Unreleased Early Recordings

Over the past few years I’ve been asked with some frequency about reissuing some of my out of print back catalogue. While I understand those early recordings are a part of my history, I usually just like to move forward. Also, like most artists, I’m extremely critical of my older work.

Irony caught up with me early this spring. I happened across a couple drawers in my basement/archive filled with close to 100+ hours of old 4-track cassettes, all well over a decade old. Curiosity got the better of me and I unearthed my old Yamaha MT400 that was used to create these recordings. As I began to listen, for the first time in over 10 years, I was transported back in time by what I heard. My studio during that period was about the size of a small, narrow walk-in-closet with accommodations for barely two people. There were no windows and only a single door (I remember it would get pretty hot in there during the summer months.) These 4 track recordings were all created in that wonderfully claustrophobic space circa 1997-1999. Some were sketches for later compositions. Others were soundtracks for the performance works, videos and installations I was creating at that time. Most of this music fits in nicely with my early experimental ambient albums Shoreline Of An End, Space Between Beginnings and Still.

After much deliberation, I’ve decided to compile what I feel are the best of these recordings for a multi-volume series of archive collections. If all goes as planned, look for a late summer early fall release through Slo Bor Media’s upcoming archive series.

Below is 5 minute excerpt from one of the first cassettes I listened to. Around the time of the recording [1997-98] I was heavily into deep electronic drone music and was listening to a lot of La Monte Young and Terry Riley. According to the notes I made on the cassette inlay card, I was experimenting with an Ebow for one of the first times. This tool went on to become a staple item in my studio and during live performances. The full composition runs around 48 minutes and will be released in it’s entirety with the upcoming archive collection.

Asleep in the Ocean and Breathing the Sky
[5:14 edit] [recorded on 4-track cassette circa 1997-98]
alseep_archive_recording.mp3

corruptedhorizon now available!

I’m pleased to announce my 13th studio album corruptedHorizon is now available for purchase as a physical CD or a high quality [320kbps mp3] digital download with full artwork. Orders for CDs can be placed now and will begin shipping on September 4th. Visit the STORE section to purchase. corruptedHorizon will also  available at all quality digital retailers. [iTunes, Emusic, Amazon, etc.]

“Sloan builds upward from a base of gauzy guitar washes peppered with sharp beats, drum loops and intriguing, inventive clips of sound. The mix of texture and smoothness, ease and complexity, is perfect. Affording this disc a very focused listen is an absolute must.” Hypnagogue Reviews

<< BUY HERE >>

The new album clocks in around 50 minutes and includes six all new works:

> sunset.withoutAdawn [preview]
1web.mp3
> greyscale.spiral [preview]
2web.mp3
> dryANDabsolute. [preview]
3web.mp3
> corrupted.Horizon [preview]
4web.mp3
> forward. [preview]
5web.mp3
> particlesof.LIGHT [full track]
6web.mp3

Stylistically, corruptedHorizon picks up where my 2009 studio album [ — ] left off. Inspired by my live performances over the last decade, corruptedHorizon melds bits of IDM, ambient, pure electronic, glitch, shoegaze and subtle tribal leanings to spin a complex but enjoyable listening experience that I’ve been told defies easy classification.

zip.disk [musik]

Today I was experimenting with some old zip drives I discovered inside a box in my studio. Rather than getting rid of them I wanted to see if I could use the drive as a  industrial/data instrument.

The resulting experiment was beyond anything I was expecting. By simply soldering two piezo elements to the head of the drive and boosting the signal with a four channel preamp [which also allows for multiple line outs] the drive, when engaged, sounded rather amazing. I connected it to the computer, inserted a disc then waited for it to mount. I soon noticed that opening various file types directly from the discs would result in a variety of sonic output. Video files for example would create a slightly different texture than a static .jpg file. Media files also allowed the drive to be engaged for a longer period of time as the information was being transcribed.

I sent the audio output from the zip drive to a loop pedal to allow layering and then recorded the experiment/performance. What resulted was a slowly building, dark ambient/industrial soundscape  composed entirely in the moment from three different zip discs and a loop pedal.

Raw recording 7m.36s
[sc_embed_player_template1 fileurl=”https://www.jasonsloan.com/audio/ZIP_DEMO.mp3″]

Over the next few weeks I’m excited to begin experimenting with both 5¼-inch and 3½-inch floppy drives. Who knows, there may even be a release in the future of just “disc.MUSIC.” Maybe I could call it “Funeral Hymns for Dead Technology.” Okay… maybe not.