38 Ceremony Journey

Contemporay Acousmatic Music

Book 1 - Intro

(un)soothing

Works by composers who have been associated with Birmingham ElectroAcoustic Sound Theatre, and worked, conducted research and/or studied at the University of Birmingham's Electroacoustic Studios

Works by BEAST composers

Live DJ performance for Graham Dunning's Fractal Meat on a Spongy Bone show on NTS Radio 23/03/21. Part of my ongoing Shazam Walks & Voice Notes project.

http://www.jfbwilliams.com/shazam-walks-voice-notes/

Shazam Walks & Voice Notes (Live for Fractal Meat)

Yuhuu, kembali lagi nih sama aku wika putri. Jadi kali ini aku kamu ngebahas tentang suatu lembaga yang bentuk oleh pemerintah pada tahun ini loh gais. Dimana lembaga ini bertujuan untuk membantu memilih perekonomian kita nih. Tanpa basa basi lagi yuks dengerin pembahasannya.


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KEUANGAN NEGARA_NI MADE WIKA PUTRI RAHAYU_1912531002

Hai.... temen-temen, balik lagi ke podcast aqhuuu. Podcast kali ini kita bakal bahas sesuatu yang agak berat yqitu tentang UTANG. Penasaran utang apa yang aku maksud? yuks, disimak!

jangan lupa follow Ig aku ya ;)
@gstaayu

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MOXATRON STBB744 High Grade

PLIB-031 KEVIN DRUMM & JOACHIM NORDWALL -  OLD PAIN
RELEASES FEBRUARY 1, 2025

Kevin Drumm & Joachim Nordwall have, respectively, spent collective decades carving out new pathways in the realms of electroacoustic, drone, ambient, noise, and improvised experimental music. Their variably multiplied ripple effect across the sonorous waters of disruptive sound cultures are indellibly marked by the touch of these two artists. Neither being strangers to intensive collaborations, the two stalwarts of meditative sonic practice convene to offer Psychic Liberation the eight song album Old Pain. At just under an hour, the pair shine in a complementary fashion across perfectly constructed chapters pulling from their signature tool kits of atmospheric field recordings, tape loops, and pensive oscillations. Cautiously sharing space, the album is at times as brooding as it is transcendent. 

Old Pain is an album nearly two decades in the making. Beginning in 2006, Drumm and Nordwall endeavored to record together in Chicago, a session ultimately abandoned purportedly due to the influence of “Listening to Finnish Black Metal and drinking good brews”. In 2007, Drumm released the cassette Purge on Nordwalls iconic label IDEAL Recordings. Later ,in 2013, Purge was reissued on CD for IDEAL and a subsequent performance together in New York City found the two still in each other's orbit. Later, Kevin would make an appearance in collaboration with Nordwall on his Communication Is The Key Album for Entr’acte in 2019. Whereas previous in-person sessions faltered, Old Pain was the result of the two artists working in their respective winter-heavy geographies of Chicago and Gothenburg, trading files until completion.

Today, Drumm and Nordwall are totems of an era of true advancement in tonal despair. Drumm’s output has been that of mythology, creating some of the most singular works in the canon of experimental music. Nordwall, an equally notable peer as maker, has maintained the global standards and operations of challenging art through his IDEAL Recordings project while performing in solo and collaborative contexts globally. Between the two, it would be a near impossible task to find an iteration of any peer or generation following not touched by the massive cultural imprint they’ve cemented. Finally, with Old Pain, we have a document of two masters of their form able to stretch their legs and pronounce a cohesive gesture of sonic material that will stand to long linger below the surface of comfort.


PLIB-031 KEVIN DRUMM & JOACHIM NORDWALL - 2

Our Fading

Roots Were All Etched

Anders

Used my tape player and Korg Monotron Delay on this one.

エログロナンセンス

‘Âphâr is an Hebrew word that means “dust”.
This piece is inspired on the dream of Jacob, described in the Old Testament:
Jacob had a dream: He saw a stairway erected on the earth with its top reaching to the heavens. The angels of God were going up and coming down it and the Lord stood at its top. He said, I am the Lord, the God of your grandfather Abraham and the God of your father Isaac. I will give you and your descendants the ground you are lying on. Your descendants will be like the dust of the earth (Genesis 28).

To climb Jacob’s ladder is a very difficult process. Each step you take is harder than the previous one and takes more time and effort to accomplish. These steps are heavy, and the dust in your feet is spread around, and finally disappears. If you reach the top of the stairs, everything else is gone, and a door closes to the rest of the world, you have reached infinity.
‘Âphâr was composed at the composer’s personal studio and at the Electroacoustic Music Studio of the University of Aveiro. It received the first prize in Yamaha-Visiones Sonoras competition (Mexico) in 2007.
Also check the version with video at:
https://vimeo.com/143418505

Aphar

Aeolian (Stereo mixdown)

This work is part of a cycle of four works related to representations of the four elements in the Old Testament. Neshamah means “breath” and is inspired in the following biblical text:
Then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature (Genesis 2:7).
This piece was commissioned by the Ibermúsicas Project and was composed at the Centro Mexicano para la Música y las Artes Sonoras and at the Centro de Pesquisa em Música Eletroacústica of Federal University of Minas Gerais. It received an honorable mention at the Concours International de Composition Electroacoustique de Monaco 2016 and at the Destellos Competition 2016.
Also check the version with video at:
https://youtu.be/RIzLRAQ9h0M

Neshamah

Commisioned by Barber Institute of Fine Arts for the Crosscurrents 2018 Festival

Mother and child by the sea

Hydatos belongs to a cycle of four pieces inspired by representations of the four elements (fire, water, earth, wind) in the Old Testament.
Hydatos is a Greek word that means “water”.
This piece is inspired on the first verses of the Old Testament (Genesis Chapter 1:2)
“And the Spirit of God moved upon the face of the waters.”
This piece was commissioned by Gulbenkian Foundation, and was composed in the composer’s personal studio and at the NOVARS Center in Manchester.It received the Second Prize at the Concours International de Composition KLANG! 2015. 
Also check the version with video at:
http://youtu.be/D87vRy5sLr0

Hydatos

This piece is inspired on the first vision of the prophet Ezechiel:  
Et vidi et ecce ventus turbinis veniebat ab aquilone et nubes magna et ignis involvens et splendor in circuitu eius et de medio eius quasi species electri id est de medio ignis (Ezechiel 1:4).
And I looked, and behold, a whirlwind came out of the north, a great cloud, and a fire unfolding itself; and a brightness was about it, and out of the midst thereof as the color of amber, out of the midst of the fire.
Et Ignis Involvens was commissioned by Gulbenkian Foundation, and was composed at the composer’s personal studio and at the University of Keele Electronic Music Studio. It received the first prize at Metamorphoses 2006 Competition (Belgium).
Also check the version with video at:
http://youtu.be/ZxJ0L0n2Q6o

Et Ignis Involvens

Limpopo is the second piece in a series of works composed using recordings from the Sonic Mmabolela Residency 2017. The field recordings used for this piece all contain natural biophonic rhythms that have been filtered, layered and sculpted into a five-minute immersive soundscape composition.

Limpopo

Comfortable Winter

This week, we're joined by Sian Griffiths, Emeritus Professor at the Chinese University of Hong Kong, Visiting Professor at Imperial College London, and Chair of the Public Health England Global Health Committee. 

Professor Griffiths discusses the 2002-2003 SARS outbreak in Hong Kong, and what healthcare professionals should know about the virus.

For more on SARS, visit BMJ Best Practice: newbp.bmj.com/topics/en-gb/904

_
The purpose of this podcast is to educate and to inform. The content of this podcast does not constitute medical advice and it is not intended to function as a substitute for a healthcare practitioner’s judgement, patient care or treatment. The views expressed by contributors are those of the speakers. BMJ does not endorse any views or recommendations discussed or expressed on this podcast. Listeners should also be aware that professionals in the field may have different opinions. By listening to this podcast, listeners agree not to use its content as the basis for their own medical treatment or for the medical treatment of others.

SARS

... coins 
... foil 
... metal pan 
... cellophane 
... bubblewrap 
... noise

A collection of found sound objects originally explored in an hands-on creative workshop exploring sound, object and mark making. This workshop was a collaboration between sound artist Emma Margetson, The Barber Collective and The Barber Institute of Fine Arts Learning and Engagement Team. The recorded found sound objects from this workshop were repurposed for this eight-channel composition, Abstracted Objects.

Abstracted Objects [Binaural Version] [Excerpt]

Línia / Pedra / Paisatge / Solc has been finally released by the wonderful Whitelabrecs run by the super talented Harry Towell. You can already listen, purchase and support my latest work based on a very specific landscape.

This special limited edition release is in a run of 100 copies, modeled around the classic gatefold vinyl LP. It includes printed front, rear and inner sleeves featuring photography by myself, along with a card sleeve which houses a printed vinyl-effect CDr.

This is the outcome of my residency at Culla during Fall 2018 and marks the second collaboration with Double Bass player Rafa Ramos Sania. Album has been mastered by Pedro Pina. The whole thing has been possible thanks to Culla, mágica y medieval, Espai Nivi Collblanc, Mariano Poyatos Mora.

You can get a copy of it at: 
➡️ https://whitelabrecs.bandcamp.com/album/l-nia-pedra-paisatge-solc

And you can learn more about this project at:
➡️ http://www.educomelles.com/2019/11/linia-pedra-paisatge-solc.html

Línia Pedra Paisatge Solc (excerpt)

frozen trough
I cup the warm breath
of my horse
---
My response to this week's Naviar Haiku challenge, informed by the hot summer we are having down here in Sydney, Australia.

Enjoy!
---
Naviar Haiku challenge #312: https://naviarlab.tumblr.com/post/189860392413/naviarhaiku312-frozen-trough
Poem: Debbie Strange (http://debbiemstrange.blogspot.com)
Picture: Jonathan Knepper (https://unsplash.com/@jknepp)

Warm (naviarhaiku312)

N'vi'ah is an Old Testament word meaning prophetess. 
A prophetess conveys one or more divine messages often in the form of inspired songs. And many times her words are cryptic, requiring interpretation or even translation. This work uses isolated phonemes as musical material. Intelligible words are not articulated, leaving to the listener the imagination of what their contents and meanings could be. N'vi'ah was commissioned by the Ibermúsicas Project, and composed at the Human Interaction Laboratory - Diego Portales University in Santiago de Chile. It is dedicated to Federico Schumacher.

N'vi'ah

Third track from Mathieu Karsenti's Slowcraft debut Downstream Blue, released 5th May 2020.

https://slowcraft.bandcamp.com/album/downstream-blue

Lifelines. Hold tight.

http://slowcraft.info/
http://mathieukarsenti.com/

Downstream Blue

Mathieu Karsenti - Further

happy to announce the start for pre-order GRFTPS002
@gallery-six - The Waves Wiped Memories Away

http://giraffetapes.bandcamp.com/album/the-waves-wiped-memories-away

limited edition cassette / digital now on bandcamp

video for "Sentiment" here - https://youtu.be/6mf4iBzcFIc

--
七月の波はすべてを拭い去った
あの日の喜びも悲しみも
僕はただそれを見ていた
二度と戻らないその思い出を
夜が明けるまで
あの波打ち際で

The waves of July wiped away everything
The joy and sorrow of that day too
I merely watched memories that will never get back
At the edge of water until dawn
~~~~~

-- Hidekazu Imashige

The Waves Wiped Memories Away

A1. Gallery Six - Sentiment (GRFTPS002)

Ni Wayan Puspita Apriliana Kerti_2012531012_The Impact of Korean Wave

Emma Margetson (1993) is an acousmatic composer and sound artist with extensive experience in multichannel composition, sound diffusion and interpretation. She has received a variety of awards and special mentions for her work including, first prize in the prestigious L'Espace du Son International Spatialisation Competition by INFLUX (Musiques & Recherches), klingt gut! Young Artist Award in 2018 and Ars Electronica Forum Wallis 2019.

Emma’s compositional work is focused on developing novel compositional approaches that are actively geared towards increasing engagement with acousmatic/electroacoustic composition in order to reach wider audiences, in particular disadvantaged segments of the community, and younger people. Having recently completed a PhD in Musical Composition funded by the AHRC Midlands3Cities Doctoral Training Partnership titled ‘Sonic Immersion: Reaching New Audiences through Sound’, Emma has collaborated with a variety of organisations including the IKON gallery, Research & Cultural Collections at the University of Birmingham and The Barber Institute of Fine Arts.

Her works have been performed and exhibited internationally, including at Ars Electronica Forum Wallis (CH), University of Birmingham (UK), The Barber Institute of Fine Arts (UK), 5to Festival de Música Electroacústica (CL), BEAST FEaST (UK), SEAMUS (USA), CEMI circles (USA), EMAS (UK), Festival Ecos Urbanos (MEX), BULO (UK), RMA (UK), SPECTRA (CO), NYCEMF (USA), Birmingham Hippodrome (UK), Audior Acusmonium (ITL), Sound-Image Colloquium (UK), Delian Academy of New Music (GD), Noisefloor Festival (UK), [ ex_nihilo ] (MEX), MAtera INtermedia (ITL), Sound Junction (UK), Musica Electronic Nova (PL) and Electric Spring (UK).

She has compositions released with labels Urban Arts Belin, Sonos Localia and Obs.