Slow Sound is a mindful approach to improvisation and composition.
Slow sound can be contemplative or meditative, but at all times thoughtful.
Slow Sound is a celebration of sound as a manifestation of the present moment.
Slow Sound encompasses quiet music in all its guises: lowercase, slow music, reductionism, new silence, EAI (electroacoustic improvisation), onkyo, ambient noise, field recordings, etc.
If there is a choice, Slow Sound is slow rather than fast. Sparse rather than dense. Thin rather than thick. These are ideals rather than absolutes, and exceptions are welcome.
Slow Sound is not an either/or process. We understand that there are times when it is absolutely necessary to “kick out the jams.” But Slow Sound can be a comforting refuge from the cacophony of fast life and loud noise. Slow Sound is not better or worse than any other musical practice, just different.
Slow Sound is robust, disciplined, and meaningful.
Slow Sound is both foreground and background.
Slow Sound encourages openness and transparency, and discourages careerism, competition and elitism.
Slow Sound is intimate and palpable, rather than commercial and impersonal.
Millions of people suffer from various stages of tinnitus; Slow Sound wishes to avoid contributing to this malady. At the end of a Slow Sound concert, we want the audience to leave with their minds ringing, not their ears.
Influences, Inspirations, and Examples: John Cage, Brian Eno, Morton Feldman, Arvo Pärt, Steve Roden, Jeffrey Roden, Aaron Ximm, John Kannenberg, qqq, Josh Russell, j.frede, Marcos Fernandes, smgsap, Jeremy Drake, Jon Mueller, Thuja, Keith Rowe, Tetuzi Akiyama, Radu Malfatti, Bill Rieflin, Pauline Oliveros, Bernhard Günter, William Basinski, Dan Abrams, Akira Rabelais, R. Murray Schafer, Gordon Hempton, etc.