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


"V"


Archers By The Sea


Cankun





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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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