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

“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.

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

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New Album Scores a Rave Review on Bradford Bailey’s The Hum Blog

In September 2016, The Hum blog, long a favorite even before we found out that Bradford Bailey was aware of our existence, published a review of “Carl Stone – Electronic Music From the Seventies and Eighties” that was thoughtful, historical, well-researched, and – best of all – could really only be categorized as a rave. Full review can be found at on-site at The Hum, but here are some tantalizing excerpts:

Stone’s Electronic Music From the Seventies and Eighties is a missing link, not only in the history of avant-garde and electronic music, but within the entire body of arranged sound (popular or otherwise). As Leger’s realization of Cubism was to the visual, these works become a metaphor of the contemporary operation of sound. We are saturated with chaos, barraged with an ever present, but uncountable of number sources – each vying for a place in the world. This is the fruit and consequence of a technological age. This is that sound encountered at a crucial point in history – the tipping point between the optimism of exploration and progress which defined the High-Modern spirit, and the fatigue, saturation, inward reflection, and slowing which marks our own.

Dong Il Jang (1982) – the collection’s third track completely knocked me over. It’s incredible – sonically to the coming digital era, what Steve Reich’s It’s Gonna Rain is to the analog. It was recorded the same year the CD debuted, anticipating sounds we all know too well (and eluding to an aesthetic yet to be pioneered by Yasunao Tone, Nicolas Collins, and others) – skipping and skittering micro-loops. Remarkably, it was created on an early analog sampler. It’s prescience and achievement is mind boggling.

Sukothai is a sound collage with 1024 layers, built from a single source – a recording of the harpsichord. It grows from faithful representation, toward a writhing chaotic sea of sound, until it progressively becomes so complex that it evolves into one of the most beautiful drones imaginable.

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CARL STONE Electronic Music from the Seventies and Eighties

“a missing link, not only in the history of avant-garde and electronic music, but within the entire body of arranged sound (popular or otherwise).” – The Hum

“stunning …. full of purring drones that at first appear to hardly be moving, only to have them slowly slide and reveal infinite amounts of overtones…lovely, prickly, meditative, and maddening” – Pitchfork

“The eight pieces ….on this three-LP collection of pioneering work by American electro-acoustic composer Carl Stone constitute an oft-mesmerizing two-and-a-half hours…(Shing Kee is) spellbinding.” – Textura

“Astounding …dizzying hall-of-mirrors refractions built from tiny fragments of Asian pop, American R&B and classical…. Stone’s resourcefulness and originality is unmistakable, and these sounds remain fresh decades later.”
Best of Bandcamp Contemporary Classical: November 2016

“It lights up our pleasure centres like a quid in a fruit machine….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……Not to be missed by anyone with a taste for innovative electronic music of the rarest order.” – Boomkat

“Jaw-dropping maximalist achievement, done so through a minimalist methodology…..compositions that, much like the CalArts music library Stone spent many of his hours in, reveal endless surprises and delights upon each listen….incredibly rewarding album.” – Zurkonics


Find out about it here
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Announcing: Realistic Monk

Realistic Monk live at ZKM, Karlsruhe

Realistic Monk live at ZKM, Karlsruhe

Realistic Monk – the title a simple anagram of the names of its members – is a new performance project from Carl Stone in collaboration with artist and composer Miki Yui. Our debut performance was in Düsseldorf 2015, at the Elektro-Müller Studio as part of the Open Space Festival. With the enthusiastic response from the sold out audience, we decided to continue performing together and are currently arranging performances in Europe for September 2016.

Realistic Monk concentrates on smaller sounds, sometimes at the edge of perception. We encourage concentrated listening as we create deep soundscapes that emerge out of voices, noises, field recordings and acoustic feedback.

For more information and sound examples about Realistic Monk, we invite you to look here

realistic monks