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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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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.

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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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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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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 июн. 2015 г.

Women Take Back The Noise


Women Take Back the Noise is a massive three CD compilation featuring 53 tracks from 47 female musicians, sound artists and noisemakers. Curated by Ninah Pixie, this project was three years in the making. Noise has traditionally been viewed as a rather male-dominated genre – although in this regard one could say that it merely mirrors the music business, or indeed society as a whole – and this compilation attempts to give voice to those women making making music/art in this area. Most of the names here are unfamiliar, although there are a few better-known artists such as TG’s Cosey Fanni Tutti and Blevin Blectum included, alongside newer up-and-coming acts such as Experiment Haywire.
The discs have been carefully sequenced and compiled to provide a cohesive listening experience, and are themed into three volumes: Orgonauta, Scheherazade and Vociferous. The first disc is fairly dreamy and ambient, and the music gets increasingly noisy and intense as you work your way through to disc three. The closest thing I’ve heard to this previously would be Virgin’s Ambient 4: Isolationism compilation from the ’90s.
Highlights include ‘Wired’ By Cosey Fanni Tutti, which features thick droning feedback guitar over lugubrious beats; the eerie, 3D occult noise loops of ‘Current’s by Choronzon; and the turgid, menacing atmosphere of ‘Lucid Interval’ by Wisteriax.
Special mention must also be made of the packaging. Instead of a standard booklet, the liner notes are presented on a couple of dozen postcards, with photos and weblinks for every artist. The three CDs, postcards and stickers come in a hand-assembled plastic sleeve with special circuit-bent noisemaker included – now if that isn’t inviting you to take the noise into your own hands, I don’t know what is…



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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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25 июл. 2014 г.

Fug Gum



All new compilation of headscratch featuring tracks by Tom Recchion, Andrew Coltrane, Crank Sturgeon, Glands Of External Secretion, Graham Lambkin & David Payne, I'dm Thfft Able, Dog Lady, Loachfillet, The Tenses, Phil Minton & Dylan Nyoukis, F Ampism, Kuupuu with Bamse, Tomutonttu, Glyphs, Smack Music 7, Pod Blotz, Steve Kenney, Preggy Peggy and Reijo Pami. 76 minutes to tar and feather the inside of your cranium. Comes with insert of listening notes by Seymour Glass to help optimise your 'Fug Gum' experience.




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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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21 авг. 2013 г.

Kevin Drumm



Kevin Drumm is an experimental musician based in Chicago, USA. Emerging from the city's improvised music scene, in the 1990s he became one the world's pre-eminent prepared guitar players.
Drumm's work expanded to include electroacoustic compositions and live electronic music made with laptop computers and analog modular synthesizers. He has collaborated with many artists working in similar fields, including Japanese guitarist Taku Sugimoto, multi-instrumentalist and producer Jim O'Rourke, and many European improvisers such as Swedish saxophonist Mats Gustafsson and German trumpeter Axel Dörner. He has also worked with the artist group Simparch, composing a piece for their installation Spec, shown at Documenta XI in Kassel, Germany and at the Renaissance Society in Chicago. Drumm has also worked with saxophonist Ken Vandermark's Territory Band, which brings together American and Eurpoean players who work in both jazz and free improvisation.
Drumm's work draws upon musique concrete, electronic sound, improvisation, heavy metal, and noise music, and has proved difficult to categorize. His solo and collaborative work ranges from challenging improvisations, ambient textures, and blistering walls of sound. Musical influences include Iron Maiden, Ralf Wehowsky, and The New Blockaders.
Avant-garde tabletop guitarist Kevin Drumm was born and raised in 1970 in South Holland, IL, playing in a handful of rock bands before relocating to Chicago in 1991 to work at the city's Board of Trade. He soon began his experiments with prepared guitar, applying objects including magnets, binder clips, chains, a violin bow and even toenail clippers to distort the instrument's sound; in time Drumm befriended a number of members of Chicago's growing improv community, including Jim O'Rourke (with whom he served in Brise-Glace, additionally contributing to Gastr del Sol's Upgrade and Afterlife album and Ken Vandermark. In late 1997 Drumm made his solo debut with a self-titled (Perdition Plastics) and has released superb duo records with Taku Sugimoto (Sonoris), Axel Dörner, Martin Tètreault (both Erstwhile) and Ralf Wehowsky (Selektion).
His chameleon-like presence has been documented on a number of projects, each revealing new facets of his wide-ranging and unique talents on both guitar and electronics. Drumm seamlessly melds the worlds of acoustic and electronic sound, occasionally teetering on the edge of silence, yet always remaining impeccably musical.
Kevin Drumm has recorded and performed with Phill Niblock, Tony Conrad, MIMEO, John Butcher, Thomas Ankersmit and many others.





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6 авг. 2013 г.

Benefit for the Recovery in Japan



Benefit for the Recovery in Japan is a compilation album dedicated to the victims and survivors, their families, and the aid workers courageously struggling to deal with the aftermath of the earthquake, resulting tsunami, and nuclear emergency that occurred on March 11th, 2011 in Japan. 100% of the proceeds from the sale of this compilation will go directly towards the recovery and relief effort. The album features the contributions of sixty-four artists from around the world and clocks in at nearly five hours of music.

The people of Japan need your help now, and your purchase of this music is one way to connect with and provide assistance to the people in Japan working to recover from this disaster. 100% of the proceeds from your purchase of this release will go to the Japanese emergency response organization Civic Force — thereby helping support real work happening on the ground by Japanese-based relief workers.
 
Benefit for the Recovery in Japan is curated by Antiopic's David Daniell and James Elliott, with invaluable assistance from Regina Greene (Front Porch Productions), Greg Davis, and Bettina Richards (Thrill Jockey). Greg Davis mastered the compilation and Sadek Bazaraa designed the cover art. This release is made possible by the generosity of Thrill Jockey and all of the artists involved.

Featuring such artists as Fennesz, Stephan Mathieu, Lawrence English, Tom Carter (of Charalambides), Akron/Family, Oneohtrix Point Never, Keith Fullerton Whitman, Ben Frost, Grouper, Jefre Cantu-Ledesma, Evan Caminiti (of Barn Owl), James Blackshaw & Hush Arbors, Nat Baldwin (of Dirty Projectors), Elm (Jon Porras of Barn Owl), Tim Hecker, Sylvain Chauveau, C. Spencer Yeh, Oren Ambarchi, Ben Vida and many many others...




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19 мая 2013 г.

Baudouin Oosterlynck - 1975-1978




Recordings of prepared piano, voice and objects of which most material previously unreleased.

Baudouin Oosterlynck (born 1946) works as a sound artist researching the phenomena of hearing and listening. An autodidact, he has developed over 200 sound works since the early 70's, along with 60 installations and 50 "listening aids" that emphasize the relationship between silence and sound, and has published books about sound and art. Oosterlynck applies a variety of methodologies and concepts to his work, including compositions with microscopic sound and field recordings, pieces for voice from oddly traditional to peculiarly bizzare (especially "Refuge"); percussive works with string or metallic sources; moody abstract sound compositions; open narratives over drawn strings environments (particularly "In Memoriam Collegi"); all of which are beautifully recorded and rendered and sequenced in a way that makes this a captivating listen. Oosterlynck has obsessively searched for outdoor sources of sound, reportedly traveling over 15,000 km on foot and bicycle throughout Europe in search of variations of silence. The works on these 4 CDs, recorded between 1975-78, are primarily based around the prepared piano, and utilize found objects, voice, and other unlikely devices to create compelling sound environments and statements. Exhibiting primarily in his native Belgium, this magnificent box is a great introduction to the work of this intriguing artist, in sound, words, and black & white photography.




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