Akai vx 600
Teisco 60f
Roland tr 808
Roland tb 303
Yamaha a4000 as FX unit
Elektron analog four as midi sequencer and din sync only

Umbrexciya 210922 0106

On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. On “Field Lines”, originally composed for Yvonne NG Peck Wan‘s dance piece, Magnetic Fields, a certain fragmented, uncertain openness is conveyed: a series of brief, dreamlike clearings are vignetted by pregnant silences or various levels of waking or sleeping states. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. On “Yield Criteria”, shifting drones move about like independent layers of ice on a lake in the dead of winter, slowing crumbling, sliding, and cracking in perfect harmony. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms.

---

Field Lines:

Composed and recorded October 2013 - May 2014 for Yvonne Ng's dance piece, Magnetic Fields, which premiered in May 2014.

Nick Storring / various percussion and found objects, vibraphone, glockenspiel, balafon, chimes, hand bells, toy pianos, thumb pianos, voice/whistling, electric (NS Designs NXT4) and acoustic cellos, electric bass, electric mandola, violin, hammered dulcimer, Hohner Pianet T, Yamaha CP60M, Hohner Clavinet D6, flutes, harpsicle, strumstick, guitalele, steel pan, harmonica, melodica, pitch pipes, hulosi

Special thanks to Yvonne, Marie-Josée Chartier, Mairead Filgate, Luke Garwood, Christopher Willes. Thank you to Germaine Liu for the use of her vibraphone, and John Farah for the use of his Pianet.

Yield Criteria:

Composed and recorded February - June 2014.

Nick Storring / NS Designs NXT4 electric cello, electric bass, electric mandola, thunder tubes, Yamaha CP60M, toy piano, harmonica, duck call, voice, hand bells, glockenspiel

Elements were used in Eva Kolcze's film, All That Is Solid. Thank you to Eva, Spencer Barclay, Jason Doell, Brandon Valdivia, and Bryan Bray.

Processing and manipulation performed on the above sound sources (and the sound of a blank, chemically-treated 16mm film sound-strip) using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; (contact) microphones.

Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process. Thanks also to Andrew Zukerman.

Gratitude also to all who listened and offered feedback.

Artwork and layout by E. Lindorff-Ellery
Printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans

NTR042 - Nick Storring - Exaptations "Field Lines"

Nearfield - I Am Sorry

Hgke

Anderson Chimutu is a first generation Malawian American who resides in the city of South Bend, Indiana. Growing up near Chicago and Detroit, Chimutu was exposed to many legends of the regional music scene. This influenced him to get involved with various instrumental bands and djing. Now he focuses on solo productions, which integrate the use of granular sound processors and drum machines. This new approach, coupled with the desire to represent his African heritage, has given birth to Fumbata Phiri. His first offering as Fumbata Phiri came in the form of 2020's "Decoherence", released on the Hungarian label Exiles. He followed that up with "Equipoise", released on UK label Hard Return, "Actuation" on released on Eternal Search in 2021, and now in 2022, "Liminal Space" releasing on Chicago label, Reserve Matinee ran by Michael Stumpf (FAITHFUL) and John Daniel (Forest Management). Chimutu wants to challenge the narrative surrounding African influenced music, and does so by creating what comes naturally to him. Putting forth an extension toward the future, while being cognizant of the history that has brought him to this point.

Justin Tripp and Brian Close as GEORGIA (OOH Sounds) - Story Scene 0:00
Evil Medvéd - (0_0) 4:56
Noémi Büchi - Battering Times 6:38
Joane Skyler - wink 9:37
Hiro Kone - Malady of Duration 11:27
William Fields - riveru 15:57
NZFE - FENZ_pict_test4 20:24
Fumbata Phiri - Pios Plurality 23:57
Daphne X - I can see right through me 34:24
FRKTL — Locations For An Immaterial Essence 36:28
Klpflrtr - Random 44:35
Alley Catss - chew 46:21
Yokai Kai - phonktech 48:40
Justin Tripp and Brian Close as GEORGIA (OOH Sounds) - Story Scene - Zipf's Code 50:52
ISSHU - Under the Pink Sky 54:40
Blood Room - Sun Pulse 58:23

https://soundcloud.com/fumbataphiri

♥ 32 - Fumbata Phiri - Absolute Elsewhere

What Did You Say Before That?

Night Foundation - I'm Falling Through

From the new album - 'Sound Postcards from the Centre of the Periphery' by Manja Ristić and Mark Vernon.

We made this 13-track journey around the sounds and sonic histories of the island of Korčula. In addition to our own field recordings, we were given access to the audio archives of the local radio station, including recordings of folk customs, traditional songs, dances and music...

This album unites two specific sensibilities that for many years have been embedded in the domain of sound and radio arts. Although they arose from very different environments, their work explores similar issues around preserving personal sonic histories. By stirring up nostalgia and collective memory, both artists often refer to the importance of individual experiences in the poetic "body" of micro-communities. 

The artistic practice of both creators has been deeply immersed in the sonic strata of space and the imaginary narratives that emerge from it. A dedication to the culture of memory, the sounding of lost voices and an unorthodox approach to re-composing the soundscape, conveniently unites these two experimenters in a collaboration that arises from research into one particularly inspiring locality – the island of Korčula. 

In addition to their own field recordings the artists were given access to the audio archives of the local radio station, including sounds of local folk customs, traditional songs, festivities and music. The strong anthropological emphasis in this collection of works is intended to encourage a deeper consideration of the coexistence of people and the environment in a historically dense climate. The appropriation of the hidden narratives of a small town on the fringes of the European Union opens up new fields of reflection on identity that looks back at the "center of the periphery", pointing to the importance of "small" spaces in the creation of European heritage. 

‘Sound postcards from the center of the periphery’ will be stored permanently in the audio archives of Radio Korčula. Who knows, maybe someone will dig them out in 50 years and say: "...there you go! This will make your head ring!" 

Special thanks to Radio Korčula, Gordana Šuperak and Ivan Sardelic Šore. To Pere from the Marasa printing house and to all the fellow citizens of Korčula who found themselves on this album intentionally or accidentally.

Manja Ristić and Mark Vernon - Voli more drš’ se kraja / Love the Sea but Stay on the Shore

Room of Wires - Early Stage Mutation

[PCLLP 019] AtOm AnT - GaLaKtIkA [2022] Teaser coming soon

From the ARCHIVAL SERIES of digital music editions:

www.corbelstonepress.com/archival-riftmusic2.htm

Riftmusic (Part Two)

c/s/p