{"product_id":"steve-roden-in-be-tween-noise-every-color-moving-1988-2003-6xcd-boxset","title":"STEVE RODEN \/ IN BE TWEEN NOISE - Every Color Moving (1988-2003) 6xCD BOXSET","description":"\u003cp\u003e\u003cem\u003eEvery Color Moving (1988–2003)\u003c\/em\u003e is an extended encounter with the formative years of \u003cstrong\u003eSteve Roden\u003c\/strong\u003e, tracing how a former Los Angeles punk singer slowly tuned his practice down to a whisper and, in the process, helped define an entire strain of quietly obsessive sound work. Spanning six discs and around seven hours of audio, the collection covers the first 15 years of his musical activity. The first four discs gather impossible‑to‑find small editions and previously unreleased works; the final two compile tracks made for compilations over the same period. Taken together, they map Roden’s movement from raw early experiments toward the fragile, detail‑rich “lowercase” aesthetic that would become so widely imitated and yet remain unmistakably his.\u003c\/p\u003e\n\u003cdiv class=\"flex flex-col gap-md @3xl:gap-lg w-full pt-md @3xl:pt-lg\"\u003e\n\u003cdiv class=\"w-full\"\u003e\n\u003cdiv class=\"w-full flex flex-col\"\u003e\n\u003cdiv id=\"radix-_r_19_-content-default\" class=\"focus:outline-none\" role=\"tabpanel\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex flex-col gap-y-md @3xl:gap-y-lg\"\u003e\n\u003cdiv class=\"gap-y-sm flex flex-col\"\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"relative font-sans text-base text-foreground selection:bg-super\/50 selection:text-foreground dark:selection:bg-super\/10 dark:selection:text-super\"\u003e\n\u003cdiv class=\"min-w-0 break-words [word-break:break-word]\"\u003e\n\u003cdiv id=\"markdown-content-283\" class=\"gap-y-md after:clear-both after:block after:content-['']\" dir=\"auto\"\u003e\n\u003cdiv class=\"has-inline-images my-2 first:mt-0 [\u0026amp;:has([data-inline-type=image])+\u0026amp;:has([data-inline-type=image])_[data-inline-type=image]]:hidden [\u0026amp;:has(table)_[data-inline-type=image]]:hidden\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"prose dark:prose-invert inline leading-relaxed break-words min-w-0 [word-break:break-word] prose-strong:font-bold [\u0026amp;_\u0026gt;*:first-child]:mt-0 [\u0026amp;_\u0026gt;*:last-child]:mb-0\"\u003e\n\u003cp class=\"my-2 [\u0026amp;+p]:mt-4 [\u0026amp;_strong:has(+br)]:inline-block [\u0026amp;_strong:has(+br)]:pb-2\"\u003eThe set is accompanied by a 32‑page booklet featuring an essay and extensive track notes written by Roden himself, offering insight into the sources, processes and circumstances behind these recordings. That context matters, because Roden’s sound practice was always entwined with his life and with his work in other media. Born in Los Angeles in 1964, he was an artist in the broadest sense: painting, drawing, sculpture, film and video, sound installation and performance formed a single, interwoven field. His earliest musical experience was as the singer of Seditionaries, a punk band active in the Los Angeles scene from 1978 to 1982, sharing stages with groups that would later become canonical. Those years of volume and abrasion left their mark, but his trajectory would bend sharply in another direction.\u003c\/p\u003e\n\u003cp class=\"my-2 [\u0026amp;+p]:mt-4 [\u0026amp;_strong:has(+br)]:inline-block [\u0026amp;_strong:has(+br)]:pb-2\"\u003eIn the midst of an emotional crisis at 18, Roden’s work shifted from loud to quiet. The discovery of \u003cstrong\u003eBrian Eno\u003c\/strong\u003e’s Obscure label opened a door onto music that could be experimental without bombast, conceptual without sacrificing feeling. In the early 1990s, encountering the \u003cem\u003eBroken Music\u003c\/em\u003e catalogue - an encyclopedic survey of records made by visual artists - gave him a framework for understanding how sound and visual practice might feed one another. From that point on, his output can be heard as a continuous dialogue between these fields, each recording a kind of drawing in time, each painting or sculpture an analogue to his “possible landscapes” in sound.\u003c\/p\u003e\n\u003cp class=\"my-2 [\u0026amp;+p]:mt-4 [\u0026amp;_strong:has(+br)]:inline-block [\u0026amp;_strong:has(+br)]:pb-2\"\u003eRoden’s first release under the name \u003cem\u003ein be tween noise\u003c\/em\u003e arrived in 1990 as a self‑released cassette titled \u003cem\u003ethe secret of happiness\u003c\/em\u003e. It set the tone for much of what followed: modest means, focused listening, a refusal to separate concept from intuition. Over the next decade and a half he would issue 45 solo recordings across various labels, alongside numerous collaborations and compilation appearances. By the late 1990s he had gradually shifted from the \u003cem\u003ein be tween noise\u003c\/em\u003e moniker to using his own name, signalling the consolidation of a voice that no longer needed an alias. \u003cem\u003eEvery Color Moving\u003c\/em\u003e moves through this period in detail, letting listeners hear how ideas seeded on tiny runs of cassettes and CDs gradually crystallised into a coherent language.\u003c\/p\u003e\n\u003cp class=\"my-2 [\u0026amp;+p]:mt-4 [\u0026amp;_strong:has(+br)]:inline-block [\u0026amp;_strong:has(+br)]:pb-2\"\u003eA hallmark of Roden’s sound work is the use of singular sources: a set of objects, an architectural space, a handful of field recordings, a text. Rather than stacking myriad elements, he would take one thing and subject it to a series of humble electronic processes - looping, filtering, slowing, layering subtle transformations over time. In doing so, he abstracted the source just enough to open it up, creating new audio spaces that hover between recognition and erasure. He often described these as “possible landscapes”: environments you could mentally inhabit, built from the smallest of gestures. Throughout \u003cem\u003eEvery Color Moving\u003c\/em\u003e, you can hear that approach being discovered and refined, as noisy edges gradually soften and attention shifts inward, toward minute changes in texture, timbre and resonance.\u003c\/p\u003e\n\u003cp class=\"my-2 [\u0026amp;+p]:mt-4 [\u0026amp;_strong:has(+br)]:inline-block [\u0026amp;_strong:has(+br)]:pb-2\"\u003eIn 2000, Roden introduced the term “lowercase” to describe a music that “bears a certain sense of quiet and humility.” It was never meant as a genre label, but rather as a position: a commitment to small sounds, to restraint, to listening as an active, almost devotional practice. The works collected here document the emergence of that stance from a background of post‑punk restlessness and art‑school curiosity. Early pieces may be more overtly experimental or rough‑hewn; later ones are distilled to near‑silence, yet carry an intensity that comes from the listener being drawn into their micro‑events. Across all six discs, what stands out is Roden’s mix of conceptual rigour, willingness to experiment and deep musicality. \u003cem\u003eEvery Color Moving\u003c\/em\u003e is not just an archive; it is a long, quietly luminous portrait of an artist teaching himself how to transform the smallest sounds into entire worlds.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Sonoris","offers":[{"title":"Default Title","offer_id":53281133691147,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0529\/3899\/7932\/files\/stevenrodeninbetweennoise.jpg?v=1785497567","url":"https:\/\/bisaufsmesser.com\/products\/steve-roden-in-be-tween-noise-every-color-moving-1988-2003-6xcd-boxset","provider":"Bis Aufs Messer Records","version":"1.0","type":"link"}