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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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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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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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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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24 июл. 2015 г.

François Bayle


French composer (27 April 1932, Tamatave, Madagascar). Studied in Bordeaux (1946-1954), at the Paris Conservatoire, with Olivier Messiaen (1958-1959) and at the Darmstadt summer courses (1960-1962) with Karlheinz Stockhausen, among others. Joined the Service de la recherche de l'Office de la radio-télévision française (ORTF) in 1960, recently established by Pierre Schaeffer.

In 1966 Schaeffer put Bayle in charge of the Groupe de recherches musicales (GRM). From then on he remained active as a composer, an administrator and a music theorist. During these years he organized concerts, radio broadcasts, seminars and events celebrating individual composers, supported technological developments (Syter, GRM Tools, Midi Formers, Acousmographe) and was behind major innovations, such as the Acousmonium (an orchestra of loudspeakers) and the INA-GRM recordings label. He also founded in 1992 the Acousmathèque with a repertory of 2000 works composed after 1948.

After leaving GRM in 1997, he founded his own audio-numerical and multiphonic studio, the Studio Magison, where he has devoted himself to research, writing and composition.



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21 июл. 2015 г.

Scanner



Scanner - British artist Robin Rimbaud traverses the experimental terrain between sound, space, image and form, creating absorbing, multi-layered sound pieces that twist technology in unconventional ways. From his early controversial work using found mobile phone conversations, through to his focus on trawling the hidden noise of the modern metropolis as the symbol of the place where hidden meanings and missed contacts emerge, his restless explorations of the experimental terrain have won him international admiration from amongst others, Bjork, Aphex Twin and Stockhausen.

Scanner is committed to working with cutting edge practitioners and has collaborated with artists from every imaginable genre: musicians Bryan Ferry, Radiohead and Laurie Anderson, The Royal Ballet and Merce Cunningham and Random Dance companies, composers Michael Nyman and Luc Ferrari, and artists Mike Kelley, Derek Jarman, Carsten Nicolai and Douglas Gordon. Since 1991 he has been intensely active in sound art, producing concerts, compositions, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music.

In 2004 his Sound Surface work was the first ever Tate Modern sound-art commission and in 2006 he produced Night Haunts for Artangel for 2006-2007, whilst sound-designing a new car horn for the USA. In 2007 he sound-designed new British horror film Reverb, and released Art Pop, with his rock group Githead.He has performed and created works in many of the world’s most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Kunsthalle Vienna, Bolshoi Theatre Moscow, Tate Modern London and the Royal Opera House London. His work has been presented throughout the United States, South America, Asia, Australia and Europe.




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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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13 окт. 2014 г.

Asmus Tietchens



Synthesizer experimentalist and musique concrète producer Asmus Tietchens began recording in the mid-'60s and continued to record three decades after that. Born in 1947 and based in Hamburg, Tietchens listened to German radio as a child and heard pioneering electric transmissions by the likes of Stockhausen and Gottfried Michael Koenig. He began recording his own home experiments in 1965 with crude reverb devices and picked up a MiniMoog several years later. Also influenced by atonal Kraut-rockers like Cluster and Faust, Tietchens met Okko Bekker and began a partnership that lasted for decades (Bekker has produced most of Tietchens' work). After Tangerine Dream's Peter Baumann heard a tape of his work, he produced Tietchens' debut album Nachtstücke, released in 1980 on Sky Records. His four albums for Sky during the early '80s focused on surprisingly accessible electronic pop, though 1984's Formen Letzter Hausmusik (recorded for Nurse with Wound's United Dairies label) began a period of more abstract, concrète recordings that often use tape experiments as well as synthesizers. During the '90s, Tietchens recorded for experimental labels Barooni, Staalplaat and Syrenia, the latter a 1996 collaboration with Vidna Obmana. Since 1990, he has also taught sound at a Hamburg university.






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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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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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5 апр. 2014 г.

Cassetteboy


Cassetteboy is the stage name of two musicians from the UK - Mark Cassette and Steve Boy. Their initial appearance was on the Di and Dodi Do Die 7" Record released on the record label Barry's Bootlegs which is somehow related to the electronic music label Spymania. As well as producing two albums of their own, they have appeared on an album with DJ Rubbish entitled Inside A Whale's Cock Vol 1, which included a spoof of a song by Alanis Morrisette. It also parodies The Streets.

Their musical approach can be traced from the origins of sampling, musique concrète and the modern approach sometimes called plunderphonics. Most pieces are 'painstakingly' constructed from thousands of audio snippets taken from TV, radio, film and popular music. The context of their work is often political, but always maintains a humourous aspect.

***

Originally from Chelmsford in Essex, Cassetteboy consists of two semi-anonymous characters known only to the world as Mike and Simon. The name originates from their use of cassette recorders (now replaced by computers) to cut up voice and music samples.

Mike describes the musical philosophy behind Cassetteboy:

"Basically we record famous people and make it sound like they're talking about sex or drugs. It's a winning formula."

"The Parker Tapes" (7 years in the making) was released in 2002 to widespread acclaim, bringing with it a great deal of recognition. This resulted in gigs at several mainstream festivals, as well as accompanying Squarepusher on the American leg of his tour.





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13 нояб. 2013 г.

The Improvisation Meeting At Bar Aoyama






1     Sachiko M / Tetuzi Akiyama / Taku Sugimoto / Toshimaru Nakamura –     07/07/99     4:20
2     Utah Kawasaki / Tetuzi Akiyama / Taku Sugimoto / Toshimaru Nakamura –     03/03/99     3:11
3     Jason Kahn / Tetuzi Akiyama / Taku Sugimoto / Toshimaru Nakamura –     15/10/98     2:55
4     Masahiko Okura / Sean Meehan / Tetuzi Akiyama / Taku Sugimoto / Toshimaru Nakamura –     05/11/98     6:27
5     Yui Kimijima –     18/03/99     5:33
6     Tetsuya Higashi / Masahiko Okura / Taku Sugimoto / Toshimaru Nakamura –     07/07/99     3:33
7     Jason Kahn / Taku Sugimoto –     15/10/99     7:07
8     Otomo Yoshihide / Tetuzi Akiyama / Taku Sugimoto –     05/05/99     5:39
9     Toshimaru Nakamura –     18/03/99     4:36
10     Tetuzi Akiyama –     18/03/99     4:45
11     Taku Sugimoto –     29/01/99     6:09
12     Kai Wolff / Tetuzi Akiyama –     04/12/99     2:50
13     Sudoh Toshiaki / Masaki Iwasaki / Tetuzi Akiyama –     02/06/99     4:16
14     Jason Kahn / Tetuzi Akiyama / Taku Sugimoto / Toshimaru Nakamura –     15/10/99     7:03
15     Sachiko M / Tetuzi Akiyama / Taku Sugimoto / Toshimaru Nakamura –     07/07/99     4:24





The Improvisation Meeting At Bar Aoyama (1999) - 320 Kbps




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30 июл. 2013 г.

AMPLIFY 2002: Balance



The AMPLIFY 2002: balance box set has been designed and assembled to recreate as much as possible the experience of being in Tokyo in late October 2002 for the week-long whirlwind of music and camaraderie revolving around the 2002 AMPLIFY festival.
The annual series of AMPLIFY festivals began in 2001 in NYC, followed in 2002 by the event documented in this box. AMPLIFY returned to NYC in February 2003, and the next AMPLIFY will be in Cologne and Berlin in May 2004, co-curated by Keith Rowe and Jon Abbey. The festivals are closely tied to the Erstwhile label, and are designed to showcase an ambitious amount of music within a short time period, demanding increased attention and focus from both the musicians and the audience. This box set aims to convey at least part of the intense atmosphere created by AMPLIFY's climate of total immersion.
The AMPLIFY 2002: balance box set contains over seven hours of music on seven CDs, consisting of:
1) Eight of the twelve sets from the festival itself, which took place over three nights at Star Pine's Cafe in Kichijoji, Tokyo, including, among others, the tracks with the participation of Sachiko M.
2) Two CDs compiled from the smaller club shows which took place before and after the festival itself, organized by Toshimaru Nakamura and Taku Sugimoto, including an entire disc by the all-star guitar septet of Keith Rowe, Tetuzi Akiyama, Oren Ambarchi, Nakamura, Otomo Yoshihide, Burkhard Stangl and Sugimoto.
3) A studio recording by the duo of Günter Müller and Toshimaru Nakamura, recorded that same week. This disc has been carefully sequenced and constructed, and is essentially a regular Erstwhile release contained within the larger box.





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29 июл. 2013 г.

Keith Rowe

[by request]



British guitarist Keith Rowe, a member of AMM, is one of the improvisors who has most contributed to the definition of a new vocabulary for the guitar. Or, better, for the "tabletop" guitar, a guitar plugged into the cacophony of the "perfectly ordinary reality" (usually, a barrage of radios and electronic devices). He has played the guitar virtually in every possible manner and with every possible tool, to the point that the guitar has become a mere object that can be used to produce unusual sounds. His body of work, that references abstract painting, Dada, Edgar Varese and John Cage, is the quintessence of "noise" guitar music.

Interview (2001)



In groups:


4g

Keith Rowe, Oren Ambarchi, Christian Fennesz and Toshimaru Nakamura are four of the most prominent and influential musicians in experimental music today, each with extensive discographies and distinctive styles. In mid-2004, they formed the Four Gentlemen of the Guitar (4g), and played a series of shows in Europe and Canada, three of which are contained on the album "Cloud". The underlying concept of 4g is to unite four artists who each began their musical explorations as guitarists, keeping that mindset as a crucial underpinning of their work as they've each explored increasingly abstract territory, both with and without guitars.




AMM

Radical free/spontaneous music ensemble founded in the UK in the mid 1960s. Members have included Lou Gare, Lawrence Sheaff, Keith Rowe (up to 2005), Eddie Prévost, Cornelius Cardew, Christian Wolff, Christopher Hobbs, John Tilbury and possibly others. The group currently performs as a duo of Tilbury and Prévost.




MIMEO

Phil Durrant (GB) violin, electronics
Christian Fennesz (A) computer
Cor Fuhler (NL) electronics, piano, organ
Thomas Lehn (D) analogue synthesizer
Kaffe Matthews (GB) computer
Jerome Noetinger (F) electroacoustique devices
Gert-Jan Prins (NL) electronics, radio, tv, percussion
Peter Rehberg (A) computer
Keith Rowe (GB/F) tableguitar
Marcus Schmickler (D) computer, synthesizer
Rafael Toral (P) guitar, electronics
Markus Wettstein (CH) metal garbage

London / Vienna / Amsterdam / Cologne / Grenoble / Nantes / Zurich / Lisbon




Music Now Ensemble 1969

A great, lost document, Silver Pyramid fills an important gap in the history of British improvised music. Percussionist Eddie Prévost, most consistent member of improv group AMM since its founding in the early 1960s, usually heads towards completely improvised free jazz when he records on his own. Yet, it appears that participation as part of the Music Now Ensemble performance of a series of so-called contemporary classical creations in 1969, encouraged Prévost to "create" his own "composition" in that idiom. That's what this fine disc reproduces.
The quotation marks are deliberate. That's because "Silver Pyramid" is based not on a score, but a text written by Prévost and interpreted by a group that could be termed AMM plus. The almost 74 minutes that result have a similar relationship to AMM as the 1959 large group versions of Thelonious Monk's music related to the pianist's work with his quartet. Not only do the other players amplify the shape of the composition itself, but they also add their particular talents to influence the final product.
It's instructive to recall that 1969 was the height of psychedelia-influenced art rock and anyone hearing "Silver Pyramid" -- or AMM for that matter -- for the first timemay feel as if they're embarking on what was termed a musical trip. Certainly one credo that this sort of pure improv represents -- that the music is there before the band begins and continues after the group finishes -- dovetails nicely into the free-floating psychedelic experience. But the difficulty of identifying each sound source on the disc and the lack of identifiable rhythmic climaxes would probably frustrate spiritual camp followers searching for an ecstatic trance shortcut.
Instead, the album is a multi-leveled offering. Prévost can likely be heard slowly manipulating his cymbals with a violin bow, repeatedly striking a small bell and bouncing small rubber balls on the heads of his snares. Cellist Cornelius Cardew and violinist Lou Gare are conceivably responsible for the string scratching that can be heard, while tabletop guitarist Keith Rowe probably provides the steady electronic humming in the background as well the sound crescendo of consistent feedback mixed with plucked strings.
But the identity of other sounds that range from what appears to be a door being ripped off its hinges and fire engine sirens suddenly erupting are less clear. Who are the unidentified man and woman carrying on a gibberish conversation in one section, for instance? Who supplies the wordless drone in another? Who plays the piping penny whistle which floats in and out of audio range several times and where does the happy calliope sounds appear from -- the instrument itself or a prerecorded tape?
This performance sounds as old as any pioneering examination of electro-acoustics and as contemporary as any 21st century harnessing of electronics. In short, this CD is both a historical document and a fine listening experience



N:Q

The obscurely titled [N:Q] is a superb electro-acoustic recording of a quartet featuring three french musicians and AMM’s Keith Rowe. The single track is an unendingly fascinating and refreshingly sensuous journey of free improvisation, never lacking for ideas and inspiration. Despite the presence of two reed instruments, the general ambience is electronic with drones of varying depths and sonorities predominating. Indeed, while Havard’s alto sax occasionally breaks through with frantic squiggles, Chevalier’s bass clarinet tends to provide a lush companion drone to that generated by Rowe. By maintaining an impressive concentration on one (apparently) slender slice of the sonic spectrum, this quartet is able to unearth a richness and corporeality often lacking in this sometimes arid territory. One is tempted to credit Rowe with the steadying hand here; his playing is at once both extremely assured and democratically deferential to the group. Along with The World Turned Upside Down on Erstwhile, this is one of his finest projects outside of AMM. Fans of that protean group will find much to enjoy on [N:Q], a state-of-the-art document of electro-acoustic improvisation at the turn of the century.



The Scratch Orchestra

Alec Hill, Brian Eno, Bryn Harris, Christopher Hobbs, Cornelius Cardew, Dave Smith, David Jackman, Eddie Prévost, Howard Skempton, Hugh Shrapnel, John Tilbury, John White, Keith Rowe, Lou Gare, Michael Nyman, Michael Parsons, Philip Dadson, Roger Sutherland, Stefan Szcelkun








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