Fuzzzel, the world’s first artist-driven white noise app, has launched today with six exclusive soundscapes from a formidable lineup of independent music visionaries.
Available now in the Apple App Store (https://apps.apple.com/us/app/fuzzzel/id6596783978), Fuzzzel brings a unique artistic perspective to the functional concept of “white noise.”
The initial release of Fuzzzel boasts exclusive pieces from Academy Award-nominated composer Owen Pallett, ambient music icon Eluvium, industrial hip-hop theorists clipping., genre-hopping harp journeywoman Mary Lattimore, mind-bending experimental pianist Kelly Moran and legendary wildlife recordist Chris Watson. Their longform explorations of static, drones, fuzz, wind and spectrum-filling oblivion make Fuzzzel not only a utilitarian sound-making device but a one-of-a-kind creative platform.
Fuzzzel was created by software developer and veteran music journalist Christopher R. Weingarten (New York Times, Rolling Stone), rerouting the demand for white noise into the hands of professionals, sound artists and creatives. Every piece on Fuzzzel is a lengthy, exclusive ambient journey created with the pulse of a human being and the ear of a gifted musician. Each piece — together totaling more than two hours of new music — loops indefinitely alongside a unique video provided by each artist.
Although white noise, brown noise and pink noise are traditionally marketed as tools for self care, Fuzzzel offers no preference or aesthetic suggestions on how you appreciate these works. All of them are equally appropriate for background noise, sleep aid, meditation, concentration, home atmosphere, deep listening, party accompaniment or your everyday music rotation.
“One of my core beliefs about experimental music is that there’s no ‘correct’ way to listen to it,” says Weingarten. “I’ve intentionally left Fuzzzel abstract. Play these pieces quietly or loudly. Use them for daydreaming or for focusing. Use them as ambient noise or as your favorite jams. These are open spaces for the user’s own wants and needs.”
The musicians on Fuzzzel comprise some of today’s most forward-thinking and acclaimed artists, all blurring lines between independent rock, modern classical composition and avant-garde sound art. Over the course of more than two hours of original sound, their drones run the gamut from the delicate to the thunderous. Mary Lattimore creates a fragile soundworld from harp, Moog and copper handbells, while Eluvium summons wave upon wave of churning analog seastorms. Owen Pallett’s piece recalls the wind-battered plains of a Cormac McCarthy novel, while Kelly Moran’s Prophet synthesizer culls the cosmic woosh of classic kosmische. Clipping.’s piece is constructed of the “outer space” backgrounds of their Hugo-award-nominated 2016 sci-fi concept album Splendor & Misery — each ambience represents a different room inside the interstellar vessel where the album’s story takes place. Chris Watson, whose field recordings can be heard on David Attenborough’s beloved Life series of BBC documentaries, provides a blustery audio snapshot of the Spanish peninsula of Cap de Creus, where you can surround yourself in wind gales and birdsong.
“When I started approaching these artists, many of them would tell me that they had already concocted bespoke white noise solutions for their own lives,” says Weingarten. “I’m psyched to bring these personal pieces to the world, and allow people to connect with them in their own ways.”
Keep your mind open.
[Float over to the subscription box while you’re here.]
[Thanks to Monica at Speakeasy PR.]
