@coleblu__ - IGDataHub

Cole Blouin

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@coleblu__ they, he

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𝔪𝔞𝔫𝔥𝔞𝔱𝔱𝔞𝔫

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#nyc #guitar #producer #drone #nycmusic #videoart #songwriter #recordingartist #musicartist #composer

Recent posts

Big news up front regarding my sound installation NREM DREAM FABRIC, premiered last fall at @all.st.nyc , and even bigger news if you watch through the end. What am I doing with the next 3-4 years of my life, you ask? The answer is here. This is the first time I've publicly talked about this project. More to come. //C. __ #composer #soundart #ambient #electronicmusic #electronic #drone #meditation #darkambient #nyc #ridgewood #manhattan #nycmusic #videoart 01 Mar 2024

(ebow romanian spectralism) lyric video excerpt 2 for my single Sudden Red Gentle Green (out now on streaming services). going for brakhage vibes on this one my friends 🙏 __ #singersongwriter #nycmusic #videoart #drone #mathrock #guitar #ethereal #jazzchords 22 Feb 2024

An enchanting evening of music will transpire at Cassette in Ridgewood Queens on 11/17. Thanks @coleblu__ for putting the show together, and to @conchconchconch and @yifeizhoumusic for playing sets as well. Would love to see you at @cassettenyc , tickets in bio. 03 Nov 2026

I ran into my friend Nick on 2nd Ave on Saturday night and he said that I'm clearly pretty serious about working out. I don't feel particularly serious about it, but it is a location with mirrors and therefore it's a place where I'm more likely to document my continued existence. It's mostly something I do for mental health benefits. Anyway, this is a song that is nearing completion. It's like 14 minutes long or so 26 Oct 2026

(no caption) 17 Oct 2026

This is my 48th mix. Here’s what I’ve learned so far. 1. It’s good to have a body of tracks that you like working with, so that you can show up in a state of curiosity and something will happen. It’s improvisation but on a longer timeline than when playing jazz or improvised music. 2. Part of the art seems to be dealing with digital messiness in ways that sound intentional and, for lack of a better word, sexy. Getting out of a Burial track (not consistently in 4/4 and not apparently on a grid) into gridded music meant dealing creatively with the digital mess. 3. The world of underground electronic music has so many unbelievable artists working within it. It’s starting to blow my mind that the musicians I know who haven’t dug into this subculture don’t know about some real geniuses — Objekt’s tracks are some of the most incredible pieces of music I’ve heard. 4. It’s easy to fall into something like highway hypnosis with the waveforms moving across the screen. It’s helpful to close my eyes or look away and focus on the sound, not the interface. 5. Starting from zero experience in a new mode of music-making reminds me of the basics: you have to make the same mistakes over and over and over and you learn to see them from a higher altitude. Tracks that I was afraid of wearing out, like Pearson Sound’s Red Sky, are feeling fresh to me again because I’m finding (slightly) less beginner-ish ways of mixing them. 6. Working in Serato DJ Pro, I experience a constant temptation to layer two tracks at all times. Seeing Four Tet in NYC a few weeks back highlighted the importance of playing just one track at a time, and listening to some Pearson Sound tracks on their own reinforced this: there’s so much detail there already. More stuff happening isn’t necessarily better. Think of the simplicity and elegance of sashimi. 7. The framework of the “daily mix” allows me to treat practicing as low-pressure. I’m just showing up. This is what happened today. This feeds back into the best way to improve at most things, which is to do it regularly and try to do it a little better every time 8. out of characters so this one is reel-only! 🎵 30 Sep 2026

wait for the dry version at the end 🔭 for the heads: at the end of my second to last year in music school I met up with katarina miljkovic to talk about an independent study on spectralism. she said: 'but what about the American spectralists?' and I really latched onto that term. many people I respect reject that term wholesale, but it planted a seed. when I was 24 I would wake up at 5 AM, make coffee, and compose for 3 or 4 or 5 hours straight. the upper harmonics on 'oh baby' and indeed many of the LCD synths do something to the experience of time in the music and situate it in a history that picks up with LMY and the Velvets and carries forward through Suic*de (in Alan Vega's interview with Alan Licht he cites LMY as an influence), Rhys Chatham, Glenn Branca, Sonic Youth... and here I am, working the jagged signifier of the upper-harmonics drone into my own song music, on a cloudy east village afternoon, decades later.. __ #songwriter #producer #nyc #lcdsoundsystem #spectralism 25 Sep 2026

made another daily mix: returning to the practice. I took this project on as a way to deal with my lack of hands-on experience with the rhythmic structures of underground dance music, which I was vaguely interested in dealing with in my songwriterly work. the idea is that I'm going to do 100 of these and then after that I'll get some better gear and think about next steps. today marks my first foray into house, with Kerry Chandler's tracks 'Rain' and 'Atmosphere'. also digging the early dub techno project maurizio/basic channel. some dubstep f*ckery partway through which leads us back into minimal territory. the moments in which I, frankly, failed to stick the landing during that section made me think about whether I wanted to post about this at all, and I decided yes, I am showing the process. anyway, the amount of music history that I'm uncovering is kind of mind-blowing. I'm naming these musicians but I'm only just beginning to learn about this gigantic world. in other news, I have another one of those colds that's going around and my plan is to read about Kant for a while and then sleep for a long time. every day I am posting! __ #dj #producer #recordingartist #musicartist 17 Sep 2026

Being in the work. I have this sort of crackpot theory about multitracking as a form of heterophony, with all the odd implications about temporality, possibility, and progress that heterophony tends to imply. Maybe I'll write about it more fully sometime later. But anyway, yesterday I went to the studio because I wanted to track blossoming and fragmented guitar and electric piano parts as a sort of harmony-driven interlude to a song that is almost entirely about rhythm and timbre. When I was 18 I watched a documentary about the making of the Grateful Dead documentary Anthem Of The Sun (the only Dead studio record I've ever particularly gotten into) and Phil Lesh mentioned a section of a song where they play many fragmented recordings of the Dead playing that song live. Phil Lesh described it as "the blossoming of a thousand-petaled lotus", if I'm remember correctly. Whether it's that or the clear cut between two different vocal takes at the beginning of 'self control', I'm all about using audible, fragmented multitracking as a tool to work poetically with sound. This isn't that section but it's from the same session. What's up, I'm posting regularly, making content for you. How do you record? Does it take forever? Is it fast? Do you like the results you get? Have you ever blossomed like a thousand-petaled lotus? let me know in the comments. __ #producer #songwriter #recordingartist #musicartist 16 Sep 2026

Playing with some palm muting sounds; the short decay creates some cool challenges for phrasing and general left hand stuff. The idea for this chapter of life is that I’m supposed to post every day, so here’s one for today 🤘 __ #guitar #nyc 14 Sep 2026

Update on "da vinci autumn", end of week 1. Describing where I'm at; it gets less and less 'this is a post' and more 'me talking from the heart about my life'. I think a model for this kind of thing was what Mark Z Danielewski did while working on Tom's Crossing (those youtube videos are incredible; he'll spend like an hour describing what it's like editing only the commas on draft 5 of this 1000 page novel). I think that the core tension that has really restrained my practice for the last 3 or 4 or 5 years has to do with the tension that I feel as someone who has made 'high-art music' and reads philosophy and stuff and also makes songs, but without pretentions about making like 'crossover music'. Some people might say 'there is no core tension, do what you want', but.. that has not been my experience. I think that a potential resolution to that tension is to just unapologetically show up with all of my intensity and headiness and complexity and let it filter who will and won't choose to hang, rather than feeling like I need to shrink or contort myself to fit in in some way. Maybe this is normal stuff to think about in one's 30's. I'm gonna stop there. if you listened, I'd love to hear about whether this sparks any thoughts or reflections about your own life/process. 06 Sep 2026

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C3-2eoxgKtm	Big news up front regarding my sound installatio…
C3Tf7OgMy3N	more from the jan 17th set at elsewhere. workin…
C3qfnzfx5x5	(ebow romanian spectralism) lyric video excerpt…

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shortcode	caption	likes	comments
C3-2eoxgKtm	Big news up front regarding my sound installatio…
C3Tf7OgMy3N	more from the jan 17th set at elsewhere. workin…
C3qfnzfx5x5	(ebow romanian spectralism) lyric video excerpt…

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