Track list:
1 In the End You’ll Just Disappear
Release description:
Created for an installation to be played on 3 speakers in a triangular shape facing the center of a room. Each speaker played a continuous loop of a low end cut (speaker 1), a mid end cut (speaker 2), and a high end cut (speaker 3). From the center of the room, they should be perfectly mixed, yet evolve due to small differences in start times.
Available as:
Track list:
1 Capacious Apparitions
2 Anabranch Inter-vales
3 Elapsed Paradise
4 Glitter Patterns
Release description:
“I’m spending the days cataloging books and filling the shelves of the new library. In the early afternoons, the new library employees come in and we learn about their system, and how to work it. It’s a 4km walk out of the edge of town, along the hills and red dirt roads with broken palms back to our house. I’ll listen to the radio, or the wind as I walk. When I get back you’re on the phone with family, and our child is outside the window playing in the sand nearby. When she comes back in to join you and have a snack, I’m already wading in the water, floating on my back, and drifting further out. The clouds in the distance are reaching over the islands, their overcast arms swooping and dropping warm rain. Showers barely pass, and they blow by like shadows against the flickering, distant blue lights of the town. I can see the light from our window when I look up, treading water, and even the ocean seems grey and quiet here in the middle. Behind me is another island, led by a green mountain, grey and black with clouds hanging over. The water moves underneath, a sea snake swims by, and the surf spins.”
– Will Long, Saipan, 2016
Available as:
Track list:
1 Another Blue Day
2 And Another
Release description:
“I was running as fast as I could. Through the field, tripping over lumps of soil with spiked green grass, and splashing through puddles that reflected the purple clouds drooping overhead. My heart was racing, sweat was bulleted on my face and neck, and when I turned around to see what was behind me, out of breath, and losing my footing, everything went black. When I woke up I was lying in the grass near the top of the green mountain. A stone house was behind, and you were leaning over me, looking down the hill. The sun was hidden by the clouds, but the afternoon haze turned everything blue, unnatural in azure. A light breeze moved your hair. The clouds opened up, and on the next hill where it had rained, the droplets shimmered, reflected in the orange-baked sun. And then I fell asleep. Everything went black and disappeared again.”
– Will Long
Available as:
Track list:
1 Capacious Apparitions
2 Anabranch Inter-vales
3 Elapsed Paradise
4 Glitter Patterns
Release description:
“I’m spending the days cataloging books and filling the shelves of the new library. In the early afternoons, the new library employees come in and we learn about their system, and how to work it. It’s a 4km walk out of the edge of town, along the hills and red dirt roads with broken palms back to our house. I’ll listen to the radio, or the wind as I walk. When I get back you’re on the phone with family, and our child is outside the window playing in the sand nearby. When she comes back in to join you and have a snack, I’m already wading in the water, floating on my back, and drifting further out. The clouds in the distance are reaching over the islands, their overcast arms swooping and dropping warm rain. Showers barely pass, and they blow by like shadows against the flickering, distant blue lights of the town. I can see the light from our window when I look up, treading water, and even the ocean seems grey and quiet here in the middle. Behind me is another island, led by a green mountain, grey and black with clouds hanging over. The water moves underneath, a sea snake swims by, and the surf spins.”
– Will Long, Saipan, 2016
Available as:
Track list:
1 Callisto
Release description:
“Have you ever looked up into the sky at night, and it seemed that you could see beyond the stars? How many times have you looked up, but how few do you actually remember? I remember two times:
The sky seemed to roll, the stars flickering in the humidity of the late-August evening. It makes your throat feel dry and your body strained. Staring up, “We can’t see stars like this at home”, we said to each other. Lying on the concrete slab behind the garage, and at one time standing, we kept on watching – the factory near of my hometown humming, passing cars on the nearby highway sizzling in the distance.
…Or when we were in the onsen town in the mountains – there was nowhere to walk to at night, but we trudged through the snow so I could take photos, our shoes soaked and our feet freezing. You could see your breath in the air. You can’t hear snow fall. We opened the wooden sliding door and walked back into the warmth of the light.
The next day we looked out, all the leaves were brown in the freezing November, and the stars were hidden. The blue river was ahead and down the hill, and we didn’t even think about what was or wasn’t above from the night before, past the stars now hidden by the sun.
When looking up, the least important thing is what you see – or that there is even anything in space, beyond the blackness. The beauty and the demons share the space where we are already.”
– Will Long, 2016
Available as:
Track list:
1 Above / Below
2 Below / Above
Release description:
“In 2012, after trading LPs, I sent Dirk a long track of collaged, stretched tape pieces to see if it was something he could work with. This particular set of recordings seemed puzzling to me, and unworkable. Later, after a tour with Mono he actually sent me some tracks that he had made while listening to the piece. Out of the blue, maybe a year later, I went back and listened to our tracks, having some distance for my ears, and had an idea. Using the original track that I sent Dirk at the very beginning as a sound source, I shaped it exactly like Dirk’s responding source file – the musical colour and frequencies were the same, but the effects and enveloping were triggered by the waves of Dirk’s track.
It may be hard to hear the two sides, but it’s really built by the background curtain, and even if you can’t hear it’s place, it’s definitely there. Where does one thing begin and another end? Maybe you can hear it?” – Will Long, 2015
Available as:
Track list:
1 From the bus to the corner, past the hypostyle halls
2 Spindles and fires
3 “We cannot be the rich ruling class of a poor country”
4 Sol Azur
5 Asleep against the black rocks near Cap Serrat
6 In all deracinated things
7 Notes from the Hôtel Amilcar (with television, ocean view, and a glass of water)
8 Base haze
9 The fear to touch the sand
10 Terminal points
In 1984, my great uncle drowned in the sea off the coast of Hammamet, Tunisia. He was 80 years old. He arrived in Tunis from his home in New York City, staying one night in the Hotel Amilcar, from where he sent a blank postcard back to his family home in Mississippi. The next day he traveled to Hammamet, where he rented a hotel room, bought swimming trunks, and by the afternoon had drowned in the ocean.
In 2015, I retraced his steps from Tunis to Hammamet. Set part in fiction and part in reality, Two Days and One Night is both a document of my own experience and a re-imagining of what my great uncle might have heard and experienced 31 years before. It’s a shame he didn’t see the burnt orange sunset swirling over the horizon as I did on my departing flight at the end of the second day, but then again, maybe he did.
– Will Long, 2016
All music by Will Long, composed and collaged in 2014 and 2015
Recorded in North Africa and Tokyo
Postcard cover courtesy of Will Long
Design by Rutger Zuydervelt
Track list:
Side A
1 Isotope shortage
Side B
2 Ruined repairs
Side C
3 The delay of intolerance
Side D
4 The delay of intolerance
Release description:
In November of 1938, Samuel Barber’s ‘Adagio for Strings’ was broadcast on radio for the first time. It was regarded as “full of pathos and cathartic passion”, and “perfect in mass and detail”. While it was generally well-received, it was also criticized as “suffering from repetitiousness”, and being “dull and utterly anachronistic.” It is often labeled as ‘the saddest music in the world’, and is one of the most recognizable pieces of popular classical music. In an interview with the New York Times before his death in 1981, Barber said “I wish people would listen to my other compositions.”
‘I love you so much I can’t even title this’, inspired by the music of Samuel Barber, was recorded in 2008, processed on tape and a laptop. The title alluded to a Morrissey song, and she once summed it up by calling it ‘the laziest title I’ve never written’. I remember painting the handmade die-cut sleeves in the garage, having to hold a rag over my nose and mouth to keep out the fumes. At the time, it seemed like an exercise. Studying poetry had distanced us from the world – and did we think anyone was even paying attention, anyway? The theme was overwhelmingly obvious, and the title was direct. A few years later I chose a photo for the cover of a cemetery in New Orleans – another direct message, yet like everything else, entirely unintentional. You’d be surprised how beautiful the cemetery was that day in the sun, and how you’d probably be wrong about every other assumption, as well. But then, what does that matter, either? Music only has to be.
Originally self-released in 2008 as ‘I love you so much I can’t even title this (The light that never goes out went out)’ on CDR in a handmade, limited edition.
‘I love you so much I can’t even title this’ is available on 2xLP on sky blue, white, and black vinyl from Infraction, remastered by Taylor Deupree.
Track list:
1
2
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4
5
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8
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10
Press description:
‘Inside the head of gods’ is an EP of music made to accompany the paintings of Taichi Kondo for his exhibition ‘What’s my name?’ at Finale Art File in Manila, Philippines, April 6 – April 30, 2016.When I first saw his paintings, they gave me a very clear sound of music. I had many ideas, and there were many elements of each of his paintings to represent through music. When I began creating the music, I made many different kinds of tracks with different lengths, structures, timbres, quiet or loud, rhythmic or not, analog or synthetic, field recordings or noise.. but later, while these different pieces did represent the music, it didn’t sound right in a true setting – not with what I imagined the gallery space would represent, and how it would be heard.In the end, I chose to use only the first track I made, which was around 20 minutes of organ music. I listened in different settings, replayed it in different ways, and mixed and remixed it. At first I thought it was too simple and minimal, but when I listened back closely, all of those elements from before were actually there, just in a similar form of each other, rather than separated. Like the paint on a canvas, it’s all made of paint – the colors and shapes are what makes it different.
‘Inside the head of gods’ is intended to be listened to at medium volume, in random playback mode if available.
Edition of 300 copies. CD comes packaged in a simple, full color pocket sleeve. Minimal and friendly.
Track list:
A1 Celer – Part I
A2 Celer – Part II
B1 Duenn – Part I
B2 Duenn – Part II
Press release:
In 2014 I went to Kyushu in Japan for two shows. One of them was in Fukuoka, organized by Duenn, the artist who also runs the label of the same name. The A side (Celer) is two tape pieces, and the B side is by Duenn.
横浜在住のアンビエント作家celerとduennのsprit作品。deep drone!!!