Qilin House Volume 3

noise

La marée, marquée

ambient

Sound art Playlist

SoundCloud Weekly MAY_10_2019

Exclusive new track from our new album The Unified Field. 
Out on Denovali Records on October 25th on Vinyl / CD / Digital

Cross Hands

Buy Infinity Pools EP: http://smarturl.it/buyipools

What does the future of peace and quiet look like? Is it possible for someone to find serenity in a world where population mushrooms and buildings continuously jockey for the best possible view? With Kael Smith’s (Mombi, Khale) Mute Forest this dichotomy is at the epicenter of his 'Infinity Pools EP' due April 7th via Lost Tribe Sound. 

To coincide with visuals courtesy of Gregory Euclide (Bon Iver, Erased Tapes), Smith’s debut EP fuses acoustic sounds, mangled electronics and provocative lyrics across four meditative yet mesmerizing tracks. 

Serving as a companion piece to his expansive and sonorous LP, 'Deforestation', due later this year, Smith’s 'Infinity Pools EP' was actually written as a reaction to that material but will be released first.“ 'Deforestation' will in a sense be a prequel to the EP,” explains Smith. “And for listeners who follow along, should provide an interesting reverse narrative,” he concludes. 

“Crypt,” the EP’s opener, contains oscillating vinyl-sampled rhythms, chiming electric guitar and gently struck nylon guitar. Following that is the sparce and haunting “Volcanoes Flowing,” which traces a melancholy beat and slow, lovely piano crescendos to its heartbreaking conclusion. 

Darker in tone, title track "Infinity Pools" has a commanding presence using ominous electronics and damaged samples of Le Creuset pots being struck. Heavily processed and featuring vocals from Smith’s longtime girlfriend Kelly O’Brien, the track unfurls into a hypnotic groove over the chilling words “You’ll feel like an ember trilling/out in space.” 

Washing over the listener to conclude the EP, “Eat the Skin” originally started as an A Winged Victory for the Sullen remix of a song off of their recent LP, 'Atomos'. As the track progressed though, all of the layers performed by AWVFTS were eventually stripped leaving only acoustic guitar and Smith’s voice. “I like to pretend we wrote that song together, hopefully someday they will hear it” desires Smith. He uses the big, cavernous sound of acoustic guitar as base for unhurried, dulcet vocals and airy electronics. “I’ve always loved the big, acoustic sound of Seafood’s “Desert Stretched Before the Sun”“ explains Smith. “I really tried to emulate that deep resonate tone where the acoustic sounds like a tidal wave.”

All songs written, performed, recorded and mixed by Kael Smith (http://kaelsmithmusic.com) 
Kelly O'Brien backing vocals on "Infinity Pools."  
Mastering by Taylor Deupree at 12k Mastering 
Production assistance on "Crypt" & "Volcanoes Flowing" by Matthew Herron 

Original artwork by Gregory Euclide (http://gregoryeuclide.com) 
Copyright 2015 Lost Tribe Sound (http://losttribesound.com) 
Published by Settled Scores 2015 (ASCAP)

Infinity Pools EP

Volcanoes Flowing

Buy EP

Mute Forest - Volcanoes Flowing (from Infinity Pools EP)

From the album: Music for viola and electronics II (March 20th, 2015)
http://banabila.bandcamp.com/album/music-for-viola-and-electronics-ii

Composed by Michel Banabila & Oene van Geel.

Oene van Geel: viola
Michel Banabila: electronics

Available digital: http://banabila.bandcamp.com/track/hephaestus
On CD: http://banabila.bandcamp.com/album/tapu-sampler-2016

buy at bandcamp

Michel Banabila & Oene van Geel: Hephaestus

Stalattite, cassette, Archivio Diafònico 2015

Stalattite B (Stalattite, cassette, Archivio Diafònico 2015)

01. Swarm of flies (Moscaio, CD, Bocian Records 2012)

Digits

This is an outtake from our new CD "Revisionist History", released during a time that future historians will most certainly be tempted to revise. 





Passing Resentment

A piece to represent the perception of the acceleration of time as we get older

Summer

21 to 21

Jim Perkins - 21 To 21

A portrait of a garden in Svedala, Sweden for the Tiny Portraits project
flamingpines.com/tiny-portraits/

This piece is based on a field recording I made at dawn in the garden of the house where I grew up. My parents still live there, and once in a while when I go back I'm reminded of my teenage years and how I sometimes, after coming home from friends or parties at 5 or 6 in the morning, used to lay down in the grass just drifting off  - reflecting, contemplating, listening to the emptiness, the distant freeway, the wind and the birds, before falling asleep. Those moments really stuck with me.

After being asked to participate in the Tiny Portrait series, I decided to have a go at recreating, or interpreting that state of mind sonically the way I remember it, making this one of my most personal audio compositions to date.

Tobias Hellkvist, Svedala, Sweden

Tiny Portraits

5 am - Tobias Hellkvist - Tiny Portraits

Sound excerpts from the track "The Marble" appearing on the forthcoming Svarte Greiner LP "Moss Garden", following in the footsteps of 2013´s "Black Tie" with 2 new sidelong pieces of zen music for disturbed souls. 

Miasmah records nov. 25th

Svarte Greiner - The Marble (excerpts)

An unreleased track from a couple of years ago.
(Do you know what was going on in 1979?)

3/15/2017

Downlink, 1979

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer
 
Bryan Eubanks: Open-circuit electronics (sinetones)
 
 
 
What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. 
 
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
 
.. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits." - Time Out NY
 
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
 
Artwork by Jerry Starpoli
Liner notes by Joe McPhee 
In memory of Jerry Starpoli 
 
http://www.penultimatepress.com

Joe McPhee and Bryan Eubanks - My Undocumented Alien Clarinet (excerpt)

W.H.E.A.D.

Erosione (excerpt)

Why hasn't everyting already disappeared?

Cohobation (boundary object no 5)

an improvised, live-in-the-studio track recorded 9.10.17 and uploaded immediately upon completion.

Fossil Outtakes

and perhaps believed (9-10-17)

Released by Falt /October 2017

Giovanni Lami - Hysteresis IV
(Side A) 12:00
(Side B) 12:00
C-26 / Lo-Fi Ferro Cassette / NR Off / Falt 8

grab your copy here >>>
>>> https://falt.bandcamp.com/album/giovanni-lami-hysteresis-iv

Recorded live in Torino, July 5th 2017 
Thanks to Lorenzo Abattoir

video from the session >>>
>>> https://vimeo.com/238351530

Hysteresis IV (Side B excerpt)

A soundscape opera about relocation, urban space and gentrification.

This release is dedicated to the people and organisations in Brixton working to protect all that is unique about this district.

---------------------------------------------------------------------

Brixton was my introduction to London when I moved here almost two years ago. I had never heard of Brixton before I arrived, nor had I spent any time in London. I ended up here simply because a friend of a friend knew someone with a flat. This document represents the ways I have come to know this district, and through it a little of the rest of London. My work has always begun with the soundscape, and Brixton offers a remarkable one. From outdoor markets, bicycle sound systems, shop stereos and buskers to booming car hi fi systems, sirens, car washes and people simply talking and taking up space on the streets, Brixton is a noisy place. It was through listening to Brixton that I also came to hear voices being raised about how much this area had changed, about rising rents and neglected public housing, about how many people who grew up or used to have businesses here can no longer afford to stay in Brixton. I learned about the role of Brixton as a centre of Black British culture, resistance and musical production, and about how as Brixton has become increasingly gentrified the ways in which some of the sounds associated with Brixton's history and communities were being lost from this area. I learnt about some of the new silences of Brixton. I don't want to pretend that this release could ever be a definitive documentation of Brixton's soundscape, there are many far better situated than me to understand all the nuances of this area. This album is simply about the ways I came to know Brixton through listening, and the respect I gained through this process for the many struggles being waged in this district to maintain it as a community. This album is about arriving somewhere to find it in the midst of major upheaval in its social fabric, and about examining my own role in this as a new white Australian addition to the area. 
A soundscape reveals a lot about a place, through its presences, its silences, its rhythms and its pauses. A soundscape is forever being made by us all, it stitches us together in ways both subtle and sometimes overwhelming. I think in both its openness and fragility the soundscape can reveal something about the process of community making, and its sensitivity to change offers both opportunities and risks.

Kate Carr, Brixton, London.

I ended out moving to Brixton - Kate Carr (excerpt) out March 9

available here: http://consumerwaste.org.uk/cw20

In the last 10 years Akira Matsuoka (aka Veltz) has established himself as a key figure in the next generation of Tokyo noise artists. His work covers a wide range: metal junk noise, erased tapes, field recording and audio dedications to analogue television. Analogue broadcasting in Japan was switched of in 2011, an event recorded by Matsuoka and presented at the end of this album. The collection of CRT televisions he has since amassed have become his primary instrument, used in numerous performances and on his CD for edition omega point. The tracks on this disc demonstrate the range of this instrument. Recorded over a 6 year period, they comprise a catalogue of the sound fields Matsuoka is capable of provoking from these abandoned screens.

Released in oversized 7" package with letterpress back panel and a 16 page risograph booklet of macro photographs of analogue television noise.

Veltz - Broken TV Audio Report [excerpt]

Beige is the true color of melancholy is a multi-channel installation presented on Re.Sound a two day event in Huddersfield, UK on May 2018. The piece points out to the importance of the culinary culture in the establishment of immigrant cultures in Northern England over the past two centuries. The piece was produced with sounds recorded in the kitchen of Thai traditional cook Lag in Huddersfield, interviews made to second generation immigrants, and archive material that presents the role of cooking in the discrimination suffered by some immigrants that moved to West Yorkshire and Greater Manchester in the 1950s and 60s.

Special thanks to:
Kalim Siddiqui, Nat, Lang,
Ching-Fang Wu and Monty Adkins.

Beige is the true color of melancholy (fragment in stereo)

Fahmi Mursyid - Lautan

From the forthcoming digital album release "Objects of Dissociation Volume 1", this selection is a recent live-in-the-studio rendition of a track recorded for the "Revisionist History" CD (2016).

iBlue (Lithic Version 12 - 17)

A new piece I made or edited for Points of Listening's Invisible Symposium at Iklectik. This is made entirely of different types of recordings of the US border fence at Tijuana Beach, and includes contact mic takes of the sea hitting the fence pylons.

A Study In Border Porosity (US border fence recordings at Tijuana Beach)

Two By Four is Piano Interrupted first full length record, compiling the work of three years of collaboration between laptop / electronician Franz Kirmann and pianist and composer Tom Hodge. 


You Don't Love Me Yet

Robe rehearsal 181017

A remixed outtake from the CD "The Recounting of Night Time", to be released in November of 2018. This track will be download-enabled for one day, on October 31, 2018.
Look into the dark and push the button.

The Recounting of Night Time

When One Falls (bonus track)

Sombre orbits [Naviarhaiku 252]

returning | reeds was created for the return walk along the Humber Bridge as part of the Height of the Reeds event during the City of Culture year in Hull, 2017 - a ticketed event that had to be extended twice and saw 10,000 people participate over the course of 2 months.
This piece uses only the unprocessed recordings of located sound collected over 6 months on and around the bridge in preparation for the project.
 
The Height of the Reeds was a collaborative ten part, triggered headphone installation on the bridge, commissioned by Hull CoC 2017 and Opera North. (also now available as an album). Someway into the process I was asked to compose an additional work for the return walk. My connection to place is based on durational listening and recording, often using unconventional microphones and devices. For this piece I have tried to convey some elements of this connection to a series of locations that I have known since they were built and their surroundings.
recordings include various elements of the bridge structure and internal spaces, reed beds and ponds along the banks of the river humber, and traffic along the bridge. many of the recordings used JrF c-series contact microphones, JrF d-series hydrophones and DPA omni microphones.
this release also includes two bonus tracks not included in either ‘returning | reeds’ or ‘Height of the Reeds’. unedited / unprocessed recordings of the main bridge cables and one of the metal ladders into the anchor space on the north bank.

https://engravedglass.bandcamp.com/album/returning-reeds

Two Extracts From Returning Reeds

artist residency / art festival in Pollau, Austria - July 2009
Natalia and myself were amongst several artists invited to take part.
Natalia set up an installation of objects activated by piezo elements and speakers in a small, open space below a house in the back streets of the town.
I was invited to record the installation and join in with some of the explorative performances.
Natalia Borrisova lives and works in Germany, though in recent years has turned away from an active arts practice.
these archival recordings have not be edited.
# 1 - (testing)
# 2 - (after performance)
# 3 - (contact microphone version)

https://engravedglass.bandcamp.com/album/installation-pollau

(testing)extract - Natalia Borrisova with JrF

Deaf Center's second album Owl Splinters from 2011 gets a lavish re-packaging as a gatefold 2LP. It includes the Svarte Greiner re-interpretation album Twin as well as new cover-art with photos by cinematographer Joshua Zucker-Pluda.

Owl Splinters was originally released 6 years after DC's debut Pale Ravine. In contrast to their previous work, it was recorded in a studio setting (Nils Frahm's Durton studio, to be exact), and the lo-fidelity, haphazard techniques of their early recordings where all but gone. With the benefit of high-end engineering and analogue equipment, Erik K Skodvin and Otto A Totland's murky compositions were transformed from sketches into glorious widescreen spectacles. 8 years later the album sounds as moving, beautiful and obscure as it did back then.

2019 edition coming 22nd March(MIA042)

Owl Splinters

Deaf Center - Hunted Twice

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]

The seven degrees of translucency

Geiger Counter Clicks

The cultural, social, economical and environmental context in which I work is not only a big influence, but it is the main raw supply for my acoustic pieces and the main source of the questions that emerge on my research. Coming from a field recordings background I am very interested in the aesthetic action of listening to everyday sounds and even more when there is not mediation or decontextualisation.

Beige is the true color of melancholy (fragment in stereo)

DavidVelezRod