Los Angeles-born and San Francisco-based electro-acoustic and computer composer
Carl Stone (1953), a student of Morton Subotnick and James Tenney,
went through several stages in his musical career, marked by a
fascination with both Western and Far Eastern classical music.
Sukothai (1979) spearheaded what would become his leitmotiv: a tape
manipulation of a Henry Purcell rondo which slowly transforms the original
into an apocalyptic maze of mirrors (hundreds of out-of-synch variations
playing against each other).
His main recordings are:
the 1981 concrete symphony Woo Lae Oak (Wizard, 1983) for the tremolo of a rubbed string and the tone of a blown bottle electronically processed;
the sampling-based eerie soundscapes of Four Pieces (EAM, 1989) based on computer-organized samples of classical music and synthesizer music (Shing Kee);
the evening-length collage Kamiya Bar (1992), documented on Kamiya Bar (New Tone, 1995), based on sounds of Tokyo's city life;
Mom's (New Albion, 1992), an assortment of samples-based musique concrete, ambient droning music and minimalist passages (a reprise of Shing Kee, Chao Nue, Banteay Srey);
the four-movement collage symphony Nyala (Em:t, 1996 - Time, 1996), originally composed for a ballet;
the chaotic electronic poem of Exusiai (Newtone, 1998);
the real-time computer music of Nak Won (Sonore, 2002).
Over-Ring-Under (EMI, 1992) is the soundtrack to a videogame.
Monogatari - Amino Argot (Trigram, 1994) is a long-distance collaboration between Carl Stone and Otomo Yoshihide.
Pict.soul (Cycling '74, 2001) is a long-distance collaboration between Carl Stone and Tetsu Inoue.
Other significant compositions include
She Gol Jib (1991) for Japanese flute and electronics,
Rezukuja (1991) for percussion and electronics,
Recurring Cosmos for video and electronics.
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