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

2200 is the project of Rory McPike who's better known as Melbourne dance music producer Dan White. 2200 is an industrial style project that reworks dance tracks into beat-less, almost dub style, ambient version of themselves. As 2200 Rory has released some material on Altered States Tapes and Cult Trip Records, including the track 'Killed By Deaf". 

This mix reworks three tracks into beat-less, almost dub style, ambient versions of themselves. 

https://soundcloud.com/rdjm0

EHE 02.06.16 - 2200 (VIC)- Mix for Ears Have Ears

Oneohtrix Point Never is one of the most respected producers in electronic music today. From his early releases in the mid 2000s to his latest grunge-inspired record Garden Of Delete (FBi album of the week, November 2015), his music is consistently challenging, forward-thinking and uniquely rewarding.

In Sydney for Vivid LIVE, the mastermind behind OPN, Daniel Lopatin, gave a rare and in-depth interview with Brooke Olsen (Ears Have Ears). They spoke about the gear he currently uses and the idea of ‘mastering’ technology, collaborating with Nate Boyce, and the visual and sound set up for his Vivid LIVE show. 


EHE 26.05.16 - Interview with Oneohtrix Point Never (USA)

Highlights from Ears Have Ears Live #3, recorded onstage at FBi's performance broadcast hub in Alexandria, Sydney.

Ears Have Ears live #3 featured a performance by Australian electronic music legends Severed Heads debuting their first entirely new composition in almost a decade.

Sydney music and arts writer Kate Hennessy led an in-depth discussion with Tom Ellard and Stuart Lawler of Severed Heads, delving into their composition, their fascinating history and the current state of electronic music in Australia.

Head to www.fbiradio.com to listen back to the weekly Ears Have Ears radio program, airing 9-11pm Thursdays. 

Find out more about Ears Have Ears live here: http://fbiradio.com/earshaveearslive/

Listen to other podcasts on FBi's website here: http://fbiradio.com/podcast/ears-have-ears/
Subscribe on iTunes here: https://itunes.apple.com/au/podcast/ears-have-ears-brooke-olsen/id1105278392?mt=2

PODCAST - Ears Have Ears Live #3 26th May 16 - Severed Heads & Kate Hennessy

Exclusive soundtrack made for Ears Have Ears by Copenhagen electronic musician Mads Emil Nielsen consisting of new material, reworks and live versions of two previously released tracks.

Mads Emil Nielsen is an electronic musician currently based in
Copenhagen. He works with basic sound sources such as sine waves and noise, which he often combines with short percussive and orchestral samples, and an amplification of the surprises and errors produced by the machines he uses. He recently founded arbitrary, the label and artistic platform on which he released FRAMEWORK (graphic scores and audio), a reissue of PM016 (Plant Migration, 2014) and Percussion Loops (2015)plus others tracks featured on The Wire Tapper 37 and 39 (The Wire Magazine, 2015).

Nielsen has recently performed in Germany and Ukraine (2016), at Wundergrund Festival (DK) and as support for the Danish trio Future 3 - and has contributed tovarious theatre/film productions and exhibitions in the US and Europe, including the Notations 21 Project.

Soundtrack details:

The first track is based on a short snippet from a series of somewhat
automatically generated loops and sine waves recorded in 2014.
It also features an excerpt from Nielsen's most recent
7” release, Percussion Loops, and two recordings made during
a residency at EMS (Elektronmusikstudion) in Stockholm, 2015.
Furthermore, it represents Mads current live-set as presented in
Germany, Ukraine and elsewhere in 2016.

Tracklist:

00:00 Heartbeats (unreleased, 2016)
05:58 Untitled Percussion Loop - excerpt (arbitrary, 2015)
07:00 Untitled/Shepard tone (unreleased, 2015)
08:28 In Circles - rework (Plant Migration, 2014 / arbitrary reissue,
2015)
12:08 Circles (unreleased, 2016)
15:50 Endeavour - rework (Plant Migration, 2014 / arbitrary reissue,
2015)

EHE 16.06.16 - Mads Emil Nielsen (Denmark) - Untitled Soundtrack

Exclusive soundtrack made for Ears Have Ears by Sydney artist, musician, writer and broadcaster Julian Day with his sound project An Infinity Room (AIR).

An Infinity Room (AIR) is a study into the weight of air. Artist and composer Julian Day brings together matching vintage synthesizers to create ‘rooms within rooms’ of highly active vibratory fields. He uses simple algorithmic patterns to generate perpetually shifting drone melodies, modulating the density of the surrounding airspace as a form of ‘turbulent geometry’. Deeply intersecting tones enliven the air to create a deeply embodied psychoacoustic experience, recalling La Monte Young, Phill Niblock and Stars of the Lid. Since 2009 AIR has appeared in New York, London, Edinburgh, Berlin, Prague, The Hague and throughout Australia, supporting Oval, Norman Westberg (Swans), Marina Rosenfeld, Josef van Wissem among others. 

An Infinity Room's debut album 'White On White' is  is a spacious, ambient listen comprising several works developed on international tours and in the studio. Each unfolds similarly: heavy weights are placed upon the keys according to simple algorithmic patterns, creating a heady and epic unfolding of overlapping long tones. WOW was recorded with Bob Scott in Sydney using vintage 1970s and 80s synthesizers. Out now via Room40/A Guide To Saints. Link: 
http://emporium.room40.org/products/573899-an-infinity-room-white-on-white 

Julian Day is a Sydney-based artist, composer and broadcaster. His performance and installation work looks to sound’s deeply relational and territorial properties as a series of tensions between abstract and political forces. Day has presented work at Whitechapel Gallery, MASS MoCA, Café Oto, Le Poisson Rouge, Queensland Art Gallery of Modern Art and the Australian Centre for Contemporary Art. His music has featured in such festivals as the Bang On A Can Marathon (New York), Spitalfields Music (London), Liquid Architecture, Dark Mofo and VIVID Sydney. In addition to AIR Day co-directs Super Critical Mass, a participatory project in which temporary communities articulate public spaces using dispersed homogeneous sound. His collaborative work Moving Collected Ambience was recently acquired by the Museum of Contemporary Art Australia and will feature in the upcoming exhibition Collection Volume Two. Day has also presented and produced many programs on ABC radio.

For more info
An Infinity Room: www.aninfinityroom.com 
Julian Day: www.julianday.com 


EHE 07.07.16 - An Infinity Room (SYD) - Open Field

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

Exclusive soundtrack made for Ears Have Ears by Melbourne duo UTI, titled 'Haze'.

UTI is the new industrial noise dance project of Maya-Victoria Kjellstrand (Bleach Boys, Hex on the Beach) and Nina Buchanan (Video Ezy). Based in Melbourne, the duo combine tape loops, distorted synth and dark beats to create blown out noise tracks and soundscapes. Their exclusive piece "Haze" is the first recording done by the duo, the result of some winter experiments and a string of live performances.

EHE 28.07.16 - UTI (VIC) - Haze

Highlights from Ears Have Ears Live #4, recorded onstage at FBi's performance broadcast hub in Alexandria, Sydney.

The final instalment of our live broadcast performance series which took place onstage at FBi's broadcast space in front of a studio audience. This episode features a soundtrack by Sydney’s Alaska Orchestra and a Q&A with Megan Alice Clue facilitated by musician and teacher Rainbow Chan. 

Head to www.fbiradio.com to listen back to the weekly Ears Have Ears radio program, airing 9-11pm Thursdays.

Find out more about Ears Have Ears live here: fbiradio.com/earshaveearslive/

Listen to other podcasts on FBi's website here: fbiradio.com/podcast/ears-have-ears/
Subscribe on iTunes here: itunes.apple.com/au/podcast/ears-…d1105278392?mt=2

PODCAST Ears Have Ears #4 - Alaska Orchestra and Rainbow Chan

Exclusive soundtrack made for Ears Have Ears by Japanese duo, Kouhei  Harada and Mitsuaki Matsumoto.

Kouhei Harada is a Japanese sound artist, designer and developer based in Tokyo. Fascinated by the glitch between analog and digital, deconstructing sounds & improv, he has explored a vast array of sounds with such collaborators as Cat Hope, Damo Suzuki, GAF and many more. Currently, Harada is focusing on Audio/Visual and Multi-CH surround systems. Mitsuaki Matsumoto is an audio-visualist, visual artist, composer, sound performer and scenographer living and working out of Kagoshima, Japan. 

The duo's soundtrack uses MaxMSP and Prepared BEE - WAH (Japanese traditional lute), sound processing and breaking data (glitch) for composition. Together they explore "Generative Sound Exchange" improvisation in this beautifully developed and realised piece.

EHE 04.08.16 - Kouhei Harada + Mitsuaki Matsumoto (Japan) - Untitled soundtrack

Exclusive piece created for Ears Have Ears.

Sophie Hutchings is a pianist and composer from Sydney. She began teaching herself piano at an early age before any tuition, developing her unique style through countless hours of secret practice. Hutchings has released three instrumental works to date, Becalmed, Night Sky and White Light, receiving fine recognition internationally for elegant and beautiful music compared to the likes of Nils Frahm, Max Richter, Peter Broderick and Dustin OʼHallloran. 

With new album Wide Asleep, released via Sydney experimental/pop music label Preservation, Hutchings has taken her compositional scope into larger realms of sound and feeling. It is her most searching work, based on ideas on consciousness between sleep and wakefulness. In her most dazzling and poignant pieces to date, Hutchingsʼ piano lines extend with both electricity and elegance, winding through strings, textured ambience and choral voices through beauty and vitality. Reaching further with her music than ever before, Hutchings is in great company, recording Wide Asleep with Tim Whitten, best known for his nuanced and dynamic work with The Necks. 

Hutchings piece for Ears Have Ears, titled 'Unfinished Story', was recorded via piano with the silent pedal in order to dampen the sound of the keys creating a sleepy placid sound, treated with the tiniest bit of room ambience to lace it with a warm late night mood.

EHE 18.07.16 - Sophie Hutchings (SYD) - Unfinished Story

Furchick's exclusive DIY-noise soundtrack created exclusively for Ears Have Ears.

Furchick soundcloud: https://soundcloud.com/furchick

Furchick is the project of Perth sound artist Dr Claire Pannell. Performing under the name Furchick, Claire is a prolific DIY noise-art maker incorporating science into her creations and taking the sounds and natural vibrations created of everyday objects for her art. Performing regularly Pannell has a prolific DIY catalogue of music making dating back to 1987. She is also a science communicator with her specialist skills used in workshops that incorporate arts with science.

Pannell's past projects include touring to Melbourne, USA and Europe in 2015, New Zealand in 2011 and 2013, playing with the Laundry Room Squelchers (USA) at the International Noise Conference in Sydney and Melbourne, performing at Sound Summit in Newcastle, NSW, and playing drums and touring the USA in Gerard Cosloy’s improv noise project Air Traffic Controllers when she lived in New York City. Claire’s most recent projects have been creating sound designs for Tracksuit Dance Company in Perth and Jukstapoz Dance Company in Greece. In 2015 she was named as one of the best noise artists in the world in the Village Voice. 
 
Pannell's exclusive soundtrack, titled "Compliments work better than criticism", is composed using scissors and other miscellaneous objects with a contact mic, a looper, 2 delays, 1 distortion, 1 octaver with the Roland 80W cube used for home recording.

EHE 08.09.16 - Furchick (WA) - Compliments work better than criticism

Exclusive Red Wine and Sugar soundtrack created for Ears Have Ears.

Red Wine and Sugar is Samaan Fieck (Smash Tennis, Hexham) and Mark Groves (Dead Boomers, Von Einem). In 2015-16, Red Wine and Sugar released their EP 'Chattels' and the compilation 'The First Thing that you want is the Last Thing that you Need', featuring the track 'The Confidence and Humour of John', as cassettes on Maitland based label Mazurka Editions. A collection of early works have also been released via Index Clean on CD and currently Fieck and Groves are working towards the completion of an album and film work. 

Their exclusive soundtrack titled 'Like a Fly on a Lamp' was created from magnetic tape and found phrases. The piece is a collection of suggestive and affecting passages of sound and text which have been gradually assembled and arranged into an expressively resonant work. Equipment used includes: Akai GX-4000D, Revox A77, Yamaha MT4X, Tascam Portastudio 424 MKII, Mackie 1202-VLZ Pro, Bontempi Organ, Farfisa Organ, Realistic Dynamic MC 1000 and JTS NX-7.

Marzurka Editions: https://soundcloud.com/mazurka-editions
Mark Groves: https://soundcloud.com/elaboratefantasyworld/red-wine-and-sugar-tenderness-of-scalp

EHE 29.08.16 - Red Wine And Sugar(VIC)- Like A Fly On A Lamp

https://soundcloud.com/piercewarnecke is a sound and video artist from the US, who has been based in Europe for over a decade. Working equally in the aural and visual domains by creating performances, installations and compositions, Warnecke's work stems from an interest in the effects of time on matter such as modification, deterioration and disappearance. His works have been commissioned by CTM Festival, Deutschland Radio Kultur, ORF Musikprotocoll and Mirage Fesitval. Studying at the Berklee College of Music he later went on to obtain his Masters and is now currently a professor at Berklee College of Music’s Master’s program in Valencia, Spain.

Pierce Warnecke releases music on Portals Editions and Room40 with recent collaborations with Frank Bretschneider (visuals for his latest work "Sinn+Form" on raster-noton), Matthew Biederman (sound for "Perspection") and Yair Elazar Glotman (visuals for “The Mirror and the Mask”). He has presented his works in many international festivals and spaces, such as KW Institut, Mutek, CTM, Elektra, NEMO, Scopitone, Zero1 Biennale, Transmediale, Bozart/BEAF, Semibreve, MadeiraDig, Ososphere, Mirage, LAB30, Jazz à Vienne, Boston Cyberarts and SXSW Interactive.

Pierce on his Ears Have Ears soundtrack:

“Environment Monitoring” is a new installation piece that I am preparing for Fall 2016. This was an opportunity for me to compose the sound first in advance, helping me to shape and plan what the piece will be like. I worked with researchers at the Iberian Nanotechnology Laboratory in Braga to understand their work and processes - the installation piece will show an abstract and fictional form of their studies on how to detect pathogens and contaminants in early stages. This is an imaginary soundtrack to the future installation."

EHE 06.10.16 - Pierce Warnecke (EU) - Environment Monitoring

This exclusive soundtrack from Tangents is spontaneous multi-music described by Ollie Bown as "A twenty minute soundtrack to a journey through rural lanes in Northern New South Wales." 

https://soundcloud.com/tangentssydney is a Sydney-based quintet that melds electronic production, experimental rock and free improvisation. This multi-talented ensemble's collective resumé spans decent swaths of recent experimental music history: British electronic music producer Ollie Bown (Icarus, Not Applicable); Adrian Lim-Klumpes (ex-Triosk, 3ofMillions) on piano, Rhodes, vibraphone and marimba; Peter Hollo (FourPlay String Quartet) on cello; and the duo Spartak (free improviser Evan Dorrian and singer/producer Shoeb Ahmad on drums and guitar respectively). Tangents came together in 2010 shortly after Ahmad helped put together a tour of Bown’s UK-based duo Icarus. The first-ever meeting of the ensemble, performing live improvisations at the Megaphon studios in Sydney, became their debut album “I” (hellosQuare, 2013). The band followed up with another album-length improvised set recorded by the ABC for their Sound Quality sessions in 2014.

Their latest album Stateless has been released through Brooklyn's Temporary Residence Ltd. label (home of experimental and postrock luminaries such as https://soundcloud.com/four-tet, Explosions in the Sky, Hauschka and now Mogwai) on July 8th, 2016.

EHE 01.09.16 - Tangents (SYD) - Bellingen

Marlēné Claudine Radice is a Sydney sound designer and composer who specialises in notated electroacoustic composition. Previously, she has performed and recorded with the Sonic.Art Quartet, COUP Melbourne, Feminatronic and as one half of electronic duo Erwartung. Marlēné's has been commissioned as a sound designer and composer for Canberra’s National Museum of Australia in 2017 and Questacon in 2013.

Marlēné's soundtrack, titled 'Retrograde', connectedly explores abstract sounds and planetary motion. Read her description of the piece: 

"Retrograde motion references the movement of anything outside of the earths atmosphere that runs in a counter motion to the spin of the planet it orbits. In this soundtrack I wanted to experiment with how music made entirely out of reversed audio samples would be interpreted by a listener. The music is inherently unsettling as while we listen to sounds which are in reverse we cannot help but attempt to create meaning and order from sound that has been abstracted from its original form. " - Marlēné Claudine Radice

EHE 20.10.16 - Marlēné Claudine Radice (SYD) - Retrograde

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

"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

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