Needs some work but it's a guide recording really.

Sao Paulo - Daniel Scannell

Tracing A-7063 is a radiophonic impression of a new documentary film in progress (working title A-7063) by the young Polish director Maciek Klich. It grew out of a conversation with Maciek: in Auschwitz last year he met survivor Eva Mozes Tor and interviewed her concerning her experiences at the hands of the infamous Doctor Joseph Mengele. 
Maciek has set out to tell Eva Mozes Tors’ story in documentary film and animation for the memory sequences of her experience in the Holocaust.

I was intrigued and inspired by what he told me and set out to render such a dual style of narrating a story in sound. I divided my sources into old and new, black and white. I dipped into archive interview audio of concentration camp survivors Roman Halter, Ruth Foster and Maria Ossowski (for me bleached out memory pieces) and also used some of Maciek’s present day interview with Eva Mozes Tor (for me this is black, a stereo present, but also black haunted memory). 

I did the same with the music: the opening of Mozart’s Requiem (in a recording as approved by the Nazi regime made in 1941, with all references to Christianity’s Jewish roots excised: “Te decet hymnus, Deus in Sion” was replaced by “Deus in coelis”; whilst “in Jerusalem” was replaced by “hic in terra”) with its whish and crackles and pops-I used these very surface noises to generate (through additive and granular synthesis) a lot of the sounds that follow.
I also transformed the shouts of Sieg Heil Sieg Heil and then used the results to generate the soundscaping of the various music (s) that “frame” the voices.

The greatest challenge I faced was the risk of sensationalizing the material: alas, there is what is now called a “Holocaust Industry” particularly in print, so what was uppermost in my mind was respecting the voices, keeping them as the primary sonic material and letting them tell their tales. That said I also wanted these voices and sounds to work sometimes in opposition and sometimes in complimenting each other.

To do this I turned some of my new soundscapes to traces of themselves (blacks to grey’s): for instance the sound beneath Eva Mozes Tor’s tale of her being tattooed is a stereo rendering bleached out and scratched up to suggest vinyl and also the burning of the pen and ink that will mark her forever: A-7063.  

The first version of this won Best Audio (Yamaha Música award) at this years Black & White International Festival in Porto, Portugal

Credits
 
Voices

Eva Mozes Tor, interview with Maciek Klich, Auschwitz, 2013.

Roman Halter, Ruth Foster, Maria Ossowski 
-Imperial War Museum, London, 
Random House Audio
RC 918

“Sieg Heil, Sieg Heil”
Entartete Musik A Documentation in Sound
EINE Pool Musikproduktion, Berlin
65023 AV

Music

Mozart Requiem
Bruno Kittel Chor/Berlin Philharmonic/Bruno Kittel 
Deutsche Grammophon 
459 004-2


Tracing A - 7063

Yellow Mix 2 meself and Catherine

This is a documentary feature that is also a drama – it constantly plays between the lines of documentary and drama (docu-drama). Ostensibly it is concerned with the phenomenon of Dracula, the Bram Stoker character that it seems everyone in the world knows, no matter what colour or creed they be.
It traces the author’s roots in Marino, Dublin; his early days in Trinity College, Dublin; and his fateful meeting with the great actor Henry Irving (perhaps the human model for Dracula) at the Shelbourne Hotel, also in Dublin.
Then it switches countries, as did Stoker himself, and visits London, England. Along the way it meets various experts on aspects of the phenomenon of Dracula: Veronica Dunne on the technological innovations within the novel; Amanda Harder on the first Dracula’s to make a huge impression in the cinema (Nosferatu and then Dracula). It switches continents again and visits radio artist Christian Bulwer in Bremen, Germany to talk about the audio only Dracula and particularly the script for Orson Welles’ Mercury Theater on the Air radio production.
Then it contacts Natasha Robson through Skype in New York, America to hear what she has to say about Hammer films and its versions of Dracula; and then Frank Keane on the telephone in Paris, France, to talk about Dracula in television -particularly in the world of the Munsters and Sesame Street.
Finally at a games arcade in Dublin, Ireland things take a turn and the initial play between the worlds of documentary and drama is turned on its head. It seems it was a gigantic leg pull all along. Or was it: with the story of the stranger outside of the Irish town; the voice of a woman coming and going and often telling the magpie rhyme (One for Sorrow…); experts suddenly becoming storytellers as the piece develops; choices of experts -now a man, now a woman, no, a woman will do; doors opening mysteriously; people developing sudden chills…
You know much, Van Helsing is the quote from the book; You know too much, Van Helsing is a Hollywood fabrication that just about sums it up

You Know Too Much, Van Helsing




This collection of pieces explores the idea of space; both the outer spaces we see and the inner spaces they open within us. Each work begins with a photograph: a view from my home in rural County Cork, Ireland, where I have lived for over twenty years. These images are not just records of a scene, but invitations into reflection, calm, and beauty.

From each photograph, I extract data that generates random sequences of notes. Out of these, fragments become apparent, sequences that feel alive in some way, or suggestive of atmosphere. This provides a sonic palette that is then arranged and manipulated to create shifting textures of sound.

Some pieces also include field recordings made at the time and place of the photograph. Birds, dogs, cattle, wind, distant farm machinery, sounds I hear every day. These also become part of the same sonic space as the transformed notes.

What emerges is less a direct translation of image to sound than a way of inhabiting it. Each piece becomes a space in itself: a place to pause, to listen, to wander inward while remaining rooted in the world outside.

01 - Space #1 (Types Of Space)

You can download the full EP on Bandcamp @ www.thealteredhours.bandcamp.com


Wicked Son

Cement

You can dowload the full EP on Bandcamp @ www.thealteredhours.bandcamp.com


Shimmer

Mick Hutchinson and The Jaspar Mountain , originating in Cork, but  based in Brittany,
led by guitarist and singer songwriter Mick Hutchinson 
featuring Open Kitchen alumni, Patrick O'Driscoll on bass and Paul Moore on drums, 
this track also features Open Kitchen guitarist Bobby Lee and a powerful vocalist from Cork, 
Elaine Woods...
This was recorded by Denis Herlihy in Cork City in 1995...

"Speak To Me" by Mick Hutchinson and The Jaspar Mountain

Duncan O’Cleirigh - Biography
Duncan O’Cleirigh is a producer, and composer with over 35 years of experience in live
audio, recording, and sound design. Touring internationally, mixing for diverse artists before
moving into recording and production.
Duncan’s work has expanded to experimental composing / sound design for visual media;
His works The Universal Language (installation Culture Night 2024), A Type of Space and
Ambient 1 have received airplay on The Blue of the Night and on Ambient Orbit
(RTELyricFM)
Past work includes;
Sound design for XR ECO+/The Kinship Project (2024) with Ann Burns.
An ongoing collaboration with Lucy Phelan on the Women Make Art The soundtrack for the film Fairways to Happiness (Documentary 2021).
His current work explores the interrelationship between visual and sonic representations of
space and the sonorities that result from this.
He holds a first-class honours MA in Experimental Sound Practice from University College
Cork.

01 - Space #1 (Types Of Space)

Duncan O'Cleirigh