Saturday, April 22, 2017

here's a link to an interview with Arnau Horta talking about rolf julius

an interview with steve roden talking to

Arnau Horta

about rolf julius

sonoris box set 2 " a thousand breathing forms" is officially released!!!! 6CDs!

the sonoris 6CD box is now released. i will have some copies to sell on bandcamp. should be up next week.

this is a 6 CD set with a short pamphlet. special to the the first run of the box, includes the 3" cd "a slow moving boat".

i am really happy how it all turned out. super thanks to franck from sonoris, and giuseppe ielasi (who did an amazing job with the mastering!)

i will be selling at thet Downtown Modernism Show of Sunday, April 30th, 2017: Los Angeles's best marketplace for vintage modern design.

very excited to share a booth with my friend richard chartier at the los angeles modernism show april 30th. i will be selling a lot of ceramics, books, arts and architecture magazines, eames toys, russell wright, eugene deutch, rare design books, margaret de patta photographs of her jewelry, george nelson flatware, nelson outdoor tables, paintings, a paul laszlo watercolor, a frank lloyd wright bench with original cusion, nelson/girard vanity and more...!!!!!

We invite you to take part in our next Downtown Modernism Show of Sunday, April 30th, 2017:
Los Angeles's best marketplace for vintage modern design.
Market Hours are from 8AM-2PM
Admission is $8
2901 Saco St.
Los Angeles, CA 90058

Friday, April 14, 2017

A THOUSAND BREATHING FORMS: sonoris box set 2 covers are printed!!!!

a shot of the box set and some of the inner sleeves...

available soon.

Monday, April 10, 2017

the new music conflagration - discover this! 5 pieces - free listenings!

Saturday, April 08, 2017

a new mix tape for

recent mix tape for skyapnea....

Friday, April 07, 2017

sonoris box set 2, A THOUSAND BREATHING FORMS coming soon!!!!!!!!

the cover of the upcoming 6 CD box set from sonoris!

Steve Roden - A thousand breathing forms (6xCD boxset)

Tracklisting :
1. stars of ice (2008, cdr, new plastic music)
2-9. stills for guru dutt (2004, unreleased)
1-4. in flows and spuns (2004, released as a 100 copies lp by en/of)
5. 22 letters and the resonance of a three pointed star (2006, compilation track)
one hour as the bumps of surfaces (2003, radio broadcast, unreleased)
1. calmem (2008, unreleased)
2. for you the sunrise (2008, unreleased)
3. banjoharmonium (2006, unreleased)
1. a christmas play for joseph cornell (2007, cdr, new plastic music)
2. thomas sat down and looked at the sea (2004, compilation track)
3. vester fields (2007, cdr, volume projects)
1. winter is herd or heard (2007, unreleased)
2. to these 4 horizons (2008, unreleased)
3-5. sleep/walk/drive (2003, unreleased)
6. aucla irde lalu ne (2008, compilation track)

+ the 3" CD "A slow moving boat" included in each box.

Available late april 2017.
Pre-order open (15% off the price once released)
Offer will end on april 13th.
(shipping included everywhere)

discovery link: 2008 the ambient tradition

Monday, March 27, 2017

discovery link: to a roden work related to hans richter

3 sound videos, related to richter's dada film

Tuesday, March 21, 2017

thanks to my friend richard chartier, i now have a bandcamp page and shop!!!!!


there will be updates as i get much of my discography onto the site, along with a lot of unreleased works, etc. offering objects, catalogs, cds, vinyl and downloads.
so keep peeping in...

Saturday, March 18, 2017

discovery: a link from 2004 "stills for guru dutt"

i'm adding links that i find on the web that i had not seen (or at least from a long while ago)

here's a piece from 2004 from a sound piece related to guru dutt at the tang!

more exciting, is that the tracks for the installation "stills for guru dutt" will be released for the first time - on the sonoris label, on the upcoming second box set of rare limited and/or unreleased sound works.

Wednesday, March 15, 2017

from the LA WEEKLY
On a Tuesday night in January, Dragon's Eye Recordings artist Geneva Skeen saturates the Chinatown echo chamber known as Human Resources with a set of ambient sounds, as attendees — most with their eyes shut, lying limp on floor mats or back-to-back with one another — engage in a kind of communication that transcends verbal form. Her music, though unique, is representative of the independent, L.A.-based imprint's focal points, which include sound art, minimalist field recordings, and situational pieces that function as scores for choreography or visual art. It's not the kind of stuff you hear at traditional music venues — and it's definitely not for everyone.“It’s really not my kind of music,” says Paul Novak, who founded Dragon's Eye in Madison, Wisconsin, in 1989 and whose son, Yann, now runs the label. “At some point Yann was getting an interest in music, but it was quite a different interest than mine, I should say. Mine is sort of blues and international and Greek and rock & roll. Not computer-based.”
Dragon's Eye began when Paul, formerly a bread baker by trade, founded Only Connect … Publications as means of releasing his book of bread recipes, A Baker’s Dozen of Daily Breads & More. An avid vinyl collector, Paul dreamed of a score to accompany the project — a medley composed specifically as bread-kneading music. He sought an 8½-minute piece that matched the instructed kneading process with its tempo: beginning at a medium rate, slowing down in the middle, quickening at the end. For this task, he commissioned an acquaintance, acclaimed new age pianist George Winston. Winston's lively medley, “Bread Baker’s Stomp,” was pressed as a Soundsheet (a kind of flexi-disc) and included in the book as a tearout. “Because my dad was a big record-collecting nerd, he couldn’t release a record without having a catalog number,” Yann explains. “So he created Dragon’s Eye Recordings as the record label for this one release.”
A longtime friend, John Ribble, painted the book’s front and back covers. According to Paul, Winston would buy copies of the book at cost and sell them at his performances, with proceeds going to food banks.
Winston's lively medley, “Bread Baker’s Stomp,” was pressed as a Soundsheet (a kind of flexi-disc) and included in the book as a tearout. “Because my dad was a big record-collecting nerd, he couldn’t release a record without having a catalog number,” Yann explains. “So he created Dragon’s Eye Recordings as the record label for this one release.”
A longtime friend, John Ribble, painted the book’s front and back covers. According to Paul, Winston would buy copies of the book at cost and sell them at his performances, with proceeds going to food banks.Paul printed two editions of the book, both of which sold out. For years, nothing else came of Only Connect or Dragon’s Eye. But after moving to Seattle and developing his own distinct interest in music and sound art, Yann saw an opportunity to revive the label. He relaunched Dragon’s Eye in 2005 and moved both himself and imprint to L.A.’s Arts District three years later.
Dragon’s Eye’s second wave of releases strayed from the style of its foundational Soundsheet. The imprint has housed releases from relatively unknown acts such as Celer, which features subdued analog synth improvisation from duo Danielle Baquet-Long and Will Long, and Swedish composer and sound artist Tobias Hellkvist, whose 2015 release with Dragon’s Eye, Pause, consists of a 25-minute swelling drone. Despite its title, the minimalist hymn sounds as if it could stretch on indefinitely.
Still, these artists keep the core intention that Paul solidified with Winston’s medley in mind: to release music that induces an action or performance in and of itself. “Bread Baker’s Stomp” was composed as means for engagement. This remains a prerequisite for Dragon’s Eye artists — as is the case with Skeen, who released her debut, Dark Speech, with the label in September. Her work fuses years of piano training with self-taught experience on the flute, in addition to vocal looping and manipulation through Ableton software.“I think that’s the conversation developing around ‘sound art’ or ‘experimental music,’” Skeen says. “All of that work is invested in building a relationship between the sound or the music and the listener. Ways of building relationships other than talking or seeing.”
Dragon’s Eye functions as a platform for building relationships among its artists, too. In February, Yann — now based out of the Brewery, an artists' colony just east of downtown — held a solo audiovisual exhibition back at Human Resources. After its eight-day run, Skeen participated in a set of closing performances that engaged with the installation.The friendship and ongoing collaboration between Yann and Skeen is emblematic of how Dragon's Eye distinguishes itself from the standard label structure in its interactions with artists. While most labels develop artists by releasing their record, booking live dates and the like, Dragon’s Eye focuses specifically on the project at hand.
“This is about having our paths cross for this one project,” Yann says. “Maybe they’ll cross again, maybe they won’t.” But that assessment may be a modest one. Dragon’s Eye — while representing artists from Venice to Tokyo to Highland Park — continues creating collaboration out of friendship, or vice versa, thereby keeping the original intent alive.
“I feel really well-supported by my relationship with Dragon’s Eye and by the way that Yann approached releasing essentially my debut solo record,” Skeen says. “All of the stuff — while it may be this crossing of paths — is still so considerate and structured and supportive.”
In 2014, Yann asked sound artist Steve Roden to manipulate the original “Bread Baker’s Stomp” into a new Dragon’s Eye release. Rather than remixing the medley, Roden physically cut Soundsheets and unconventionally pasted them back together to replay and record the collaged flexi-disc. Flower & Waterdocuments this process. Roden’s written explanation accompanying the release offers an admirable nod to the imprint’s origins.
“My hope was that the messiness of my process might offer some sound pieces that might relate to how a kitchen might look when I might have finished baking bread,” he wrote. “With hands covered in flour, with dough stuck to the counter.”

Sunday, March 12, 2017

COMING SOON.... BANDCAMP  store for rare and new releases - CDs, downloads, catalogs, and other fine objects - physical and virtual!!!!
click here: steve roden bandcamp

Wednesday, February 22, 2017

new video at charlie james gallery

i will be showing a new video at charlie james gallery in downtown LA in chinatown.
very happy with the piece.

CJG-new logo

Jennifer Dalton -  Participation Trophy
February 25 - April 1, 2017
Artist's Reception February 25th, 6-9pm

A Mere Sum of Parts - Organized by Sydney Croskery
Featuring works by Chad Attie, Sadie Barnette, Sarah Conaway, 
Sydney Croskery, Kim Fisher, Erik Frydenborg, Chyrum Lambert, 
Fay Ray, and Steve Roden
February 25 - April 1, 2017
Artists' Reception February 25th, 6-9pm

Friday, January 13, 2017

from twitter

How I got Lou Reed and Steve Roden mixed up is beyond me.

(well it made me pretty happy :-)

Thursday, November 10, 2016


Friday, October 21, 2016

Fear in porcelain kickstarter

dear friends, 
i am part of a kickstarter with choreographer sam kim
i am doing the sound. 

Premiere of Fear in Porcelain, a new dance by Sam Kim that radicalizes the solo, November 9-19 at The Chocolate Factory Theater in NYC.


 here is more info from sam:

Dear Friends and Supporters,
Fear in Porcelain, the new dance I've been developing since 2014, will premiere at The Chocolate Factory Theater, NYC, for a two-week run, November 9-19.  Please come!
I’m asking for your help to pay the exceptional artists who are integral to this work which includes performers Tess Dworman, Amanda Hunt and Katie Dean, sound artist Steve Roden and lighting designer Madeline Best. I am so grateful to all of them for saying YES to the peculiar ride that is my process, and for infusing their work with so much curiosity, sensitivity and commitment. I humbly ask for your help in compensating them for their talent and hard work––all Kickstarter funds will go directly to paying artists fees. We cannot do it without your support!
I am deeply excited for the premiere. And frightened. In equal measure. But it’s good fear—the kind that stabs you lovingly in the heart and lets you know that you are DOING SOMETHING IMPORTANT AND WORTHWHILE.   I’ve been making dances for a long time and I have to say the confluence of this work, these artists and this theater feels momentous.
Please consider making a contribution!  No amount is too small (or too large) and would be deeply appreciated!  No matter what you give, you will play a pivotal part in making Fear in Porcelain happen.
We are so excited to share this work with you!  We hope you are excited, too.  Please help spread the word far and wide by sharing, tweeting, or talking about Fear in Porcelain with any kindred spirits.
I look forward to seeing you at Fear in Porcelain at The Chocolate Factory in November!Tickets are available now and seating is limited!
With love and gratitude, 

Thursday, September 08, 2016

october 2, 2016 – january, 2017
“mas alla del sonido”
group exhibition
muntref-centro de arte contemporaneo, contemporary art centre, buenos aires, argentina
eddie ladoire, steve roden, edgardo rudnitzky, tintin wullia, samson young

Saturday, September 03, 2016

AMN Reviews: Steve Roden – Striations (Spekk)

Striations consists of a single work, “Distance Piece”, music for an outdoor installation mounted at the Sculpture Center in Long Island City, complemented by a looped silent film playing indoors. It is itself part of a body of work Steve Roden calls “Stone´s Throw”, created while processing the passing of his grandmother, herself a sculptor, and a group of unfinished stone carvings she left behind. While the film “Striations” was being shot with colleague Mary Simpson, the sounds of its making were also recorded. In the editing room, Roden decided to separate the sound from the image – traffic, birdsong, tapping stones, bowed cymbal, words exchanged – and processed these happenstance field recordings within the framework of a low, pensive guitar, “whose notes were determined by a score based on the vowel structure of a text, written by Henry Moore (the sculptor), that my grandmother had taped to her studio wall”.
Spindly, deliberate and elongated, a mantis making its tentative way from twig to twig, “Distance Piece” shudders at the will of the slightest breeze. There is an ongoing whimper, like a sad flute or an abandoned boat nudging a dock, longing to be tethered before it drifts away.
A leafy, delicate thing, and we have a particular responsibility toward delicate things.
Stephen Fruitman

Thursday, August 25, 2016

pasadena arts council AxS gold crown awards