Stasisfield  (12005, December 2014)

“When artist Philip von Zweck decided to shutter his Something Else program, a Chicago radio institution for fifteen years, Stasisfield launched an ongoing remix project of the show’s theme tune, inviting anyone who ever appeared on the show to create a remix. Glenn Bach, under his Mminor moniker, has decided to take this a step further; he’s produced an entire album that uses the theme as its source material. In Mminor’s hands the theme is stretched, erased, imploded, carbonated, shredded, and dithered within an inch of its life, its original ninety three seconds sprinkled across more than thirty elegiac minutes – ashes to ashes, dust to dust.”

–John Kannenberg

Dispersal Patterns


Dispersal Patterns
Glenn Bach and John Kannenberg

Entr’acte (E119, July 2012)
200 copies, out of print

Collaborating since 2004, Dispersal Patterns is Bach
and Kannenberg’s second joint project. Departing from
their earlier emphasis on systems and graphic notation,
they here rely on intuitive communication as they
weave two improvised soundscapes from quiet field
recordings, analogue instrumentation, digital synthesis,
found sounds and minimal signal manipulations. Bach
and Kannenberg have previously explored concepts
of place, soundscape and transmission in their first
collaboration, Two Cities, an audiovisual documentation
of their respective morning commutes. Utilising an online
collaborative interface maintained by Furthernoise.org,
Bach and Kannenberg improvised an hour-long manifest-
ation of Two Cities that was simultaneously broadcast
into brick-and-mortar locations in London, Bristol, and
NYC. The hour-long set of sound and imagery reveals
a haunting meditation on place, migration, and the life
cycles of broadcast signals. Revisiting these themes of
temporal displacement and dislocated sounds, Bach
and Kannenberg made a number of radio appearances
on Chicago area college radio stations in the first half
of 2008, introducing their recontextualised sounds into
new virtual and physical environments (including the
Whitney Museum of American Art in New York as part
of Neighborhood Public Radio’s participation in the 2008
Whitney Biennial). The distinction between source and
signal, and between audition and reception, is blurred
in the commingling of textures and elongation of gently
evolving drones. Their embrace of improvisation as a
common sonic infrastructure allows the pair to engage
in a productive partnership, despite the geographical
distance between them. Geography and place figure
prominently in their work, as both artists investigate
and document their surroundings, and in Dispersal
Patterns the duo have fixed on a dynamic tonal and
timbral palette inspired by the conflicting experiences
of acclimation and egress.