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Atomic Radio 137 / Pripiat

Italian Audio / Visual artist Camilla Pisani joins us with her new album "Phant[as]". Imagined as a lucid nightmare, fuelled by her various inner struggles, it is a trip into the depths of imagination. The project is inspired by Phantasmagoria, a form of theatre that was most popular in Paris in the 18th century, in which images of skeletons, demons and ghosts were projected onto walls and/or sheets. During these performances, there was a rapid succession of lights, smoke, illusions, ghosts and spectres that deceived and amazed the audience.

The album then, revolves around the concept of "illusion" to be understood as a succession of images, sounds, colours, objects, actions that vividly affect the senses and imagination showing unreal and intangible figures, but still visible and paralysing, just like our fears are. In fact, each track deals with my different turmoils, negative thoughts that have conditioned the last few years of her life and describe uneasy conditions shared by most of my peers (toxic relationships; job insecurity and exploitation; immateriality of the future, translated into frustration, exhaustion/desperation, claustrophobia and a desire to escape; anguish, panic and a sense of powerlessness towards nature and disease).

The project is presented as a cathartic experience in which she exorcises her mental ghosts and confronts, challenges with the powerful and persuasive weapon that is sound, composed of obsessive rhythms and evanescent atmospheres. Finally, the reference to the Magic Lanterns is linked to her research in the field of audiovisuals, since they were the first performances in which an attempt was made, through the combination of motion graphics, light games and sound, to obtain greater sensorial and emotional involvement with the public.

CD Edition of 300 copies in panels Digipak, matt lamination. 9 Tracks. Running Time 69:33

Phant[as]

Camilla Pisani - Phant[as] CD (AES005)- Excerpts

イカルス (Ikarusu) - 2011

Une composition pour exorciser la stupéfaction, l'hébétude et la fascination morbide, induites par les images diffusées en boucle, suite au séisme qui frappa le Japon le 11 mars 2011.

Un temps pour revenir sur cette folie de l'Homme : se doter d'une énergie et d'une puissance de destruction démesurées.

Cette pièce est dédiée aux victimes de l'atome, passées, présentes et - hélas – futures.

Le travail de composition s'est étendu du 19/03/2011 au 24/04/2011.
Création mondiale le 27 mars 2012 au Los Angeles Sonic Odyssey (USA).

--

Ua composicion per exorcizar l'espanta, l'estabornida e la fascinacion morbida, indusidas peus imatges difusats en bocla, arron lo tèrratrem qui a tocat lo Japon lo 11 de març 2011. 

Un temps tà tornar sus aquesta holia de l'Òmi : dotà's d'ua energia e d'ua poténcia de destruccion hòra mesura. 

Pèça dedicada a las victimas de l'atòme - passadas, presentas e per viéner. 

Tribalh de composicion deu 19/03/2011 tau 24/04/2011.

--

A piece composed to exorcise stupefaction, hebetude and morbid fascination induced by the  infinite video loops broadcasted after the earthquake in Japan.

A time to think about this human madness : build a huge energy and destruction power.

Dedicated to nuclear victims from the past, today and the future.

Composition work from 2011/03/19 to 2011/04/24.
World creation for the Los Angeles Sonic Odyssey (US) by march 27.

イカルス - Ikarusu (2011)

Nichunimu, Bizcocho y devenir

Shadows Lifted from Invisible Hands
by James Hoff

Shadows Lifted from Invisible Hands is an autobiographical record, comprised of four songs that Hoff refers to as ambient media. Each track is composed from sources drawn from his own involuntary aural landscape, specifically musical earworms and tinnitus frequencies.

Neither sound nor a daydream, the earworm (or stuck song) emblematizes music as a commercial form—immediate, ubiquitous, and persistent. Likewise, tinnitus is inaudible and unscrupulous, manifesting across a spectrum of frequencies at will. The cognitive swirling of these phenomena provides an ambivalent, internal soundtrack that scores a person’s movement through the world.

Those suffering from tinnitus or those who have grown accustomed to the “Tinnitus Effect” in movies will likely recognize the buzzing pitches on the record, but will likely not recognize the songs. Distorted and distilled, Shadows Lifted from Invisible Hands features altered versions of four commercial pop songs: Blondie’s “Heart of Glass,” David Bowie’s “Space Oddity,” Madonna’s “Into the Groove,” and Lou Reed’s “Perfect Day.”

Having been haunted by these songs on and off for years, Hoff tweaks the tracks, transposing and recomposing them for orchestral instrumentation. Speaking back to these involuntary echoes, these tracks go to great lengths to obfuscate their sources; to be sure not to simply re-introduce each earworm, as though they were samples. Otherwise, what’s the point? No one needs another stream.

Besides, earworms are not music, although we perceive them as such. They are non-cochlear and exist as an affective force that is neither subjective nor objective, which is to say they are an invasive—and alien—phenomenon. Like tinnitus, they are aggravated by economic, social, and environmental forces as well as emotional states, mental health, and aging. Hoff doesn’t underplay his own struggles with mental health in discussing the record—noting a long history of depression and its acuteness over the last few years, which serve as the backdrop to the composition of this record.

Scratch any pop song hard enough and you’ll find sadness underneath it. Subdermal, the songs on this record evoke a type of ephemeral weariness and despair. By recasting the original songs through their shadowy doubles, Hoff provides a window into the dark core of pop music. At the center of which lies capitalism’s desperate attempt to replicate itself through a cheap high built on echoing refrains. Just below the surface the listener finds a hangover of shadows dancing through the mind.

—

James Hoff is an artist living and working in New York. He has exhibited and performed internationally. He co-founded Primary Information in 2006 to publish historical and contemporary artists’ books.

JAMES HOFF 'Everything You Want Less Time' (SP151)

DinahBird followed Valentin Lacambre, the French internet pioneer registrar from a tiny dank cellar that housed his first server - a simple computer in the 1990s - to a historic Parisian datacentre implanted near the Père Lachaise cemetery. Inside kilometres of cables and server upon server churn out, day and night, fresh new spam to keep your 'in folder' unhappy. 
Recordings made in 2022. A four channel performance version exists.

Sound Of Spam By DinahBird

~ Deep Breakfast 291 by https://soundcloud.com/francejobin ~

France Jobin is a sound / installation / artist, composer, and curator residing in Montreal, whose audio art, qualified as "sound-sculpture", reveals a minimalist approach to complex sound environments where analog and digital intersect.

Mix is of these three albums:
Steinbrüchel​ ~ Narrow 
Yuki Aida ~ Revolve+
Richard Chartier ~ Recurrence

Photo by Annie Spratt

Special thanks to Karen Vogt

France Jobin
https://linktr.ee/francejobin

Deep Breakfast Series
Instagram: www.instagram.com/deepbreakfastseries/
Facebook: www.facebook.com/DeepBreakfastSeries/
Tumblr: www.tumblr.com/deepbreakfastseries

Deep Breakfast 291 ~ France Jobin

Übers Jahr

Umkehr

Co-commissioned by Radio France and INA grm, Basse Brevis by Canadian composer Sarah Davachi was premiered at the Présences 2024 festival, which was dedicated to Steve Reich. Drawing on her own minimalist approach, Sarah Davachi explores, with extreme care, the weavings and complex relationships between the timbral, spatial and durational components of music. Using developments that can be appreciated over time, the composer manages to create music that is extremely precise, subtle and lively. But what is striking, and particularly evident in Basse Brevis, is that such an approach, both abstract and restrained, is nonetheless at times utterly poignant. The work combines moments of formal exploration with moments of pure emotion in a perfectly mastered fashion, creating a gentle tension as it swings between two modes of listening that navigate indecisively within both instrumental and concrete approaches, tracing, in parallel, a diagonal of sound that unfolds around perception, sensation and feeling. 

Sarah Davachi 'Basse Brevis' (Excerpt)

lo-fi micro works

From Tchernobyl With Love, nouveau titre de La Femme (Tous droits réservés).

Plus d'info:
http://vocododo.blogspot.com/2011/10/la-femme-paris-2012.html
http://www.amazon.fr/Paris-2012/dp/B005WLUE8K

La Femme - From Tchernobyl With Love

K Ø Z L Ø V - Tchernobyl
~ 145 BPM ~
Artwork by Nicolas Thabart
Release date : 29/07/2019
Video clip : https://www.youtube.com/watch?v=UDuw2ro0j-4

Project made with some remix on their soundcloud page :
NTBR & PROXYMA

K Ø Z L Ø V - Tchernobyl

"Reiterations" by First Tone from "Reactions" 2xLP/Digital due out October 2019.

"Reiterations" by First Tone

Tchernobyl

Les Débats du CAK saison 14-1 : Tchernobyl : une amnésie collective est-elle possible ?

- Débat avec Tatiana Kasperski (Université Pompeu Fabra, Barcelone) autour de son ouvrage : Les politiques de la radioactivité. Tchernobyl et la mémoire nationale en Biélorussie contemporaine (﻿Paris, Éditions Pétra, 2020)

- Discutant.e.s : Soraya Boudia (Université de Paris, CERMES3) et Marc Elie (CNRS, CERCEC)

- Modération : Emanuel Bertrand (ESPCI Paris-PSL, CAK)

- Enregistré le 14 octobre 2020 en ligne

Tchernobyl : une amnésie collective est-elle possible ?

Compositeur et performer issu du courant de la musique concrète, Christophe Ruetsch travaille une matière sonore provenant principalement de prises de sons, de séquences synthétiques, de sampling, archives et autres fragments sonores qu’il malaxe et recombine allègrement sur scène ou en studio en s’intéressant particulièrement au jeu en live.

Son travail musical et sonore est vaste, allant de créations pour le concert, au spectacle vivant (danse, théâtre, marionnettes, formes pluridisciplinaires... ), en passant par des installations sonores et des pièces radiophoniques. 
Il collabore avec de nombreux metteurs en scène et chorégraphes pour la création de musiques de scène.
En mai 2008, il est invité à participer à une résidence à Tchernobyl. A partir de la collecte de phonographies dans la zone contaminée, il créée Atomic Radio 137  pour les Ateliers de Création Radiophonique (France Culture), Zona en 2010 (commande de l’État et du GRM) et Atomic Radio 137 live en 2011.
Il crée en 2018 hEARt, installation sonore sous casques réalisée à partir de prise de sons cardiaques.

Il est aussi un des membres de l’IRE Ensemble avec Hélène Breschand (harpe & effets), Philippe Foch (percussions), Franck Vigroux (synthétiseurs analogiques) et Kasper Toeplitz (basse électrique et ordinateur), tous instrumentistes compositeurs, interprètes ou improvisateurs de musique électronique.

Atomic Radio 137 / Pripiat

Christophe Ruetsch

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