This track released for the open remix project by :zoviet*france about his new soundwork "Hidden-by-the-Wall" commissioned by Green Croft Arts as part of its Collision and Conflict project.

More on :zoviet*france:
https://soundcloud.com/zoviet-france/sets/hidden-by-the-wall-open-remix?fbclid=IwAR23eVCF-8yRxJ3BPAw3kh5poKlArMhxfqr8chJf62vwLgqG1_yf2JoEYXo

More on Collision and Conflict:
www.greencroftonthewall.com/collision-and-conflict

The recordings are 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/)

Inside Ice Wind Fence, Oak Leaves Dropped Into Horsetail Ponds At Walltown Sur Rêve

June 2021, Paris 
https://www.youtube.com/watch?v=TyhhsNXbRvU

Day Was Departing _ For Tenor, Electronics and Video

L'Infinie puissance des vagues - Mvmt. I

L'Infinie puissance des vagues won the student prize of the international electroacoustic composition competition KLANG! 2023 : https://klangacousmonium.wordpress.com/concours-international-de-composition-electroacoustique-klang/

Le titre et le concept sonore de cette pièce sont tirés d'un poème en prose de mon père. La phrase entière est : "À chaque assaut de la mer, il rit, il joue à avoir peur, car il ne connaît pas encore l'infinie puissance des vagues.” Ce mouvement est un labyrinthe sonore. Les portes s'ouvrent et se ferment. Les murs apparaissent et disparaissent. Le sol s'écroule. Les plafonds s'effondrent. Les couloirs s'entremêlent et se délient sans cesse, évoquant une cartographie sonore en constante évolution dans l'imagination de l'auditeur qui s'étalera au long des deux prochains mouvements.

The title and sound concept for this piece are drawn from a prose poem by my father. The translation of the full sentence is : “They laugh at each assault from the sea, playing at being scared, for they don't yet know the infinite power of the waves.”  This movement is a labyrinth in sound. Doors open and close. Walls appear and disappear. Floors fall out. Ceilings cave in. Corridors are incessantly interwoven and unwound, evoking an ever-changing sonic cartography in the listener's imagination which will spread across the two following movements.

composé mars-mai 2022, la haye

À chaque assaut de la mer, il rit,...

Voilà Nico et Antonin partis sur une base vaguement dub, au final ça donne un truc, comment dire, post-something?

Recorded @ 147, July 22nd 2022, with:
- Nicolas Claus (guitar, bass, loops)
- Antonin De Bemels (groovebox)

Impro session "dubby"

Pre-order: 13th December 2022
Release date: 20th December 022
Format: Cassette, Digital

They met at the shores of the Licca. Oberlin came from the north, via
Augusta Vindelicorum, Xu from the south via Tridentum. Like travellers
of old on the Via Raetia just with the exception that their luggage
contained some electronic devices, Xu brought a couple of analog
synthesizers and some looper and fx pedals with him, Oberlin had a 9HE
Eurorack together with his sleeping bag on his back and a guitar under
the arm. Nights were quiet, you could hear the river flow and some
nightbirds from the trees. The two travellers did not want to disturb
the silence too much; instead they tried to take up the atmosphere
around them and to resonate it with their electronic and musical means.
So here you can listen to the musical diary of their time spent together
on this ancient roman street... and when the two parted, they knew it
was not forever. They would continue their journey sometime somewhere.

Xu & Oberlin would like to thank Andrea Porcu very much for his support
and for giving them a home on his beautiful label.

Copyright © 2022 ROHS! RECORDS, All Rights Reserved

previews. Xu & Oberlin - Via Raetia | Lᴏɴᴛᴀɴᴏ Series

https://morctapes.bandcamp.com/album/split-lp-2

Extrait du split avec Pefkin sorti chez Morctapes.

"Mutual admirers of each other’s work, these titans of Scottish and French dronefolk team up for a split lp – 2 tracks by Pefkin, 3 by Roxane. The fact that these like-minded artists explore the boundaries of what connects them, makes it a very exciting release. The Pefkin side is Gayle at her most melodic, whereas Roxane goes down a poetic and rhythmical path. Dream combo."

Première Image

A male European nightjar delivers his strange motor like song from one of his favorite song post before moving to the next one, ending his trill by a joyful wing clap.

Lyon countryside, late spring.
2023-06-10, 22h

Lom Usi Pro, Sony PCM M10

Recorded by Grégoire Chauvot & Mélia Roger

Illustration : John Gerrard Keulemans, Public domain, via Wikimedia Commons

European nightjar, Song and wing clap - Mélia Roger & Grégoire Chauvot

This work is intended as a meditative companion-piece to an earlier work, https://soundcloud.com/hearingbeings/20211024-night-music-spring, and follows a similar structure. However, it was recorded in an entirely different location (thirty-six kilometres away).

In this piece, the auditory journey of approach towards the distant source has more intervals, and is more gradual, than in the earlier work. Listening to what may be heard along the way is as important as arrival. On this occasion, there is only one Eastern Banjo Frog in the midst of a plenitude of Spotted Marsh Frogs, along with some Brown Tree Frogs and Common Eastern Froglets.

Other than balancing gain levels, the sequence of recordings constituting this work (made during one night at one location) has not been filtered or processed in any way (with the exception only of the final two minutes).

Fixing the volume from the outset to a fairly low level, e.g., around 40 per cent, and certainly not more than 50 per cent, is recommended. What is distant and quiet will gradually become nearer and louder.

Recorded on the land of the Peramangk people.

The track image is a modification of an original photo of an Eastern Banjo Fog (Limnodynastes dumerlii) taken by by Fir0002/Flagstaffotos and made available under a CC BY-NC licence.

@Bandcamp

2023.12.23 Night Dreaming. One Final Banjo Frog. Early Summer.

Réalisée dans le cadre d'une résidence Phonurgia Nova 2017 au Groupe de Recherches Musicales de l'INA en avril et juin 2018
Mixage de Benoît Bories et Philippe Dao
Avec les voix de Yorgos, Despina, Anna, Gabriel, Ieva, Reda, Neza, Harun, Alessio, Alessia, Lucas

Ardesia est une approche sensorielle et minérale du paysage méditerranéen. Cette pièce est composée de paysages sonores relatifs à la fonction centrale de l'ardoise dans la vie quotidienne des habitants du village de Sestri Levante de la Région de Ligurie en Italie. L'ardoise y est surnommée 'l'or noir de Ligurie'.
L'auditeur déambule dans cinq paysages sonores liés à l'ardoise, comme une partie de boccete, sorte de pétanque sur billard - dont la planche est en ardoise – dans la case des anciens pêcheurs, ou lors d'une marche sur un chemin qu'arpentaient femmes et enfants il y a encore quelques décennies pour descendre la pierre des carrières à la mer pour exportation. 
Le Genius Loci, l'esprit du lieu ainsi que le génie qui vient souffler aux hommes , est révélé grâce à ses sons, indiqués par les villageois et enregistrés avec des microphones binauraux in situ, entre mer et montagne. 

À ces paysages se lient des voix de méditerranéens, de tous âges et dans différentes langues (italien, slovénien, français, espagnol, arabe, turc, grec). Au toucher de cette ardoise, ils ont imaginé un paysage, via un processus de paréidolie sonore. La paréidolie est un mécanisme de reconnaissance et d'identification des formes, une capacité innée de tout être humain à l'imagination : dans des formes issues de paysages naturels comme des nuages ou une ligne d'horizon, l'homme peut reconnaître des formes lui rappelant un objet, un animal ou une forme humaine. Ce concept, habituellement appliqué à la vue, stimule ici le toucher et la parole.

Paysages physiques et imaginaires humains se rencontrent et se confondent dans un même espace sonore. L'ardoise devient un véhicule sensible et poétique d'interaction sociale, une réflexion sur le paysage et son anthropisation.

Merci à Gabriel Lecup, Pom Bouvier B., Anna Raimondo, Félix Blume, Emmanuel Favreau et Francesco Cameli du GRM, Younes Zarhoni, Carola Haupt de Radio Papesse, Arthur Manet, Karim Benzidani, Silvia Robertelli, Fabrizio Vatieri de Pelagica pour la photographie.

Ardesia

Epithymia

Composed and recorded by Lisa Stenberg on the EMS Synthi 100 in studio KSYME Contemporary Music Research Center, Athens, Greece in 2017.
Produced at EMS Elektronmusikstudion in Stockholm 2017.

Ardesia

Chloé Despax

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