On the shore of the Lac du Der at night, a talkative Red fox meets a pack of responsive Common cranes.

Recorded with Mélia Roger on November 5th 2022 around 9:30pm.

Lom Usi Pro AB in PCM M10
Drop rig excerpt.

Illustration : Grues trompettant, Robert Hainard

Cranes and Fox dialogue - Mélia Roger & Grégoire Chauvot

premiere performance of song/form
by EXAUDI vocal ensemble

December 2022, Kings Place, London

song/form (2021)

Foot

34°25'20.5"N 119°18'36.7"W
Recorded with two Zoom H2ns placed 500ft apart, one tucked into white sage, the other lodged between rotten branches of a forgotten fallen tree located down another one of those nameless muddy trails behind a school leading to a creek flowing between pointless properties on a Tuesday afternoon overnight into Wednesday morning in continuous formless cycling animal plant space transitioning without thought into darkness into lightness as if never perceived in any totality from any particular vantage point chosen by chance out of curiosity to hear what happens through the metaphysical earless ears of indeterminate reception.

Ojai overnight ◈ April 16-17 ²⁰²⁴ ⬘ 4pm-9am ⬙

Recorded live at HaTeiva, Jaffa, 23.07.24.

Thanks to Guy for the recording and Ram for inviting me.

Songs used: 
Marcel Khalife - Rita and the Rifle
Paul Robeson - Go Down Moses

Grisha Shakhnes - Tribute To Luigi Nono

Long-time friends of GRCR, Texas' Full Spectrum Records presents a monthly showcase for their affiliated artists. 

Weston Olencki says:
I am a composer, musician, and audio engineer; originally from South Carolina; living and working now in Berlin. I’m currently making work focused around questions of instrumental music and its contexts/constructs, various mediated practices of listening and improvisation, and the technological, material, and cultural histories of vernacular art-making.  My recent music deals with the non-linear relationships and unexpected resonances between experimental sound, geography, historicity, and (mostly American) musical traditions.

Listen to Infinite Futures w/ Full Spectrum live on Great Circles Radio - 4th Wednesdays, 12-2PM ET at www.greatcircles.net

~Tracklist~ 
Artist - "song" - Album [Label] 
Zeynep Toraman - “Chimes” - In a Dark House [Obscure and Terrible] 
Magic Tuber String Band - “The Hermit’s Passage” - Needlefall [Thrill Jockey] 
Yoshi Wada - Earth Horns with Electronic Drone [Edition Omega Point] 
Gérard Grisey - Les Espaces Acoustiques [KAIROS]
Weston Olencki - “all my father’s clocks” - broadsides [upcoming, Outside Time] 
Eric Wubbels & TAK Ensemble - BREAD (from interbeing) [via SoundCloud]
The Touchables (Ole Henrik and Guro Skumsnes Moe) - “Birdabyalullaland” - The Noise is Rest [ConradSound] 
Tongue Depressor & John McCowen - “Blame Tuning Part 1” - Blame Tuning [Full Spectrum]
Albanian Women's Group From Kolonjë - “Song of Emigration” - Albanie: Polyphonies Vocales Et Instrumentales [Le Chant du Monde]
pent - “trepidation cycles 1-3” - trepidation cycles [self-released]
Tom Mudd - “Brass Cultures C” - Brass Cultures [fancyyyyy]
Jacob Wick - For Ted - feel [Thin Wrist]
Lee Patterson - Egg Fry #2 - [Cathnor Recordings]
Marja Ahti - “Shrine (Aether)” - Tender Membranes [Black Truffle] 
Weston Olencki - field recording made in Jenkinsville, SC 
Bríd Ní Máille - “An Crithir” [Harry Smith archival recording] 
Sholto Dobie - “forest logic” - 23 [Infant Tree] 
Virgil Anderson - “Trouble” - On the Tennessee Line [County]
Tom Mudd - “Pluck Ritual” - Guitar Cultures [fancyyyyy]
Joseph Decosimo - “Trouble” - While You Were Slumbering [SleepyCat]
Jacken Elswyth - “after Dink Roberts” - Six Static Scenes [self-released]
Zosha Warpeha - “when I am real” - silver dawn [Relative Pitch]
Hoboken Sacred Harp Singers - “O for a closer walk with God”
Nick Dunston - “colla voce” - COLLA VOCE [Out of Your Head] 
HARLOW (Jessie Marino) - “The Occasion” - A Host of Possible Dramas and Exchanges [self-released]
Edgard Varèse - Octandre 
Iannis Xenakis - Jalons 
Zdrój - “Baden Baden” - Zdrój [Syf] 
Santa Clara Vanguard Drumline 2012 [YouTube] 
Dewa Alit & Gamelan Salukat - “Ngejuk Memedi” - Chasing the Phantom [Black Truffle] 
Weston Olencki - “the rocks are different here” - pearls ground down to powder [Full Spectrum] 
Bryan Jacobs - “blocks and birds” - Lost At Sea [self-released] 
Don Zilla - From The Cave - From the Cave to the World [Nyege Nyege Tapes] 
Kevin Drumm - “Hitting the Pavement” - Sheer Hellish Miasma [MEGO]
Gabber Modus Operandi - “Pandang Galaxxx” - HOXXXYA [SVBKVLT] 
Madison Greenstone - “glass horn (acoustic shadows)” - Resonant Studies in Ecstatic Consciousness [Relative Pitch]
Mattie Barbier - “untitled i” - threads [SOFA] 
Ellen Fullman & Theresa Wong - “Harbors pt. 2” - Harbors [Room40]
Henry Birdsey - “seriya limb” - Two Harmonicas in the Jewelers Court [Poole Music]
Roscoe Holcomb - “Moonshiner” - The Music of Roscoe Holcomb & Wade Ward [Smithsonian Folkways]
Sam Salem & Distractfold - “The Great Inundation” - London Triptych [Dfolds]

Infinite Futures w/Full Spectrum - Program 25: Weston Olencki - 22May2024

As part of our Beyond Borders collaboration, a fundraiser for Gaza Medical Tent, this mixtape weaves voices and sounds in the form of poetry and music and includes past Dolce Stil Criollo contributors and friends of the publication who are part of solidarity networks for Palestine.

The mixtape originally aired on October 26th, from 6-9pm, Bethlehem time, with Radio Alhara.

Track List
1. ehCaetano aHía Menuzum - Possible Heartbeat
2. Lamia - Darwich Beyond Mimicry Arabic
3. Carla Boregas - Sol 
4. Recuérdanos by Paul Catafago, translated and read by Nicole Cecilia Delgado
5. Jean Carla Rodea and Raffi Garabedian - En Todo Cuerpo de Agua
6. Gerab - 2 ultimate desobedience
7. Mayada Ibrahim, Jordan Topiel Paul – Khartoum, October 2015
8. Tenaya Nasser-Frederick and Assia Turquier-Zauberman - Milk City
9. Gigios - Love4u
10. Poems by Refaat Alareer, Samer Abu Hawwash, Basman Aldirawi, & Mandy Shunnarah (translated & read by Andrés Paniagua)
11. Daniela Stubbs Levi feat Anthony Almendárez - Tidal Echoes
12. Funto & Tosin aka BABAS - gbà mi
13. Mahmoud Darwish and Leila Baalbalki, translated and read by Maru Pabón
14. Gerab - 3 birth of a hero
15. jjoaoapaes - then the image cut
16. Alina Maldonado - Sobre la Ciudad (...para T)
17. Poems by Roberto Tejada
18. Gerab - 1 unsupervised learning
19. Lucía Hinojosa Gaxiola - lenguaje químico
20. Concepción Huerta / Hara Alonso - the artist might die
21. Rolando Hernández - Oaxacentrismo
22. unmade - tejido
23. Grace Villamil - Repeat, refrain. (radio edit)
24. Andrew Riad - non-language
25. ehCaetano aHía Menuzum - techno-jam-with dark energy and nord drum 
26. Gigios - Amor pra vcs
27. ehCaetano aHía Menuzum - oia os homi
28. Devil Gremory - Gritos de desespero (O fim da maquina)
29. Devil Gremory - Intro
30. TYV - 2-001
31. Johan Mijail - Manifiesto
32. TYV - f418775040 (why not clubbing mix)
33. Rico Jorge - Nó e Vapor
34. DJ Foguin - Mandelao Rave
35. Ejuku - Fuck
36. DJ Foguin - Grego No Jungle

FH X DSC X Alhara - Beyond Borders Mixtape

score available at http://www.unboundedpress.org/scores/4_computer_music_studies_score.pdf

code available at http://www.github.com/mwinter80/4_computer_music_studies

4 Computer Music Studies

v rough recording of melodica quartet
june 2018 recording of score written in august 2017

practicing playing melodica quietly

Less Prescribed

The 35th installation of Experimental Israel hosts Grisha Shakhnes, who opens his interview with an improvisation dedicated to the recently deceased, Pauline Oliveros. Other than a well-deserved homage, Shakhnes describes his setup as quite similar to that used by Oliveros in her first tape compositions, in which Shakhnes can almost recognize the echo created as a default of the machines used. His particular setup includes an old Revox tape player with 3 heads (enabling recording and erasing). The Revox is fitted with and empty quarter inch tape, and is set on record. This motion becomes delicate sound that is fed into an external mixer, which is fed back into itself. And finally, all of this is sent into a control mixer through which the EQ is employed. Into this same mixer are fed the possible lines of a few other smaller tape recorders and other provisory objects that Shakhnes uses. He is vehemently opposed to any kind of external effect use, claiming that his intention is to keep the instruments’ sounds clear, so as to see what their innate possibility offers, and more so, in order to avoid a saccharine sound.

Since 2008, Grisha Shakhnes is an active performer, and this although he isn’t trained in music at all. His forays into performance were prompted via works from different art forms. He mentions Jack Kerouack’s “On the Road”, as a vivid memory. In this story there are various mentions of what Kerouack possibly perceived as “crazy jazz solos”. Affected by the writing, Shakhnes followed through these same mentions, discovering that Kerouack’s and his own idea of crazy do not correspond. However, this sent Shakhnes down a particular jazz trail that brought him to John Coltrane’s “Ascension”, which to him embodied a definitive sound he was looking for. This was not and would not become Shakhnes’ sound, but it was the right event to send him down a trail from jazz, to free jazz, to free improv, to electro acoustic setups and indeed to his own setup. And it is important to follow through and state here that the aforementioned setup is Shakhnes’ instrument. He imagines himself continuing using this basic setup throughout his career. Apart from the love Shakhnes has for tape sound, he recognizes this sound as his own aesthetic – an aesthetic he has not managed to recreate on any other instrument. 

Shakhnes presents us with what one could easily call a structured improvisation. In fact, what he does has no proper terminology, but I’m sure that many of the readers will recognize the style of his creative process. Shakhnes sets himself up for performances with prepared tapes and objects he knows he might end up using. He then leaves the process quite open for discovery. However, Shakhnes has a pretty good idea of what his musical destination will be, and hence he shies away from calling his practice improvisation. Improv, tells us Shakhnes, is based around the process at its epicentre. The focal point of the improvising practitioner is to explore, which is why it is so open and prone towards collaboration or group practice. For Shakhnes, in improvisation, one can have a wonderful and successful process yet a complete aesthetic failure. However, he is interested only in aesthetic outcomes, which is why he always maintains some control over a process, and indeed why he predominantly shuns collaboration or group scenarios. And the destination Shakhnes wants to arrive at, or indeed the compositional sound he is drawn to, is an aesthetic dwelling comfortably on the boundaries between through composed and improvised music.

                              

Grisha Shakhnes - Experimental Israel

El guitarrista y teórico de la música experimental Michael Pisaro, utiliza la poesía, las grabaciones de campo y el silencio para crear sus obras.

practicing playing melodica quietly

dougfarrand

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