A dual contact microphone recording of a temporary wind harp.

Recorded 15 February 2021 at Walltown Crags, Northumberland, UK.
54°59'24.0"N 2°30'46.0"W
Google Maps: https://goo.gl/maps/GLVb4qVRaCbDXk8y9

Part of the Hidden-by-the-Wall Open Remix project:
soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix/

© 2021 This recording is made available under creative commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) (creativecommons.org/licenses/by-nc-sa/4.0/)

Wind Harp, Walltown Crags

CENAP

New Jam

Regex (CassetteRip)

L'emprunte d'Encyclie

Michikusa

Jeph Jerman/Ted Byrnes, Passenger

sound art series based on the poetry collection "Stories Untold"

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people were falling in the streets
shivering in agony, for what they saw would hit them
like a bolt, scalding them from within,
the Great War was now inside them

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I am buried
with you, and the others
in the trenches of shame, all piled up
& covered with sickening laughter.
Our eyeballs are rubbed with injustices,
ears deafen by rumble of terror,
hearts numbed with trepidation,
limbs soaked in repugnant lies,
minds bleached by virtual ordure.
They murder, they rape, they rob.
They bury. Me, you,
and the others.
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this 21-minute long sound work is a forest tale about war, re-imagined from the perspective of the land that witnessed centuries of socio-cultural turmoil. tamed nature versus wilderness, contaminated versus protected land, the Iron Curtain belt saw some significant changes – from being a brutal barrier between East and West strewn with mine fields, to becoming a highly protected European natural heritage.

the somewhat tense, suffocating and dark-sounding atmosphere of this piece reflects my feelings on possible relations between former and present conflicts, and alludes to the harsh consequences necro-politics of the past are imposing on contemporary society.

the stunning forest microbiome researched in this work is now part of the European Green Belt, formerly the Iron Curtain borderlands between Austria and Czech Republic. 

released September 14, 2023

sounds gathered during SHAPE+ musikprotokoll residency, July 2023, kindly hosted by Kulturzentrum – Garage Druzba, Harrachstal.

all sounds recorded, edited & composed by Manja Ristić
hydrophone built by Jez riley French
mastering La Plant Studio

Bandcamp

for what they saw would hit them like a bolt

https://cassandramiller.wordpress.com/2015/05/10/about-bach/

This string quartet is an expansion of a solo work for viola (of the same name) which was commissioned by philanthropist Daniel Cooper for violist Pemi Paull. It’s a piece about process, about Pemi’s musicality, about Bach of course, and in the end, about the Quatuor Bozzini.

I first took a recording of a short phrase (the first phrase in major) of the famous Chaconne from Bach’s Partita no. 2, performed live by Pemi. I then meticulously transcribed the recording with the help of some software — this is a process I’ve developed over some years to apprehend the exact rhythmic musicality of a performance, capturing as well various artifacts such as the viola’s upper partials as they change within each bow-stroke.

The opening of the piece is simply this transcribed phrase of Bach, with a harmony of my own making, which turns the phrase into a gently jaunty chorale. From there the phrase goes through a somewhat inaudible process that is simply let to run, until it runs itself out. It’s a constant meandering, a non-developmental piece in an extreme sense. My interest (and freedom) in exploring such a simple form comes directly from working with the Quatuor Bozzini, and this string quartet version is a souvenir of gratitude for years of great inspiration.

About Bach

About Bach, Quatuor Bozzini, premiere, excerpt: last 6 minutes (2015)

Ielasi & Malatesta "Rudimenti" (Entr'Acte)

Blackcap | 7

This CD features recordings of a now lost sculptural work that was originally commissioned in 2016 for Colour Out of Space festival. The work consists of over 100 empty computer cases, fitted with 16 customised and automated DVD drives. Between 2016 and 2018 it was exhibited in Brighton, Athens, Croydon, Oxford and Rennes, on each occasion being reconfigured into a new form. The most ambitious of these being at Detritus Festival in 2018, where a new and larger version of the work was constructed at the Onassis Cultural Centre from used computer sourced in the city. The work was sadly lost in transit between France and the UK, returning to the global trade in e-waste which its production initially sought to intervene in, so all that remains are these recordings. 

The CD is released in an edition of 150 in an oversized 7" sleeve accompanied by a 16 page risographed booklet featuring photographs and scans of the sculpture, essays by Danae Stefano and Stephen Cornford, and a letterpressed backpanel.

Stephen Cornford - Constant Linear Velocity [excerpt]

This piece plays with the listener’s sonic expectations of what is familiar by fusing sounds, which a person can easily recognize, with new previously unheard sounds generated by algorithmic processing. By using various sounds and sonic artifacts that are common to the human experience, the work directs the listener to draw upon his inner visual associations with specific sounds and paint a mental soundscape of the acoustic experience. The introduction of other, unfamiliar processed sounds into the composition, invites the listener to break away from this familiar associative chain of acoustic phenomena and push the boundaries of his perception, in the process forming new sonic combinations and auditory experiences.
The musical piece was fully recorded and compiled in the Tonshoom Studio in April 2020. Some sounds were recorded using musical instruments, sound props, and speech; others were synthesized with SuperCollider. The final track was mixed down in Pro Tools and WFSCollider.

About Bach, Quatuor Bozzini, premiere, excerpt: last 6 minutes (2015)

Cassandra Miller composer

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