Stereo version of a 4 channel sound installation for headphones - Soundscape from sculptural/projection/sound collaboration with Carly Fischer exhibited at BUS Projects, March 2021. The installation's sound component consisted of 14 speakers in ceramic vessels thrown on the wheel. The speakers were chosen for their dynamic range, wattage power and physical size for each vessel they resonated in. The sounds shift across 4 discrete channels, each of which would take turns sounding across the space.

Sounds included ...
//Te Wahi Pounamu / Te Moeka O Tuawe (Neve, 1200ft), dripping water being collected to drink, cracking ice, footsteps in snow, fly, wall radio 
// Modular Synthesis reproductions of 'the sounds of' ice, wind, silence, density, air pressure, expectation, broken trajectories, no sleep 
// Pottery Wheel - 1977 Venco, large resonant metal standing wheel recorded from the back

More information on the expanded work can be found here :
http://www.disrhythms.net/conversation-piece

conversation piece

a resonance #1.
A repeating sequence from eurorack modular synth customised for drone work and looping/delay sent through transduction speaker attached to the surface of a found piece of crumpled aluminium scrapmetal. 
Audio recorded through 2 LOM mikroUši Pro microphones in each hand (where my left and right hands become the left and right channels of the stereo field) performatively moving over the crumpled metal surface revealing different harmonic resonances, overtones and undertones.
More can be read about this project here :
https://www.disrhythms.net/resonant-metals/

resonance #1

Narrm. 2022.
Sound takes us places. This work was made for a passing friend in their last few days. The work offers a wandering to places they were nolonger able to visit. Mona may you resonate in overtones forever.
17:30 Aramoana rocks (Aotearoa, Te Wahi Pounamu)
Coburg crickets (Narm)
Rakiura (Aotearoa)
You Yangs (Narrm)

formona

close to water

accumulations

to place place upon place // 

white noise / sine drone / cello / voice through cello pickup

place upon place : càrn

This work was commissioned by the Melbourne Electronic Sound Studio presented at The Substation at 'Sonorous V' 16 July 2022.

This is a spatially arranged binaural mix for headphones as representation of an Octophonic composition presentation and performance. Listen on headphones for best binaural effects.

'Sounds of thin places' explores multiple instruments and the “anomalies and interruptions in old circuits, where the machine appears to break through and speak for itself from the M.E.S.S collection, including the Yamaha CS-80, Steiner Parker, ARP 2600, Roland 100M system, Synthi VC3 mkII and Ondes Musicales to create intense drones, crackling signals, wavering harmonics and emerging melodies. Within the octophonic sound system, tones and textures overlap and intersect, slowly morphing and oscillating to create an immersive, cinematic listening experience, along with a performative element engaging with the wavering, noise-drone characteristics of the EMS VCS3 Putney and Synthi MKII.

Environmental recordings from in-between places and responsive, resonant synthesized sounds were arranged across a composition stretching 23 minutes in a full 360* circular sonic space (8 x UPA-1P speakers), with a live improvised noise...  more

sounds of thin places

Velodrome is a collaborative soundscape by Edwina Stevens and Carly Fischer that oscillates around the industrial peripheries of their local area of Coburg, Narrm(Melbourne), reflecting on how these in-between zones and their accumulations of forgotten fragments, traces and tones reveal hidden histories and generate improvisational dialogues with local places. 

These recordings were made on lands of the Wurundjeri Woi-Wurrung and Boonwurrung People of the Kulin Nation, which always was and always will be, Aboriginal land.

Drawing on recordings that wander around factories, former quarries and scrap yards, as well as synthesised drones played through discarded infrastructure, the soundscape has been composed through a randomised playback process, generating incidental overlaps and trajectories that open up alternate dialogues with Places.

This piece was re-recorded and recontextualised for radio listening as part of Radiophrenia Glasgow in 2023. RADIOPHRENIA is a temporary art radio station broadcasting intermittently from the Centre for Contemporary Arts in Glasgow. The broadcast schedule includes a series of 14 newly commissioned radio works, 13 Live-to-Air performances as well as live studio shows, screenings, shorts and pre-recorded features.

Edwina Stevens
https://www.disrhythms.net
www.instagram.com/eves.disrhythms
edwinastevens@protonmail.com

Carly Fischer
https://www.carlyfischer.com
www.instagram.com/carlyfischer_
carly_fischer@yahoo.com.au

Velodrome (Radiophrenia 2023)

From the release 'disrhythms'.
Recorded in Narrm-Melbourne, self release 2016

day one

wave

This project and recordings were made on the land of the Wurundjeri people of the Kulin nation, the traditional owners of the land on which we may listen - sovereignty has never been ceded. I pay my respect to the Wurundjeri Elders, the land and its sounds, past, present, and future, and extend this respect to Aboriginal and Torres Strait people from other communities.

Project developed for 'correspondences' release/online-opening, 30th October 2020.

Best listened to using over-ear headphones.

This work expands on an environmental recording of a Moonee Moonee underpass as cars travel overhead on the Citylink. 
Moonee Moonee is a 145km squared catchment-creek forming on Gunditjmara Country, travelling to meet the Birrarung (of which it is the largest tributary) on Wurundjeri Country, then out to Nairm meeting the warreeny.
The recording is taken from the sound of cars on the above freeway hitting various points in the thick concrete comprising the road. These strikes resonate in the space underneath, the underpass where the Moonee Moonee, cyclists, and walkers pass through.

The Moonee Moonee is known as the 'most abused' tributary of the Birrarung in terms of toxicity run-off, sewerage, and drain works.  The creek was 'converted' near Strathmore and funneled into a lifeless concrete channel by engineers to abate erosion in the interest of development. Replanting of indigenous plants along the banks since the 1970s has since increased the population of the Pobble-Bonk Frog. 
The burrowing Pobble-bonk frog’s singular note works in call-and-response with other frogs, each generating a different pitch to stand out from one another. This creates an overall disrhythm of notes at differing pitches in chorus, the collective sound merges with the similar overhead strikes resonating from the private cars on their trajectory overhead.

The underpass recording has been transmuted through a synthesizer resonant filter and complex delay modules, mimicking the original sounds and relating to the Pobble-bonk's calls. The percussive field recording of the underpass triggers the response of the synthesizer, much like the frog's call-and-response sonic relationship. Also, in the same way, the cars passing overhead strike points in the road and create a resonant disrhythm. The harmonic tones ring out as a resonant extension of the strikes, the hollow beats develop in delayed response from the original strike in the field recording, where then these additional beats merge with the Pobble-bonk calls. As the composition progresses the resonant tones brighten, and the responsive delayed beats densify, as moments in time spread out then drawn closer together.

Moonee Moonee Underpass

This collaboration sprung from a research residency at Melbourne’s Living Museum of the West in Maribynong, Melbourne, incoporating oral archives from the 1980’s interviewing women who worked in the munitions factories around Melbourne’s West during WW1 and WW2. The interviews detail their personal experiences in terms of the danger and volatility of the work, the poor conditions, their discovery of unionism, feminism and their own personal anecdotes about life during war time in Australia.

In addition to the women’s voices, synthestized ambient geological and elemental sounds have been designed and sonified. These sounds cross over between military, machinic and volcanic/elemental sounds made using a Moog modular synthesizer. Some field recordings are also included in the soundscape, where effects and sounds interact in space, blurring recognition of any particular sound, space or time.

'I  Feel The Earth Move Under My Feet' (as originally part of a sculptural and multi-channel sound installation exhibited in March this year at  Incinerator Gallery) has been adapted to a 35 minute stereo radio edit for broadcast.

I Feel The Earth Move - Radio Soundwork - Radiophrenia, Scotland

(eves works in improvisation and the incidental/ considering temporal, material and experiential connections to place through chance encounters, tangential processes and unanticipated outcomes/ focusing on environmental sound, responsive synthesis and acoustic+listening possibilities...)

Narrm, Wurundjeri land / Otepoti, Aotearoa.

eves

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