Really enjoyed this. Did I see somewhere that this is an excerpt? If so, how long does the full piece run? (Or am I mistaken)

catherine lamb -- descensus trio (2020). i recorded each part by myself over the course of the pandemic.

catherine lamb -- decensus trio

inter-spatia (2020/22)
Catherine Lamb

performed on March 18th, 2022 at Nykirken, Bergen, Borealis Festival

Microtub (Robin Hayward, Martin Taxt, and Peder Simonsen), Rage Thormbones (Mattie Barbier and Weston Olencki), with MO Abbott and Henrik Nørstebø

tuba trio + trombone quartet

recorded by Weston Olencki

inter-spatia (with Microtub and Rage Thormbones)

Marco Lucchi : electric organ, piano, analog synthesizer and tape

contributing to the "Hidden-by-the-Wall" project curated by :zoviet*france:
https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix

additional recordings
https://freesound.org/people/felix.blume/sounds/588533/

21 aprile 2022

The true story of a Water Boatman and a Bee - [w/ :zoviet*france:]

Feldermelder & Julian Sartorius - Bonn Route
Cat #: OUS040
Release date: June 17, 2022
Distributed by Kudos: kudosdistribution.co.uk
Label Bandcamp: ousooo.bandcamp.com

«A collection of pieces about the discovery of sounds and sonic universes hidden in objects, places and within yourself.» - @feldermelder & @jsartorius

Commissioned by the legendary concert venue ‘Bad Bonn’ in Düdingen, Switzerland, and the KRAN project, ‘Bonn Route’ is a collaborative album by electronic musician Feldermelder and percussionist Julian Sartorius. It is both a location-based sound walk that can be experienced on-site in the village of Düdingen, and as a full length album. The eleven tracks are a sonic homage to, and an artistic interpretation of a small village in Switzerland’s heartland. 
Building on his practice of site specific performances and percussive sound walks, Julian Sartorius captured sounds and patterns at eleven locations: the train station and cemetary, on the banks of a stream, on a bycicle bridge, and in an intimate cavern above the village’s lake, among others. Sartorius’ documented the soundscape of the village in field recordings, recorded samples of objects and captured percussive patterns by playing on the architecture and vegetation found on-site. 
Feldermelder then processed these recordings into eleven compositions, preserving the locations’ acoustic identities, but expanding on Sartorius’ material. Besides the bassline on ‘Velobrücke’, Feldermelder used nothing but sound reactive synthesis and resonators to create additional sounds, layers and tracks, thus multiplying the spectrum and rhythms of the original material. ‘Bonn Route’ is a musical journey rooted in sounding and resonating with the world around us. 

Feldermelder is a Swiss musician, sound designer, producer and installation artist. He is co-founder of -OUS and part of the audiovisual collective Encor.studio. He has previously released several releases on -OUS, both solo and in collaboration with Sara Oswald.

Drummer, artist and percussionist Julian Sartorius’ precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has previously released his album «Locked Grooves» on -OUS.

Bonn Route

Dorf

Buy on Bandcamp

Feldermelder + Julian Sartorius - Bonn Route - 6 - Dorf

section X from Divisio Spiralis (2019)

JACK Quartet

February 25th-26th, 2021, Oktaven Audio, Mount Vernon, New York
Mastering engineer: Ryan Streber
Editing/Mixing: Christopher Botta and Christopher Otto

Catherine Lamb

Divisio Spiralis X

Winter Trauma #15 w/ Eniedocc

https://2022.radiophrenia.scot/artist/manja-ristic/

In January 2020 I found myself in Ljubljana exploring abandoned spaces as a continuation of my obsession with listening to the Third Landscape – Gilles Clément’s concept which considers, among other things, abandoned urban landscapes or those which suffered an explicit human intervention as places good for thriving bio-diversities which are building the genetic reservoirs that an overall Ecosystem is dependant on. I instantly got hooked by the largest city project – The Sport Park Stožice. It was supposed to include sport facilities and a vast commercial area but only the public part was built, the arena and the stadium. Eighty thousand square meters of the shopping centre remained unfinished.

As often, politics and economics are inseparable, and as corruptive mechanisms become more obvious, both reveal deep submergence into necropolitics. A capital cumulation on the detriment of basic social rights leading to a radical devaluation of a human life. To cut the story short, most of the “modern” societies “background” economics can be reduced to arms sales, drugs, and human trafficking routes. Beneath them are stock value of oil and lithium, gold and diamonds. 

“Please be careful, you’ll be trespassing”, said a dear friend.

The private partner in the public-private largest investment in Slovenia since the 1970s went bankrupt in 2012. 

There were irregularities in the expenditure of EU funds, the then-Mayor pleads not guilty in the latest lawsuit investigating the case. 

“There used to be a wonderful pond, and a hilly landscape… now it’s just concrete, wherever you look, there’s concrete.”

It was a crispy January morning, I wore my army boots. The site was enormous. Several concrete terraces were covered in various surfaces, reaching as far as the eye can see. I decided to just walk.

..... (see web link for full text).....

Every time you think “That is somewhere over there. Nothing has to happen”, a child that dreamed of freedom disappears.

The composition is made around an excerpt from my Stožice abandoned construction site field recording archive. Recorded in January 2020 during the reZone residency in Ljubljana.
Poetry excerpts from the collection Stories Untold.
Mastering by La Plant Studio Belgrade.

http://manjaristic.blogspot.com/

https://manjaristic.bandcamp.com/

https://sonicmatter.bandcamp.com/
photo: Nina Pernat

‘Nothing Has To Happen, Fortress Europe’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

Manja Ristic - Nothing Has To Happen, Fortress Europe

Eventless Plot, Schemata

premiere performance of song/form
by EXAUDI vocal ensemble

December 2022, Kings Place, London

song/form (2021)

;
track made for Low Company 'Businesslunch!' compilation
https://www.lowcompany.co.uk/products/businesslunch

"...flushing Darkthrone down the shitter..."
- Kenny White

mastered by Amir Shoat
;

Clathrus archeri

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.

inter-spatia (with Microtub and Rage Thormbones)

Catherine Lamb

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