts of overtones. It’s evocative of some of my favorite minimal music from this era.

By-turns lovely, prickly, meditative, and maddening, these eight extended compositions (some two and a half hours of music) showcase drastically different sides of Stone’s work, which previously was relegated to small batch cassette releases in the ’80s and early ’90s. An early adopter of the computer, which he used to create his pieces, Stone’s also worked with turntables and manically manipulated samples. He has electronically elongated source sounds until they take on entirely new topographies. These techniques anticipated later trends of all sorts, from the dense slivers of samples informing the Bomb Squad’s productions to Plunderphonic’s trash-compacting of pop music to Justin Bieber 800% Slower.