Soundtracks, mixes, interviews and live recordings aired on Ears Have Ears during 2016. For more info visit http://fbiradio.com/945fm/programs/ears-have-ears/

Ears Have Ears 2016

Ears Have Ears features weekly exclusive contributions by experimental artists in the form of either an imaginary soundtrack, mixtape, live recording, in-studio performance or interview. This is a collection of content contributed to Ears Have Ears during 2017.

Ears Have Ears 2017

Ears Have Ears features weekly exclusive contributions by experimental artists in the form of either an imaginary soundtrack, mixtape, live recording, in-studio performance or interview. This is a collection of content contributed to Ears Have Ears during 2018.

Ears Have Ears 2018

Ears Have Ears 2019

An original and beautiful soundtrack composed by Perth electro-acoustic duo Cycle~ 440 called "Lingering Echoes of the Tempest".

EHE 29.8.13 - Cycle~440 - Lingering Echoes Of The Tempest

This week our soundtrack comes from Perth’s experimental guitarist Craig McElhinney. Craig creates improvised glacial drone loops, meandering doom improvisations and atmospheric ambience, created with a 12-string acoustic guitar, noise gadgets and a sampler.

We also catch up with Adelaide multi-disciplinary artist Jason Sweeney (Pretty Boy Crossover / Panoptique Electrical) who is currently in town to present ‘Stereopublic (Crowdsourcing the Quiet)‘ at ISEA. The Stereopublic project encourages city dwellers to map the silent parts of their surroundings.

EHE 13.06.13 - Craig McElhinney (WA) - More Permeations of Truth

Our soundtrack this week comes from Setec aka Sydney-based solo artist Joshua Gibbs. Setec enjoys blending the organic with the electronic, fusing delicate ambience with interesting vocal layers and loops. You can find his new album Brittle As Bones out now through Feral Media.

This Setec’s description of his exclusive and original soundtrack contribution, called ‘Jersey Street’…

“I made this while going through a drawer of old primary school books- sappy, I know, and I’m not usually one for that kind of pervasive nostalgia in my music, but something clicked and I started improvising themes on my guitar. I started to visualise all the senses I still associated with that part of my life, around 1996- the feel of the air in a stuffy summer classroom, the smell of my desk as I scratched into it with a compass. The colour of a particular student-drawn artwork of a car on the wall: all vivid oranges and deep blues.

I processed my electric guitar through digital reverb units and equalisers until I could barely recognise the instrument, trying to create alternating swells of ambience. Once I had my initial theme I had fun with inverting the notes with each new take, creating a kind of phasing between the different tracks that I found really hypnotic. I drew on my library of soundscapes and field recordings accrued from internet archives and my own tapes and started panning all of them hard left and right throughout the track, occasionally weaving them in together to create a sense of unity amongst the sounds of different spaces. I built on this with my acoustic guitar and ukulele, fading between both tracks and trying to eke out a meter from what was initially a tempo-less piece.”

EHE 30.10.14 - Setec  - Jersey Street

This week it comes from Melbourne’s Asps aka Andrea Blake (Chrome Dome, Vacuum).

Asps has been making drone synth melodies into songs since 2010, exploring dance rhythms of industrial and minimal wave persuasions. She put out her ‘So Long’ cassingle on Nihilistic Orbs in 2011, before self-releasing a second cassingle, ‘Swarm’ earlier this year. Asps has done remixes for Miles Brown, Liam Kenny and Multiple Man.

Asps on her exclusive soundtrack for Ears Have Ears, ‘FALSE TRANSIT':

“Working with field recordings and archival sounds this piece is homage to the moments of perfect synchronicity that can be found when you piece together the rhythms of a city – simultaneously invoking both familiarity and dissonance.”

EHE 06.12.14 - ASPS (VIC) - FALSE TRANSIT

Hear an original soundtrack from Sydney's phile aka Gareth Psaltis and Hannah Lockwood. Having supported the likes of Samuel Kerridge and Container, the duo make intense experimental techno using hardware electronic instruments. Their soundtrack is a stunning collection of live jams pieced together to form a collage of their most recent work in their Newtown-based studio. 

EHE 09.07.15 phile (SYD) - Untitled

An original soundtrack contribution from Software of Seagulls, aka Brisbane artist Chris Perren (Nonsemble, Mr Maps). Coming from a diverse musical background in noisy rock bands, electronic explorations, theatre and film scoring, Perren has an unconventional approach to electronic music making, commonly investigating elegant patterns and mathematical structures.

EHE 24.06.15 Software Of Seagulls (BRIS) - Song For Sebi

This week our soundtrack contribution comes from Melbourne composer Joe Talia. Originating as a drummer in contemporary jazz and improvised music, Talia currently works on a number of collaborative projects including the ARIA-winning Andrea Keller Quartet and a long-term duo with Oren Ambarchi.

His various projects have explored electro-acoustic compositions and performance, reel-to-reel tape machines and analogue devices. Following the release of his musique concrete suite in/exterior in 2006, Talia established a duo with composer James Rushford, under which he worked with submerged synthesisers, expiring drum machines and domestic detritus. Talia is also a studio engineer, producer and mixer and has worked on records for Oren Ambarchi, Stephen O’Malley, Keiji Haino, Jim O’Rourke, Fire! and many more.

His exclusive soundtrack piece is titled “Frozen Terrace” and is a collection of awkward, almost silent moments of film dialogue mixed against synth, percussion and tape.

EHE 16.07.15 Joe Talia (Mel) - Frozen Terrace

An exclusive 20 min mixtape pieced together by Pinkcourtesyphone aka LA's microsound master, Richard Chartier.  www.pinkcourtesyphone.com 

Pinkcourtesyphone's Untitled mix tracklisting:

pinkcourtesyphone - reference point (unreleased)
bellows - handcut 2
throbbing gristle - exotica
lovesliescrushing - crushing
Xth Réflexion - 8
etant donnes - montre toi
asmus tietchens + richard chartier - fabrication 2.8
wzrdryAV - summer drone phase 2
francis dhomont - objets retrouvés
scala - fuser

Grab his new releases here: 

http://importantrecords.com/imprec/imprec416
http://importantrecords.com/imprec/imprec417

EHE 23.07.15 Pinkcourtesyphone (USA) - Untitled Mix

This week on Ears Have Ears, our soundtrack comes from Moon Wheel: the independent project of Swedish artist and self-taught musician Olle Holmberg.

After a 7 year stint in Melbourne as part of experimental act Pissypaw, Holberg moved to Berlin and put out first release under this moniker – a 13 -minute drone split cassette with post-punk outfit Ill Winds (Noisekölln Tapes, 2012). Since then he has been become increasingly prolific in the Berlin music scene, constructing electronic sounds and shapeshifting compositions inspired by ‘nature, history and wandering’.

The piece – entitled Völuspá – is a musique concrète improvisation (or an 8-channel “meta DJ set”) about the creation of the world according to Scandinavian Asatro, performed on an Elektron Octatrack.

“Völuspá tells the story of the creation of the world and its coming end, related to the audience by a völva addressing Odin. It is one of the most important primary sources for the study of Norse mythology. The poem is preserved whole in the Codex Regius and Hauksbók manuscripts while parts of it are quoted in the Prose Edda. It consists of approximately 60 fornyrðislag stanzas.”

CREDITS: 
Fornnordiska Klanger — The Sounds Of Prehistoric Scandinavia (1984)
Sveinbjörn Beinteinsson ‎– Völuspá (1982)
Sigrún Haraldsdóttir — Eðalhagyrðingum Iðunnar (2005)
Roger Winfield — North Wind (1991)
Peter Zinovieff — Agnus dei (1966)
Peter Zinovieff — January tensions (1968)
Daphne Oram — Contrasts Essconic
Jay-Dea Lopez — Road trip: the Warrumbungles and hotel recordings (2015)
Abstraction — Field Recording, Vents and Vending Machines (2015)
Jesse Osborne-Lanthier — Abs.aif (2015)
Olle Holmberg — Sommar med mor vid en stor sjö i Närke (2014)


EHE 15.10.15 Moon Wheel (GER) - Völuspá

An exclusive soundtrack by Nina Buchanan (Mel. Created for Ears Have Ears on FBi Radio Sydney.

Buchanan is a musician and composer, working across live performance, sound design and soundtrack composition for film, theatre and performance art. She mostly works with synth/keyboard/electronic sounds, with a fondness for improvisation, weird dance music and the areas between sound design and popular music. Her soundtrack for Ears Have Ears is called 'Everything is Faster':

"Everything Is Faster' is a semi-improvised experimental synth/dance track. The result of an ongoing series of improvised analogue synth experiments, the piece plays with speed and tonality to create relentless warped synth patterns over dance beats."

- Nina Buchanan

EHE 03.12.15 - Nina Buchanan (Mel) - Everything Is Faster

Keith Fullerton Whitman on his exclusive mixtape for Ears Have Ears:

"Here's a mix covering my recent listening habits, entirely sourced from a series of vinyl rips of recent acquisitions & perennials I made to listen to remotely whilst my collection was locked away in a shipping container for a few months during its trans-pacific voyage. A blend of psychedelic Musique Concrète, anthemic Berlin School ragers, no-wave presaging synth-punk, electronic free jazz, cracked Sound Poetry, and the like. This should give you an idea of where my head is at, musically, at the moment." 

1.Jacques Lejeune - Petite Suite • Danse (EMI La Voix De Son Maître, France 1970)

2.Jean Yves Labat - Matrix 16 - (Barclay, Canada 1976)

3.Philiipe Doray - D'Ici à Là (Gratte-Ciel, France 1977)

4.Hans Anton Knall - Merde (Gump, Sweden 1975)

5.V.D.B. Joel - Martian Invaders (Colorsound Library, Germany 1987)

6.Rolf Liebermann - Symphonie "Les Echanges" Komposition Für 156 Maschinen (Turicaphon, Switzerland 1964)

7.Robert "Cleve" Pozar & Michael Sahl - Good Golly Miss Nancy (Savoy, USA 1967)

8.Ernest Hood - Saturday Morning Doze (Thistlefield, USA 1975)

9.Leo Küpper - Automatismes Sonores (Deutsche Grammophon, Germany 1971)

10.Angel Rada - Asesinato Musical (Uranian, Venezuela 1983)

Keith Fullerton Whitman is a musician currently based in Brunswick, VIC. These days his creative energies are largely put into the continued development of a singular take on Live Electronic Music incorporating an ever-changing hardware-based system, allowing for a complexity of sound & vision. While this work had manifested itself as a pair of albums for Editions Mego entitled "Generators" & "Occlusions," it's largely intended for the stage. More recently, Keith has been performing a piece titled "Redactions," incorporating thematically & geographically relevant Concrète elements into the modular setup.

www.keithfullertonwhitman.com

EHE 21.01.16 - Keith Fullerton Whitman (USA) - Mix for Ears Have Ears

A soundtrack devised by Tarquin Manek in collaboration with Martina Quake. Made for Ears Have Ears program on FBi Radio Sydney. 

Tarquin Manek is a current member of F ingers and Tarcar, as well as releasing solo records under his own name and as #LST. 

Pitched somewhere between folk-tale and science fiction, his sound often contains psycho-acoustic landscapes with paranormal resonances. 

Manek’s music can often be dense and hard to navigate, pitched somewhere between folk-tale and science fiction it explores psycho-acoustic landscaping dotted with paranormal resonances, gloopy alien concrète and third-eye-open sound design.

Composed at Melbourne's M.E.S.S. facility utilising some of it's iconic machines, such as the EMS VCS3, Oberheim OB-Xa and ARP 2600, this exclusive piece was created in collaboration with scriptwriter and performer Martina Quake of Canvey Island, England. Tarquin Manek also recently released his debut solo album Tarquin Magnet last year via Blackest Ever Black.

http://www.tarquinmanek.com

EHE 05.05.16 - Tarquin Manek (AUS) - Locks On Our Doors, Not On Our Hearts

Exclusive soundtrack made for Ears Have Ears by German musician Holymachines.

Holymachines is the electronic music project of Berlin-based musician and sound artist Chris Hill. Through the use of digital technologies, he absorbs small fragmentary snatches from contemporary culture, deconstructing them and reassembling them as bold new sonic gestures, resulting in sonic artefacts that meander between ambient, noise and collage. His debut album 'Image Version‘ is out now via Average Negative.

'Hype / Consequences' is an audio collage exclusively assembled for Ears have Ears. On a compositional level, the piece is glancing at ambient music from a broken lens perspective and stripping it off its comforting qualities. As a narrative, the piece is an overdose meditation on information society and sings of the digital alienation and schizophrenia we experience on a daily basis.

Bandcamp: https://averagenegative.bandcamp.com/album/image-version


EHE 21.07.16 - Holymachines (Germany) - Hype/Consequences

Your Soul Lives On In The Deep Web is an exclusive soundtrack created for Ears Have Ears by When We Never, consisting of musician Alister Hill (Lortica) and artist Christopher Cooper. 

When We Never Soundcloud: https://soundcloud.com/whenwenever
Lortica Soundcloud: https://soundcloud.com/lortica

With their first work Dragon’s Den(2016), When We Never created a photo-musical study in contemporary Australian masculinity utilising sound design, documentary photography, emerging web formats and subversive linked rich media. Combining Cooper’s work in art direction, design, illustration and photography with Hill’s background as an experimental musician, When We Never was founded as a means to explore a conceptual creative process that is inherently experimental and dogged in its rejection of perfectionism.

Your Soul Lives on in the Deep Web is the first in When We Never's series reinterpreting songs featuring dogs as symbols. Utilising Cooper's a cappella rendition of the '56 Elvis Presley hit Hound Dog as a basis, When We Never dive deeper into the hazy sonics of their first project Dragon's Den (2016), while bringing a stronger focus to Cooper's natural croon and vocal manipulations. Turning a seemingly simple song into an uncomfortable – and at times violent – meditation on class, race, masculinity and fear, Your Soul... is built upon a Roland SH-101 improvisation and Hill's explorations and audio-based findings in the deep web. 

Listen to the full Ears Have Ears broadcast here: http://fbiradio.com/945fm/programs/ears-have-ears/2016-12-01/

EHE 01.12.16 - When We Never(SYD) - Your Soul Lives On In The Deep Web

Andrea Ancira, aag (https://soundcloud.com/andreaanciragarcia), is a Mexican writer and researcher based in Mexico City. Through non-transparent, noisy and inaccurate recordings, her sound work explores the ways sound shapes our sensibility and understanding of a shared world. She’s interested in exploring the role of unwanted, residual, marginal sounds and of popular music in the collective unconsciousness.

Titled 'Intimate Involuntary Destiny', read Andrea Ancira's description of this unique piece.

Sounds that aim to share an unfolding listening experience of a “short walk” in Yautepec, a small city located 100 kms South of Mexico City. Self and sound interweaving in each step. A mass of sonic messages, interferences and sonorities that constantly challenge the boundaries between the public and the private, the past and the present. Infinite possibilities of contact and escape. A walk that propels my imagination to land in a map of popular love songs that shaped my sentimental sensibility. An ideology of contradictory narratives and feelings. Rather than banal invocations of a personal realms, popular love songs express ways of recognition, belonging and of relating to alterity that pervade in our collective unconsciousness. Through a distorted/uncanny interpretation of how these representations relate to this place, I wander through my struggles around these questions.

Listen back to the full broadcast here: http://fbiradio.com/945fm/programs/ears-have-ears/2016-12-01/

EHE 01.12.16 - aag (Mexico) - Intimate Involuntary Destiny

Thembi Soddell is one of Australia’s leading female sound artists working with musique concréte. Exploiting dynamic extremes, Soddell's distinct compositions are volatile and evocative sound environments with a disquieting edge that explore her longstanding interests in psychology, perception, subjectivity and affect.

'Glue and Return', Thembi Soddell's feature contribution to Ears Have Ears for this week, was composed as a performance piece for Avantwhatever festival earlier in the year. Now remixed and performed, 'Glue and Return' begins with an extended version of a track titled 'The Absence of Inclination' which draws upon the semi-autobiographical novel 'Girl, Interrupted' by Susanna Kaysen, which explores the author's stay in a psychiatric hospital in the 1960s. Embodying concepts from the chapter 'Velocity versus Viscosity', Soddell’s piece interprets Kaysen's descriptions of "thickened perception" and variations in speed caused by depression and anxiety as sonic gestures.

Listen back to the full Ears Have Ears broadcast here: http://fbiradio.com/945fm/programs/ears-have-ears/2016-11-03/

EHE 03.11.16 - Thembi Soddell (SYD) - Glue and Return

Camilla Hannan is an Australian sound artist known for her installation, performance, composition and radio works and for exclusively using field recordings. Processing recordings into abstract representations of place and experience, Hannan investigates the construction of urban and natural environments sonically and spatially, morphing these elements into new unsettling worlds. She has a particular interest in site-specific work outside of traditional gallery and narrative constructs.

Camilla Hannan's soundtrack for Ears Have Ears is in keeping with her usual composition methods, created exclusively from field recordings and following traditional Musique Concrète ideas. Hannan's work is titled 'All that Remains', read her description for it below. 

All that Remains is composed from a range of field recordings made by myself over the last 12 months. The nature of the composition and arrangement reflects my interest in the use of field recordings to move beyond the documentary. For me field recordings are a palette by which a new composition is made. In this way I follow the school of thought developed by Musique Concrète and their ideas around ‘l’objet sonore’ or the sound object.  What interests me about a field recording is less about the place in which it is recorded but more about the nature of the recording itself. What is its timbre?  its dynamics?  Its frequency range?  And how one sound can be juxtaposed against another to create new and fantastic environments outside of the real and documented. While most of the sounds I use are recognisable, others are not. I mix the real with the abstracted and the mundane with the dramatic.

Listen back to the full Ears Have Ears broadcast here: http://fbiradio.com/945fm/programs/ears-have-ears/2016-11-10/

EHE 10.11.16 - Camilla Hannan (MELB) - All That Remains

Original mix from Melbourne electronic musician @FiaFiell, aka Carolyn Schofield (also of Rolling Mass). Combining her practical and theoretical knowledge as a pianist and composer with a modern ear on millennial electronic music constructs, Schofield crafts beautiful and transcendent ambient soundscapes.

'Habitual Movement' is a mix of synth improvisation edits made over 2014 to 2016, spanning from ambient pieces to more noisy, drone-based recordings. The music Fia Fiell makes is strongly rooted in improvisation, although finished pieces may build on and develop improvised recordings. This mix thus represents Fiell's music in its more undeveloped state, using excerpts that usually wouldn’t be heard publicly and she has mostly forgotten ever existed.

Listen to the full broadcast of Ears Have Ears here: http://fbiradio.com/945fm/programs/ears-have-ears/

EHE 09.02.17 - Fia Fiell - Habitual Movement

"All is Nothing, Null is Anything is about the possibilities of a grand piano and my 45-year-long love/hate relationship with it. I recorded three tracks with three different approaches: electrified (literally, I apply either + or - 9V to the frame plus strings, and then play the instrument with the other polarity via EQ-ing to various speakers, totally primitive); electro-magitized (via electromagnetic waves, such as ebows and my own devices); and filtered (playing directly on the keyboard, but extremely dark). These three tracks are then layered and mixed resulting in a busy sound world, mixing harshness with tenderness, that might often only distantly remind you of a piano, however, all sounds share the very same source: my 1912 Ibach grand piano." - Cor Fuhler

Australia's Cor Fuhler is an improviser, composer, instrument builder and inventor whose practice is an interdisciplinary one crossing into installation, dance, puppetry and comic strip. His work has taken him on numerous tours around the globe and his recordings are released internationally. He was the director of the Corkestra, co-director of Doek-foundation, co-curator of the electronic music series ‘Kraakgeluiden’, chairman of the Jazz and Improvisers Union and board member of the Arts Council for Composition in the Netherlands. http://www.corfuhler.com/

EHE 08.12.16 - Cor Fuhler - All is Nothing, Null is Anything

Andrew Pekler was born in 1973 in Samarkand, Uzbekistan. His family immigrated to the United States in 1980 and since 1995 he has resided in Germany. His approach to music and sound is based in experimentation with found materials, be they samples, instruments or genre conventions. Pekler's latest work, Tristes Tropiques is an album of synthetic exotica, pseudo-ethnographic music and unreal field recordings.  

On his piece titled "Description of an Island" Pekler describes it as "A collage of synthetic field recordings and narration pertaining to the phenomenon of phantom islands – islands that appeared on maritime charts and maps (some until very recently), but whose existence has never been verified."

https://soundcloud.com/pekler 
https://www.facebook.com/andrew.pekler
https://twitter.com/andrewpekler
https://www.instagram.com/andrewpekler/

EHE 06.04.17 - Andrew Pekler - Description of an Island

Psychic sisterhood and wistful wanderlust are the twin energies feeding lush ceremonial dream-pop duo Purple Pilgrims. Their debut album ‘Eternal Delight’ was released by LA based Not Not Fun records in early 2016. 

Their piece 'Lamentations in Reverse' was recorded in Autumn at their family home in an isolated corner of Hauraki, NZ using synthesizer, field-recordings and vocals. Since they began spending time in the bush, a recurring theme in their work has been the awkward meeting point between the ever-present world of modern technology, and perpetual, vital nature.

Listen back to the full Ears Have Ears program at the FBi Radio website http://fbiradio.com/945fm/programs/ears-have-ears/2017-05-25/

EHE 25.05.17 Purple Pilgrims (NZ) - Lamentations in Reverse

Photo credit: Camilla Blake

An exclusive mix by Native Instrument, made for Ears Have Ears on FBi Radio Sydney, Australia.

Native Instrument (BER) is the sound collaboration bringing together the field-recordings of Felicity Mangan and the abstract and outerworld production of Stine Janvin Motland. Constructed using electronic and vocal adaptations of wildlife audio recordings originating mainly from Australian and North European flora and fauna, NI mix natural rhythms with animal calls, digital effects and vocal imitation to create their unique and persistent left of centre techno. With their debut release 'CAMO', out now via French label Shelter Press, NI present their true artifical nature featuring their most unique and evolving collection of sound collages and tropical ambiance.

Native Instrument's exclusive mix for Ears Have Ears is titled 'Amphibian Trails'. Featuring material from their most recent release, plus a whole bunch of unreleased material, this mix goes deep into the sound and inspiration of this unique duo in techno. 

Listen back to the radio program here: http://fbiradio.com/945fm/programs/ears-have-ears/2017-06-22/

Ears have Ears

EHE 22.06.17 - Native Instrument - Amphibian Trails

This week our feature soundtrack contribution comes from Shoshana Rosenberg, a bass clarinetist, composer and experimental musician, currently based in Adelaide.

Her practice champions the uniqueness and complexity produced by untrained musicianship and unpredictable sound sources. This includes her own lack of formal training, as well as her use of electronics and improvisation. Through her sounds and records she attempts to navigate and explore her relationship with God, gender, sexuality and mental illness. 

On her soundtrack: 

"Kibbush Nitzkhi (Eternal Occupation), for bass clarinet, gated reverb and Trogotronics. This soundtrack is inspired by Shoshana's experiences of growing up in Occupied Palestine aka Israel. In particular, the track focuses on the process of making sense of having one's body and identity inextricably linked with a history of forced settlement, displacement and murder. The track pits the bass clarinet against jarring electronics, forcing each to imitate the other and integrate. Whether the outcome is a success or a failure is up to the listener to decide." - Shoshana Rosenberg 

Photo by Shelly Horan

Find her on Instagram - @kneidellover
Support her Go Fund Me to fix her broken clarinet: https://www.gofundme.com/shosh

EHE 28.09.17 Shoshana Rosenberg - Kibbush Nitzkhi (Eternal Occupation)

This week our feature piece is by Berlin's legendary composer and musician Rashad Becker. 
 
Rashad Becker's compositions commonly explore multilayered narratives populated by an ensemble of sonic entities. You may be familiar with his Traditional Music Of Notional Species works, which were released across two volumes on pan_hq. Rashad is a mastering guru at Berlin’s famous Dubplates & Mastering and has mastered many of the releases we have played on our show over the last six years. He has also collaborated with the likes of Eli Keszler, Moritz von Oswald, Okkyung Lee, Andre Vida, Ashley Paul and Valerio Tricoli, just to name a few. 
 
More recently Rashard developed a new cycle of works called Based on a True Story. These works seek to generate scores from historical occurrences and processes that have had a significant impact on recent social history. Rashad has contributed a new chapter of this series to Ears Have Ears. Based on a True Story - Chapter G (Part 5) is a musical documentary with an associative score. This multi-art piece specifically references Sendero Luminoso of Peru and the life of Abimael Guzmán between 1982 and 1992. 

In his own words, Rashad describes it as referencing"the brute implications of revolutionary dialectics and the challenges these carry to the modernist economy of emotions and individual entitlement…..the confrontation and transcendence of the individual pursuit of happiness."

EHE 05.10.17 Rashad Becker (GER) - Based On A True Story - Chapter G (Part 5)

This is the second collaborative soundtrack from Shane and James created for Ears Have Ears, the previous being 'Her Golden Threads Burned for The Birth of Daylight'. The work was put together over a stay at Shane’s place in northern NSW and combines studio, home and field recordings to create it’s varied sound worlds. Like their previous soundtrack it combines the two’s complementary skills across composition, sound treatment and synthesis.

Listen back to the full program here - https://fbiradio.com/945fm/programs/ears-have-ears/2017-11-30/

EHE 30.11.17 Shane & James - Journey Towards Death

Richard Chartier's Pinkcourtesyphone is an emotionally grounded project that presents a more musical side of his artist work. Dark but not arch with a slight hint of humor, the project is amorphous, changing, and slipping in and out of consciousness. Operating like a syrup-y dream, this sounds strives to be both elegant and detached.

Beyond Pinkcourtesyphone, Richard Chartier is considered one of the key figures in minimalist sound art. Chartier’s works explore the inter-relationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself.

EHE 14.12.17 Pinkcourtesyphone (Richard Chartier) - EHE Mix

Gas is the sometimes solo project of Sydney based artist and musician Del Lumanta. They coordinate 'Double Vision', a series of free-form gigs showcasing the practice of DIY, sound and other musicians and facilitate the program 'All Girl Electronic' at Information and Cultural Exchange, Parramatta. Their other music projects include Video Ezy (Paradise Daily), Skyline (Nice Music) and Basic Human. 

Diaspora Labyrinth is a collection of songs from musicians with alternate histories: Elysia Crampton (us), Various Asses (melb), Papaphilia (melb), Gas (syd) and poet Eunice Andrada (syd). Placing these songs in conversation hopes to generate narratives that bring identity into focus while simultaneously contemplating erasure and survival.

Tracklist: 
GAS - 'Ancient Vessels' 
Elysia Crampton - 'Wing'
Various Asses - 'Forever Baby' [GAS edit]
Papaphilia - 'Neoliberal ideology of Globalisation applied in a pacifistic manner;'
GAS & Eunice Andrada - 'Pacific Salt'

EHE 07.12.17 Gas (SYD) - DIASPORA LABYRINTH

Anna Homler, AKA the talent behind the exceptional Breadwoman & Other Tales project, is sharing with us a mix of live recordings and releases spanning back to the early 90's. She's touring Aus & NZ as presented by Liquid Architecture.

Based in  Los Angeles, Anna Homler is a vocal, visual and performance artist who has been creating works since the early 80's. With a sensibility that is both ancient and post-modern, Homler's vocals in an improvised melodic language to their own. Her work often explores alternative means of communication and the poetics of ordinary things, creating perceptual interventions using language as music and objects as instruments.

You can catch Anna Homler presented by Liquid Architecture performing at the NOW now Festival kicking off Jan 24th at 107 Projects. For more info head to nownow.net

EHE 25.01.18 Anna Homler - Mixtape

After a spell dusting old memories in the museum of imaginary sounds, Stuart Chalmers now loops tapes scavenged from the landfill of time. He also occasional dabbles in holding ritual string meditations during the 5th phase of the moon.

Taking you through a sonic journey through the dark regions of the mind and hidden world of the unconscious, Stuart's new piece is a titled 'Journey in the Shadows' and features improvised Swaramandal (Indian harp/zither) with prepared objects, fx pedals and tape.

EHE 08.02.18 Stuart Chalmers - Journey In The Shadows

Dark Mofo is almost upon us and to celebrate the amazing Scottish composer and producer Iona Fortune has provided us with special mix of tracks for your Thursday night.

Iona Fortune is a composer/producer hailing from Glasgow, Scotland. Employing an unusual composition technique that involves inner cultivation, her sonic world exists somewhere out of the realm of the ordinary and known. Inspired by Eastern philosophy her music features a palette of instruments that includes the Guzheng, Gamelan and the EMS Synthi AKS.

Debuting on Optimo Music in 2017, her first album Tao of I (the first of an 8-part series of releases exploring the hexagrams of the I-Ching) received much critical acclaim & saw her supporting various artists including Laraaji, Factory Floor and Oliver Coates in her hometown as well as a full UK tour opening for rock legends Shellac. Employing an unusual composition technique that involves inner cultivation, one could say her sonic world exists somewhere out of the realm of the ordinary. Full details for Iona Fortune's otherworldly Ears Have Ears contribution provided below.

Title: Fù 復 / Return (The Turning Point)

Summary: above K'UN THE RECEPTIVE, EARTH

below CHêN THE AROUSING, THUNDER

The idea of a turning point arises from the fact that after the dark lines have pushed all of the light lines upward and out of the hexagram, another light line enters the hexagram from below. The time of darkness is past. The winter solstice brings the victory of light. This hexagram is linked with the eleventh month, the month of the solstice (December-January).

THE JUDGMENT

RETURN. Success.

Going out and coming in without error.

Friends come without blame.

To and fro goes the way.

On the seventh day comes return.

It furthers one to have somewhere to go.

After a time of decay comes the turning point. The powerful light that has been banished returns. There is movement, but it is not brought about by force. The upper trigram K'un is characterized by devotion; thus the movement is natural, arising spontaneously. For this reason the transformation of the old becomes easy. The old is discarded and the new is introduced. Both measures accord with the time; therefore no harm results. The idea of RETURN is based on the course of nature. The movement is cyclic, and the course completes itself. Therefore it is not necessary to hasten anything artificially. Everything comes of itself at the appointed time. This is the meaning of heaven and earth.

Upcoming Gigs

Dark Mofo 2018: Laterne by Berlin Atonal featuring Autechre, Drew McDowall presents Time Machine, Iona Fortune, Rings Around Saturn with Fis and PYUR presents 7 Blue Stones.

Date: Friday 22 June in Tasmania. MORE INFO.

EHE 31.05.18 Iona Fortune - Exclusive Mix

Heavily involved with UK's industrial/post-punk scene of the 80's collaborating and playing in acts like Psychic TV and Throbbing Gristle, Drew McDowall was also a member of legendary experimental music group Coil. 

As a solo act he has been making solo drone music for 17 years while collaborating with the likes of Croatian Amor, Psychic Ills and a whole bunch more. 

Check out this amazing 1 hour mix he made exclusively for Ears Have Ears.

https://drewmcdowall.bandcamp.com/

EHE 14.06.18 Drew McDowall - Exclusive Mix

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2018-07-05/

Alexandra Spence is an artist and musician who creates and performs in audiovisual installations, electroacoustic compositions, improvised music and experimental performance. Alex's art and music explores the idea of listening as active practice, examining the ways in which our individual notions of place and identity are shaped and mediated through sound.

Through her practice she attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. With an interest in resonance, vibration and everyday sound, her aesthetic favours small sounds, subtlety, quietude and unusual sound sources.

Find out more about Alexandra Spence here: http://alexandraspence.net/

EHE 05.07.18 Alexandra Spence - waking, she heard the fluttering

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2018-10-25/

This week our feature contribution is an exclusive mix by Gacha Bakradze, an electronic producer based in Tbilisi, Georgia. A stalwart in the Georgian electronic scene, Gacha Bakradze’s music is rich, dynamic, distinct and seductive. Earlier this year he grabbed our attention with a fascinating album of rave breaks, electro and choral synth arrangements called Word Colour (Lapsus Records). He has also released through Cin Cin and Apollo.

Music for Lunch Breaks is a dreamy mix incorporating songs he has composed specifically for “home listening”…or while you’re on your lunch break!

EHE 25.10.18 - Gacha Bakradze - Music For Lunch Breaks

Previous contributions from artists featured on EARS HAVE EARS, FBi Radio. These soundtracks were made specifically for the show.

EHE 22.07.2012 - Rainbow Chan - Sad Movies (Rewind)

An exclusive soundtrack by M. Geddes Gengras, an electronic composer living in New York’s Hudson Valley. Since emerging in the L.A. experimental music community in the mid 2000’s, Geddes has traced a wide world of sound, as a solo synthesist & collaborator with an equally wide range of artists, including The Congos, Greg Fox, Joe McPhee, and Sun Araw (with whom he cofounded Duppy Gun, an outlet for outer orbit dancehall productions). Recently, his focus has been on a wide-angle & breathtaking synthetic sound commingling ambient, minimalism & ‘new music’, explored at great length in the new 2.5 hour document Light Pipe on Room40.

On his soundtrack contribution called 10 voices (for Meredith Monk):

“Excerpted and expanded on from my musical meditation routine, I try to spend time each day listening to my synthesizers, imaging them as musicians practicing endlessly in the other room. Sometimes I just turn everything on, tune into an endless chord and just let them all chatter away on their own paths & tempos. I was thinking about the inherently intimate nature of sharing one’s sound world with outsiders & my quest for more expressive ways to sculpt these things into being after a morning spent inside Monk’s Song’s of Ascension so I dedicated it to her.” - M. Geddes Gengras

Photo above by Gabrielle Valenti-Gengras.

EHE 06.12.18 - M. Geddes Gengras - 10 Voices (for Meredith Monk)

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2018-11-29/

Ears Have Ears host Brooke Olsen chats with Queens-based artist Eartheater ahead of her performance at Unsound Adelaide 14-16 December, 2018. 

Eartheater, aka Alexandra Drewchin, distills foley-filled digital production, a three-octave vocal range, and classical composition into works suspended between obsessively detailed sonic tapestries and electronica. She released her third-full length IRISIRI through PAN earlier this year, a complex album exploring the ambiguity of words, moral surreality and the evolution of sexuality in a digital age. She is known for her visceral and emotive live performances, making her upcoming appearance in Australia highly anticipated.

EHE 29.11.18 - Eartheater Interview - Part 1

EHE 29.11.18 - Eartheater Interview - Part 2

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2018-11-22/

An exclusive soundtrack by Los Angeles-based artist and composer Geneva Skeen. Influenced by écriture féminine, alchemical metaphors, and a range of musical traditions ranging from holy mysticism to industrial, Skeen works with with recordings, digital presets, voice, and mixed instrumentation. Her performances, publications, and installations focus on the contrast between facing the finite resources of our physical landscapes and their infinite digital representations. She is an MFA candidate in the Music/Sound program at Bard, a recipient of the Touch Mentorship program, and a member of VOLUME, a curatorial collective focused on sound-based practices. Her recent release A Parallel Array of Horses can be found on Australian label Room40.

Her soundtrack titled 'The Oval Window' is a stereo drone work composed strictly using recordings of voice and piano processed through digital and analog technologies. The sloping harmonics and peripheral speech affects highlighted in the composition were scraped from the original raw recordings, then reshaped in relation to each other’s’ line, pitch, and duration.

https://genevaskeen.bandcamp.com/

EHE 22.11.19 - Geneva Skeen - The Oval Window

An exclusive soundtrack by the legendary Australian sound collage / mash up artist B’O’K.

Victorian sound artist B’O’K aka Buttress O’Kneel has been active since the late 90s, experimenting with sound collage, cut-up political speech, glitch-pop, mashup and media manipulation. She has created everything from ‘audio documentaries’ to compilations of damaged CDs skipping. B’O’K chops, distorts, stretches and mangles popular music in compelling ways and has gifted Ears Have Ears with a very special soundtrack called A Basket of Ears, in celebration of our 7 year birthday in November 2018.

29.11.18 - B'O'K - A Basket of Ears

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-03-21/

An exclusive soundtrack by Nick Klein, a prolific electronic music artist who hails from the south and the north of the eastern United States. Klein practices as a recording artist who runs radio programs, label, and curated events under the working title of "Psychic Liberation Front". Klein has released with L.I.E.S., BANK, Alter, Monorail Trespassing, Unknown Precept, Angoisse, and Ascetic House; with forthcoming releases on iDEAL and Viewlexx. Klein is interested in loud volume as form, and the sociology and ideology that presents in self-identifying music subcultures. 

His soundtrack contribution is called 'Licking On The Edge Of Heaven' and features Julia Santoli. It is inspired by a script he has been writing. 

Klein describes the work as:

"Promethazine ambient, squirting electronics, and a failed pop song featuring a not failing vocalist, Julia Santoli. The opposite of looking into the sun, music for finding quiet on the interior. The build and the give.

The inspiration for this work is culled from the wonderful moment to allow yourself something new, personally and creatively. Finding and searching and fulfilling and draining and failing and starting from the beginning. A man in a car driving around everywhere he can to find some relief.

The narrative of the recordings accompanies a non-fictitious script about a traveling born-again Christian who falls in love at every church he visits. As he evades again and again  looking for divinity, he accumulates the realization that he is who he is and his past can’t be distanced. A man stuck, like in Groundhog Day, where everything is different and the same all of the time. I have been working on this script for 4 years. Not sure how it will manifest.

The work is uninterrupted modular synthesizer takes recorded to a Sony home stereo tape recorder."

https://soundcloud.com/nick-klein

EHE 21.03.19 - Nick Klein - Licking On The Edge Of Heaven

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-05-02/

An exclusive soundtrack by Los Angeles artist Dravier aka Caleb Draves. Known for being the proprietor of Jungle Gym, Tourist and Silent Versions, as a musician Dravier has experiments with hypnotic mist, emotive drone and extraterrestrial atmospheres. 

With a penchant for primitive recording techniques and cheap electronics, Dravier explores these sounds of solitary deep headspace, for all manner of minimal listening environments. Beyond his own record labels Dravier’s work can be found via Not Not Fun, IDS Recordings, Silver Lake, Vanity Pill, Shimmering Moods, Always Human Tapes and Longlife Python. 

His exclusive soundtrack Hydrostatic Reflections is an original work of “confusion and crushing loss from deep beneath the waves” created with a Tascam Field Recorder, Casio MT-205, Arturia Microbrute, Sony Cassette Recorder and Garageband.

EHE 02.05.19 - Dravier - Hydrostatic Reflections

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-05-16/

An exclusive collaborative mix by Julianna Barwick and Mary Lattimore, in celebration of their performance at Dark Mofo (6 - 23 June). 

Over the past decade, these two visionary North American artists have created their own inimitable universe of light; Julianna Barwick building evocative choral symphonies, layering her own voice on top of itself to stunning effect; and Mary Lattimore conjuring expressive beauty on her forty-seven-string Lyon & Healy harp and synth effects. Both artists have released a series of fascinating records, with Mary Lattimore most recently collaborating with Superchunk’s Mac McCaughan and Heron Oblivion’s Meg Baird on two duet albums and topping year-end charts with her sublime solo album, Hundreds of Days, which New Yorker music critic, Amanda Petrusich described as “music to self-actualize by”.

EHE 16.05.19 - Julianna Barwick & Mary Lattimore - Exclusive Mix

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-05-23/

An exclusive contribution by Ai Yamamoto. 

Ai Yamamoto started creating powerful audio-visual works after relocating from Shizumi, Japan to Melbourne in the early 00's. She's been described as "a covert figure in (the) Australian electronic community" by her label Room40, and has certainly been prolific in regards to her frequent performances across Australia. In recent times, Yamamoto has been focused on other projects, mostly taking a break from music. 

Her exclusive soundtrack for Ears Have Ears comes after the release of a new album on Room40 called 'Remembering' (April '19) and is called Going Home.

"I am always conscious of the changes and length of loops in my works. In this piece there are loops but also alot of shifts. A long time ago, someone mentioned how to build up music with patience so I have tried some bits here."

(Adapted from Ai Yamamoto's track descriptions).

https://soundcloud.com/ai-yamamoto2

EHE 23.05.19 - Ai Yamamoto - Going Home

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-05-30/

This week our feature contributor is Melbourne's Golden Syrup aka Sara Retallick, who is known for starkly HD reflections of her environment and informed by her multidisciplinary studies in sound and art. The disarming directness of the songs lies in her unflinchingly bold vocal delivery; a darkly ornate musical infrastructure ominously arches around this music. Every beat and tone a cluster of inseparable synthetic and organic elements, piled delicately into the night sky. A sense of the modern Australian landscape becomes overwhelmingly tangible in live performance, which features her curiously engaging video work making for an affecting multi-sensory experience.

Her exclusive soundtrack called Walking Worlds interprets the noise of an urban existence by listening, walking and extracting harmonic texture through digital manipulation and synthesis. Made from an accumulation of field recordings from daily walks around my neighbourhood of North Richmond in Melbourne’s inner north, this piece finds musicality in a blanket of noise knitted together with synthesis. Worlds layering worlds interact to create alternate dream-like spaces as concurrent timelines unfold, switch and amalgamate.

The sonic material used in this soundscape was recorded with binaural microphones. It’s best listened to on headphones for full experience of spatialisation.

EHE 30.05.19 - Golden Syrup - Walking Worlds

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-04-25/

A breathtaking contribution by Marina Rosenfeld, a New York-based artist and composer working across many disciplines. She has explored experimental practices in sound and performance since the 1990s creating works for the Museum of Modern Art in New York; the Whitney, Liverpool and Montreal Biennials and many festivals. Her latest release, Feel Anything on iDEAL Recordings, was released in collaboration with Ben Vida last year.

Her feature contribution is a live recording of her composition ‘Guide De La Via Associative’ taken from a 2018 performance at the QUBIT Performance in New York. The piece is performed by South Korean cellist and noisemaker Okkyung Lee.

EHE 25.04.19 - Marina Rosenfeld - Guide De La Via Associative

Originally broadcast on Ears Have Ears, FBi Radio Sydney. Listen back to the full program here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-06-06/

Iranian sound artist and composer Siavash Amini contributes a stunning soundtrack this week, composed from his home in Tehran. 'The Afternoon Tea' comes from an upcoming subscription series dealing with sonic interpretations of contemporary Iranian literature. This piece is based on a short story by Reza Daneshvar and composed for computer and string ensemble. Within it, you'll hear field recordings captured from the streets of Tehran.

Siavash Amini has released music on Room40, Hallow Ground, Opal Tapes and Umor Rex. He has performed at CTM festival, MUTEKes, Silent Night Prague and few other events in Europe. Siavash is also the curator and co-founder of SET experimental art events and SETfest, as well as SEDA projects in Tehran, Iran.

You can find out more about Siavash here:

facebook.com/siavashaminimusic

twitter.com/capgrasman

EHE 06.06.19 - Siavash Amini - The Afternoon Tea

Originally broadcast on Ears Have Ears on FBi Radio in Sydney, listen back to the show here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-08-01/

In response to our recent announcement about Ears Have Ears ending on 29 August, Forest Swords has made us an exclusive contribution called 'A Joyful Finale', an uplifting mix themed around the idea that "endings don't always have to be sad occasions."

Hailing from Merseyside in the UK, Forest Swords has collaborated with Massive Attack, remixed Björk, was a recent curator in the DJ-Kicks compilation series, has explored multidisciplinary work in the form of Shrine, a contemporary dance piece, and earlier this year he scored 'Ghosts of Sugar Land', a film that won Best Documentary Short at Sundance Film Festival.

Tracklisting:
Alex Zhang Huntai – Pierrot
Ben Vince – What I Can See
Kaitlin Aureliya Smith – Stratus
Quirke – Acid Beth
Anenon – Two for C
Shida Shahabi – Pretty In Plums
Laraaji – The Dance #1

https://soundcloud.com/forestswords

EHE 01.08.19 - Forest Swords - A Joyful Finale Mix

Originally aired on Ears Have Ears on FBi Radio in Sydney. Listen back to the full broadcast here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-06-27/

An exclusive soundtrack by Glasgow based artist Mark Vernon. His clever and striking work often exists on the fringes of sound art, experimental music and broadcasting - centring around the re-appropriation of found recordings, environmental sound and obsolete media. He is an avid collector of domestic tape recordings; audio letters, dictated notes, home sing-alongs, answer-phone messages and other lost voices that he incorporates into his compositions. A keen advocate of radio as an art form, he co-runs Glasgow art radio station, Radiophrenia. His solo music projects have been published through labels including Kye, Flaming Pines, Misanthropic Agenda, Entr’acte, and 3Leaves.

'Elsewhere is a negative mirror' is based around an incredibly intriguing and somewhat menacing voice recording from a Dictaphone micro-cassette bought at a car boot sale. It continues a series of works that marry found recordings from the past with contemporary field recordings of the same location to accrue sedimentary layers of time and blur chronologies.

"On one side, the tape documents the dissolution of a relationship and the aftermath of a separation in a series of text message exchanges read aloud into the Dictaphone for some purpose unknown. Equally puzzling, on the reverse side of the tape the same voice lists a mundane catalogue of company vans and their contact details observed whilst driving down the motorway." - Mark Vernon

EHE 27.06.19 - Mark Vernon - Elsewhere is a Negative Mirror

This originally aired on Ears Have Ears on FBi Radio in Sydney. Listen back to the full broadcast here: https://fbiradio.com/945fm/programs/ears-have-ears/2019-07-04/

An exclusive soundtrack by Utility, a collaborative project of Australian sound artists Austin Buckett and Thomas Smith. Utility explore the tension between the real and the artificial by focusing on the preset nature of contemporary music and media production. They work across multiple forms in both music and visual art contexts by using and contextualising common musical tropes and other production techniques. 

Utility produce commissions and sound design for visual artists and choreographers, release electronic music through independent labels, produce music for rap and rnb vocalists, and perform/exhibit in visual art contexts. They just released this mixtape.

Their exclusive soundtrack Nexus Destiny (Winter Edition) is a mix of the "most emotionally ambiguous arpeggios" from their recent release, Nexus Destiny. 

"This collection exists simultaneously as a sequence of short etudes for listening, and as a library of materials for reuse by other composers, producers and DJs. In its dual function as composition and technical demonstration, Nexus Destiny occupies a musical uncanny valley in which human emotion is captured and stored for the purposes of automation and reproduction. Nexus Destiny is a digital still life that re-performs the 'preset' nature of 'in the box' authorship, while also celebrating the preternatural, hi-definition aesthetics immanent to commercial sound design tools." - Utility

EHE 04-07-19 - Utility - Nexus Destiny (Winter Edition)

FBi Radio's multi-award winning 
experimental show (2011 - last air date August 29, 2019)

Created by Brooke Olsen & Scarlett Di Maio.
fbiradio.com/945fm/programs/ears-have-ears

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