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An album of Tibetan bell music made by white folk in 1972 might conjure up images of hippy trail beatniks down a Kathmandu back alley attempting to jam celestial monk music. And, you'd not be far off—a lot of this recording is calming and other-worldly—but some strands within this seven-track album are also quite jarring. Various websites state that this LP was "the first recording to use Tibetan bells". I don't know if that's true or not or how you could even verify that claim. I do wonder how these artists discovered Tibetan bells back in the early 70s. Unfortunately, the Internet appears to have very little information about any of the musicians who played on this recording. drawn to… Tibetan Bells by Henry Wolff, Nancy Hennings w. Drew Gladstone (1972) close-up This is another drawing in my drawn2music series. I made this drawing blind using an unsharpened HB pencil on a 21x21cm slightly faded piece of 250g/m2 acid free Clairefontaine paper.

A Piece for Tape Recorder is an amazing piece of music. It was recorded in 1956 and it still sounds like a transmission from the future. To make it, Vladimir Ussachevsky used "a gong, a piano, a single stroke on a cymbal, a single note on a kettledrum, the noise of a jet plane, a few chords on an organ" and "four pure tones, produced on an oscillator, a tremolo produced by the stabilized reverberation of a click from a switch on a tape recorder". This if the fifth in my drawn to

I first heard of Oren Ambarchi last year, when I stumbled across the Patience Soup collaboration with Phew and Jim O'Rourke. Somewhat embarrassingly—given how good his music is—I'd never heard his solo work until last week. I dug around his discography and ended up listening to the 16-minute long Palm Sugar Candy track from the Simian Angel LP on repeat. Simian Angel LP by Oren Ambarchi Palm Sugar Candy is so good that I decided to use it as the starting point for the second in my "drawn to