wonderful cyclic music & spirit ! .... and your words hit the point !

beautifully hypnotizing piece. great work, Ingvar!

I don't believe one man have the right to speak for 140 000 000. I don't think one man  have the right to kill in the name of 140 000 000 citizens. Humans want to live in peace but are forced to fight by their so called leadership. We has to embrace humanity and peace, for our children's sake, and in the name of our small fragile planet. This war has to be the last one. The madness has to stop.

Composition, synthesizers, guitar by Ingvar Tautra.
Gear: sequenced BARP2600 by Korg SQ-1, Played synths Roland D70/Gaia, Guitar Gibson SG through Boss GT-10

In The Sake Of Humanity

Original Music By : 
https://soundcloud.com/scalq/corcho

Scalq -  Corcho (Senglar Suro Rmx )

SenSen - Hueso

Shivv.reg

Field recording based composition by Alëna Korolëva, with voice of Eki Shola.

Recorded in marble quarries near Borba, Portugal, October 2022.

Strange but true fact: mining is responsible for nearly half of the world’s economy. The history of mining around the world can be read in the open scars that have been left when the sought after resource has been extracted. In these wounds, often larger-than-life pits abandoned by humans, new forms of life have gathered. Inverted Mountains is a documentary record of one of these spaces. 

Portugal’s Borba Region is rich in marble, 400 pit mines dot the landscape, all but 50 are abandoned. In 2018 a wall of one of the biggest quarries collapsed and buried five people in a landslide.

This track offers a detailed examination of sunset at the bottom of the pit, four years after the accident. Pigeons circle in the lower levels, offering a sound of wings, while starlings and swallows gather near the mouth of the pit, 50 meters above. The natural echoing acoustics of the steep walls allow each bird cry to resonate in a living delay, as if there were thousands not hundreds of birds gathering here. At the very end, the lonely bird song is echoed by a human voice, calling out in a plaintive wordless cry, the ghost of all those whose lives were lost in this forsaken place.

Inverted Mountains

SenSen - Andonandon...Nekorb

sound art series based on the poetry collection "Stories Untold"

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people were falling in the streets
shivering in agony, for what they saw would hit them
like a bolt, scalding them from within,
the Great War was now inside them

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I am buried
with you, and the others
in the trenches of shame, all piled up
& covered with sickening laughter.
Our eyeballs are rubbed with injustices,
ears deafen by rumble of terror,
hearts numbed with trepidation,
limbs soaked in repugnant lies,
minds bleached by virtual ordure.
They murder, they rape, they rob.
They bury. Me, you,
and the others.
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this 21-minute long sound work is a forest tale about war, re-imagined from the perspective of the land that witnessed centuries of socio-cultural turmoil. tamed nature versus wilderness, contaminated versus protected land, the Iron Curtain belt saw some significant changes – from being a brutal barrier between East and West strewn with mine fields, to becoming a highly protected European natural heritage.

the somewhat tense, suffocating and dark-sounding atmosphere of this piece reflects my feelings on possible relations between former and present conflicts, and alludes to the harsh consequences necro-politics of the past are imposing on contemporary society.

the stunning forest microbiome researched in this work is now part of the European Green Belt, formerly the Iron Curtain borderlands between Austria and Czech Republic. 

released September 14, 2023

sounds gathered during SHAPE+ musikprotokoll residency, July 2023, kindly hosted by Kulturzentrum – Garage Druzba, Harrachstal.

all sounds recorded, edited & composed by Manja Ristić
hydrophone built by Jez riley French
mastering La Plant Studio

Bandcamp

for what they saw would hit them like a bolt

ritual 1

obscure jessika-ritual 1

frenemies

Composition made for the split release "Angry Ambient Artists Vol.2" published on Forwind label in 2017. It's a part of a diptych with the piece called Habitat. 

https://boomkat.com/products/angry-ambient-artists-vol-2

Buy cassette

AFTERMATH

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

My account is resting. Only occasionally posting or managing the account. I'll be back! 
 Keep the world a sane place and thanks for listening!

And...Putin, go fuck yourself!!!

In The Sake Of Humanity

Ingvar Tautra

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