WAT DONG MOON LEK Makes The Wire’s REWIRE -Best of 2022

Once again we’re honored to be included in The Wire’s “REWIRE” Best of 2022 list. This release on Unseen Worlds keeps Carl’s unbroken streak going since 2016.
“Carl Stone is a half-century into his career – so how is it that his music still sounds fresh? Wat Dong Moon Lek sees the West Coast composer working in Max/MSP, taking scraps from disparate genres – pop, country, jazz – and pasting them into anarchic, hook-packed pop collages. Claire Biddles said: ‘The tracks are all made so methodicallty, and yet there’s such alchemy here, each track feeling fizzy and alaive with potential directions.'”

BoomKat Reviews Wat Dong Moon Lek

Boomkat Product Review:

Avant-garde computer music pioneer Carl Stone’s newest is a Max/MSP powered deep dive into unsettled dreamworld sampledelica, warping pitch-fuct pop garbles into hiccuping noise spirals and quasi-techno ethno-pop bumpers. Properly off the dial material that sounds like a plunderphonic take on the Sublime Frequencies catalog, or ABBA reworked by Oval.

‘Wat Dong Moon Lek’ might be the oddest missive we’ve heard yet from Stone. The Californian computer music vanguard has long been notable for his dissections of electronics, minimalism, world music and hip-hop, and this latest set melts his history into a barely discernible soup of chattering drums, veiled vocals and stuttered melodies. “Stone ‘plays’ his source material in the way Terry Riley’s ‘In C’ ‘plays’ an ensemble,” reads the press release – and it’s not far off the mark. There’s a freewheeling charm and humor to Stone’s approach that’s hard not to love, it’s uncompromising and deliciously bonkers, but struck thru with a level of knuckle-crack’d expertise that lifts it a few inches from the ground at all times.

At its best, ‘Wat Dong Moon Lek’ sounds like a shortwave radio interrupting a skipping J-pop CD: almost aggrevatingly loopy but texturally inviting at the same time. And while the music is assisted and driven by software, it sounds organic and human, as if Stone is answering the ubiquitous algorithmic playlist age with an arched eyebrow and a double helping of glitchy mischief. Whether you’re into John Oswald, Farmers Manual, DJ Screw or Steve Reich, this one’s for you.


April 1 Time:tba Knoxville TN Big Ears Festival

Saturday April 1 2023 Time:tba
Carl returns to Big Ears for two performances as part of the 2023 festival. On April 1, he’ll be appearing as a solo performing in one of the best sounding venues in Knoxville Exact times and venue name to be announced soon.



WEB: https://bigearsfestival.org/event/carl-stone-trio/
IG: #http://instagram.com/bigearsfestival
Twitter: http://twitter.com/BigEarsFestival

March 31 Time:tba Knoxville TN Big Ears Festival w/Trio

Thursday March 31 2022 Time:tba
Carl returns to Big Ears for two performances as part of the 2023 festival. On March 31, he’ll be appearing with trio members Ned Rothenberg, a dazzling improviser on reeds and shakuhachi, and Soo Yeon Lyuh, a master of the haegeum, a two-stringed Korean bowed instrument. Exact times and venue to be announced soon.



WEB: https://bigearsfestival.org/event/carl-stone-trio/
IG: #http://instagram.com/bigearsfestival
Twitter: http://twitter.com/BigEarsFestival

January 19 open 18h50 start 18h50 Tokyo Shibuya JP WWW Shibuya Amane Uyama Release Party

Thursday January 19 2023 open 18h50 start 18h50
Carl does a guest set at the Uyama Amane Muhmuhto (ウ山あまね “ムームート” )Release Party. Join the fun!


¥3000 (standing only, drinks extra)

Buy Tickets Online

WWW Shibuya
〒150-0042 Tokyo, Shibuya City, Udagawacho, 13−17 Cinema Rise Bldg B1F
Map (English) at here
WEB: https://www-shibuya.jp/schedule/015077.php

February 25 open 18h00 start 19h00 Tokyo Ochiai JP SOUP

Saturday February 25 2023 open 18h00 start 19h00

Carl returns to SOUP, the Tokyo live house with one of the best sound systems in the city



3-9-10 Mikasa BLD BF1 Kamiochiai Shinjuku-ku Tokyo

東京都新宿区落合3-9-10 三笠ビルBF1

Map (English) at here

Map (Japanese) here

WEB: http://ochiaisoup.web.fc2.com/schedulethis.html

WEB: https://ochiaisoup.com/?page_id=1423

Out now: Carl Stone – We Jazz Reworks, Vol. 2

We Jazz Records presents the second volume of their reworks albums dealing with source material from the Helsinki-based label’s catalog. This time around, it’s Carl Stone’s turn to tackle the source albums at hand and filter the label’s output through his musical lens.

We Jazz Reworks is an idea that repurposes some of the label’s output 10 albums at a time. That is, the label invites producers whose music they love on board, and one by one, they tackle 10 albums worth of source material, of which they are free to use as much or as little as they choose. The series evolves chronologically, so this volume being number two, the source material is pulled from We Jazz LPs numbers 11 through 20. The artist has complete freedom.

Volume 2 in the series happens with Carl Stone, a legendary figure in creative music. His career spans decades of unlimited musical innovation. Stone’s recent output on Unseen Worlds, the label who has also been instrumental in issuing some of his remarkable earlier work, ranks among the most original art of our time and renders notions such as “genre” virtually meaningless.

Here, We Jazz originals by Terkel Nørgaard, OK:KO, Jonah Parzen-Johnson and more are met here with a fresh sense of discovery, spun around and delivered ready for the turntable once again.

Carl Stone says:

“It was wonderful that We Jazz gave me carte blanche to work with any materials from the set of ten releases in its catalog. This freedom to work with everything could have been a mixed blessing though, as it could be a challenge to try to deal with so much musical information. In the end I did what I almost always do: Let my intuition be my guide and to seize upon any musical items that seemed to fit into an overall approach.”

“To make a new piece I usually start with an extended period of what really is just playing, the way a child plays with toys. Experimentation without necessary expectation, leading to (hopefully) discovery of things of musical interest, then figuring out a way to craft and shape these into a structured piece of music. Each track uses a different approach, which I found along the way during this play period.”

This conceptual approach becomes complete with the design, in which album graphics are treated in a similar fashion, reworking what’s there. This time around, the artwork is reinvented by Tuomo Parikka, a regular cover collage contributor for the We Jazz Magazine.


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