JBRH 005

SoundCloud Weekly

SoundCloud Weekly 10/8/19

Composed in 2004. Studio recording by members of Apartment House: 
Nancy Ruffer (bass flute), Andrew Sparling (clarinet), Gordon MacKay (violin), Anton Lukoszevieze (cello) and Philip Thomas (piano).
From 'Chamber Works 1992-2009' released on Another Timbre in 2014.
Recorded by Simon Reynell
http://www.anothertimbre.com



Seven Short Pieces

TA: Buchla Series 200, Serge Modular, contact microphone.
No plugins or other DSP. 

Recorded at EMS, Stockholm.

Thanks to Mats Lindström, Gabrielle Karlsén, Daniel Araya, Jan Rohlf, Marcus Gammel, Fernando Sixto and Marion Innocenzi.

Serge & Buchla (excerpt, recorded at EMS Stockholm)

Stephen O’Malley - End Ground (Extract)

"The cycle of compositions collected under the title Plane/Talea reflects my interest in vocal polyphonic music. They envision an "impossible choir" constructed through the sampling of thousands of fragments and pieces of voices, my own and those of others, and their recomposition into polyphonic garlands and textures. This cycle can be intended as the utopic sonification of an impossible community in which the voice is atomized into primary particles and later reconstituted into sonic masses and clouds. These are too dense and complex for a chorus of real human beings to sing. The music of Plane/Talea" is the sonic projection of such a community. The voice is not processed or altered in any way but subjected to molecular reorganization. Theoretically, a hyper-chorus could sing material of this type but, perhaps fortunately, such a choir does not yet exist. Up until now, in the process of creation of my vocal music, I've kept two poles and influences in balance: that of madrigalism in its late renaissance and contemporary incarnations and that of hyper-polyphony, which is close to spectral music. Though not ever having actually written in one or the other of these two styles, I've always felt this unresolvable and fertile tension in my work." (Alessandro Bosetti)

Recorded, composed and mixed by Alessandro Bosetti at GMEM (Centre National de Création Musicale in Marseille).
Additional recordings by Attila Faravelli at Spazio O', Milano.
Mastered and cut by Rashad Becker at D&M, Berlin.

Pressing info: 300 copies on black, embossed lettering

http://www.holidaysrecords.it/

Plane Talea Excerpt 1

This track was composed in 2017 
commissione by Sonic Protest for a mix

Ruhiges Tier / für Sonic Protest 2017

⠠⠗⠊⠏ ⠷ ⠮ ⠓⠂⠗⠞

Saru are very pleased to announce that Trichromatic Moiré, a new double CD featuring realisations of a graphic composition by Thomas Martin Nutt, is now available. 

Martin’s work with the physicality of interference takes place within the beating patterns of a multi-sensory field, a Moiré, and to celebrate his wonderful compositions, SARU invited a number of artists from around the world to realise his work.

The release features interpretations by Tetuzi Akiyama, Harriet Butler, Sarah Hennies, Ryu Hankil, Ko Ishikawa, David Lacey, Sally Ann McIntyre, Will Montgomery, Joseph Clayton Mills, Shirley Pegna, Rie Nakajima & Marie Roux, Samuel Rodgers, Lo Wie, and Keiko Yamamoto.

www.sonicartresearch.co.uk

Sarah Hennies

“Someone must have handed me a piece of flexible tubing from the hardware store and shown me that I could play it, the pitch rising and falling according to how hard I’d blow through it. It was around 1970. I tied a red kerchief to this horn and called it my molimo, after the instrument the Mbuti Pygmies play to wake up their mother, the forest. According to the anthropologist Colin Turnbull, the Pygmies of the Ituri Forest originally made their molimo by burying a special kind of branch in the ground for the ants to hollow out. As stores became part of their world, the Pygmies found that a drainpipe worked just as well. They claim that the molimo is the sound, not the object. ” – Simone Forti

Simone Forti – Al Di Là (SLT-004)

Saltern is excited to present Al Di Là, the first full-length collection of recordings by renowned dancer/choreographer, artist and writer Simone Forti. Forti (born 1935, Florence, Italy) has influenced generations of artists through her innovative approaches to dance and movement. Forti is noted for her extensive work with musicians, including Charlemagne Palestine, La Monte Young, Jon Gibson, Peter Van Riper, and Z’EV, among others. With Al Di Là, we hear Forti musically in her own right through a diverse collection of never-before-released pieces, ranging from the early ‘60s to mid-80s, that highlight Forti’s use of her voice, folk songs, handmade instruments, and physical space. The album, compiled by Forti with the assistance of Tashi Wada, includes a rare guest appearance by La Monte Young and Marian Zazeela and features a 28-page color booklet of writings, drawings and photos by Forti. Al Di Là is a uniquely personal and intimate portrait of one of the truly visionary artists of our time. Printed at Stoughton Printing Company. Mastered by Stephan Mathieu.

From Forti’s liner notes: “I’m awaiting a song from afar, from afar, a song of goodbye from afar. For now I’ve seen the game I was playing, slowly leaving the earth and drifting far among the stars.”

Simone Forti – Al Di Là: Molimo (1970-present)

23 March 2018

Side B (excerpt) from the upcoming debut LP 'Two Words' by Australian musician Francis Plagne & Canadian sound artist crys cole.

Two Words 
Francis Plagne & crys cole 
On Black Truffle Records 
Release date: July 27, 2018 
BT035

Cover Painting by Anne Wallace (AU)
Words by Marty Hiatt 
Mixed with Joe Talia @ Good Mixture in Tokyo, JP
Mastered & Cut by Rashad Becker @ D&M Berlin

two words side B edit

Unfortunely You Are Not Here (unmastered)

Bass Clarinet

Johnny Chang - Viola
Derek Shirley - Double Bass
Eric Wong - Guitar

Venue: TiK Nord (Berlin)
Date: 19 Sept 2018
Recorded by Seiji Morimoto

Slide Pluck Bow Live at Experimentik Excerpt

Traversée (ex- "Trajectio") (2018)
Trio for Violin, Cello and Accordion.
With support from SACEM and Ensemble Regards

Violin: Aya KONO
Cello: Marie YTHIER
Accordion: Fanny VICENS

Live recording by Ko SAHARA, October 19th 2018.

Cette pièce repose sur l'idée de trajectoire et de traversée d'un matériau très typé (une septième majeure vibrante à l'accordéon) vers un autre monde. Ce matériau trouve son origine dans un travail que j'ai réalisé sur un synthétiseur, inspiré d'un morceau d'Atom TM (« Stromlinien ») dans lequel une nappe synthétique est animée comme en vagues, avec des conséquences timbrales propres à un travail spécifique de l'ADSR (Attaque Decay Sustain Release). Dans son ambiguïté entre Majeur et mineur, cet accord classé se devait d'être assumé en n'étant presque jamais varié, de sorte à imposer une écoute allant au-delà d'un « à priori ». Ainsi, le grain des anches libres donne une texture sableuse à ce matériau, et les cordes tendent à l'attirer dans une autre dimension, celle de l'extrême aigu et du bruit, par des déchirures d'obédience électroniques ou semblables à des cris d'étranges oiseaux dès la première minute. Comme portée par un passeur, la musique prend son sens dans l'accomplissement total de la forme, jusqu'à la toute fin où les objets initiaux se trouvent très altérés tout en étant parfaitement identifiables. Le titre est emprunté au concept de trajection, introduit par Augustin Berque dans « Le Sauvage et l'artifice » et inspiré de la philosophie de Wasuji Tetsurô. Cette pièce opère donc des transferts entre consonance et dissonance, et d'une temporalité lisse ou statique à l'écriture déterminée vers une temporalité fragmentée à l'écriture plus indéterminée (notation relative des intervalles de durées).