Name: Maryanne Amacher 1974 WFMT Radio Interview by Blank Forms
Duration: 19 min 21 s
Description: Rare interview with Maryanne Amacher on WFMT radio, conducted in 1974 preceding performances of City-Links and Everything in Air at the Museum of Contemporary Art, Chicago. Amacher discusses her telematic music, recordings of piers, and “no more horse”—the idea that antiquated forms of music with rhythms based on horses’ gallops have been replaced by a new minimalism.

This composition is the result of my artistic residency at Uncool in Poschiavo (Switzerland 2021).
It is a radio portrait of Poschiavo town, its surrounding mountains and glaciers. During the residency I did outdoor self-made recordings of VLF natural radios phenomena, meteor echoes, electromagnetic field and radio communication. This portrait is a part of my ongoing  project started in 2014 about creating radio portraits around the world called “The unknown beyond” .
PHOTO CREDIT: Thomas Rohrer

Radio Portrait of Poschiavo 

" Poschiavo - A Radio Portrait" @UNCOOL artistic residency 2021

from KR103:  an moku I stefan schmidt:: zwischenraum
imited edition tape / download out on may 13th 2022

zwischenraum

AN MOKU I STEFAN SCHMIDT:: yama

NOÉMI BÜCHI @noemibuchi
HYLE - OUS039
April 15, 2022; digital

«I create my compositions from a symphonic-orchestral viewpoint, where the sounds are my orchestra, and I arrange them in time and space.» - Noémi Büchi

Noémi Büchi’s first EP for -OUS, ‘Hyle’ is a reference to the ancient greek term for ‘matter’ - which is composed of fire, water, air and earth - and only comes into existence when ‘form’ is attached to it. Balancing between the elements of electroacoustic music, neo-classical composition and sound design, ‘Hyle’ unfolds in three compositions that translate ‘matter’ into music. «We all are matter, and music is matter. My compositions convert personal and collective memories between trauma and joy into music that is rooted in the emotional dimension, but also intends to spark intellectual euphoria», she explains.

Consciously returning to the appreciation of harmony,
Noémi Büchi unfolds its musical potential through chordal combinations and reduced musical intervals. Her pieces are written with a classical understanding of compositional forms, structures and textures, which she translates to experimental electronic music. Just as life can be segmented into layers of knowledge and experience, Noémi Büchi composes in layers: she explores the potential of harmonies and dissonance, contrasts rhythmic figures with disruptive moments and playfully emphasizes irregularities, in order to expand our listening habits and create dense moments and harmonic grandeur alike. ‘Hyle’ is a prelude to her debut album ‘Matter’, which will be released on -OUS in 2022.

Composer and sound artist Noémi Büchi explores electronic and symphonic maximalism. Her music is defined by a delicate blend of electronic-orchestral condensations and textural rhythms. She strives for a combination of harmonic and dissonant sonorities, to evoke both intellectual and emotional euphoria. Her 2019 debut EP ‘Matière’, released through Light of Other Days, attracted widespread attention within the experimental music scene. In 2020, she released a second EP Prismic Passages on the Leipzig-based tape label Visible Dinner. -OUS will be releasing her debut album ‘Matter’ and its prelude ‘Hyle’ in 2022, as well as the debut album of Musique Infinie, a collaboration between Noémi Büchi and Feldermelder. 

CREDITS
Music by Noémi Büchi
Mixed and mastered by Manuel Oberholzer at vfbm Fribourg
Cover photograph by Jean-Marc Avila

Buy on Bandcamp

Noémi Büchi - Hyle  - 1 - Nothing Is Artificial

Excerpts from Sprækker (Cracks) - dance performance / installation, DK, 2021

Release: arbitrary, TBA, 2022

http://madsemilnielsen.dk/SPRAKKER-CRACKS

Sprækker / Cracks - excerpts

Order : https://ideologicorgan.bandcamp.com/album/higgs-boson

—

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.  
 
Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

GAMMELSÆTER & MARHAUG 'The Stark Effect' (SOMA043)

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-217-adam-bohman-feature/

**This episode includes an interview with Adam Bohman**

FFFoxy Podcast #217: Adam Bohman feature

Rare interview with Maryanne Amacher on WFMT radio, conducted in 1974 preceding performances of City-Links and Everything in Air at the Museum of Contemporary Art, Chicago. Amacher discusses her telematic music, recordings of piers, and “no more horse”—the idea that antiquated forms of music with rhythms based on horses’ gallops have been replaced by a new minimalism.

Maryanne Amacher 1974 WFMT Radio Interview

for free download and more info https://miracalixportal.bleepstores.com/music

head to my Calix Portal ode to the future

written and produced by Mira Calix 2018

Instrumentation: Mira Calix - electronics/Daniel Pioro - Violin/Eloisa Fleur - Violin /Oliver Wilson -Viola/Clare O'Connell - Cello/ Kathryn Thomas - Flute/ Stuart King - Clarinet Bflat and bass/Sam Wilson - Percussion

Duration: 7.18

published by Mute Song

In 2018, Merck is celebrating its 350th anniversary. The theme of their celebration is “Always curious - Imagine the next 350 years.” This winter i took up their challenge and collaborated with 6 human beings in utero. Working with sonographer Rick Miles, i went about scanning the participants who ranged from 13 to 32 weeks gestation. This was followed by a process of sonifiying the data we collected, using the human movement to generate sound within a given set of parameters. Based on this material, I composed two pieces of music for an ensemble of classical musicians. 16 weeks - also available for free download on the poratal and this piece. Ode to the Future, is based on melodies generated by all the participants. Here i composed freely, taking inspiration from not only the data but the experience of the collaborative process, the privilege i was afforded by the generosity of the parents involved and the experience of working with such a great team of musicians and scientists. Along with the compositions i wanted to visualise my process: (ultra) sound - picture - data - music - picture. i created a sound and light sculpture, one that can be performed, inspired by the ripple tanks of my school days. The first time i remember 'seeing' sound. The acrylic, glass and light sculpture, is filled with water, becoming an instrument for gestural waveform play.

Ode To The Future

Native Instrument
12" (E244)

https://entracte.co.uk/projects/native-instrument-e244/

Release date: 14 October 2019
•
Native Instrument is the collaborative project of field recordist 
Felicity Mangan and abstract vocalist Stine Janvin Joh. 
Often referred to as insect techno, Native Instrument’s music 
is constructed using electronic and vocal adaptations of wildlife 
audio recordings originating mainly from the Australian and 
North European fauna; mixing the natural rhythms of animal 
calls with digital effects and vocal imitations, Native Instrument 
enlightens a sonic ambiguity between rural nature, electronics, 
and the human voice.

Native Instrument (E244; 2019)

Ben Vida
Reducing The Tempo To Zero
SHELTER PRESS / SP108

Recorded 2016-2019 New York
Mastering: Stephan Mathieu
Artwork: Xavier Antin

The theme of time is unavoidable when approaching Ben Vida’s Reducing the Tempo to Zero, his latest endeavour with Shelter Press. A singe work, pushing the bounds of Digital and Analog Synthesis, which stretches to just over 4 hours in length, its realization is the product of years of effort - the process of recording and editing extending across the period between 2015 and 2019, offering momentary conclusion to an arc of ideas and practice which which first appeared on Damaged Particulates, issued in 2016.

RTTTZ is a temporal nesting doll - a meditation, conceived by Vida as a part of a daily practice which embarked upon sustained periods of focused creation and listening. While the product of a deeply personal, inward journey, similar to iconic efforts by composers like Dennis Johnson, La Monte Young, Morton Feldman, and Éliane Radigue, it strives to unravel the standards and expectations applied to musical and experiential time, taking the relation to sonic phenomena into an almost transcendental realm. Immersive in scale and endurance, through a deep and radical sensitivity to material and structural hybridity, Vida’s return to the durational drone based forms - first explored as a member of Town and Country during the mid-90s - drives the ear toward the solace found through developmental and intimate relationships with the fleeting, granular, and discrete, transmogrifying smallest detail into a monumental event.

Despite being the “complete” RTTTZ document, made concrete by the process of recording, this 4+ hour iteration carries the shifting ghosts of other beings and times. It represent only one of many possible, existing beside a free standing phonetic, text-based score, and a near infinite number of evolutionary, live variations - instrumental and vocal versions, as well as those which spring from the combination of instrumental and vocal ensembles of varying sizes, each time of different length, changing and taking on new dimensions determined by the its performers. In a sense, each version is simultaneously free-standing and finished, while capable of reconfiguration and being made anew - a mirror for its shifting passage through the ear, which triggers multiple, concurrent images of other times and existence of itself.

While the duration, structure, and relatively of RTTTZ focuses attention toward the internality of what it is, like all great art, they are simply a means to an end. The crucial themes lay with the cumulative effect of their sum - the power of phenomena and highly individualized experience. It is an organized, sonorous space which is to be occupied and within which to get lost, shifting the ownership, whether embarked upon actively or passively - both as valid and rewarding as the next - to the listener alone, sculpting a subjective expanse which denying concise location and, in so doing, undermines the presumption of the capacity to be the same thing twice.

Overwhelmingly beautiful in its oscillating harmonics and punctuation of pulsing texture and tone, each stage of its evolution moving at a glacial pace, represents a monumental achievement from Vida within the broad landscape of experimental and avant-garde sound. Reducing the Tempo to Zero was mastered by Stephan Mathieu, and is released by Shelter Press in both digital and limited USB card editions.

Reducing The Tempo To Zero

BEN VIDA 'Reducing The Tempo To Zero' (EXTRACT)

Everything Minus All

Non-profit curatorial platform for ⏳-based art.

Maryanne Amacher 1974 WFMT Radio Interview

Blank Forms

Related tracks