Ambience Chasers: The Lower East Side

Until you make it to the Lower East Side Tenement Museum, at 108 Orchard St. (below Delancey), console yourself with the museum's new CD, Folk Songs for the Five Points, a collection of experimental music capturing the sounds, and the spirit, of one of New York's oldest and most culturally diverse neighborhoods. The album was created from audio fragments caught on location in the Lower East Side and remixed by cross-disciplinary artist David Gunn. Featuring new compositions by Angolan composer and instrument-builder, Victor Gama, the CD combines oral histories, local music, and Alan Lomax-style ambient field recordings -- from the street cries of market sellers in Chinatown to the screech of the subway, from church sermons to buskers on Spring Street -- to create a unique document of my old stomping grounds. Gunn has reinterpreted and transformed these sounds, creating surprising and evocative pieces like a queasy re-imagining of ice cream van music and a deconstructed performance by celebrated Nuyorican poet Tato Laviera.

The CD has its roots in a Digital Artist in Residence Project commissioned by the museum and part of an ongoing series of works by The Folk Songs Project. For The Tenement, as it likes to be called, Gunn and his collaborators in the Folk Songs Project, Alastair Dant and Tom Davis, created an interactive site where users could remix various noises and music to create their own "folk songs." Gunn recorded a wide variety of sounds, based on the suggestions of local residents and chance events as he walked the streets of the Lower East Side. Gama was invited to New York to create a series of compositions inspired by the neighborhood. The results, performed on the "toha" (an instrument conceived and built by the artist), were recorded in one take on a hot evening in an unrestored apartment in the museum's historic tenement building. The album was conceived as a collection of "folk songs" -- field recordings is more like it -- not finished compositions, but snapshots of moments in time. With this in mind, Gunn avoided the rigid aesthetics of modern electronic music, using simple editing and effects processes to retain a sense of immediacy and the unpredictable aspects of the source recordings -- tape glitches, wind noise, and radio interference. The result is a powerful, compelling portrait of a living, breathing community of sounds: not for everybody, but fascinating if you like this sort of thing, and time-capsule ready, should the need arise.