this made my day. Thanks for the details, a fascinating process/execution

Invisible invocations (2021) for 2 Euphoniums 

Melvyn Poore, Euphonium
Klemen Vetter, Euphonium

Composition: Angeles Rojas

Premiered at Darmstadt Summer Course, 10.08.2021

Invisible Invocations

Active volcano recorded from the top, at the edge of the crater, during the night. 

Recorded by a DoubleMS Setup by Schoeps, CCM41+CCM8+CCM4 (in a Cinela Windscreen),
an AB Setup by DPA Microphones, 2 x 4006,
and a Geofon by LOM Audio.
On a Sound Devices 833 recorder.
Original recording in 192kHz, 24bit.
This sound has been edited and mixes the different sources.

GPS: -19.530189, 169.445493
Recorded on 6th of November 2022, between 6:30pm and 8:30pm.

Tanna Island

Volcano Mount Yasur, Tanna Island

Original recordings are courtesy of :zoviet*france: (2021). Thanks to Ben Ponton and Mark Warren. Visit https://soundcloud.com/zoviet-france

"Hidden by the wall" remix project

:zoviet*france: • "Hidden by the wall [Roev Lai remix]"

“SILO” is a work composed for feedback-augmented bass drums and electronics, and was written for the Line Upon Line percussion trio.

Sonically, this work explores the complex acoustics of feedback systems, vibration and the transduction of sound through physical objects, and performer agency and control of chaotic systems.  Compositionally, this visceral and demanding piece presents a constantly fragmenting web of materials which blur and shift in and out of focus; exploring a world in which the microscopic and the monolithic are harshly juxtaposed, and in which dizzying chaos and stasis exist nearly simultaneously.    

Performance of “SILO” is facilitated through the use of a video score constructed out of materials shot and edited together in isolation.  The performers respond to the same video score in real-time using intersecting sets of rules and strict timing cues, yielding a performance practice similar to that of a foley artist.  The subtle differences in interpretation reveal a sonic spectrum that shifts wildly between coherence and disjunction.  From one perspective, the performers are simultaneously “siloed” apart from one another.  However, from another perspective, they are all bound to the same score and exist as one unified vertical sonic structure.

SILO (2023) // Performed by Line Upon Line

peau dure, peau douce,éclosion, chrysalide..
son 3D, écoute au casque recommandé

Peaux

glitch/electric guitar/improvisation/coding.

state/14

Alexandra Spence – “Do jellyfish breathe?”

A reworked version of this piece has been released as the album 'a veil, the sea' as a cassette tape or download on the Mappa label. You can purchase a copy here:

https://mappa.bandcamp.com/album/a-veil-the-sea

During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean.

I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me.

I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things.

…Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…

Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability.

“… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way.

*Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss.

Alexandra Spence - Do Jellyfish Breathe (excerpt)

Defend

The https://soundcloud.com/appropriate_savagery project was born in 2017 from an attempt by its author to encapsulate and transcribe in his sounds the most visceral emotions of the human race, such as joy, fear, sadness, hatred or disgust. As a result, this project is fiercely interested in the different relationships that unite and divide humans.
This podcast is a collection of atmospheres, past and recent sources of inspirations, which he likes to listen to and which give him the strength to continue his work.

"What has been a crucial sound experience in your life?"
There have been many memorable experiences in the field of music but when reading this question I immediately thought of this one. In 2015 I was producing techno and had little interest in ambient and was unfamiliar with the world of noise in general. Then, a dear friend of mine made me listen to the album "Frozen Niagara Falls" by Prurient, an artist I knew nothing about until then. This album was a crucial discovery in my listening experience since I discovered a whole new musical world in which I recognized myself much more. I questioned the way I wanted to convey emotions in my music for months and then, the Appropriate Savagery project was born.

Links :
Instagram : https://www.instagram.com/appropriate_savagery/ 
Soundcloud : https://soundcloud.com/appropriate_savagery

Tracklist :
PGR - Into the Cutting Day
Miki Yui - Whisper
Siavash Amini & Eugene Thacker - Opulent Night
Jana Winderen - Spring Bloom in the Marginal Ice Zone 
Cheryl E. Leonard - Greater Than 20 Knots
Philip Samartzis + Eugene Ughetti - Radome
Ulla - inside means inside me (Side A)
Palus Somni - Luna Nix II
Ryuichi Sakamoto – Plankton
Ida Toninato - Hymne (Valerio Tricoli Remix)
Phauss - Audiodrome
Kassel Jaeger - Shifted In Dreams
Puce Mary - Anthem of Gratitude
Aviva Endean - Nightwork
The Humble Bee - An Opposite Fall
Claire Rousay - Sometimes I Feel Like I Have No Friends

MNEMOSYNE #048 - APPROPRIATE SAVAGERY

Excerpt from live at The Grey Space (The Hague)

r.spir.22

Douglas McCausland is a composer / performer, sound designer, and digital artist whose visceral and often chaotic works explore the extremes of sound, technology, and the digital medium.

As an artist, he researches and leverages the intersections of numerous technologies and creative practices, such as real-time electronic music performance with purpose-built interfaces, spatial audio, interactive systems, intermedia art, musical applications of machine-learning, experimental sound design, and hardware-hacking.

Described as “Tremendously powerful, dark, and sometimes terrifying…” (SEAMUS) and “Ruthlessly visceral…” (The Wire), his works have been performed internationally, including features at Sonorities, SEAMUS, the San Francisco Tape Music Festival, MISE-EN Music Festival, Klingt Gut!, Sounds Like THIS!, NYCEMF, Sonicscape, and Ars Electronica.  Recent collaborations include artists such as bassist Aleksander Gabryś, cellist Seth Parker Woods, the Quasar Saxophone Quartet, the TAK Ensemble, and vocal ensemble Variant 6.  His work is available through various online platforms, and on SEAMUS, Plyta Z Audiomatu, and Jikken Records.

Recent honors include an award of distinction in the 2021 Prix Ars Electronica for his piece “Convergence”, winning 1st-Prize in the 2021 ASCAP/SEAMUS commission competition, the gold-prize award for “contemporary computer music” in the Verband Deutscher Tonmeister Student 3D Audio Production Competition, and being awarded the runner-up nomination for the International Confederation of Electroacoustic Music's 2019 CIME Prix. 

Douglas is currently the Technology and Applied Composition (TAC) Studio Manager at the San Francisco Conservatory of Music.  He holds a DMA in music composition from Stanford University, where he studied with Chris Chafe, Patricia Alessandrini, Jaroslaw Kapuscinski, Fernando Lopez-Lezcano, and Mark Applebaum.  He additionally holds a MSc in Digital Composition and Performance from the University of Edinburgh, a MM in Music Composition from Michigan State University, and a BM in Music Composition, Saxophone Performance, and Music Education from Southern Illinois University Edwardsville.

SILO (2023) // Performed by Line Upon Line

Douglas McCausland

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