Muted (adjective): To muffle, dampen, or soften the sound of.

Stories (plural noun): Narratives, either true or fictitious. Tales. Shorter and less
elaborate than novels.

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Hello, my name is Dale Lloyd and I'm the founder of and/OAR which (since 2001)  has
been a recording label predominately focused on various forms of environmental
recordings, experimental music (or "sound art”) and electronic music.

For those not familiar with the "various artists" projects I’ve produced for and/OAR in
the past, my aim is to always create cohesive conceptual albums containing high quality
original work rather than compiling label samplers for promotional purposes. The
and/OAR “v/a” projects are intended to stand up artistically on their own, with all of the
pieces contributing to a whole, or collectively making up "one body of work". For
example, in the past I have produced three releases pertaining to film directors and their
films (
Andrei Tarkovsky, Yasujiro Ozu, and Michelangelo Antonioni). Suitably, I do
tend to view each release as if I’m producing a film consisting of segments directed by
different people.

One particular trait of music, sound art and older environmental / documentary
recordings that has long fascinated me is sound quality often lacking crisp high
frequencies and/or “state of the art” sound quality - especially when combined with
unrefined, understated, pastoral, mysterious, and/or oblique compositional elements,
which seem to convey moments or experiences overlooked by most people, which are
nevertheless imbued with deep significance by the composer or recordist.

I suspect the attraction to this kind of audio quality when used in music and audio art is
partially due to a fondness stemming from many years of needing to "make do" with
lower priced tapes, limited kinds of recording gear and make-shift multi-tracking
techniques. Perhaps it’s also an act of defiance against the Capitalism-induced notion of
“you get what you pay for” (i.e. cheap gear leads to less valuable results)? Composer
Steve Reich would surely tell you it’s not a matter of having the right equipment, but
what you and your musical imagination do with what you have that matters. I also feel
part of the attraction stems from being reminded of older experimental film, and even
older documentaries, which could be referred to as "muted cinema". Guy Sherwin and
Derek Jarman (his super 8 films in particular) would be two directors who come to
mind, visually and sonically as in the case of  Sherwin’s “optical sound” films. I can
certainly say that I've intentionally and aesthetically adopted such sound quality (on and
off) with my own recorded work since the early 1990s.

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What I propose is a project of interpretations of the term "muted stories". Even if that
means telling no story at all - simply letting your piece “speak” for itself.

While it's not necessary, I highly encourage tape recorded work if possible (mono or
stereo). For the sake of overall time restrictions of a physical format release, I will ask
that the tracks not be much longer than 5 minutes – or if so, please provide both long
and short versions just in case there is enough time to accommodate the longer version.
The submissions can be older recordings or already finished work, but please only
previously unreleased work for this project since this is not intended to be a standard
“V/A” compilation, as mentioned above. I would also be interested in short essays or
personal thoughts in relation to the concept of this album for inclusion in the liner
notes.

Here is a summary of guidelines:

- Pieces or moods which are illustrative of a moment that could easily be
overlooked by most people, but are deeply significant to you.

- Understated, low-key and/or contemplative moods are encouraged.

- Recordings must be devoid of high frequencies or overly “crisp” high fidelity.
Preferably
no higher than 640 hertz, which is right in the center of the EQ
spectrum. I may make exceptions for tracks containing 640 to 900 hertz.

- Mono-sounding recordings are encouraged, however the pieces do not need to
be mono.

- Recordings made on tape are encouraged but not necessary.

- Submissions can be older recordings or already finished pieces, but please only
previously unreleased work.

- Even though “stories” is part of the concept, talking or singing are not
necessary.

- Track duration should not be much longer than 5 minutes. If so, please provide
both long and short versions of pieces if available. More than one track
submission is welcome. You could even send two tracks that total no longer than
5 minutes in length for possible consideration.

- The deadline for this project has been extended to August 12th, 2018.


This open call is mostly intended for the online "and/camp" counterpart project of the
Muted Stories CD release which is being worked on at the same time. Depending on
how much time is available, it's possible some tracks might get migrated to the CD
release. As usual, artists were initially invited to participate strictly based on what I
know of their previous work being highly compatible with the concept. Plus I've had
conversations with some of them about this project beforehand, and know of their keen
interest in getting involved.

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If you have any questions, please let me know.

Thank you very much for your time and interest.
Dale

and/OAR
www.and-oar.org