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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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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 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.

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

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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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26 сент. 2015 г.

Michael Northam


Michael Northam's (a.k.a. mnortham) artistic trajectory has been a gradual process extending from early actionistic performances to current sound actions, field recordings and compositions. Northam explores the avenue of direct electroacoustic improvisation, solo and with a variety of collaborators. His many 'sound actions' have taken place at venues throughout Europe and North America. Since his first CD was released in 1993, he has consistently produced works that give an opportunity for the listeners to challenge and examine themselves-exploring ideas of place on "Stomach of the Sky", qualities of weather on "Coyot", and perceptions of microscopic worlds on "From Within the Solar Cave". Similar such ideas have formed the basis of his installations such as "Entering Molecular Streams' (Observatori festival, Valencia, Spain 2000) and "Circulating Phases" (Klangturm, St. Pölten, Austria 2001).




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25 сент. 2015 г.

Olivia Block



Olivia Block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her recorded work seeks to introduce and ultimately reconcile nature with artifice in the realms of music and sound. In the process, "organic" sound becomes subtly process, digitized, and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are defamiliarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound. Block works with recorded media, chamber ensembles, video, and site specific sound installations.

She has performed throughout Europe, America, and Japan in tours and festivals including Dissonanze, Archipel, Angelica, Outer Ear, and many others. She has completed residencies at Mills College of Music and The Berklee College of Music and has taught master classes at several additional universities.

Block has created sound installations for public sites and exhibition spaces including the Museum of Contemporary Art in Chicago, the library at Wesleyan University in Connecticut, the Lincoln Conservatory Fern Room in Chicago, and at the "Echoes Through the Mountains" exhibit at the 2006 Winter Olympics in Turin, Italy.

Block has published recordings through Sedimental, and/Oar, and Cut.

In the September 2008 she joined the sound department faculty at the School of the Art Institute of Chicago.




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17 июл. 2015 г.

Rutger Zuydervelt



Machinefabriek is the alias of Rutger Zuydervelt. Rutger's music combines elements of ambient, noise, minimalism, drone, field recordings and electro-acoustic experiments. His pieces can be heard as an attempt to create sonic environments for the listener to dwell in. Finding tension in texture, tone and timing, the result can be very minimalistic at first glance, but reveals itself upon closer listening. The devil is in the details.

Rutger was born in 1978 in Apeldoorn (The Netherlands) and now resides in Rotterdam. He started recording as Machinefabriek in 2004. After a series of self released cd-rs, his official debut Marijn was issued in 2006, with great critical acclaim. Since than, a solid stream of music was released on labels such as Type, Important, Home Normal, 12K, Entr'acte, Dekorder, Digitalis, Experimedia and Staalplaat. He performed all over the globe, from Canada to Israel and from Russia to Japan.

Rutger collaborated (on record and/or live) with numerous artists, such as Steinbrüchel, Jaap Blonk, Aaron Martin, Peter Broderick, Frans de Waard, Mats Gustafsson, Steve Roden, Gareth Davis, Stephen Vitiello, Michel Banabila, Dirk Serries and Dead Neanderthals, amongst many others.

He frequently works with film makers, like Makino Takashi, Mike Hoolboom, John Price, Paul Clipson and Chris Teerink, for whom he composed a soundtrack for his documentary about Sol LeWitt. Rutger's music was also used in Edward Burtynsky's documentary Watermark and Josh Fox' Gasland and Gasland Part II.

Besides films, Rutger also composes music for dance pieces, like Alix Eynaudi and Kris Verdonck's EXIT (premiéred at the Haus der Kulturen der Welt, Berlin), Alexander Whitley's The Measures Taken (for the Royal Opera in London) and multilpe pieces by Spanish choreographer Iván Pérez.

Then there's Rutgers installation work, in which the dialogue with the environment plays an important role. He did projects for Stedelijk Museum Amsterdam, NAi (Dutch Architecture Institute), the new Armando Museum MOA, Sounds Like in Saskatoon (Canada), the Into the Great Wide Open Festival and Netwerk in Aalst (Belgium). 






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12 июн. 2015 г.

Michael Prime



Michael Prime presents himself as a sound ecologist, a title that describes his two passions: music and life. Active on the avant-garde music scene since 1985, he gained a solid reputation playing in electronic ensembles like Morphogenesis and Organum. Prime studied ecology and worked in that field for many years, conserving wildlife habitats in South London. This work led to the development of techniques used to translate environmental and organic sound sources into music. He co-founded the live electronic improvisation group Morphogenesis in 1985 with Roger Sutherland, Adam Bohman, Ron Briefel, Clive Hall, and Fred Sansom and released a string of records with them on Streamline, Paradigm, Vintage Electronic Records, and his own label Mycophile. In 1988, he started performing with the group Organum and released with them a 7" for Les Disques du Soleil et de l'Acier in 1989 and a string of CDs in the 1990s. He has collaborated with such avant-garde luminaries as Jim O'Rourke and Eddie Prevost and formed the group Negative Entropy in 1997 with Geert Feytons of Noise-Makers Fifes.

Michael Prime's art is mostly focused on letting the listener hear sounds that surround him but of which he remains unaware. This goes from the choice of environments in which he performs (caves, railroad tunnels, forests) to the type of sound sources he uses. On his 1998 CD Domestic Science he manipulated sounds from household appliances like a refrigerator and a washing machine. But his most influential album is the 2000 release L-Fields on which he ingeniously uses bioelectric recordings of hallucinogenic plants to create haunting electro-acoustic works. He developed a technique allowing him to interact with plants, translating variations in their bioelectrical field into sound produced by an oscillator. He performed live with plants on numerous occasions.




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Sur-terre.net (Soundtrack For Variable Fiction)







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26 июл. 2014 г.

88 Tapes


Keshhhhhh Recordings is based in Cambridge (England) and is run by Simon Scott (you should know him as the ex-drummer from the shoegaze band, Slowdive). I'm not exactly sure what Simon has in mind for the future of his label, but I must say, he's off to a pretty good start. First of all, he's got Taylor Deupree to master the entire compilation in his 12k studio. That alone should give you a pretty good idea about the intent here. And the roster of artists also tends to speak for itself. The eighteen track collection of ambient vignettes and sound explorations all revolve around a central theme. This theme less of a melodic structure, but rather a concept around a particular selection of recordings recorded by Simon Scott on an audio cassette back in 1988. On the liner notes of the release, Scott elaborates: "In 1988 on another rainy Saturday afternoon, whilst looking for sonic inspiration, I decided to take apart and re-assemble my stereo that had a quarter inch input socket as well as a turntable and tape player/recorder. The result was a fantastic malfunctioning, stuttering and glitching piece of equipment that suddenly realized my ideas of creating new sound. I promptly pressed the record button and let rip on my electric guitar and promised myself to write a song from the results one day. In 2008 the tape was rediscovered purely by chance in a house move and the rediscovery of this TDK inspired me to contact a group of artists and composers who I feel are talented and relevant today. There was just a simple single track sent off via email to inspire them to compose a piece of work for this compilation if they had the urge. They did and I am forever grateful to everyone involved in deconstructing the tape track and creating this album." And what a spectacular group of artists it is! The compilation opens up with an sound sparkling interpretation by Yasuhiko Fukuzono as Aus flowing right into a beautiful vocals of Sanae Yamasaki, [aka Moskitoo - see her excellent album, Drape (12k, 2007)]. We then move into noisy guitar feedback and lo-fi acoustic glitch by Mark Templeton (see his numerous releases and appearances on Anticipate Recordings). The 12k roster continues to propagate this selection with contributions by Keiichi Sugimoto as Fourcolor, Sawako, and one of my favorites, Lawrence English. Besides above mentioned aus, a few more artists from the Japanese label, flau, show up later, like Orla Wren and John McCaffrey as Part Timer. Chicago based Kranky Records enters the circle of Scott's friends with a beautiful heavily reverberated breathy piece by Christopher Bissonnette. Further on a release we see his labelmate, Thomas Meluch contribute a track as Benoît Pioulard. We also see an appearance by Akira Kosemura, who previously secured a spot on Airport Symphony - Virtual Terminal, a free deigital companion edition to the Airport Symphony, compiled by the above mentioned prolific Lawrence English and released on Room40 in 2007. A third through the release, Simon Scott finally appears with his own interpretation. A sound artist and a label owner of and/OAR, Dale Lloyd contributes a sonic carpet of luscious frequencies, followed by a ghost-like echoes of gated guitar and vocals by Matt Robson recording as Random Number. Additional appearances include tracks by Greg Davis, Adam Pacione, Ateleia, and Hannu. An excellent roster, don't you think? Meanwhile, Simon Scott prepares for his upcoming solo debut, titled Navigare on none other than Miasmah recordings.



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22 июл. 2014 г.

15 Shades of White



Dronarivm sums up the year 2013 with '15 Shades of White' CD compilation.

15 tracks that are different in atmosphere and sound are united by a common winter mood.

Winter is a favorite season of philosophers and introvert dreamers, a territory of remembrances and quiet reflections, where nonlinear time allows to bring together the disparate fragments of memories and create a multi-layered collage of pieces of the future, present and past.

Neoclassical pianos, hypnotic strings, light strokes and soft undertones leave a quirky musical pattern on the glass of eternity.

Following is the list of the artists involved in the order it will be heard: Anne Chris Bakker, Talvihorros, Kreng, Ben Lukas Boysen, Aaron Martin & Christoph Berg, Sophie Hutchings & Peter Hollo, Jacaszek (Pleq remix), Marsen Jules, Ian Hawgood & The Green Kingdom, Orla Wren, Kaboom Karavan, Marcus Fjellström, Strië, The Frozen Vaults, Olan Mill

+ 2 digital bonus tracks by Tobias Hellkvist and Zvuku.


Compiled by Bartosz Dziadosz (Pleq)
Mastered by Jason Corder (Offthesky)




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20 июл. 2014 г.

Porya Hatami



Porya Hatami (b.1981) is an experimental sound artist based in Sanandaj, Iran. Working in the field of ambient/minimal, his compositions explore the balance between electronics and environmental sounds, utilizing processed acoustic and electronic sources and field recording.

Interview







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12 июн. 2014 г.

Kim Cascone



Kim Cascone has been involved with electronic music for more than 20 years since his studies at Berklee College of Music and at the New School (with Dana McCurdy) during the 1970s. In the 1980s Cascone worked with David Lynch as Assistant Music Editor on both Twin Peaks and Wild at Heart. He left the film industry in 1991 to concentrate on Silent Records, a label that he founded in 1986, transforming it into the U.S.'s premier electronic music label. He sold Silent Records in 1996, at the height of its success, in order to pursue a career as a sound designer. He has worked for Thomas Dolby's company Headspace as a sound designer and composer and for Staccato Systems where he oversaw the design of new sounds for games using algorithmic synthesis.

Since 1980, Kim has released more than 15 albums of electronic music and has collaborated with Keith Rowe, Peter Rehberg, Oval, Scanner, Carsten Nicolai, Doug Aitken, and David Toop among others. He has performed at festivals in North America and Europe (Lovebytes, Micro 2 Mutek, Transmissions, Observatori) and has lectured on Post-Digital Music internationally. His articles have appeared in Computer Music Journal (MIT Press), Artbyte, Mediamatic and Parachute.






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