Hidden-by-the-Wall is a new soundwork by :zoviet*france: commissioned by Green Croft Arts as part of its Collision and Conflict project.

Collision and Conflict is a GPS-triggered geolocated sound walk, presented through the Echoes phone app, that follows a circular route between Walltown and Green Croft in Northumberland, UK. The route runs alongside and close by Hadrian's Wall, a vast Roman defensive fortification that runs east/west across northern England, marking the northwestern frontier of the Roman empire. While following the route, walkers can listen to each of the 14 new music, sound and spoken word Collision and Conflict compositions at the locations to which they've been allocated along the way. Hidden-by-the-Wall can be found along a stretch of open country between Walltown and Thirlwall, a high point from which the distant Scottish borders to the north and the North Pennines to the south straddle the horizons.

In devising Hidden-by-the-Wall we set out to capture hidden and unnoticed sounds in the vicinity and recreate lost sounds that would have been heard decades ago but have now gone forever. The original field recordings that form the hidden and unnoticed sounds are here in this playlist. More about each track can be found in the description on its page. Those tracks form an  open remix project with 11 original, downloadable 24 bit / 48kbps field recordings we captured to create this track. We invite anyone to take these and use them to create something new. If you do, please post it here on SoundCloud and let us know – we very much want to hear what you do with them.

More on Collision and Conflict:
www.greencroftonthewall.com/collision-and-conflict

Open remix tracks:
https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix

Hear the remixes:
https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-remixes

Hidden-by-the-Wall

PR XXXXV: Courtney Asztalos - A Float Down Erie Blvd. 2xcs

Available April 9th, 2021 on Prime Ruin

Courtney Asztalos - Cleaning the Home

Solo Guitar 2 was recorded by Bill Nace in 2008, in a good-sounding room in Bennington, Vermont. 

This year the record, originally released as a now (nearly) extinct cassette, is reissued without it’s mysterious and (maybe?) long-lost sibling Solo Guitar 1 (Like any good punk demo -- which, both aesthetically and energetically, Solo Guitar 2 is -- the thrill of discovery is made only sweeter by the potential of future discovery). 

The vinyl release comes a little less than a year after Bill’s first “official” solo record, BOTH, which was released by Drag City in May, 2020. The two records don’t necessarily stand in opposition, but they are at different points on the spectrum of production, tone, mood, time, place, age, career. Where BOTH is softened by the warmth and precision of a studio, there’s a wildness to Solo Guitar 2 which approaches the experience of witnessing Bill perform live. 

Made up of mostly brief pieces -- songs, practically -- Solo Guitar 2 winds tight, then unwinds, or sometimes snaps apart. Crackling, itchy static morphs into heavy, watery vibration, layered on metallic rattle. There are moments where that Bennington room sounds as sterile and lonely as a deserted art gallery. And then it becomes spacious and warm, like a cathedral filling with the hum of the universe. 

The bulk of Bill’s releases are collaborations with other artists, who are drawn to him (at least in part) because he’s an innovative player and a deep listener. Those qualities hold, and in certain ways intensify when he’s on his own. As he takes a series of unlikely tools across his prone guitar with the grace and urgency of someone at a loom or an aircraft control panel, there’s a sense of reaching inward. But where some might meander or navel-gaze, Bill’s playing is a process of constant dynamic construction. What unfurls can feel intensely personal, and often -- for reasons I don’t always understand -- very moving. Bill isn’t interested in micromanaging his listeners’ experiences, but he does make room for us. 

Composer Pauline Oliveros observed that when we listen deeply to the world around us, we sometimes notice very subtle and quiet differences in sounds that we thought were familiar. As a result, she writes, “the slightest difference may lead you to a new creative relationship.” 

Bill is, I think, tuned in to these subtle and quiet differences. But, in a truly punk fashion, he flips this for the listener, making unfamiliar and not-very-subtle noise into something akin to (but also distinct from) familiar sounds: traffic outside your window, the soft roar of a conch shell to your ear, static between radio stations.Solo Guitar 2, full as it is of shades and moods and life, offers a fresh way of hearing. 

Margaret Welsh

Philadelphia, PA 2021

OM069 - Bill Nace "Solo Guitar 2" [sample]

B1. Earthen Sea - Spectral Sky

My latest album is out now in EVEL records! 🔥 Available in digital and CD at: https://evel.bandcamp.com/album/exploring-standards

Exploring Standards (Preview)

Sans En Altérer La Nature

'Being Held' by Ekin Fil, from the album 'Feelings' (Vaagner/A Sunken Mall), gets tantalisingly reinterpreted by none other than Jefre Cantu-Ledesma.

download it here: https://vaagner.bandcamp.com/track/being-held-jefre-cantu-ledesma-rework

VAK57 | Ekin Fil - Being Held (Jefre Cantu-Ledesma Rework)

Excerpt from Giovanni Lami - Bias
A CD of etudes for buried and exhumed audio tape
Released April 2016

http://consumerwaste.org.uk/
http://www.giovannilami.com/

Giovanni Lami - Bias (excerpt)

a sort of imitation of colin stetson saxophone playing, actually just another try to sequence a res-4 feedback patch going into mmf-6. sequenced from er-101 with cv going into the er-102 for volume, filter symmetry and resonance. pressure points and planar helped to get a lively feeling although it is quite a simple repetative sequence.

peroni

'The Painting In The Chapel Under The Stairs' is the 8th dream from '9 Dreams In Erotic Mourning', a component of the 'On Corrosion' collection from The Helen Scarsdale Agency.

https://www.helenscarsdale.com/oncorrosion/index.htm

'On Corrosion' is a 10 cassette anthology housed in a handcrafted wooden box and featuring :

Kleistwahr
Neutral
Pinkcourtesyphone
Alice Kemp
She Spread Sorrow
G*Park
Relay For Death
Francisco Meirino
Fossil Aerosol Mining Project
Himukalt

The collection stands as the 50th release for The Helen Scarsdale Agency, plunging through the depths of post-industrial research, recombinant noise, surrealist demolition, and existential vacancy.

Curation and fabrication by Jim Haynes
Audio mastering by James Plotkin

Release date: November 22, 2019

9 Dreams In Erotic Mourning

On Corrosion

The Painting In The Chapel Under The Stairs

From Volume & Void. Released on Superpang,  September 18, 2020
https://superpang.bandcamp.com/album/volume-void

Composed through experimental scheduling algorithms that explore the duality of immediate, direct events with gradual and evolving processes.

System and sounds created during the summer of 2020 in Scheveningen, The Hague.

Design: Joe Gilmore

Volume & Void

Icelandic Composer / Sound artist. Released numerous LP´s, EP´s, compilation tracks and reworks on labels like Vertical Form, Thule, Uni:form, Spezial Material, Trachanik, LMALC, Shipwrec, 3LEAVES and Granny records.

Perfomed his music in concerts and festivals in Belgium, Canada, Croatia, Denmark, England, France, Germany, Greece, Holland, Switzerland, Italy, Ireland and Iceland. Collections of his solo works can be found on the CDs “Safn 2006-2009” (2010), "Processes & Potentials" (2013), "Paths" (2016) and "Lueur" (2018).

Concerned with process-based ideas. Sounds focusing on internal activity and motion. Compositions that put into foreground behaviors, actions, fluid sound structures, fuzzy materials or forms.

Interested in exploring the contact between composed computer sound structures and space. Has presented/worked in various spatial configurations such as at the WFS system in Leiden (192 speakers), the WFS system in Berlin (832 speakers), the BEAST system in Birmingham (up to 100 speakers), GRM Paris as well as recent 8 and 4 channel formations.

Faculty member at the Institute of Sonology, Royal Conservatory in The Hague and currently teacher of algorithmic composition and computer music. Studied composition with Gerard Pape, Trevor Wishart, Agostino Di Scipio and Curtis Roads at the CCMIX music center in Paris. Holds a masters degree from Sonology completed with Paul Berg, Kees Tazelaar and Richard Barrett.

Currently working with algorithmic composition, generative environments, compositions and live electronics. Also working on new material with his long-lasting electronic music duo Einóma, and for MGBG, a duo of voice and electronics with Marie Guilleray.

. ... .. ..

Volume & Void

Bjarni Gunnarsson

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