thanks to @breadyscarethrough for reminding me this is a thing yo, his beautiful

Sometimes It Rain

Timeless (Dreamscape EP)

Idiosyncratic and infectious – listen to 'Pink Something' by Tom Richards, taken from his upcoming release on nonclassical, 'PINK NOTHING'.

Catch Tom live at the Victoria in Dalston on 31 July. There'll also be dreamlike theremin and musical machinery from Sarah Angliss, and improvised vocal-driven drone poetry from Steph Horak.

THIS EVENT WAS ORIGINALLY SCHEDULED FOR 11 JULY, BUT WAS POSTPONED. ALL PURCHASED TICKETS REMAIN VALID.

More info: http://bit.ly/2K6s7cz
Facebook: http://bit.ly/2LLE485
Tickets: http://bit.ly/2JR7LYc

Tom Richards – Pink Something

This is side B of the split EP with TYSK RAIDER onmindcolormusic

aux449

ergotine

Excerpt of B2 from

Eks - Echo Courts - C20

Out September 28th on Archivio Diafonico

www.archiviodiafonico.org
archiviodiafonico.bandcamp.com

Eks - Echo Courts - B2 (excerpt)

deadpan robotic

I've Never Been Able To Wedge My Smiles And My Panic Attacks

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"

TR105 - Yama Yuki - 'Movimento 1'

mutable instruments rings + pamela's workout, night walk recorded june 2020 using Lom Uši Pros

@minalt

mutable walk

Written and produced by David Burraston

with MANIAC cellular automata sequencer

Recorded at Noyzelab 2013–2016.

Mastered by Denis Blackham at Skye Mastering

unknowable determinism

Noyzelab - Unknowable Determinism - Stellage 010 [excerpts]

Camilla Pisani is an audiovisual artist based in Rome. She looks for the interaction between space, sounds and abstract graphic signs. Her music is a hybrid, moving into a set of influences: dark ambient, drone, soundscape, noise, and minimal electronic. She composes field recordings, suspended atmospheres, hypnotic textures marked by concrete rhythms. Her artwork focuses on sonic and emotional intensity.

✉️ For bookings and inquiries, please send an email to pisani.camila@gmail.com

I've Never Been Able To Wedge My Smiles And My Panic Attacks

Camilla Pisani

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