Показаны сообщения с ярлыком Sound Art. Показать все сообщения
Показаны сообщения с ярлыком Sound Art. Показать все сообщения

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.



Ask for download link in comments.


at 18 комментариев:
Tags , , , , , ,

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.




Ask for download links in comments.


at 19 комментариев:
Tags , , , , , ,

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:






Ask for download links in comments.




at 11 комментариев:
Tags , , , , , , ,

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.





Ask for download links in comments.


at 10 комментариев:
Tags , , , ,

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.




Ask for download linsk in comments.



at 11 комментариев:
Tags , , , , , , ,

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.



Ask for download links in comments.


at 16 комментариев:
Tags , , , , ,

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.




Ask for download links in comments.


at 18 комментариев:
Tags , , , , , ,

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…



Ask for download link in comments.


at 3 комментария:
Tags , , , , , , , , , ,

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.




Ask for download links in comments


at 20 комментариев:
Tags , , , , , ,

15 окт. 2014 г.

Blake Carrington - Cathedral Scan



Cathedral Scan translates the architectural plans of Gothic cathedrals into open-ended musical scores via custom software. Treating the plans as a kind of map, in the live performance Carrington navigates through them to create diverse rhythms, drones and textures. The album is edited from a live concert in a large church space, and combines the direct signal created in software with the immense natural reverberation of the performance space.



 Blake Carrington - Cathedral Scan (2011) - 320 Kbps



Ask for download link in comments.
at 3 комментария:
Tags , ,

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.






Ask for download links in comments.


at 21 комментарий:
Tags , , , , , , , , ,

29 июл. 2014 г.

Optofonica



Can we give some kind of award to Line overseer Richard Chartier for ensuring that material of this rarefied and elaborately presented kind—especially in such fragile economic times—finds it way into the marketplace? Though issued in a run of only 1000 copies, the deluxe release perpetuates Line's high standards by packaging its DVD case and fifty-two-page full-colour booklet within an embossed slipcase—an embarrassment of riches, visually speaking. On Optofonica, Optofonica, a platform for art-science situated in Amsterdam and founded in 2006 by TeZ, presents two-and-a-half hours of twenty-three video-sound projects (involving forty-two artists from thirteen different countries) of the synaesthetic kind you'd be hard pressed to find anywhere else. It also makes for an incredible headphones listening experience, especially when the Surround Sound option is selected. In some cases, a piece pairs a visual artist and a sound artist; in other cases, the work is the product of a single individual or outfit.

Some pieces naturally turn out to be more memorable than others, including Marcel Wierckx's “Black Noise White Silence,” a three-minute, achromatic blizzard of eruptive convulsions and rapidly fluttering forms; Otolab's “Animula,” which pairs animation suggestive of caged electronic fireflies and clangorous buzzing and combustion; and Rayxxxx's dizzying “Pulse,”  which conjoins jagged, stroboscopic shapes to rubbery techno-like rhythms. In the mesmerizing “Rhythm Exp.,” Frank Bretschneider brings his meticulous rhythmning to a beautifully spare display of snowy dot galaxies. In Quayola, Mira Calix, and Autobam's “Strata #2,” a spectral setting in a ‘holy minimalism' vein, piano and orchestral elements (horns, strings) provide a jarring but not unwelcome change in musical style from the release's predominating style; the piece is as striking visually in depicting shards extending out of stain glass windows and in synchronizing them to the electronic intrusions—a bold merging of the medieval and the modern in audio and video terms.

Also noteworthy is “Waterfall,” a collaborative piece by Ryan Jeffery and Scanner, which laces a mini-soundtrack by Robin Rimbaud of synthetic whooshes and Japanese voices with menace and paranoia while visually alternating between the illuminated interior of a night-time office and the amplified crackle of tree branches. Ulf Langheinrich's vaporous drone “It Would Have Been Fantastic” shows a dust storm of white particles morphing into a flickering blue-dominated colour field display; David Muth & Hiaz's “Counterclockwise” configures transluscent veils into fan-like displays; and Kanta Horio's “Em#3”—talk about minimalism!—deploys magnetism to direct tiny nail-like rods, whose rapid motion generates magnified noise, along hard surfaces. Relatedly, “Sonolevitation” by Evelina Domnitch, Dmitry Gelfand, and Chartier shows flat, vertically aligned shapes suspended in mid-air with a droning field of sine tones and whirrs as accompaniment. “Raindrops #7” by Jason Graham, Kim Cascone, and Tez pairs rivulets of rain on windows with the kind of creeping digital sounds—like factory sounds ricocheting through the galaxy—one associates with Cascone.

There's more, of course, with contributions coming from Skoltz_Kolgen, Martijn Van Boven, Ryoichi Kurokawa, Kurt Hentschlager, and Natalie Bewernitz and Marek Goldowski (whose “Life at the Witch Trails” deserves a prize for best title). In certain cases, yes, the audio portion delivers pretty much what one would expect—granular, glitch-laden material where melody is absent, rhythm surfaces rarely, and textural sculpting is paramount—but the release (whose works span three years) features enough captivating audio-visual synchronicities to earn its recommendation (in a perfect world, there'd be page numbers included in the booklet but even mentioning it seems churlish in light of what's provided).




Ask for download link in comments.


at 4 комментария:
Tags , , , , , ,

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.




Ask for download link in comments.


at 2 комментария:
Tags , , , ,

21 июл. 2014 г.

3m33s



3m33s is an ongoing and organically evolving compilation of drones all the same length. Coming from yours truly, friends and whoever wants to submit a track really.

If you purchase or donate money for the compilation, you get upcoming / yet unreleased tracks as bonus material. The compilation is 33 tracks total and all funds generated from your purchase will entirely be used to create a new artist collective / label. Your generosity is something we are incredibly grateful for.

If you are interested in submitting a track, it must be 3 minutes 33 seconds in length, something you consider to be drone and do not mind lending to this compilation under the CC by SA common creative licence. The track title will be the date of its release in the following format: YYYY.MM.DD and your bio and artist photo will be displayed on the track page.

3m33s is a very simple premise: I put out an open call for submissions asking fellow artists, friends and the world at large to make a drone of 3 minutes 33 seconds and lend it to a compilation that I would host and promote in order to raise some funds for an upcoming label / artist collective start up.

And come together, this world did! In less than two weeks I received more than enough submissions to fill up a first volume of the compilation (33 tracks each) and donations so far allowed us to ensure 2 years of hosting for the label's website.

Release of the compilation is handled a little differently than the usual, even though all tracks are in and selected at this point only one new track per day is made publicly available. The goal being to provide each contributing artist with an equal window of exposure. However, when someone donates or purchases the compilation, all upcoming / yet unreleased tracks come in as bonus material!

The influences behind the format are many, but I would like to cite two as show of gratitude: Marc Weidenbaum with his disquiet Junto community project, demonstating week after week how constraints and defined parameters can drive creativity. And then Futuresequence with their humongous compilations (of which I've been a proud contributor) allowing newcomers to sit alongside household names.

3m33s is yet another living example of connectivity as community, showing how furiously fast the world can now rally behind an idea, a project, a concept and help it crystallize into something concrete. Some may say the virtual world has uprooted the grass but I claim it's only spreading it to other pastures which we have yet only faintly discovered.

Contrary to your run of the mill kickstarter / indiegogo campaign there is no fixed defined goal for this fundraiser. The reason behind that is simple: we'll make due with whatever we end up with. Yet, the more the better, obviously. 3.33$ is not even enough for a pint of beer here in Montreal! And we all know the world is measured in pints of beer.

There are already 6 of us in the artist collective (to make this into more of a funraiser, one name will be revealed for every 100$ in contributions received) and we're looking towards a March 3rd official launch date.

As many may already know releases, especially beautiful ones, do not spring from the ground. They require effort, dedication, tools and unfortunately some cold hard cash. Nobody is delusional enough to pretend we're gonna be the next Ghostly, else we'd be on kickstarter asking for quadrillions of dollars. But we're a bunch of honest individuals starting from the ground up and quite humbly asking for everyone's help.

As such, 3m33s will keep organically evolving through new artists submissions, new listeners and the word being spread out into pastures yet unknown both virtual and real. And that is how you can help.
participation: Pleq, Maps and Diagrams, Porya Hatami and thirty others...  




Ask for download link in comments.



at Комментариев нет:
Tags , , , , ,

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







Ask for download links in comments.
at 8 комментариев:
Tags , , , , , ,

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.






Ask for download links in comments.
at 9 комментариев:
Tags , , , , , , , ,
Подписаться на: Сообщения (Atom)