#music by David Curington
#music uses a single royalty-free library music track downloaded from the most-popular list on shutterstock as material, chopping up the original 3-minute audio and exploding it out to 74 minutes of ambient music by improvising with a digital sampler. The original structure of the arrangement is left intact, 16-bar instrumental loops becoming several minutes of musical drift. Snippets of reference tracks and generic AI text-to-speech samples from various sales websites are added to the mix to tease out some of the associations of the original music.
Themes of this release include the “contentification” of music and art, my love/hate relationship with ambient as a genre, Artificial Intelligence and its uses, and corporate culture.
The boundaries between earnestness and irony are very much blurred here, and I still don’t how sincere the engagement is with the themes mentioned above. I think it’s more thought-provoking that way.
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David is a sound and visual artist based in Hadfield, UK with interests in density, texture, noise, waste, commercialism, collage, the everyday, the absurd and their manifestations in the internet age.
He is the founder of Square Ears records and, to date, his music has been released on both his own label, Difficult Art and Music, Anticipating Nowhere, Hard Return, Steep Gloss and Human Geography Recordings and aired on Freeness on BBC Radio 3. As an improviser, he is interested in reconceptualising the oboe as a noise instrument and has performed both at Square Ears label nights and the Curious Ear series in Manchester.
David holds a PhD in composition from the Royal Northern College of Music and is a former winner of the RPS Composition Prize.
davidcurington.com
squareears.bandcamp.com
davidcurington.bandcamp.com
@curingtonmusart
Tracklist
| 1. | #music (part 1) | 38:35 |
| 2. | #music (part 2) | 35:37 |
Credits
Production and mixing by David Curington.
Artwork by David Curington with the assistance of the Bing AI image generator.
Mastered by Taylor Deupree at 12k.
