Name: Broken Keys (2016) by Catherine Smith
Duration: 1 min 2 s
Description: Composed using a one second recording of typing.

Order 'I Could Be Your Dog (Prequel)' at: ghostly.com/products/i-could-be-your-dog-prequel
Or The Retailer of Your Choice: ghostly.ffm.to/kas-i-could-be-your-dog-prequel

I Could Be Your Dog (Part I)

Kaitlyn Aurelia Smith & Emile Mosseri - Moonweed

Feel Nothing

If you would like to show your thanks for the remixes, please spare a moment and listen to my newest album "Brokenness Trio" https://filiposcar.bandcamp.com/album/brokenness-trio

Thom Yorke on vocals and piano.
All other instrumentation arranged and performed by Pawel Osmolski. Dedicated to fans of the 2006 Hammersmith and Bonnaroo performances.

This is the 2013 remastered version, with percussive elements inspired by Radiohead's From The Basement performance.

Check this out!

Videotape (Mephisto Mix) 2013 Remastered

Since V/VM's nineteen hour “The Death of Rave” project marked a nails-in-the coffin moment to the foregone UK-rave scene, as well as Burial's symbolic post-rave comedown and, more recently, Lee Gamble's dissection of old jungle tapes, a collective subliminal interest in excavating the sonic architecture of this period seems particularly rife. From the ebullient dissent of the outdoor hardcore and acid house raves, through the period post-1994's Criminal Justice Act which harboured darker variants of jungle, darkside, and drum 'n'bass, the sonic potentialities which unfolded themselves then have undeniably flowed strongly in the bloodline of UK music ever since. Using the “then” and “now” as points of flight, a complex social and musical ecology emerges in which, over a period of more than twenty years, musical aesthetic as well as substantial socio-economic, materialistic, and structural changes have become apparent. Drawing on debates on the “hardcore continuum” and “hauntology” as detailed by Simon Reynolds and Mark Fisher among others, The Death Of Rave focuses on the sonic cycle of death and rebirth, reflecting on the present and future of music via the past.

Alex Williams (UK), Introductory presentation – theorist, co-author of “Folk Politics”.
 
Mark Fisher (UK), writer, blogger (k-punk), lecturer, author of “Capitalist Realism”, member of CCRU. › k-punk.abstractdynamics.org
 
Lee Gamble (UK), former pirate radio DJ, computer musician, member of CYRK. › pan-act.com
 
Steve Goodman (UK), producer & DJ (Kode9), co-runs Hyperdub label, author of “Sonic Warfare”, member of CCRU. › hyperdub.net
 
Lisa Blanning (US/UK), journalist for the The Wire and Electronic Beats. › twitter.com/lisablanning

CTM 2013 – Death Of Rave UK w/ Mark Fisher, Alex Williams, Steve Goodman, Lee Gamble & Lisa Blanning

Composed using a one second recording of typing.

Broken Keys (2016)

A compilation by Mark Fisher, uploaded here because the original download link expired

“King of Sorrow (Cottonbelly Remix)” – Sade
“Too Much On My Mind” – The Kinks
“Sittin’ Here” – Dizzee Rascal
“I am Sold” – James Blake
“Still Walking” – Throbbing Gristle
“I Made My Excuses and Left” – Pet Shop Boys
“Got To Get Away From Here” – New Age Steppers feat. Ari Up
“Invoices In My Head” – eMMplekz
“Because You’re Frightened” – Magazine
“Liveable Shit” – Sleaford Mods
“Just Who Is the Five O’Clock Hero” – The Jam
“As I Lie In Your Arms” – Annie Anxiety Bandez
“Circle” – Siouxsie and the Banshees
“Gimme Shelter” – The Rolling Stones feat. Merry Clayton

http://k-punk.org/track-listing-for-look-what-fears-done-to-my-body/
k-punk.org/look-what-fears-done-to-my-body-2/

"A new mix, exploring the sadness and frustration in England at the moment, using some recent-ish music and some from further back … The mix ends with a very familiar track, but one I listened to obsessively in the immediate wake of the election defeat, hearing it in a very different way …

This is for the students on my new Popular Modernism modules at Goldsmiths, who produced some amazing work this year …. and for those at the “top” of the Parliamentary Labour Party, none of whom will ever hear it – in any sense …"

July 2015

k-punk: 'look what fear's done to my body' (mark fisher compilation)

Over a period of four months, the community of students, staff and concert-goers found in and around the Music Department at City, University of London took the opportunity to be a part of an exciting new audio-visual artwork for the Performance Space foyer.

Students ranging from 1st years to MA and PhD took part in creating the content for this work and chose to focus on themes relating to the liminal, in-between and hidden spaces of the department. 

The project was an entirely collaborative effort between students and staff, who worked together on all aspects from conceptual design to audio recording, composition and painting the walls.

City, University of London

From a BBC radio segment broadcast on April 29th, 1937. Background and transcript:http://www.brainpickings.org/index.php/2013/04/29/craftsmanship-virginia-woolf-speaks-1937/ 

MORE/TRANSCRIPT

On Craftsmanship: The only surviving recording of Virginia Woolf's voice

A site-specific composition Marbury Park in the wintertime, a country park in Cheshire where my siblings and I used to play as children (though usually in the summer). My intentions were therefore to create a piece that was retrospective of my experience of the park. I had thought it would be a bit livelier in the park itself but was frigidly cold; I felt like I should have made my recordings when I visited earlier in the Autumn.

Trying to salvage recordings from around my grandparents’ house in the evenings, I was fortunate enough to catch Countryfile’s Winter Diaries, which really inspired me to listen again to my recordings and find the beauty that only the winter can bring. Particularly the section of the programme in which artist Norman Ackroyd speaks of his love for the parks of the British Isles, and how even in the winter, he can see a ‘rainbow’ in the greens, browns and silvers of the landscape.

Marbury Park: At Home in the Winter

The purpose of this study is to explore the English language in its native dialects of England, situated in electroacoustic composition. The way people speak has always intrigued me. Pauses and intonation, sharp consonants and deep vowels, the human voice has the power to communicate through lexical meaning, but also through the sounds themselves. In this work, I look at how the the smallest characteristic elements of people’s speech show intrinsic sounds of these different dialects and what relationship they have to the people that speak them. They then grow into the full expression of their language, and what these different elements, in isolation, combination and through the flow of the stories and opinions they wish to tell, in my composition, This Land.

Broken Keys (2016)

Catherine Smith

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