3 окт. 2016 г.

Autumn Leaves: Field Recordings and Soundscape Compilation

This is a compilation made to accompany the book of the same name:

Autumn Leaves, edited by CRiSAP co-director Angus Carlyle, seeks to draw together a number of different perspectives on how the environment is made audible through sound. The perspectives contained in the book are made manifest through more traditional textual analyses, interviews, image-based works (both photography and graphic illustration) and ‘artist’s pages’ (which combine different registers of information).

Among the articles included in the book are a superb deconstruction of the concept of soundscape by anthropologist Tim Ingold; an intriguing analysis of sound from an acoustic point-of-view (or point-of-audition) by Bill Davies; Steve Goodman’s dynamic opening up of city sound to a bass materialism provoked by Greg Lynn’s ‘blob’ architecture; Salome Voegelin’s evocative mapping of sci-fi aesthetics onto the project of acoustic ecology; a wonderful meditation on the heard and the unheard by David Toop; Sylvain Marquis powerfully drawing out the ‘presence’ of Phill Niblock; Rahma Khazam finding new ways of listening through an inspired conceptual conversation between art, architecture and relational aesthetics; and a re-print of Hildegard Westerkamp’s pioneering discussion of soundwalking from 1974.

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9 мая 2016 г.

Valerio Tricoli

[by request]


Valerio Tricoli is an Italian musician and a sound sculptor who creates music from various sounds, working with analogue electronic instruments and tapes. His setup varies, depending on performance space, but the result is always a fascinating mixture of musique concrete and electroacoustics, as captured on his tense and exhaustive album “Miseri Lares”, released by PAN.

Tricoli debuted with the lengthy pieces of Did They? Did I? (Bowindo, 2003) and A.M.A.R.Y.L.L.I.S. (Lalia, 2007).After several collaborations, including Coi Tormenti (2010) with Antoine Chessex and Forma II (2011) with Thomas Ankersmit, the compositions of Miseri Lares (2014) bridged musique concrete and ambient glitch music in a way that somehow evoked radio plays. Painstakingly assembled from a multitude of audio sources, Miseri Lares provides exhilarating and, at times, harrowing experience. In The Eye Of The Cyclone is a terrifying vision of life from the afterlife, like being able to listen to the world from inside a tomb.

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20 апр. 2016 г.

Vincent Caylet

Vincent Caylet, the Frenchman behind Cankun, has moved on from his project Archers By The Sea (La Station Radar, Cabin Floor Esoterica) and found solid homes on two underground music publishing giants, Hands in the Dark and Not Not Fun. Having released his last two albums, Culture of Pink and Only The Sun Is Full Of Gold, on vinyl pressings via Hands in the Dark, his latest was shared on cassette in conjunction with Not Not Fun, where he released his first two behemoths as Cankun, Jaguar Dance and Isalo Waterfall. He’s also landed a split-single on BEKO DSL and an early tape through Constellation Tatsu, done a few shows with Robedoor and High Wolf, and is a full-time dad.

But Caylet ain’t no dad-rock kind of fellah, as his music merges from lush psychedelia to murky-water riffing to contemplative meditation, all swallowed by a coastline that beaches trash in glimmering array.

The Pistil Cosmos


Archers By The Sea


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18 янв. 2016 г.

Artificial Memory Trace

Artificial Memory Trace is a cultural and musical refugee. Intensity and the power of his will is present in all that he does, be it the organic sound realm he creates, or the graphics and handwriting he invented. His musical universe is a precisely structured and perfectly balanced mix of diverse “musique concrete” materials. Frederick Rzewski, his musical mentor, has assisted him over the past 5 years and has been a major influence, as has been John Cage.

Slavek Kwi is sound-artist, composer and researcher whose main interest lies in the phenomena of perception as the fundamental determinant of relations with Reality. He has been fascinated by sound-environments for the last 29 years, focusing on electroacoustic sound-paintings. These complex audio-situations are created mainly from site specific recordings, resulting in subjective reports for radio-broadcast, "cinema for ears" performed on multiple speakers, sound-installations integrated into the environment and performances.
Interested equally in free_music research as part of social investigations and employing the space_time and any objects it contains as instrument. His works oscillates between purely sound_based and multidisciplinary projects.
From the early nineties Slavek has operated under the name Artificial Memory Trace.
He facilitates also experimental sound-workshops with autistic children and those with learning disabilities. The workshop technique places emphasis on extensive listening and the stimulation of creativity through observation and the support of natural tendencies. Slavek Kwi was born in ex-Czechoslovakia, has been living 14 years in Belgium, from October 2000 he is based in Ireland.

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19 дек. 2015 г.

Yellow Swans

[by request]

Yellow Swans (Often prefaced with a changing "D" word; changing to reflect the constantly evolving nature of the music, dialogue between the music and those hearing it and naming it.)
Improvisational music, primarily using electronic instruments and processing, with respect to the methodology of international underground musics and DIY culture. Musically comparable to a distillation of American hardcore, Free improvisation, Dub, Hip Hop, Noise, Industrial, and Modern Composition. Interested in full spectrum tonality, sonic exploration, the opening of new doors of perception, spiritual journey, and the establishment of new, meaningful shared cultural experience in the tradition of folk and native musics from around the globe. Interested in full spectrum tonality, sonic exploration, and free form musical construction. 
Yellow Swans play a constantly evolving mass of psychedelic noise that is both physically arresting and psychically liberating. Their music is powerful rendering of free rock, black electronics, and white light vibrations. Consisting of Pete Swanson (vocals, drum machine, and electronics) and Gabriel Mindel Saloman (guitars, feedback, electronics), Yellow Swans create a dense ocean of sound using various analog and digital machines, all locked in a spiraling web of feedback.

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12 дек. 2015 г.

Antlers Mulm

With this project Hans Johm as the only member of Antlers Mulm dips into musical surrealism and strict disciplined electronica of constantly surprising ambiances leaning to several proposals. Most tracks have an atmospheric electronic sound with clear keyboard melodies, subtle samples and sparse speech vocals, often slightly distorted. Percussion does not play a dominant factor, though there is some ritual, almost martial percussion here and there. In general the music is not particularly dark, there are no deep basses or cliche rumbling machineries.The music of Antlers Mulm contains many nostalgic references to older electronic music, without becoming a pure retro act.
The music does not sound very complicated at first. Nevertheless there is a lot of tension in the music and often an otherworldly and melancholic feeling. Pioneers like Kraftwerk come to mind, as well as underground minimal electro from the early 80’s, but there are also clear connections to dark ambient / industrial circles. Despite experimentation, the melodic soundscapes are quite accessible, even meditative at times.

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28 нояб. 2015 г.

Kenji Siratori

Born March 13, 1975, in Chitose, Hokkaidō, Japan, Kenji Siratori is a cyberpunk author and Internet self-promoter. He first gained attention in 2006 by writing to as many industrial, ambient, EBM and goth bands he could find, including "reviews" of them in his idiosyncratic style, and asking to collaborate. His scattergun approach proved successful, despite his reviews of non-sequitirs and nonsensical cyberspeak being interchangeable, and a slew of collaborations from flattered musicians were soon foisted upon the world.

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24 нояб. 2015 г.

Hush Arbors

Hush Arbors, whose real name is Keith Wood, is an American folk musician. His music sees traditional folk merged with elements of drone and psychedelic music, in the vein of other modern folk acts such as Six Organs of Admittance. Along with releasing solo material, he is also a regular member of Six Organs of Admittance, Wooden Wand, Sunburned Hand of the Man, Zodiacs, Golden Oaks, and Totem. He has also toured with other folk musicians including James Blackshaw, Espers, and Voice of the Seven Woods.

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23 нояб. 2015 г.

Satanismo Calibro 9

Satanismo Calibro 9 started its activity during fall/winter 2005/2006 as solo project of Doktor Pery.

After several changes
, the line up is now complete [2010]:

Doktor Pery, Gnosis (Mystical Fullmoon), Colonnello (Frangar, Tombers, Dead), + Ciano (Automageddon, UK).

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20 нояб. 2015 г.

Archon Satani

A dark ritual project, playing eerie and haunting industrial ambient music with a satanic background, obsessive percussions and frightening demonic voices. The original line-up consisted of Tomas Pettersson and Mikael Stravöstrand. They worked together from 1990 to 1993, then the former went on to form Ordo Equilibrio, while the latter continued under the name Archon Satani, as well as with his other project Inanna.

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19 нояб. 2015 г.

Simon Whetham

For almost a decade Simon Whetham has developed a practice of working with sound recordings as a raw material for composition and performance. These are often environmental sounds he has captured employing a variety of methods and techniques, in order to obtain discreet or obscured sonic phenomena. More recently, when presenting work in a performance or installation, for him the space and the objects within become instruments to be played.

Simon has a large number of works published through many specialist organisations, including Helen Scarsdale Agency, Crónica, Line, Dragon's Eye, Monochrome Vision and Entr'acte; has performed extensively internationally; collaborated with artists from musicians to performance artists, painters to video artists, dancers to poets; has run listening and field recording workshops in UK, Estonia, Colombia, Chile, Australia and South Korea; and received a large number of commissions and awards for projects and installations – notably for his own project 'Active Crossover'.

Supported Arts Council England and PRS for Music Foundation, the project combines sound installation, performance, collaboration and workshops. 'Active Crossover' toured six cities in the UK and has been hosted in Estonia, Argentina, Chile, Colombia, Australia, Germany and Norway.
Most recently the project ran as a two-month collaborative residency, supported by Arts Council England and the British Council, hosted by MoKS in Estonia, with participating artists from UK, Estonia, Latvia, Korea, Australia, USA, Austria, Finland, Norway and Chile.

As a further development of Simon's practice, he gives workshops sessions for groups of children and young people. This began with the participation in the arts education project RED Artes Visuales de Medellín in Colombia, where he ran workshop sessions for 7 groups of children aged between 8 and 18 years old, each week for 10 weeks, exploring listening exercises, recording techniques, microphone construction, public interventions and instrument and kinetic sculpture building. This has led to workshop sessions with children in Norway, Australia and South Korea and with unaccompanied minors in a refugee camp in Munich, Germany.


Simon Whetham has been capturing and composing almost primarily with field recordings since taking part in a research trip to Iceland in 2005.


This residency has resulted in ‘Active Crossover’, a touring sound exhibition project that toured through 2011 in four exhibition spaces across the UK, with associated live performance events featuring artists such as Colin Potter, Philip Jeck, Mark Fell and Scanner.

Events and projects in 2011 also included live performance at the Moers Festival, Germany; a further collaboration with Hugo Olim at Observatori Festival in Valencia, Spain; a site-specific performance at McNeill Street Pumping Station New Music Festival, Shreveport, Louisiana, USA; and running field recording workshops at both the Universidad Nacional de Colombia, Bogota, Colombia and Madeiradig 2011 festival.

Throughout 2012 Simon is traveling the globe, participating in residencies, performing, recording and collaborating with other musicians and artists in each country he visits, and continuing to run Active Crossover as a residency and performance project.

See also compilations with Simon's participation:

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17 нояб. 2015 г.

Arc Box

The series began as an abstraction. Utech Records and Max Aguilera-Hellweg had previously worked together on Half Makeshift Aphotic Leech in the fall of 2006. Over the dark Wisconsin winter of 2007 the label began to sketch out a brazen idea and a means for its realization. That idea was to produce a series of releases that would marry photography and sound in such a way as to tether a varied spectrum of music with a single visual concept. Max was invited to participate and graciously accepted. The Arc Series would come to represent an alliance/arc borne among artists of disparate fields of study (music, photography, graphic design, lithography, woodworking and screen printing) and comprise the first entry in the label's fine art catalog provoking incursion into further long-term collaborations. Each of the disks was hand assembled in an exclusive package and released in editions of five hundred copies. Nine volumes were issued from April to December 2007.
As the series was met with much acclaim Utech Records has decided to produce a box set to celebrate its conclusion. The Arc box will be the most involved project the label has undertaken. The box will only be for sale through the Utech Records website. Each set contains all nine releases housed in a wood box hand crafted by Roger Utech and screen printed by Alan Sherry. Also included is a giclee print highlighting a photo from Max Aguilera-Hellweg's personal collection. The photo, Maricopa, was selected by Max and described as follows "Soup ladle and Pyrex measuring cup, autopsy, Maricopa County medical examiner, Phoenix, Arizona. The photograph is of an autopsy being performed, the medical examiner and his assistant are using a soup ladle and Pyrex measuring cup to remove liquid contents found in the abdominal cavity of the body they are examining".

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16 нояб. 2015 г.

Daphne Oram

Daphne Oram (December 31, 1925 - January 5, 2003), was a pioneering British composer and electronic musician. She was the creator of the "Oramics" technique, a technique used to create electronic sounds.

Educated at Sherborne School For Girls, Oram was, from an early age, taught piano and organ as well as musical composition. In 1943 she was offered a place at the Royal College of Music but instead took up a position as a "music balancer" at the BBC. During this period she became aware of developments in "synthetic" sound and began experimenting with tape recorders. She also spent some time in the 1940s composing music, which remained unperformed, including an orchestal work entitled Still Point. In the 1950s she was promoted to become a music studio manager and began to campaign for the BBC to provide electronic music facilities for composing sounds and music, using electronic music and musique concrète techniques, for use in its programming. In 1957 she was commissioned to compose music for the play Amphitryon 38. Using a sine wave oscillator, an early tape recorder and some self-designed filters, she produced the score from only electronic sources; the first of its kind at the BBC. Along with fellow electronic musician and BBC colleague Desmond Briscoe, she began to receive commissions for many other works including a significant production of Samuel Beckett's All That Fall. As demand grew for these electronic sounds, the BBC gave Oram and Briscoe a budget to establish the BBC Radiophonic Workshop in early 1958. In October of that year, she was sent by the BBC to the "Journées Internationales de Musique Expérimentale" at the Brussels World's Fair (where Edgard Varèse demonstrated his Poème électronique). After hearing some of the work produced by her contemporaries, she decided to resign from the BBC less than one year after the workshop was opened, hoping to develop her techniques further on her own.

In February 1962 she was awarded a grant of £3500 from the Gulbenkian Foundation. These funds supported the development of the Oramics drawn sound technique. A second Gulbenkian grant of £1000, awarded in 1965, enabled the Oramics composition machine to be completed. The first drawn sound compositions using the machine had been recorded by 1968.

Throughout her career she lectured on electronic music and studio techniques. In 1971 she wrote An Individual Note of Music, Sound and Electronics which investigated electronic music in a philosophical manner. Besides being a musical innovator her other significant achievements include being the first woman to direct an electronic music studio, the first woman to set up a personal studio and the first woman to design and construct an electronic musical instrument.

In the 1990s she suffered two strokes and was forced to stop working, later moving to a nursing home. She died in 2003, aged 77. After her death a large archive relating to her life's work was passed to the composer Hugh Davies. When Davies died in 2005 this material passed to Sonic Arts Network. Daphne Oram's family have now agreed that the archive will reside at the Music Department of Goldsmiths College in London where it will be made open for public access and ongoing research from February 2008 onward.

In 2007, a compilation of her post-BBC music, entitled Oramics, was released.
In 1959 she installed her Oramics Studios for Electronic Composition in Tower Folly, a converted oast house at Fairseat, near Wrotham, Kent. Her output from the studio, mostly commercial, covered a far wider range than the Radiophonic Workshop, providing background music for not only radio and television but also theatre and short commercial films. She was also commissioned to provide sounds for installations and exhibitions. Other work from this studio included electronic sounds for Jack Clayton's 1961 horror film The Innocents, concert works including Four Aspects and collaborations with opera composer Thea Musgrave.

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7 нояб. 2015 г.


Aube was the solo project of Akifumi Nakajima (1959 – September 25, 2013), begun in 1991. Taking a minimalist approach for his recordings, Nakajima used simple source sounds which were fed into his system, then heavily processed into a vast dimensional landscape of sonic textures. Source sounds ranged from the organic sounds of gurgling water, to isolating elements of technology, such as the curious hum of luminous lamps. The result is a mixture of controlled manipulation and beautiful accident. In May 1992, Nakajima started G.R.O.S.S. - his own cassette label dedicated to releasing experimental music, and noise, in addition to his own recordings as Aube. He worked on recordings with artists from Japan, Europe and the United States in various different capacities and designed packaging for many other releases.

Akifumi Nakajima also formed many collaboration projects with other Japanoise artists. They are as follows; Club Skull with Hiroshi Hasegawa of C.C.C.C. & Fumio Kosakai of Incapacitants. SIAN with Shohei Iwasaki of Monde Bruits. Kinkakuji with Maso Yamazaki of Masonna. Ginkakuji with Hiroshi Hasegawa of C.C.C.C.. Gokurakuji' with Maso Yamazaki of Masonna & Hiroshi Hasegawa of C.C.C.C.. Loop Circuit with Dub Murashita of Dubwise. Hyper Ventilation with Dub Murashita of Dubwise. Meiji Jingu with Kohei Gomi of Pain Jerk. Ise Jingu with Masahiko Ohno of Solmania. Heian Jingu with Toshiji Mikawa of Incapacitants, and Atsuta Jingu with Kohei Gomi of Pain Jerk, Masahiko Ohno of Solmania & Toshiji Mikawa of Incapacitants. Recently he cooperated with the Italian experimental artist Maurizio Bianchi for two projects titled "Junkyo" (Noctovision) and "Mectpyo Saisei" (Para Disc).

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